Hi Michele,  Congrats!
Hope it goes well - keep us posted.
Sylvia


>

Hello Everybody-

Since starting this list and firing up my energy for theatre, I've had 2
interviews: one for TV and one for film.  Life's like that.  During the TV
interview (for a kids show) I mentioned assisting on Sesame Street.  At the
end of the interview the co-producer mentioned she would check my references
since she knew Bill the designer of SS.  The room momentarily spun because
Bill and I had had a major falling out 15 years ago and hadn't seen each
other since.  But my brain insisted I breathe and when I did I covered by
saying that "SS was 15 years ago and let me give you a RECENT reference."
Then gave her the work # and Home # of a producer who enjoys my work.  When
I didn't hear back from them in a few days,  I followed up with a phone call
which they didn't return.  So Bill may have said something or they may have
found someone else.  You never know.

Two weeks ago Jenny (Mad TV) referred me to an actor/producer who is crewing
up in New York.  When Billy returned my phone call it was 10:30 at night.
He was tired, talked out.  He asked me to fax my resume, I warned him that I
had worked/assisted on a ton of films but my designing had been for TV and
theatre.  Since heıs worked in TV and film the idea of going from one to
the other didnıt seen a hindrance.   We seemed to develop a slight
connection, I had him laughing by the time he hung up.  Billy was to send me
the script and I would interview with him on Monday.   I took mom home to DC
and returned Sunday night to NO SCRIPT.   I had the normal reaction, ³minor
panic, theyıve found someone else.²  Called Jen who suggested that maybe
they hadnıt finished writing it yet and/or Billy was very busy (a 10:30
PHONE CALL) and maybe didnıt have his act fully together yet.

Billy is an actor who moved to LA 15 years ago and has been working his way
up the food chain since.  Jenny said I would recognize him and I did
slightly, he has been a guest villain on a number of TV shows and minor thug
in films.  Heıs a little like a Brooklyn Antonio Banderras, dark good looks,
slicked back black hair.  Finally has enough connections to finance a low
budget feature.  His dream is to tell the story of the guys he went to
school with.  They graduated from high school and went to work on wall
street as pages.  With street smarts they learned the business and now are
millionaires with coke habits.  They (his friends) are upset that Billy
wants to tell their true stories.  The film has 3 buddies, Billy is the
second lead, one of them has a stripper girlfriend.  Not ³Wall St², more
like ³Bright Lights Big City² but the truth.

Okay, I can do that.  Itıs a far cry from my beloved musical comedies, then
again itıs a film and I have yet to design a film.  Career wise itıs a win
situation.  Design wise itıs suits and accessories.  Well, Iıve done soap
operas and a talk show I know what a manıs suit is.  The fun costume will be
the stripper - if we see her at work.

Monday morning I called Billy , he returned the call 12-ish, could we meet
at 1?  Absolutely.  I showered and pulled together basic designer threads -
an all black outfit.  A cliche but all I could handle.  Sorted through the
portfolio for any modern dress stuff, especially with photos, because my
drawing style is not showy, but a cut above stick figures.  It was a
beautiful sunny day, a cab pulled up the moment I hit the street and I
arrived with 3 minutes to spare.  Life is good.

  They kept me waiting a few minutes, then Billy walked out and shook hands.
He was all business no smile, nice firm handshake.  They have rented space
from a production company.  Their office is small, grey carpeting,
industrial table and chairs.  Not even a schedule taped to the wall to
personalize the room.  A few lap tops on the side table.  I met the director
and line producer.  Repeated their names and to embed them in brain and
promptly forget them.    The director has shoulder length hair in a pony
tail, wore a t shirt and a jean jacket, nice smile, good eye crinkles.  The
line producer looks a little like Jerry Van Dyke and acted same, a doofus.
I had a portfolio with me and line producer moves to end of table, unless he
uses binoculars he is not going to see anything.  Odd, but maybe he feels
designer is none of his business.

Billy pulls out my resume, I had forgotten to bring extra copies which I
know from experience that I should have.  Thereıs always 2 or 3 people in
the room and it can break the ice if someone knows or recognizes one of your
credits.   Billy mentions soap operas and asks about promoting clothes.
Both As The World Turns and the talk show, were highly promoted and usually
once you land one promotion the others will fall into place.  Plus I had my
friend RK who has worked for Dunhill and I was hopping that he had left in
their good graces.  Dunhill does a lot of the James Bond accessories and
watches.  The budget is low.  What is it?, I ask.  $1.3 M for the whole
film, everything.  By way of comparison the tv-movies that HBO are doing are
budgeted at $3-4 M.  The trend in low films is to get a waver from the
unions, companies will pay the pension and welfare but the fees plummet to
the basement.  Jen told me on Basquat she was paid $125 a day, not her usual
$550, but for her the opportunity to work with David Bowie was a plus.

So there is no money, I want film experience and need to pay the rent, still
a win/win situation for me.  Also it becomes more obvious why it didnıt
bother Billy that I had little film experience, his budget requires that as
much promotion as possible be done.  I have that experience.  In addition to
giving credits at the end of the film they will do product placement i.e.
stage a scene walking by the Dunhill store, so logo is clearly seen.  I
didnıt ask about line changes to include product name, that can be a bit
touchy.

The interview so far seems very rote.  Billy is repeating what we had talked
about.  Iım nodding and smiling, getting no feed back and generally feeling
funny.  He mentions my portfolio and when I go to unzip, fumble badly, and
top it off by starting to stutter.   I canıt find the zipper end.  Brain is
doing loop-the-loops, why didnıt I have coffee instead of the quicker cup of
tea?  Brain needs caffeine to function.  Now other half of brain suggests I
breathe.  Good call.  I breathe and let go.  If I get it fine, if not Iıll
find something else.  Go through recent work which is 2 musicals, both low
budget to show versatility.  Then the soap stuff.  The director is
interested in Ryanıs Hope picture.  It is from a party scene that Otto
Preminger attended.  Billy likes photo because it shows tuxes that were
promoted.  Doofus at end nods, readjusts binoculars.

Through out I am telling little ³designer stories².  Otto Preminger - had
called the show and asked to be on it.  The day of the party they blocked
him facing left and then went in for the close up.   His hearing aid showed,
so they sent word to the stage manager to move him to the right.  Other ear
has hearing aid, too.  Director laughed, Billy continued to be all business.
  Iım liking the director more and more, itıs the eye crinkles.  I pitch the
rest of the interview to the director and hope if not this job that the
director will remember me for his next gig.  I finish close portfolio.
Billy thanks me, says heıll walk me out.

