It's been an extremely long time since I last posted. This is because, up until quite recently, I haven't been up to much. I was working a retail position, and making money, and feeling complacent.
I was quite unhappy with the retail position for a few reasons, not the least significant of which was the fact that I wasn't doing something theatre related. Even worse, I was struggling to force myself to look for something theatre related. But finally, I did. I sent out resumé after resumé, cover letter after cover letter. Nothing much happened. And then, an acquaintance I met at TIFF suggested I apply for a position. And then, that acquaintance recommended me to her friend. And then, I got an interview... and after the interview came a job.
I am now working on my first official apprenticeship credit, assistant stage managing two operas. I'm working for the Glenn Gould School at the Royal Conservatory of Music. The two operas are Bizet's "Le Docteur Miracle" and Ravel's "L'Heure Espagnole"... I get to use my French skills and my music skills!
We've been in rehearsal for about two weeks now. It is definitely challenging. Reading along with music is definitely easier when the performers are singing; easier compared to the extremely fast instrumental overture (in Bizet) and various other up tempo instrumentals throughout.
Also, I've done a lot more stage managing than assistant stage managing in my time. There are a lot of similarities, but there are some interesting differences as well. I suppose the differences are more noticeable when you have a clearly divided team. For example, in the past, when I've been a stage manager with an assistant stage manager, I wouldn't tell that person to set up the entire rehearsal space on their own. Now that I'm one of two ASMs under an SM, we have defined roles. The SM deals with the scheduling and booking of rooms, paperwork, blocking notes, and many other things I probably can't imagine on two operas of this scale. We ASMs prepare the room for rehearsal, reset the stage when we're starting over, and distribute and collect props. The tasks are appropriately divided, considering what our responsibilities will be during performances.
As an ASM working on an opera, I will be backstage during performances. I will cue performers' entrances which will be marked in my score. I will ensure that performers have the correct props before going onstage, and keep track of the props backstage. I will assist in several quickchanges — I can't emphasize the word "quick" enough on this one.
I am so lucky to be working on this production. The performers are amazing. The singers are students of the Glenn Gould School vocal program, and we have dancers joining us from the Ryerson University ballet program. These young people, between the ages of twenty and thirty, are so immensely talented. They are dedicated and focused. I feel privileged to be helping them.
Not only are these young students incredible, we have an amazing artistic and production team as well. Brent Krysa, the staging director, knows his operas backwards and forwards. He maps the whole thing out in his mind before stepping into the hall. The designers and musicians/music directors are sensitive to the performers' needs and the artistic vision.
I also consider myself incredibly lucky to be working on my first apprenticeship under the tutelage of Nan Shepherd. There aren't words to describe how incredible a stage manager and human being she is. She invites confidence. She is always willing to listen to her team. She recognizes the importance of her position as a person who will continue to influence her apprentices for the duration of their careers, and she is determined to have that be a positive, rather than negative, influence.And that really is the best you could possibly ask for.
