Glenn Ellyn, IL

Another post?  Must be a load-in day!

Last night we loaded out from St. Louis, which took about four hours.  It was a rather rough stop for us -- we had to do both shows, and the path from the truck to the stage was about as inconvenient as it could possibly be, short of having to carry the sets up stairs, so load in was absolutely painful (13 hours just to get the set up, with the entire traveling crew working as carpenters), and load out was about an hour and a half longer than it has been at venues with a more direct path to the truck.  Also, the campus folks wouldn't let us park the crew bus, so we spent the entire 3 days there without our kitchen/office/bedroom available to us, which led to an endless list of problems and inconveniences.

One thing I will say about the fact that we were shorthanded, in a hurry, and without the bus is that I learned a whole lot about these shows we're dragging around the country.  I participated in parts of the truck pack and unpacking that I had never seen before, and pretty much built the Henry set bolt-by-bolt, so instead of having just a theoretical understanding of how it's assembled, I literally know every action that has to be taken to make it go up, and I feel much more informed about the rather complicated structure we play on.  We're still experimenting with the truck pack, and I was in the thick of it the entire night, so I now feel more qualified to help direct the process.  We accidentally did some things differently this time, but our truck driver, Mike, said this morning that the trailer felt really smooth on the drive up, so we must have done something right.

Last night into this morning was the first true one-night move we've had.  We had a changeover yesterday morning starting at 8AM, did The Spy, and left the theatre in St. Louis shortly before 3AM, and arrived at the theatre in Glenn Ellyn, IL (a suburb of Chicago) at 7:30AM.  Until this point we've never had to load out a show and load it in the next morning to play a show that night.  The delays in St. Louis were a big concern for us, especially so because it's a 7PM curtain here tonight, but we were thrilled to discover when we stepped out of the bus this morning that our truck was backed up to an honest-to-goodness loading dock, which lead in a pretty much straight line to the stage, maybe 30 feet away.  And there to unload the truck were a large bunch of stagehand-looking adult men and women, who made quick work of our truck, and had the deck and part of the gallery up before Nick and I even finished putting up signage.  We only had to unload Henry, which is also a blessing.  I am told the lights were all properly hung, colored and patched when we arrived as well, so we are all a little bit in awe of Glenn Ellyn right now.

The bus is parked just a few dozen feet up the slope from the loading dock (as it's sort of in a trench between buildings, they didn't want the fumes from the generator getting sucked indoors all day), and Nick and I are properly able to conduct our load-in day routine of updating signage and then sleeping and playing on the internet.  Nick's next project is probably going to be laying down carpet on the gallery (which gets skipped if we're pressed for time, but I don't think he'll be so lucky with this speedy crew), and my next appointment is with Daniel, our lighting supervisor, who tells me around 4:00 he'll be ready to do cueing, which is theoretically when we sit out front and step through all the cues and make sure they look right, but in the last couple venues has been more about reprogramming the show to somehow make it look like what it's supposed to, while cringing at lights wrongly focused, substitute gel colors that look nothing like the original, and occasionally saying, "What the hell is that??"when something completely inexplicable pops up, like last night when we had a single solitary house light come up in one cue!  Of course this is also the most important thing I personally do during load-in, as catching these things avoids much embarrassment and danger to the cast, and results in a show that mimics as much as possible the designer's intention.  I think we will find the process much easier here.

Sometime before this happens I take a few minutes with our sound supervisor, Tim, to talk about comm, which is one of my favorite topics.  First of all, since without comm everything I do during a performance would just be me sitting alone in a room talking to myself, it's a matter of some interest to me.  Especially on this tour I like to know whether we're using elements of the house system or entirely our own, because we have a crappy old base station which doesn't like my personal headset, and the company-supplied headsets are ridiculously uncomfortable.  So sometimes it's all our stuff, and sometimes all the venue's, and sometimes we add our wireless headsets into their wired system.  Often Tim presents me with a couple options to choose from -- naturally I prefer the one that gives us the greatest reliability and allows me to use my headset.  So sometime in the middle of the day I grab the script(s) of the show(s) I'll be calling in the venue, and Tim and I go visit the booth or other locales where I have the option to call the show, to figure out where I'll be calling from and make sure that I have comm and monitors where I need them.  I also check out the lighting in the area to see if I have enough light to read my script, and in many cases to decide if the venue's usual stage manager lighting is too bright.  I prefer a very dark place to call shows from, especially these shows, as the lighting design is very dark.  I tend not to want any light source higher above my script than is necessary to light it.  The stage management workbox is supplied with its own LittleLite, which I try to avoid using because I'm always afraid I'll leave it behind somewhere, but with the exception of the Guthrie, I think I've ended up using it in every venue, once because there was no light for me, once because the light supplied was too bright, and once because the booth was lit by dim-able overhead lights, which I hate because they have to illuminate an entire room when all I need lit is one page.  I haven't checked out the situation here yet.  That's what I'm up to so far today!