Itıs a relief for the interview to be over, itıs a relief to be out of the
room.  Glance at wall clock, eternity interview had actually lasted only 10
minutes.  By now Iıve concluded they have someone else in mind and were only
going through the motions to see me.  Itıs happened before.  My first film
interview for a lower budget feature went really well.  They were shooting
in New Jersey, nice crew, could be fun.  When they called a week later to
tell me that they had someone else, the director added that the producer had
been to a party 3 days before and had met a cute blonde who really ³wanted
to do costumes².  Apparently she DID costumes and so much more.  It happens.

Billy carried my portfolio out of the room and held my arm as we walked.
Smiling he thanked me again for coming and really wants me to read script.
Then he apologized for what just happened.  The line producer (doofus) had
arrived 40 minutes late and thrown off their whole schedule.  They didnıt
have time to see me today, but he didnıt want to cancel either.  No wonder
doofus had ran to farthest edge of table.  Send me the script, I canıt wait
to read it.  Now Iım walking on cloud 9 again.  My first film, pretty cool.

I still have not received the script, but I have started work.  I called RK
and he supplied me with a list of names to try for products.  So Iım
starting the process of making phone calls and lining up resources.  And if
it should fall through, (I donıt think it will but if) I would give Billy
what ever names I have lined up.  He is very intense and this film is his
baby, I can understand that.  Iıve also learned donıt be late around this
man.  And of, course donıt jump to conclusions.  The tension in the room had
nothing to do with me.  Thatıs all for now, Michele

Barbara,
I hope your set designer realizes that an audience will not be able to
distinguish anything painted with a brush smaller than 1/2 "! I did a
rather elaborate set with grade school children and I had to keep reminding
them that everything would be viewed from at least twenty feet away and to
keep it BOLD, SIMPLE AND DIRECT!  Do you know the book "Hockney Paints the
Stage"? Really a catalogue of David Hockney's brilliant stage sets for the
opera.  It was a great resource to show the kids what I meant.
Pamela

Hi everyone-
Here's a paint up date from barbara.  What I appreciate is the on going
problems of getting a show together.  Big or small, volunteer or
professional.  All the best Michele
--------------------------------
Hi-
One of my personal self-improvement goals is to improve how I communicate
and also receive information.  So, Dan the producer found me asking more
questions about what exactly leaves should look like.  He explained that
redwood trees have random lower branches with large clusters of leaves on
them.  That's what he wanted me to know and to represent in the painting.
so, we now have a few clusters of leaves!

Last nights painting session was also interesting.  Dan went to LA, so
Whitney stopped by, the set designer.  Josh and I had taken down the first
backdrop and hung a second one so that we could start sketching the
composition.  I had painted ferns in the foreground of #1 to get it near
completion.  Whitney stared at it and said that the ferns didn't look
fern-like (here we go again!).  I questioned her on it a few different
times.  The most I got from her is that she wanted detail with a small brush

(you know, fern-like!).  We agreed in the end that we should keep working on

#2, that is was important to keep moving.

tonight I take a break from the trees...gotta work on my own job and
apartment hunt. barbara

Hi Everyone-

As I've mentioned I belong to other lists.  Here is an exchange of emails
about volunteer set painting and producers.  All the best, Michele
----------------------
Pen - This show goes up in 10 days.   There are 6 sets, all about 14 feet
high by 14 feet long.  Luckily, we are  painting redwood trees, so they are
straight and the branches don't start until really high up  It was fun
painting last night, getting up on a ladder to paint up high.  We made a big
dent on the first set, 5 more not even started yet!  I didn't realize that
it was this big of a job and told them
that I'd have to let them know on a daily basis if I was available to work.
So far, I'm going back tonight.  Barbara

  Barbara,  - maybe if you painted a tiny little dragon (smiling) in one of
the
trees with the intent that it was a new and perfect place for hatchlings  it
would make good magick...after all...there is so much energy in a
theatre during a performance....and aimed from audience to the stage.
Pen (grabbing at straws and painted trees)

  Pen - well, hey....why not?  Last night the producer came up to me and said
that
> my leaves looked too much like leaves (?!?!...this is how artists get
> reputations as being strange).  So, maybe I should make them look more like
> dragons - green dragons...with spiky backs and mischivious grins...maybe
> he'd like that better!   Barbara

Hi Barbara - Your leaves looked too much like leaves? WHAT?! Isn't that just
a bit
like Louis the ? telling Mozart he used too many notes? Unbelievable.
And leaves that look a bit like dragons sound wonderful. Except the place
would get really crowded...dragons are not herd critters.   Pen

Hi Everyone-

As I've mentioned I belong to other lists.  Here is an exchange of emails
about volunteer set painting and producers.  All the best, Michele
----------------------
Pen - This show goes up in 10 days.   There are 6 sets, all about 14 feet
high by 14 feet long.  Luckily, we are  painting redwood trees, so they are
straight and the branches don't start until really high up  It was fun
painting last night, getting up on a ladder to paint up high.  We made a big
dent on the first set, 5 more not even started yet!  I didn't realize that
it was this big of a job and told them
that I'd have to let them know on a daily basis if I was available to work.
So far, I'm going back tonight.  Barbara

  Barbara,  - maybe if you painted a tiny little dragon (smiling) in one of
the
trees with the intent that it was a new and perfect place for hatchlings  it
would make good magick...after all...there is so much energy in a
theatre during a performance....and aimed from audience to the stage.
Pen (grabbing at straws and painted trees)

  Pen - well, hey....why not?  Last night the producer came up to me and said
that
> my leaves looked too much like leaves (?!?!...this is how artists get
> reputations as being strange).  So, maybe I should make them look more like
> dragons - green dragons...with spiky backs and mischivious grins...maybe
> he'd like that better!   Barbara

Hi Barbara - Your leaves looked too much like leaves? WHAT?! Isn't that just
a bit
like Louis the ? telling Mozart he used too many notes? Unbelievable.
And leaves that look a bit like dragons sound wonderful. Except the place
would get really crowded...dragons are not herd critters.   Pen

Hi Everyone -

This "review" was posted to another list and gave me a chuckle so I hope you
all enjoy it too.  (I love the idea of Superman/Lancelot.)  I have no idea
where the production was.

