Houston Ballet has been extremely busy during the month of October, preparing for two major tours: to New York’s Joyce Theater from October 22-27; and to the Theatre des Champs Elysees in Paris, France October 31 – November 4.
Image Courtesy of Houston Ballet
Over the last decade Houston Ballet’s Director of Production Brian Walker has managed the production aspects of Houston Ballet’s tours to Moscow, Spain, Montreal, New York City, and to many cities small and large across the U.S. In this blog entry, Brian discusses the challenges and rewards that Houston Ballet’s production staff faces when the company takes to the road.
Brian Walker; Photo by Kaye Marvins Photography, Inc.
1.) If Houston Ballet opened at the Joyce on Tuesday night, when did the Houston Ballet crew arrive in NYC to get ready for the show?
We arrived Sunday evening and started working Monday morning at 9am.
2.) How much time did production have to tech the show in Manhattan, compared to what you would have in Houston?
We loaded in for 8 hours on Monday and had 4 hours Tuesday morning. Our typical load in before the first tech rehearsal consists of about 36 hours total.
3.) Does having 7 shows a week (-vs- our usual 4 shows a week in Houston) present any special challenges for the wardrobe department in terms of laundering the costumes?
Mary Clare (our wardrobe person) did have to stay late after each show to do laundry, but that’s a normal part of our process. On Saturday, when we had two shows, it was definitely more of an ordeal trying to get things cleaned and dried between shows. Mary Clare didn’t have a crew to assist, so she spent a lot of time during the matinee working to get things started so she had enough time to get it all done.
4.) What are the challenges of working in a much smaller theater (Joyce with 500 seats) versus working in your home theater, Wortham Theater Center (2300 seats, and our home venue)?
Because the Joyce doesn’t have the ability to fly any of their legs or other goods out, they have to come up with creative ways to get rid of things.
For Stanton Welch’s ballet Play, for example, Stanton wanted to reveal the back wall. When we did the ballet at the Wortham, all of the legs, borders and up stage goods were flown out to reveal the backstage. At the Joyce, the legs cannot fly out and are hard flats, so they don’t go away. The upstage goods had to be “west coasted” which means bundling and tying them to the pipe that they’re hanging on.
Lighting Designer, Lisa J. Pinkham; Photo by Brian Walker
Play also used several moving lights in the original version. Our lighting designer Lisa Pinkham had to adapt those looks to conventional lights for the Joyce because we didn’t have moving lights, nor the time to program them.
5.) What has it been like to work with the Joyce tech staff?
The Joyce Tech Staff are fantastic. They’re really good at what they do and have a keen eye on how to approach their venue and are very helpful in getting our show up and running.
6.) What’s been the most challenging aspect of the tour for production?
The most challenging aspect for this tour would have been putting Play back together. It’s been several years since we’ve done the ballet, and it was only done by Houston Ballet on the Wortham stage.
Touring often requires an adapted version of shows we do at home, but having to adapt Play on the road to a unique venue, not having done it recently presented some challenges. It definitely gave us a place to start the next time we present the ballet outside the Wortham and we have a better idea of how Stanton would like to approach the ballet.
7.) What’s been the most rewarding aspect of the tour for production?
The most rewarding aspect for Stage Manager Michelle Elliott was getting to perform in New York. We all dream at one point or another of getting to do a show in New York City. This was Michelle’s first time stage managing a show in New York and she really enjoyed the experience.
Stage Manager, Michelle Elliott; Photo by Brian Walker