Those of you who have been lucky enough to experience the eight-character, two-person kitsch-fest, Charles Ludlam's The Mystery of Irma Vep, as produced by Arizona Theatre Company, are well aware of just how crazy R. Hamilton Wright and Bob Sorenson become onstage. What would probably surprise most viewers is the calm, almost business-like air that pervades the backstage as costumes and wigs appear and disappear in an instant. Ten crew members, seven of them onstage and three in the booth, keep this raucous comedy moving along at its antic clip, but always retain a professional tone.
I was honored with an invitation by Director David Ira Goldstein to witness these technical marvels and costume miracles from a vantage point usually reserved for those with Equity cards. During the January 9th matinee at the Herberger Theatre Center, I was placed backstage on a simple folding chair, introduced to the able crew, and readied myself for what I expected to be bedlam, based on the college and semi-professional productions in which I've been involved in various capacities. Instead, I was treated to crew members who calmly read Tom Clancy or worked on a crossword until a few seconds before their cues, then set up dresses, wigs, and props, and moved with studied precision as actors threw off their prior costumes and wigs to step into the next. In retrospect, it makes complete sense that this crew had it so together; as Mindy Johnson, Assistant Stage Manager (and vampire during the first act chase scene and curtain calls-yep, a woman) appropriately pointed out, "It's our thirty-second show. We'd better have this down by now."
Stage Manager Nina Iventosch, Light Board Operator Zane Swenson, and Sound Board Operator David Fowler were barely audible calling cues on the headsets worn by Stage Supervisor John Emery, the man who pushes the button to raise and lower the hidden door.
Wardrobe Supervisor Daniel Hollingshead religiously cares for the several wonderful wigs, primping and prepping them to fit onto the actor's heads. Dressers Sara Goodman and Michele Clower are each assigned to the front or the back of the actors. As an actor runs offstage to strip into their next comic character, they pull off their current David Kay Mickelsen Costume creation, and step into the waiting costume, which the front dresser holds ready. The back dresser then comes from behind, pulls the two pieces together, and smooths the velcro enclosure (one can only imagine what quick changes before velcro were like: eyelets and fast hands!). The actors always wear their male costumes, and place their dresses directly over, which is why each is floor length with tight cuffs. The biggest surprise came as the actors actually had a few seconds to spare while awaiting their cues.
Props are under the control of Stagehands Traci-Lin Buntz and Kelly Easterling, who hand the actors vases, triangles, and books. They also move the large set pieces, such as camel and Cairo, but the job that is probably the most fun is their placement of werewolf hands and ears.
The show had a distinctive rehearsal period, as schedules made for creative timing. Messrs. Goldstein, Wright and Sorensen met for two weeks in August to establish initial blocking. This was appreciated by the actors, and Mr. Sorensen pointed out that he enjoyed having the time to mull over the blocking and characters. They then returned before the Tucson opening, with Tech Week allowing for a concentration by the backstage crew, who were involved for a longer period than usual in the rehearsal process. "We got a full week to learn the changes. It was a luxury," said Ms. Johnson. As one of the local techs who did not travel with the show from Tucson, Mr. Easterling admits that the first weekend here in Phoenix was a little more frantic than this second weekend performance. "It was crazy on opening night. We only had two days to rehearse, and the others knew what to do already. During preview, I just sorta stood there, and they pushed me from place to place. During the first weekend, I realized if I was seeing something I hadn't before, I was in the wrong place."
This is one show where the unseen, unbilled stagehands deserve as much of a bow as the onstage performers. Kudos go to the professionals who make it look easy, but don't get a chance to publicly acknowledge and enjoy the audience ovations.
Production Details:
The Mystery of Irma Vep by Charles Ludlam
Arizona Theatre Company
The Herberger Theatre Center, Phoenix
(602) 256-6995
December 30th, 1999 - January 23rd, 2000