All the best, Michele

--------------------
Barbara and all, tonight I ushered at Camelot...today too. Bad
production....terrible timing, slow to sleepy....there are lines in that
script that make ppl roll on the floor....not delivered well and no laughs.
But the worst were the costumes. It was impossible  to place the era this
was set in. There were some gowns from maybe late French Renaissance except
in pastels....but Italian Renaissance sleeves, other bastardised versions of
medieval....nothing went together. no armour. Some of the colors far from
any known prior to 20th C. Hot Pink?!!!!. Authur looked like a squire. Lance
had the best costume which was in superman colors. I could have done better
and kept co-hesive theme. Considering Arthur was 6th C....costuming for
sometime prior to 10th C. would be OK...they even managed to mess up the
music. Guinevere had high pitched voice was as annimated as a barbie doll.
No dramatic building in the scenes....none between charactors... cueing in?
NO. This was somekind of out of town production....traveling one..I just
wonder why ppl paid to see it.
Pen

----------

Does Jenny have any other experience with Broadway that we would
>recognize???
>
>Court Watson


Hi Court -

Thanks for the question, I'll be talking to Jenny again tonight and will ask
her to describe her experiences with Julie.  I know she consulted on the
make up out of town and then flew to Ny after they opened.  A thrill for
jenny (after she had worked with her and knew her fairly well) was to ask
Julie to autograph an old movie program of Sound of Music, which Julie was
more than happy to do.

Jenny has worked on broadway a number of times filling in, as a vacation
replacement.  I know she worked on Phantom doing Michael Crawford's make-up
and on Sugar doing Tony Roberts make -up.  She worked with Tony again at
City Opera when they did the revival of Brigadoon.

I'll ask her to describe phantom, becasue I rememebr being fascinated about
what had to be applied before he put on the mask.  I think there was a
partial lip piece for example.  Talk to you soon, Michele

Being particularly interested in musical theatre, I would like to hear a bit
more about "Victor/ Victoria."  I didn't see the show and wish that I had.
Does Jenny have any other experience with Broadway that we would
recognize???

Court Watson


----Original Message Follows----
From: "Michele" <mspr@...>
Reply-To: TheatreDesign@onelist.com
To: theatre design <TheatreDesign@onelist.com>, RKetterman
<rketterman@...>, Mark at Work <mreisch@...>
Subject: [TheatreDesign] Jenny interview part 2
Date: Tue, 05 Oct 1999 13:13:54 -0400

From: "Michele" <mspr@...>

Theatre Design - Talk to me about age make-up.  How do you do it?  Say you
have an actor who is 30.  How do you take him age 20 through 60, for film?

Jenny - Well thereıs no simple or absolute answer.    It starts with his
face, what is the facial structure?  Does he have loose skin?  What is his
skin texture?  That can dictate if Iıll make foam appliances or age him with
stippling make-up.

For example to create a farm worker age 25 to 75 the texture of his skin is
completely different from some one who has been in an office all day long.
When aging I have 3 basic choices/techniques - I can use paint, foam
appliances or gelatin appliances.  We used to always use foam, gelatin is
newer.  Itıs like the Jello that you eat, with glycerin and stabilizers.
Itıs more translucent, and is more flesh-like than foam.  Foam and gelatin
reflect light completely differently.

TD- Talk a little about illnesses?

J- Illness and age are similar.  You do the research, what are the
characteristics of the disease over time.  Age is how gravity affects the
face over time.

TD - What about a face lift?

J- Exactly.  A face lift pulls the face in a new direction.

TD - Explain a typical film age makeup?

J - Big budget or indie?

TD - Either

J- With a big budget picture youıll have a minimum of a month to do make-up
tests.  For an illness there is the lighting to consider, the actors face,
even wardrobe can make him look healthy or not.

For that Peter Faulk age make-up (The Roommates), they tested make up pieces
for 3 months before shooting.  When you test you are trying every possible
light, indoor and outdoor, different filters any lighting condition that
will come up.

TD - Are you developing 2 or 3 different color palettes?

J - No, itıs not as different as indoor colors and outdoor colors.  Itıs
more like adapting the indoor colors to outdoors, based on the light.  Itıs
a learning process.  You make a lot of notes, so you can reproduce and
refine what you have done a month ago.   What you develop is a ³face map², a
tracing, so that the old age lines and the exact shape of the liver spots
will match from scene to scene.  Continuity is essential in a film, in any
project.  For Victor/Victoria (Broadway musical - not the film) I had to
develop an acetate stencil for where Julieıs (hair piece) hairline would be
placed.

(This was all the time that Jenny and I had last night.  Iıll be speaking
with her this week end.  Let me know of any follow up questions you may
have.  Nathan - Jenny has a mask collection from Thai land and has research
masks at different times, but we didnıt have a chance to discuss your
question.  Talk to you all soon, Michele)

Community email addresses:
    Post message: TheatreDesign@onelist.com
    Subscribe:    TheatreDesign-subscribe@onelist.com
    Unsubscribe:  TheatreDesign-unsubscribe@onelist.com
    List owner:   TheatreDesign-owner@onelist.com

Shortcut URL to this page:
    http://www.onelist.com/community/TheatreDesign

Theatre Design - Talk to me about age make-up.  How do you do it?  Say you
have an actor who is 30.  How do you take him age 20 through 60, for film?

Jenny - Well thereıs no simple or absolute answer.    It starts with his
face, what is the facial structure?  Does he have loose skin?  What is his
skin texture?  That can dictate if Iıll make foam appliances or age him with
stippling make-up.

For example to create a farm worker age 25 to 75 the texture of his skin is
completely different from some one who has been in an office all day long.
When aging I have 3 basic choices/techniques - I can use paint, foam
appliances or gelatin appliances.  We used to always use foam, gelatin is
newer.  Itıs like the Jello that you eat, with glycerin and stabilizers.
Itıs more translucent, and is more flesh-like than foam.  Foam and gelatin
reflect light completely differently.

TD- Talk a little about illnesses?

J- Illness and age are similar.  You do the research, what are the
characteristics of the disease over time.  Age is how gravity affects the
face over time.

TD - What about a face lift?

J- Exactly.  A face lift pulls the face in a new direction.

TD - Explain a typical film age makeup?

J - Big budget or indie?

TD - Either

J- With a big budget picture youıll have a minimum of a month to do make-up
tests.  For an illness there is the lighting to consider, the actors face,
even wardrobe can make him look healthy or not.

