Top hat event puttin’ on the hard hat

Ann Spivak featured the Lyric Opera Circle recently in The Kansas City Star. Read her preview of the 2009 Lyric Opera Ball, “Hard Hat, Top Hat” here: http://www.kansascity.com/living/columnists/ann_spivak/story/1063267.html

10 questions with Tracy Davis

This month we begin a new feature: 10 questions with…

Today, Lyric Opera director of production Tracy Davis shares answers to 10 questions often posed to her:

Tracy Davis

1. What does the director of production do? Are you directing the singers on stage?

 

My job is all about planning and organizing and information distribution. Once the Artistic Director chooses an opera to perform, hires a director, and casts the show…its then in my lap. I coordinate with the director what scenery and costumes we may be renting. I take care of executing all contracts for everyone working on a show, housing and travel for the out of town artists, and all things schedules – Principal singer schedules, Chorus, Supers, and all onstage schedules. For example, I issued about 65 contracts for La Traviata coming up. I work with all departments – scenery, lighting, costumes, wigs, props – to make sure they have all the information that they need to do their job. I work with the finance department to make sure everyone working on the show gets paid at the right time. I work with the marketing department to coordinate any press coming into rehearsals.

Beyond the actual productions, I coordinate auditions, both in NYC for principal artists, and local auditions for chorus. I work with the apprentice program that we have for young singers at UMKC and KU. Again, I issue contract and schedules for them…and provide special masterclasses for them such as fight choreography. None of this could ever be accomplished without my trusty assistant – Katie Snyder.

2. What led you into this line of work?

In college I was a double major in music and theatre. I was always behind the scenes in theatre…Stage Managing, working on props, lighting, etc. When I finished college, I worked as a Stage Manager and Asst. Stage Manager at various companies for about 10 years. All that I learned in those 10 years, led to where I am today.

Hansel & Gretel at Indianapolis Opera

3. What is the most difficult part of your job?

Keeping up with responding to e-mails!!!

The most fun?

Opening night – when all the elements of a show come together and the audience enjoys themselves, I have a great feeling of accomplishment. Oh yeah, and handing out paychecks. Everyone loves you when you are giving them money!

4. Do you sing? Play an instrument?

I don’t come anywhere close to singing within any specified key, but I will sing at the top on my lungs in my car. My main instrument that I played through school including college is the Clarinet. I also dabbled in Alto Saxophone, and had a few moments with the Trumpet and French Horn.

5. What is your favorite opera production of all time, and why?

There are many to narrow it down from, but I think it is my very first opera that I worked on as a Stage Management Intern at Houston Grand Opera. We did a new production of Hansel and Gretel designed by Maurice Sendak. It was an amazing first experience in the art form. I realized then how different opera is from theatre in that everything moves so much faster. I enjoyed the pace and the challenge of having everything organized to help with the success of the production. Plus at the time I thought it was so amazing that I received a production poster autographed by Maurice Sendak for opening night!!! When I hear the prayer that Hansel and Gretel sing at the end of Act I, it still brings tears to my eyes.

La Cenerentola at the Lyric Opera

6. What is your favorite Lyric Opera of Kansas City production, and why?

La Cenerentola directed by Garnett Bruce in the Fall of 2004. Garnett Bruce has always been one of my favorite directors since I met him in Houston. First of all, Cenerentola is such a classic story that everyone knows, and Rossini’s music for it is just splendid and tells a great story. This particular production was set in the 1930’s Hollywood and just had that magical touch of promise and hope. Many directors and companies attempt “concept” productions from time to time…but this production was the most thought out and the concept carried the entire way through the show, and you didn’t lose anything from the music or story telling. It was also a great production to work on because I got to work with Joyce DiDonato and Dan Belcher, both who I knew while at Houston and they were in the Opera Studio there. It was fun to re-unite after we all had come so far in our careers.

