Tag Archives: Sharon Strich
Sean Fanning doesn’t like scenery.
This may seem strange, considering he is the set designer for Intrepid’s current production of Hamlet, but when you hear Sean’s take on bringing Shakespeare to life, you might understand.
“It’s all about the words,” says Sean, a statement that is music to Intrepid’s ears. “You could do Shakespeare the way it’s written on a bare stage and it’s powerful because it’s so imaginative.”
To that end, Sean has created literal space on the stage at the Clayton E. Liggett for the “rottenness” of Denmark to play out. With the mere suggestion of a finished room, the landscape of the stage serves multiple purposes throughout the production without the necessity of changing sets or disguising scenery. Soaring colonnades meet ceilings which disappear into thin air, both uplifting the regality of the space as well as suggesting the distemper of the action to come.
“I see other plays that are more contemporary that rely so much on having to actually show people in location,” says Sean. “In Shakespeare, yes, it’s episodic, and yes, we’re going from place to place, but we don’t rely on all the typical conventions.”
In other words, Sean lets the audience have a say in each location, projecting their own ideas of the graveyards, the ships, the secret rooms of the palace, and the sites of hauntings onto the canvas of his design.
“Shakespeare demands so much,” he says. “If you really tried to physically transport people from location to location, you would lose some of the magic.” Best to rely on the words to carry the scene, he says. And based on the high praise he has already received (local press has hailed Sean as an unsurprisingly “in-demand designer”), he’s obviously on the mark.
“Shakespeare is one of my favorite things to do,” says Sean, who also designs all of the MFA productions at The Old Globe in Balboa Park. Hamlet is his inaugural show at Intrepid.
Sean’s design for Hamlet also captures the challenge of the thrust stage, where the audience is closer to the action, rather than gathered behind the fourth wall of a typical proscenium stage. This adds to the tension of the play, as actors have the space to move through and around the set’s dimensions without the necessity of facing all of the viewers at all times. Sean has ensured that the actors always have what they need, providing built-in places for them to sit, lie down, and hurdle over. The actors help create the locations, and Sean emphasizes, “that’s what’s so magical about it.”
“There is a sense of barrenness that the actors can fill with the words,” says Sean. “So, to me, some of the most beautiful sets are bare stages.” – T.T.
Catch a quick interview with Sean Fanning and see his path to creating Hamlet:
Hamlet runs through February 17 at the Clayton E. Liggett Theatre in Encinitas. Tickets can be purchased here.
Dateline: Rehearsal. Wednesday, August 29, 745 pm
‘Twas the night before previews
And in the Clayton E. Liggett
Were just the sounds of fine-tuning
And a director shouting, “I dig it!”
The rope swings were hung
From the stage grid with care
In hopes that “knot spacing”
Was finally secure.
Patrick was tucked
In the sound booth and gave
Life to the piano
When Taylor would wave.
And what was there left
on the list to complete?
Sharon just smiles and says,
“I can’t feel my feet.”
The actors run round
In costumes and curls
Rehearsing their harmonic
It was nigh around eight
When the last rehearsal began
The bower finally hung
As the actors filed in.
The company’s final attempt
To make everything right
Knowing tomorrow’s first preview
Would be a memorable night.
Once a show opens to the public, it is every theatre company’s hope that the performances seem effortless and smooth. However, the road to awesome is paved with…well, technical rehearsals. A Midsummer Night’s Dream: the Musical, has been fairy-wing-deep in tech rehearsals all weekend as we prepare for our first preview on August 30. For the non-thespian crowd, tech days are the very last of the rehearsals – the ones right before the first preview and right after the actors have completely finished setting their movement on the stage. During these final days, the lighting cues, sound cues, and any other technical elements of the show are layered in. These rehearsals are typically lengthier than any others, as it takes time to – not only decide what works best for each and every moment of the play – but also to actually make each and every moment happen.
Basically, it looks like this: actors waiting around to take their places on stage for particular scenes, production crew members randomly popping out of lighting grids, sound cues filtering through the speaker system at odd times during the three or four or eight hours in the theatre that day. The stage is always dark, except for the lekos and fresnels blinking through programmed cues. The stage is also quiet, so those who need to convey information to the directors or stage manager from all corners of the theatre can do so efficiently. The actors give way to the production team, who are coloring and creating the world in which they all will be living for the next four weekends.
To give a real behind-the-scenes glimpse into a technical rehearsal, though, there is only one person you need to talk to: the stage manager, aka the boss of the show once it opens. We caught up with Sharon Strich, Intrepid’s resident stage manager, and asked her to give us her moment to moment schedule from one day in her life on this technical rehearsal weekend. She obliged with one caveat: “This post might scare people.” How crazy can one day of rehearsal be? Well, for one thing, we forgot she had other things to do – like a day job.
Hold onto your seats, folks. – T.T.
A Day in the Life, by Sharon Strich – Saturday August 25, 2012
1:30am (yes, you read that right) – Wake up to do pre-rehearsal work on script and other paperwork.
4:00am – Leave for work at Starbucks.
9:20am – Finish work at Starbucks. Head to the theatre with really strong caffeine in hand.
9:45am – Set up the theatre for tech rehearsal, including my tech table, where I will live for the next few days.
10:00am – Tech rehearsal officially starts.
10:38am - Mic fittings, check fairy sound cues, organize company.
11:30am – Begin cue to cue lighting and sound rehearsal starting with Act II, scene i.
12:33pm – Break. Place glow tape on the set so the actors don’t kill themselves in the dark.
12:44pm - Continue cue to cue rehearsal, starting with Act II, scene i.
2:08pm – Break. Safety walk with John (Oberon) through his path to the catwalk during Act II, scene ii. Treacherous.
2:24pm – Continue cue to cue rehearsal, starting with Act II, scene ii.
3:21pm – Break. Check progress of the set in the shop. Coming along nicely!
3:27pm – Continue cue to cue rehearsal of Act II, scene ii.
3:54pm - Costume time!
5:00pm – Dinner break. Run for Starbucks, altoids, and chocolate; eat a sandwich for “dinner”; prep the ropes that will be moved later; talk through lighting cues with Curtis (lighting designer); talk about Puck’s pants with Christy (co-director) and Beth (costumer).
6:20pm – Continue cue to cue rehearsal, starting with Act III, scene i.
7:39pm – Break. Talk through more lighting cues with Curtis.
7:51pm – Continue cue to cue rehearsal, starting with Act III, scene ii.
9:04pm – Break. Work lighting looks for the chase sequence. Very cool.
9:18pm – Continue cue to cue, starting with Act IV, scene i.
9:46pm – Actors released. Scenic work begins with awesome members of the crew.
9:50pm - Work through lighting shifts for the chase. Magical!
10:15pm - Re-hang two upstage ropes, discuss the plan and pick a paint color for Titania’s bower, paint the wood on the ladders and the Puck nest, cover the stairs in fabric and jute, paint the ﬂoor, start to dress the Puck nest, realize we need more jute for Puck nest, hang the front curtain.
2:30am – End of day. Head home.
3:15am – Once home, write rehearsal report and send to production staff, send any necessary production related e-mails, work on paperwork.
4:00am – Find my pillow before I hit the floor, pretty sure I will hit the snooze button when my alarm goes off in two hours.