For that Peter Faulk age make-up (The Roommates), they tested make up pieces
for 3 months before shooting.  When you test you are trying every possible
light, indoor and outdoor, different filters any lighting condition that
will come up.

TD - Are you developing 2 or 3 different color palettes?

J - No, itıs not as different as indoor colors and outdoor colors.  Itıs
more like adapting the indoor colors to outdoors, based on the light.  Itıs
a learning process.  You make a lot of notes, so you can reproduce and
refine what you have done a month ago.   What you develop is a ³face map², a
tracing, so that the old age lines and the exact shape of the liver spots
will match from scene to scene.  Continuity is essential in a film, in any
project.  For Victor/Victoria (Broadway musical - not the film) I had to
develop an acetate stencil for where Julieıs (hair piece) hairline would be
placed.

(This was all the time that Jenny and I had last night.  Iıll be speaking
with her this week end.  Let me know of any follow up questions you may
have.  Nathan - Jenny has a mask collection from Thai land and has research
masks at different times, but we didnıt have a chance to discuss your
question.  Talk to you all soon, Michele)

Tonight Jenny had time to answer some of our questions.  Here is the first
installment of our interview.

TheatreDesign - How did you begin?

Jenny - When I was 10, I was shy and liked disguises.  My next door neighbor
was a producer of summer stock and dinner theatre in the Philadelphia area.
I was very lucky that she bought me a professional make-up case to play
with.  By 12, she hired me to help with make-up and props on her shows.  My
first jobs were making beards for Fiddler on the Roof and designing make-up
for The King and I.  By 14, I tried all aspects of theatre taking dance and
acting classes.

TD - So how did you focus on make-up?

J - When my father died ( I was 16) I couldnıt bear the rejection of the
audition process, so I moved back stage.  Luckily I had enough talent, my
parents are both artists, to carry me through.  By 17, I was doing local
Philadelphia television shows and commercials.  Then I worked on the Rocky
Horror Show, and had a fan club.  The president of my fan club knew a hair
stylist in New York.   When I moved to New York, that hair dresser hired me
to assist her.  I found myself in a career before I realized it.  Iım very
lucky that opportunities came to me and that I could make money at it.

Over time different kinds of make-up kept exposing themselves to me.  TV led
to horror films led to NY City Opera led to Saturday Night Live led to Mad
TV.

TD - What aspect of make-up do you enjoy the most?

J -Helping the actor create the character is the most fun.  Mad TV is very
conducive to that kind of collaboration.  That being said, what I really,
really enjoy is the illusion.  The art of the illusion.  What I do best is
create a realistic effect.  A realistic approach to character make-up.  Even
³Cave-man Lawyer² for example is not cartoony, it leans toward realism.
Thatıs what I get a kick out of it.  If Iım asked to do something cartoony I
have to work a lot harder to get there because itıs not my natural
inclination.

Michele, this question is for Jenny regarding Caribbean mask authenticity.
I am not sure much mask work you do.  I have a play Your Side Mine and masks
are involved for Caribbean rituals. Where can I find a mask of the MOONSHINE
DARLING.

Hi Everyone -
This came from Nathan, does anyone have a thought about his masks? -Suzanne

You techies ARE the theatre world.  You let us know and give us what we
wrote.  Till you happen, we have little idea.

Nathan Ross Freeman/Playwright/Dramaturg
----- Original Message -----
From: Sylvia Watson <s_watson111@...>
To: <TheatreDesign@onelist.com>
Sent: Saturday, October 02, 1999 2:41 AM
Subject: Re: [TheatreDesign] Tilting set


> From: "Sylvia Watson" <s_watson111@...>
>
> Hi Michele,
> Thanks for the info on the tilting set.  The laser stuff sounds very
> interesting.  I'm really enjoying reading all of the messages that you
have
> - I think I'm learning a lot.  I guess I don't really have much to add -
but
> you guys certainly are helping me understand. I really believe techies are
> the unsung heroes of the theater world.
> See ya later,
> Sylvia
>
>
> >From: "Michele" <mspr@...>
> >Reply-To: TheatreDesign@onelist.com
> >To: theatre design <TheatreDesign@onelist.com>
> >Subject: [TheatreDesign] Tilting set
> >Date: Fri, 01 Oct 1999 22:30:57 -0400
> >
> >From: "Michele" <mspr@...>
> >
> >Hi Everybody -
> >
> >"I guess the last Broadway play I saw was Titanic...I loved the tilting
> >set.
> >  How were they able to accomplish that?"
> >
> >There have been 2 responces to Sylvia's Titanic question, very brief I'm
> >sorry to say but here goes:
> >
> >1)Tilting set -- I don't know the particulars of that show, but I am
pretty
> >sure that it was some mechanical arms or pistons that simply tilted the
> >floor
> >as needed.  Simple but big.  If you have a Playbill from the show, you
can
> >look up the production carpenter, production supervisor or scene shop to
> >find
> >how more of the particulars.
> >
> >2)The Titanic set, I believe, was manipulated by a series of hydraulics.
> >
> >Not much to go on I'm afraid.  If you will email the  pro carpender, set
> >designer etc..  I'll ask around if my contacts know them.  As I mentioned
I
> >didn't see Titanic
> >
> >Recently I met Rick Conway, a costume assistant, who was out of town with
> >Disney's new live show "AIDA" in Atlanta.   Rick described the new laser
> >technology being developed for theatre and theme parks.  He expecks it to
> >revolutionize the way sets are built in the future.  "AIDA" , not the
> >opera,
> >but the same story has a set that begins with a huge pyramid on stage.
> >During the course of the musical the pyramid opens and reveals a throne
> >room, another change is a side tilts down to become a flight of stairs .
> >On
> >each corner of the main pyramid is a laser.      If any 2 of the lasers
are
> >engaged, hit by the controling laser, the set will move.  Becasue it was
> >new
> >technology, it took forever to tech the show and get the bugs smoothed
out.
> >  During the first nights of previews - while Rick was there - they never
> >got
> >all the way through the show with out stopping.  However a lighting
> >designer
> >on a show that was following "AIDA" in to the theatre saw an end of run
> >performance that
> >went off with out a hitch.
> >
> >The potential for the laser technology, especially in musicals is
> >fantastic.
> >  No more dangerous tracks running through the floors.  No more dancers
> >tripping (Actually, dancers will always trip).
> >
> >Thanks for the question, Sylvia, talk to you soon.   Michele
> >
> >>Community email addresses:
> >   Post message: TheatreDesign@onelist.com
> >   Subscribe:    TheatreDesign-subscribe@onelist.com
> >   Unsubscribe:  TheatreDesign-unsubscribe@onelist.com
> >   List owner:   TheatreDesign-owner@onelist.com
> >
> >Shortcut URL to this page:
> >   http://www.onelist.com/community/TheatreDesign
>
> > Community email addresses:
>   Post message: TheatreDesign@onelist.com
>   Subscribe:    TheatreDesign-subscribe@onelist.com
>   Unsubscribe:  TheatreDesign-unsubscribe@onelist.com
>   List owner:   TheatreDesign-owner@onelist.com
>
> Shortcut URL to this page:
>   http://www.onelist.com/community/TheatreDesign
>

It is a drama with music, Michele.  Hannah was noted by her servants as
being a dancer to equal that on Broadway.  However, the majority of the
piece is drama that explores every genre of performance.