7. Have you worked with any “big name” singers? If so, what was the singer like?

I worked on a production of Arabella with Renèe Fleming when I was an Asst. Stage Manager at Houston Grand Opera. She is extremely gracious and down to earth…and smart. She had this moment offstage right before she entered to sing one of her big arias in the show. During this aria, she had to very slowly walk down a big staircase while singing. She has a gorgeous dress on with matching heels. What did she do offstage to prep herself? She changed into flats so it was easier to walk down the staircase! I also did a production of Mefistofele with Sam Ramey. His signature role…and he was amazing. In general, I find the “big name” singers are a delight to work with. They’ve been around the block a few times and are no longer trying to “prove themselves” in the business.

8. What changes will moving into the Kauffman Center for the Performing Arts have on your job?

It will be interesting performing in a space that we don’t own. I think we will need to be even more organized on the technical side of production to make sure we effectively use our time well while in the theatre.

On Lyric Opera productions?

I think you may see a different caliber of scenery on the productions. The Kauffman theatre is large than our current space, with much more wing space and even trap doors in the floor! There are certainly surprises to come.

9. What changes will renovating the warehouse the Company purchased at 18th & Charlotte make in the rehearsal process?

There are so many good things that will happen in the new warehouse!!! Having the scenery built in the same location as rehearsal, means we will be able to rehearse on the scenery. This is especially important when you have a set that is raked, or has multi-levels, or even staircases! Rehearsing on the scenery in advance helps us save time when onstage. The new space will also have a costume shop, a wig room, and coaching rooms for the singers. All in one space!!!

10. Why should someone who has never been to the opera come?

I truly believe that if we’ve done our job at producing an opera that tells a good story, opera is more accessible than most people think. It surprises me still how many people use “I don’t understand the language” as an excuse to not come. Yes, there are supertitles to tell you what the singers are singing, but if the director has done their job, and the singers are doing their job – you should be able to sit back and enjoy some good story telling. Come to the opera to experience something new. Come to the opera to hear some good music, both from singers and orchestra. Come to the opera to give your eyes a visual feast from the scenery, costumes and lighting. Come to the opera to escape from your every day worries. Certainly you haven’t been living with pirates your everyday life? Come to the opera to share Violetta’s last party before she dies of consumption. Just come…and bring someone with to share the experience!!!

Building a new bohème

Scenic carpenter Eli Yaffe

Crew members are busy constructing the set for the Company’s all new production of La bohème, which opens the season on September 13.

Due to the hot and humid Missouri weather, our talented construction crew has been working a heat schedule that begins at 6:00 a.m., five days a week. Construction began on July 7th to ensure that the set is completed in time for opening night. The extreme heat and mosquito problems have not dampened the spirits of the crew, but they do look forward to working in air-conditioning when the Company’s new production facility at 18th & Charlotte Streets in the East Crossroads neighborhood is completed.

Bohemian garret in progress

Much progress has been made, and you can easily compare the beginnings of the iconic garret shown here with R. Keith Brumley’s set drawings.

Behind the scenes of La bohème

We recently had an opportunity to interview R. Keith Brumley, director of design and technical production for the Lyric Opera of Kansas City.

Keith describes the process by which he designed the upcoming all new production of La bohème how the Company’s new production facility will improve construction and rehearsal efficiency, and how his work contributes earned income to the Company’s bottom line.

Keith also gives us a sneak preview of his drawings for the set design for La bohème (click on the thumbnails to see enlarged images).

Act I and IV: The garret (c) Lyric Opera Kansas City

Act II: Cafe Momus (c) Lyric Opera of Kansas City

Act III: The Paris gates (c) Lyric Opera of Kansas City

Home is where you hang your horns!

When we purchased our new building on 18th street between Holmes and Charlotte in downtown Kansas City last spring, we were excited that the 30,000 square foot structure would eventually house all Lyric components – rehearsals space, set, prop and costume construction rooms, as well as offices. However, we hadn’t planned on moving in this soon.

When our good Samaritan rehearsal room provider, Trinity United Methodist Church undertook renovations, we knew we would not be able to work in a noisy construction environment. Consequently, within two weeks time we cleaned up and outfitted our former commercial electrical warehouse to suit our needs, which included rehearsal space for over 100 principal singers, choristers and supernumeraries.

An added bonus has been our ability to rehearse on part of the set under construction, as well as paint, sew and build in other parts of the vacant building. Already we are reaping the benefits of having all our creative activities in one place.

As you might guess, nothing about Verdi’s AIDA is small scale!