The play opens with Hannah at 17 in the squalor of Quaker city, Phila.   It
refers back and forth throughout the play from present to past to potential
future with 'tale' more than chronological history.  We are not talking
docudrama.  Her life was more lurid than fiction and this is the strength of
the piece:  a surrealistic realistic life of a woman, anachronistic as it is
period.  Let me know if you want me to send the script.  Each scene is an
actual event reported to the New York Times over seven days: June 1 - 6
1904.  Wonderful bridge from the Victorian to Edwardian with the jig and
Shakespeare (Her bedroom was the exact replica of Cleopatra with whom she
was obsessed, yet she never went out the mansion  without a mask, disguise
when she frequented Coon Town.  Her dinners with her servants began with
silver and crystal and degenerated to orgies where they partook of possum
stew and nigger gin (shine).  She had a dentist chair in her mansion.  Her
most trusted servant was Kato,  a Japanese  Samurai Butler.  Her head maid
was Belle Marshall, Irish.  Hannah, black/Native American, never let blacks
in her mansion, yet she endowed thousands to the cause of African American
upward mobility.  Oooh, this woman.

Although I most certainly have had an interest in it, and had to take
two
or three classes having to do with it, makeup has not really been my
forte'---however, in these recent days I have been giving it some thought,
especially towards any questions I have had,  so here I go!

  1)  What was it about the makeup aspect of theatre which intrigued you the
most, and led you in that direction?  When did you realize it was makeup
that
you wanted to do?
  2)  What aspect of makeup do you enjoy the most?  The creativity of it?
The
challenges you
are faced with, for instance, as you are required to "age" an actor many
years?
  3)  I am in awe of the many wonders a makeup artist is able to
"perform"---I
shall never forget
the way Cicely Tyson, who was in her thirties at the time, was taken from a
woman in her late teens, to the age of one hundred and ten!  The
movie was done in 1974, and this still is incredible to me.  How DO you guys

age a person like this?  I mean, I know to an extent how some of these
things
are done, from the classes I had, but HOW DO YOU age a person,
and yet, make them appear so AUTHENTIC?
   4) Another procedure I have always been curious about, is how makeup
artists are able to take a healthy actor, and create so vividly the ravages
of cancer, aids, or any other horrendous disease, as the scripts call for
it?
How do you create the sickly white of being very pale, and the terrible dark

circles under the eyes, without the effects looking "fake?"  That the actors

truely appear extremely sick and dying?
  4)  What are your goals regarding the makeup profession?  Do you want to
just work within theatre and television, or, would you like to work towards
another direction, such as the movie industry?  Do you like working on
projects which would require you to do a whole
lot of effects, such as an alien, perhaps?
(sorry, an alien, is all I can think of at the moment!)  But, a lot of
detail, for instance?
   5)  What would your "dream project" be, if you
could work on any play, movie, actors, etc.?
   6)  What has been your favorite project thus
far, that you have worked on, and why?

    Thank you, Jennifer, for taking this time to answer our questions and
sharing your knowledge and EXPERIENCE with us!  Hang in
there!
                                  Adelaide

Hi Michele,
Thanks for the info on the tilting set.  The laser stuff sounds very
interesting.  I'm really enjoying reading all of the messages that you have
- I think I'm learning a lot.  I guess I don't really have much to add - but
you guys certainly are helping me understand. I really believe techies are
the unsung heroes of the theater world.
See ya later,
Sylvia


>From: "Michele" <mspr@...>
>Reply-To: TheatreDesign@onelist.com
>To: theatre design <TheatreDesign@onelist.com>
>Subject: [TheatreDesign] Tilting set
>Date: Fri, 01 Oct 1999 22:30:57 -0400
>
>From: "Michele" <mspr@...>
>
>Hi Everybody -
>
>"I guess the last Broadway play I saw was Titanic...I loved the tilting
>set.
>  How were they able to accomplish that?"
>
>There have been 2 responces to Sylvia's Titanic question, very brief I'm
>sorry to say but here goes:
>
>1)Tilting set -- I don't know the particulars of that show, but I am pretty
>sure that it was some mechanical arms or pistons that simply tilted the
>floor
>as needed.  Simple but big.  If you have a Playbill from the show, you can
>look up the production carpenter, production supervisor or scene shop to
>find
>how more of the particulars.
>
>2)The Titanic set, I believe, was manipulated by a series of hydraulics.
>
>Not much to go on I'm afraid.  If you will email the  pro carpender, set
>designer etc..  I'll ask around if my contacts know them.  As I mentioned I
>didn't see Titanic
>
>Recently I met Rick Conway, a costume assistant, who was out of town with
>Disney's new live show "AIDA" in Atlanta.   Rick described the new laser
>technology being developed for theatre and theme parks.  He expecks it to
>revolutionize the way sets are built in the future.  "AIDA" , not the
>opera,
>but the same story has a set that begins with a huge pyramid on stage.
>During the course of the musical the pyramid opens and reveals a throne
>room, another change is a side tilts down to become a flight of stairs .
>On
>each corner of the main pyramid is a laser.      If any 2 of the lasers are
>engaged, hit by the controling laser, the set will move.  Becasue it was
>new
>technology, it took forever to tech the show and get the bugs smoothed out.
>  During the first nights of previews - while Rick was there - they never
>got
>all the way through the show with out stopping.  However a lighting
>designer
>on a show that was following "AIDA" in to the theatre saw an end of run
>performance that
>went off with out a hitch.
>
>The potential for the laser technology, especially in musicals is
>fantastic.
>  No more dangerous tracks running through the floors.  No more dancers
>tripping (Actually, dancers will always trip).
>
>Thanks for the question, Sylvia, talk to you soon.   Michele
>
>>Community email addresses:
>   Post message: TheatreDesign@onelist.com
>   Subscribe:    TheatreDesign-subscribe@onelist.com
>   Unsubscribe:  TheatreDesign-unsubscribe@onelist.com
>   List owner:   TheatreDesign-owner@onelist.com
>
>Shortcut URL to this page:
>   http://www.onelist.com/community/TheatreDesign

Hi Everybody -

"I guess the last Broadway play I saw was Titanic...I loved the tilting set.
  How were they able to accomplish that?"

There have been 2 responces to Sylvia's Titanic question, very brief I'm
sorry to say but here goes:

1)Tilting set -- I don't know the particulars of that show, but I am pretty
sure that it was some mechanical arms or pistons that simply tilted the
floor
as needed.  Simple but big.  If you have a Playbill from the show, you can
look up the production carpenter, production supervisor or scene shop to
find
how more of the particulars.

2)The Titanic set, I believe, was manipulated by a series of hydraulics.

Not much to go on I'm afraid.  If you will email the  pro carpender, set
designer etc..  I'll ask around if my contacts know them.  As I mentioned I
didn't see Titanic

Recently I met Rick Conway, a costume assistant, who was out of town with
Disney's new live show "AIDA" in Atlanta.   Rick described the new laser
technology being developed for theatre and theme parks.  He expects it to
revolutionize the way sets are built in the future.  "AIDA" , not the opera,
but the same story has a set that begins with a huge pyramid on stage.
During the course of the musical the pyramid opens and reveals a throne
room, another change is a side tilts down to become a flight of stairs .  On
each corner of the main pyramid is a laser.      If any 2 of the lasers are
engaged, hit by the controling laser, the set will move.  Becasue it was new
technology, it took forever to tech the show and get the bugs smoothed out.
  During the first nights of previews - while Rick was there - they never got
all the way through the show with out stopping.  However a lighting designer
on a show that was following "AIDA" in to the theatre saw an end of run
performance that
went off with out a hitch.

The potential for the laser technology, especially in musicals is fantastic.
  No more dangerous tracks running through the floors.  No more dancers
tripping (Actually, dancers will always trip).

Thanks for the question, Sylvia, talk to you soon.   Michele

Hi Everybody -

"I guess the last Broadway play I saw was Titanic...I loved the tilting set.
  How were they able to accomplish that?"

There have been 2 responces to Sylvia's Titanic question, very brief I'm
sorry to say but here goes:

1)Tilting set -- I don't know the particulars of that show, but I am pretty
sure that it was some mechanical arms or pistons that simply tilted the
floor
as needed.  Simple but big.  If you have a Playbill from the show, you can
look up the production carpenter, production supervisor or scene shop to
find
how more of the particulars.

2)The Titanic set, I believe, was manipulated by a series of hydraulics.

Not much to go on I'm afraid.  If you will email the  pro carpender, set
designer etc..  I'll ask around if my contacts know them.  As I mentioned I
didn't see Titanic

Recently I met Rick Conway, a costume assistant, who was out of town with
Disney's new live show "AIDA" in Atlanta.   Rick described the new laser
technology being developed for theatre and theme parks.  He expecks it to
revolutionize the way sets are built in the future.  "AIDA" , not the opera,
but the same story has a set that begins with a huge pyramid on stage.
During the course of the musical the pyramid opens and reveals a throne
room, another change is a side tilts down to become a flight of stairs .  On
each corner of the main pyramid is a laser.      If any 2 of the lasers are
engaged, hit by the controling laser, the set will move.  Becasue it was new
technology, it took forever to tech the show and get the bugs smoothed out.
  During the first nights of previews - while Rick was there - they never got
all the way through the show with out stopping.  However a lighting designer
on a show that was following "AIDA" in to the theatre saw an end of run
performance that
went off with out a hitch.

The potential for the laser technology, especially in musicals is fantastic.
  No more dangerous tracks running through the floors.  No more dancers
tripping (Actually, dancers will always trip).

Thanks for the question, Sylvia, talk to you soon.   Michele

Hi Everyone-

Our Novemeber guest will be lighting designer Dawn Chang.  Currently Dawn is
in Atlanta, GA designing 2 shows for the Alliance theatre.  Dawn has worked
in Las Vegas for Neil Sedeka, films for Sidney Lumet and assisted and
designed on Broadway.

I'm working to get a play write and a production stage manager but not dates
are set yet.  Stay tuned.  All the best - Michele

Hi Everyone-

Some edits were made yesterday to the text of the description of Theatre
Design.  My assistant also made edits to the address - WHOOPS!  This
resulted in some error messages.  Please accept my appologises if this
effected you.

To accommadate this mistake, I've asked our guest make-up artist Jennifer
Aspinall to be available for 2 weeks.  October 1-14.  What this results in
is the opportunity to ask questions AND time for follow up questions should
you have them.

I believe the address change has been corrected and/or you can email me
directly and I will distribute the messages to all the group.  Thank you for
your patience during this growing process.  All the best - Michele

Hi Everybody-

I'm pleased to announce our first guest artist will be Jennifer Aspinall.
Jen is a make-up artist, who has worked in all media.  Her theatre work
includes
NY City Opera, Victor/Victoria (Broadway)and vacation relief for Phantom of
the Opera (Broadway).  Jen created the make-up and special effects for the
Toxic Avenger (film), more recent she designed Basquet turning David Bowie
into Andy Warhol (film).  Currently, for television, she designs MadTV
(Fox), before that Saturday Night Live (NBC).

Unfortunately Jenny does not have email, so I propose you send all your
questions to the list "TheatreDesign@onelist.com"  Please repond by
Saturday,
I plan to talk to her over the weekend.  Since Jen has such a varied
background there is no need to limit your questions to theatre make-up.  If
any one has a suggestion how to simply the interview process, I'd appreciate
hearing
your ideas.  Thanks for your cooperation.  Michele

From: ams4fun@...

Help! Lost my stitcher and need help sewing three dresses for
"Little Shop of Horrors." Have patterns, will provide material.
Small fee provided for you help.

Also need costumer/stitcher for "Dream Girls" which goes up in
2000.

Thanks!

Steve West
(703) 425-9134

So, I am a Freshman BFA candidate at Viginia Commonwealth University here in
Richmond.  I have been deisning for the Virginia Governor's School for the
Arts as a student.  I don't have much produced experience, but I have done a
lot of paper work and earned a full scholaship because of my efforts.  Also
got accepted for Design at Carneige Mellon and NYU.   I think I have
potential and I am anxious to learn more.  Particularly interested in set
design and costume design.  When I am at my own computer, I'll post some
pics of some of my models.  Thanks for the List.   Sounds like a really
nifty resource!

Court Watson


----Original Message Follows----
From: TheatreDesign-owner@onelist.com
Reply-To: TheatreDesign@onelist.com
To: theatron40@...
Subject: [TheatreDesign] Welcome to TheatreDesign@onelist.com
Date: 28 Sep 1999 03:24:43 -0000

Hello,

Welcome to the Theatre Design list.  Please take a moment tell us about
yourself and your design interests, and any topic that you would like to
discuss.

Please review this message.

To unsubscribe from this list, go to the ONElist website, at
www.onelist.com, and select the My ONElist link from the menu bar
on the left.  This menu will also let you change your subscription
between digest and normal mode.

Thanks,
Michele

So, I am a Freshman BFA candidate at Viginia Commonwealth University here in
Richmond.  I have been deisning for the Virginia Governor's School for the
Arts as a student.  I don't have much produced experience, but I have done a
lot of paper work and earned a full scholaship because of my efforts.  Also
got accepted for Design at Carneige Mellon and NYU.   I think I have
potential and I am anxious to learn more.  Particularly interested in set
design and costume design.  When I am at my own computer, I'll post some
pics of some of my models.  Thanks for the List.   Sounds like a really
nifty resource!

Court Watson


----Original Message Follows----
From: TheatreDesign-owner@onelist.com
Reply-To: TheatreDesign@onelist.com
To: theatron40@...
Subject: [TheatreDesign] Welcome to TheatreDesign@onelist.com
Date: 28 Sep 1999 03:24:43 -0000

Hello,

Welcome to the Theatre Design list.  Please take a moment tell us about
yourself and your design interests, and any topic that you would like to
discuss.

Please review this message.

To unsubscribe from this list, go to the ONElist website, at
www.onelist.com, and select the My ONElist link from the menu bar
on the left.  This menu will also let you change your subscription
between digest and normal mode.

Thanks,
Michele

So, I am a Freshman BFA candidate at Viginia Commonwealth University here in
Richmond.  I have been deisning for the Virginia Governor's School for the
Arts as a student.  I don't have much produced experience, but I have done a
lot of paper work and earned a full scholaship because of my efforts.  Also
got accepted for Design at Carneige Mellon and NYU.   I think I have
potential and I am anxious to learn more.  Particularly interested in set
design and costume design.  When I am at my own computer, I'll post some
pics of some of my models.  Thanks for the List.   Sounds like a really
nifty resource!

Court Watson


----Original Message Follows----
From: TheatreDesign-owner@onelist.com
Reply-To: TheatreDesign@onelist.com
To: theatron40@...
Subject: [TheatreDesign] Welcome to TheatreDesign@onelist.com
Date: 28 Sep 1999 03:24:43 -0000

Hello,

Welcome to the Theatre Design list.  Please take a moment tell us about
yourself and your design interests, and any topic that you would like to
discuss.

Please review this message.

To unsubscribe from this list, go to the ONElist website, at
www.onelist.com, and select the My ONElist link from the menu bar
on the left.  This menu will also let you change your subscription
between digest and normal mode.

Thanks,
Michele

Bashum, what is your focus in design.  It is obvious that, whatever, you
contain, retain and obtain so many visions.  Please peruse my communications
with Michele
----- Original Message -----
From: <BASHUM7894@...>
To: <TheatreDesign@onelist.com>
Sent: Tuesday, September 28, 1999 1:45 AM
Subject: [TheatreDesign] HOW THRILLED I AM TO HAVE FOUND YOU!!!


> From: BASHUM7894@...
>
>    I am also new to this group, having just joined a few days ago---and I
am
> so thrilled to have found you guys!!!  Words cannot even BEGIN to express
my
> gratitude that such a group as this exists.  For all  too often it is the
> design and technical aspects of theatre which do not always get the
attention
> so deserved.   Which is
> exactly the reason why I nearly fell out of my chair when I saw "THEATRE
> DESIGN" within the "onelist" theatre lists the other day....smiles.
>     Like most of you, I cannot explain what exactly attracted me to
> theatre---but something
> powerful happened to me all those MANY years
> ago when I was in high school working on a production, and whatever it
was,
> it has only deepened through the years.  Magic?  Passion?
> A touch of wonder?  Yes, all these and more, much more....my heart, my
life
> is deeply rooted in it.
>     The same holds true with art.  You see, actually, I was going to
become a
> FAMOUS artist you see, before I discovered theatre...... smiles.  Anyway,
I
> soon realized how hard it is to make it in this world on art alone---that
I
> would have to do more, especially since most artists don't even become
famous
> until they die!!!  So I followed my heart into theatre set design.
>    I majored in theatre set design at the University Of Kentucky.  How I
wish
> I could now give you a long list with all my projects and the theatres
where
> I have worked through the years since graduating all those years ago---I
> can't.  In 1980, right in the midst of school, a tumor developed on my
> spine---all at once I was suddenly faced with devastating operation. I
became
> paralyzed during surgery, but eventually was able to learn to walk again,
as
> I have a LOT OF SPUNK!  It's either sink or swim,
> right?!!
>    I fought hard, continued following my dreams,
> and finished my schooling.   Since we in the theatre also tend to be
> vagebonds, I worked  throughout the midwest, in various community
theatres,
> for the remainder of the eighties.  Slowly, I was struggling to get back
on
> my feet
> again.  Then, just when I thought such things were all behind me, I was
faced
> with more spine surgery.  I shall spare you all the details here.
> However, I since have had SIX more spine surgeries, was PARALYZED A SECOND
> TIME, and had to learn to walk again all over!!!  And what a struggle, but
I
> am surviving.
>     I have a condition now, where the INSIDE of
> my spinal CORD is severly inflammed, and there is nothing to be done other
> than try to keep me comfortable with morphine.
>     During 1994 and 1995, I attempted to complete my masters in theatre,
> hoping to perhaps teach it at least.  But my health problems deterioated
to
> the point where I had to let it go---I couldn't even complete my masters,
> which to me, was heartbreaking.  In fact, not being able to fulfill my
dreams
> by working in theatre as hoped, is something yet
> so very devastating to me, that I cannot even touch the loss with words.
>     At any rate, I am hanging in there!  In addition to the design
aspects, I
> have always had a passion for the historical aspects of theatre as well.
> When I can, I often teach theatre history,
> and try to get people interested in theatre who
> may not have been otherwise perhaps.  Theatre
> is in my heart---deeply---and always will be.  I still live and breathe
> it---which is why I am so delighted to have found this group.  I may not
> be out there doing as much as the rest of you,
> but, it will thrill me to hear what is going on with
> you all, and if I can be of help in anyway, why
> that would be wonderful!!!
>    Oh dear!  In no way have I intended for this to
> turn into something as long as this is, nor did
> I mean to "spill my guts" so much!  I promise I
> won't ever do THIS again!!!
>     Anyway, it is great to be a part of a theatre
> group whose focus is the design aspects.  I look forward to "meeting" you
> all.
>      Hang in there, and thank you---
>
>                                  Adelaide
>
>
> > Community email addresses:
>   Post message: TheatreDesign@onelist.com
>   Subscribe:    TheatreDesign-subscribe@onelist.com
>   Unsubscribe:  TheatreDesign-unsubscribe@onelist.com
>   List owner:   TheatreDesign-owner@onelist.com
>
> Shortcut URL to this page:
>   http://www.onelist.com/community/TheatreDesign
>

----------
From: "Sylvia Watson" <s_watson111@...>


Hi Michele,
Thanks for the warm welcome.  I guess the last Broadway play I saw was
Titanic.  As always, I was impressed with the attention to detail,
specifically the historical acuracy - in the costumes, etc.  I wonder how
many theater goers know how much research goes into the designs?
I was quite impressed with the costumes, and the staging.  I loved the
tilting set.  How were they able to accomplish that?
Again, looking forward to learning from you all.
Thanks again,
Sylvia

Hi Everyone-

Before Nathan's play "Hannah Elias", I had a simple proposal to suggest for
beginning to look at costume design.

Take one real character, in modern dress, at a press conferrence and put
them in these 3 shows: a serious drama, a silly comedy, a musical comedy.
Describe how the costumes would differ.  Are some differences lighting or
set?

For example:  Mother Theresa.
In a drama - her dress would be pretty accurate, white robes with blue trim.
  Light weight wool.
Comedy - her dress is split up the side to show a lot of leg,  with a scoop
neckline.
Musical - Her dress is shiny white satin with blue sequin trim.   Dress rips
open down front, "Mother" has on a Donna Reed blue gingham dress underneath
with pearls.  (Her "press secretary" hands her a vacumn cleaner)

President
Drama: Nicely tapered 2 piece grey suit, pale blue shirt with cufflinks,
subtle patterned maroon tie
Comedy: Navy suit, white shirt, bold maroon/blue striped tie
Musical: Navy pinstripe  3 piece suit, jacket lined with red satin, removed
during finale, pearl grey shirt with a slight sheen, red tie

How would Queen Elizabeth,  Brad Pitt, a garbage collector, fashion model,
or  your mother's costumes vary?

Good luck, Michele

I am also new to this group, having just joined a few days ago---and I am
so thrilled to have found you guys!!!  Words cannot even BEGIN to express my
gratitude that such a group as this exists.  For all  too often it is the
design and technical aspects of theatre which do not always get the attention
so deserved.   Which is
exactly the reason why I nearly fell out of my chair when I saw "THEATRE
DESIGN" within the "onelist" theatre lists the other day....smiles.
     Like most of you, I cannot explain what exactly attracted me to
theatre---but something
powerful happened to me all those MANY years
ago when I was in high school working on a production, and whatever it was,
it has only deepened through the years.  Magic?  Passion?
A touch of wonder?  Yes, all these and more, much more....my heart, my life
is deeply rooted in it.
     The same holds true with art.  You see, actually, I was going to become a
FAMOUS artist you see, before I discovered theatre...... smiles.  Anyway, I
soon realized how hard it is to make it in this world on art alone---that I
would have to do more, especially since most artists don't even become famous
until they die!!!  So I followed my heart into theatre set design.
    I majored in theatre set design at the University Of Kentucky.  How I wish
I could now give you a long list with all my projects and the theatres where
I have worked through the years since graduating all those years ago---I
can't.  In 1980, right in the midst of school, a tumor developed on my
spine---all at once I was suddenly faced with devastating operation. I became
paralyzed during surgery, but eventually was able to learn to walk again, as
I have a LOT OF SPUNK!  It's either sink or swim,
right?!!
    I fought hard, continued following my dreams,
and finished my schooling.   Since we in the theatre also tend to be
vagebonds, I worked  throughout the midwest, in various community theatres,
for the remainder of the eighties.  Slowly, I was struggling to get back on
my feet
again.  Then, just when I thought such things were all behind me, I was faced
with more spine surgery.  I shall spare you all the details here.
However, I since have had SIX more spine surgeries, was PARALYZED A SECOND
TIME, and had to learn to walk again all over!!!  And what a struggle, but I
am surviving.
     I have a condition now, where the INSIDE of
my spinal CORD is severly inflammed, and there is nothing to be done other
than try to keep me comfortable with morphine.
     During 1994 and 1995, I attempted to complete my masters in theatre,
hoping to perhaps teach it at least.  But my health problems deterioated to
the point where I had to let it go---I couldn't even complete my masters,
which to me, was heartbreaking.  In fact, not being able to fulfill my dreams
by working in theatre as hoped, is something yet
so very devastating to me, that I cannot even touch the loss with words.
     At any rate, I am hanging in there!  In addition to the design aspects, I
have always had a passion for the historical aspects of theatre as well.
When I can, I often teach theatre history,
and try to get people interested in theatre who
may not have been otherwise perhaps.  Theatre
is in my heart---deeply---and always will be.  I still live and breathe
it---which is why I am so delighted to have found this group.  I may not
be out there doing as much as the rest of you,
but, it will thrill me to hear what is going on with
you all, and if I can be of help in anyway, why
that would be wonderful!!!
    Oh dear!  In no way have I intended for this to
turn into something as long as this is, nor did
I mean to "spill my guts" so much!  I promise I
won't ever do THIS again!!!
     Anyway, it is great to be a part of a theatre
group whose focus is the design aspects.  I look forward to "meeting" you
all.
      Hang in there, and thank you---

                                  Adelaide