Technical Directors Are in Fact the Ing a Brand-New 17,000-Square-Foot the Alley, One of the Most Important Backbone of the Theatre

The technical director

‘The practical side of the storyteller’s brain’

BY MIKE LAWLER

THE TITLE ‘technical director,’ ” says Building for the elevator carpenters. Contello’s job is probably Drew Campbell, head of the M.F.A. Anthony Contello started working at as close to typical as it gets for a pro- program in theatrical technology at the Alley Theatre in Houston as a fessional technical director working the University of Texas at Austin, “is a high school student on the scene in regional theatre. But even a con- very squirrelly term. People use it for shop’s overhire list. Now he’s the ventional TD in an indoor space en- all different kinds of jobs.” company’s technical director, oversee- counters some unique challenges. At Technical directors are in fact the ing a brand-new 17,000-square-foot the Alley, one of the most important backbone of the theatre. They are the shop that sits fourteen floors above considerations of Contello’s day-to- ultimate problem solvers, the essential the Alley’s two theatres. He super- day work is the size of the freight el- link between what directors and de- vises a crew of twelve that includes evator. Everything that’s built in his signers see in their heads and the his assistant, a shop coordinator, a shop has to be transported from the physical expression of those visions. lead carpenter, a stage supervisor, a fourteenth floor to the theatre spaces TDs, as they are universally known, paint charge, a scenic artist, and five at ground level, so “almost all of our are responsible for some of the most scenery has to be able to break apart unglamorous work in the arts, and yet Drew Campbell, University of Texas: and fit in our ten by fourteen freight without them little of the spectacle “As a TD you’re going to be dealing elevator.” with dozens of technologies... You’ve that today’s theatergoers have come In rural Wisconsin, about an hour got to have really wide-ranging knowl- west of Madison, is an outdoor classi- to expect would be possible at all. edge.” Every theatre has one (or someone cal company called American Players who does the work, no matter what Theatre. Founded in 1979, it has their title is) and each faces a unique grown from a simple stage in a natu- set of challenges. They work in vastly ral amphitheatre in the midst of hilly different organizations—struggling farmland to a 1,153-seat outdoor re- semi-professional theatres, college gional theatre. Bill DuWell has been and university theatre programs, big the technical director at APT, which resident companies and commercial does five shows in rotating repertory producers, and everything in be- each season, for the past eight years. tween. They oversee the building of The rep schedule, which means the scenery in wildly varying shop facili- shows are all up at once and rotate ties and load their sets into every on the stage throughout the season, imaginable kind of theatre space and presents unique challenges for a stage configuration. What they have technical director. in common is that they all work un- Unlike Contello at the Alley The- der deadline and struggle with budget atre, DuWell has more than his share constraints, whether the budget is of the unconventional. “The weather, hundreds of thousands of dollars or combined with the rotating repertory, whatever happens to be in the petty impacts everything we do,” he says. cash box. Many traditional approaches to scen- DRAMATICS • APRIL 2005 The scene shop at the Alley Theatre in Houston.

ative ways to secure it. Accounting for all of this demands a lot of pre-season analysis and DuWell spends much of his planning time considering factors such as scenery storage and the time it will take to move one show off the stage and the next one on. In the same way that Contello must keep his elevator in mind, DuWell must build each show to break down into pieces that will install quickly and store eas- ily in a limited amount of storage space. “We work very hard to preserve design integrity while remaining acutely aware of the limitations of our presentation style,” DuWell says. With so many limitations and a modest sea- sonal scenic budget of $21,000, the presentation style of APT is one that stays relatively simple. DuWell, who describes himself as an “old school dude,” seems to like it that way. “I like telling stories in simple ways,” he says, “and I am fortunate to be work- ing at a place that really relies on the basics.” JIM CALDWELL

High tech, big budget ery construction used in indoor the- handedly painting the five sets to the Throughout the country, however, atre must be altered to allow for the designers’ liking, mixes sand into the constantly evolving technology has variety of weather that sets will be paint used on all horizontal acting sur- become an integral part of a TD’s job. exposed to in the course of APT’s faces to provide traction during wet New technologies are a major compo- June-through-October season. Most weather. nent of Campbell’s program at UT. He scenery is framed with light gauge Another major concern is wind. “We currently has M.F.A. students who are steel, which must be rust-proofed, get wicked storms here,” DuWell says, focusing on multimedia, interactive rather than wood. DuWell’s charge and that means either eliminating scen- video, and scenery automation. Hav- artist, who is responsible for single- ery that is too tall or engineering cre- ing spent four years as a technical su- APRIL 2005 • DRAMATICS MICHAEL BROH The American Players Theatre set for Cymbeline. TD Bill DuWell has to build scenery that is engineered for high winds, reinforced with steel, weatherproofed, and painted for wet traction. pervisor at Universal Studios in Holly- effectively with specialists that they area scenic house. Leahy admits that wood, Campbell knows how important may have to work closely with or jobbing out scene construction has its it is for his students to be exposed to manage one day. “As a TD you’re go- pros and cons. The biggest downside all aspects of technology used in the ing to be dealing with dozens of tech- to this approach to technical direction entertainment industry in order to nologies: carpentry, welding, plumb- is a lack of control, he says. “On the keep them apace with the ever-chang- ing, networking, automated lighting, other hand, it’s an asset because ing job market they are headed into. show control, pyrotechnics. The list when difficult things need to happen, Campbell, who is the author of goes on and on. So you’ve got to they come up with solutions.” Technical Theatre for Non-Technical have really wide-ranging knowledge.” With a seasonal operating budget People, says the idea is to give his stu- Ed Leahy, technical director for of $13 million, CST can afford to try dents a broad overview so that they Chicago Shakespeare Theater, is very out innovative production ap- will be able to communicate effec- familiar with using technology to pro- proaches. Leahy describes some of tively with specialists whenever their duce spectacle. He’s responsible for a CST’s productions as “outrageous in jobs may demand it. In addition, he seasonal scenic budget of $500,000 terms of spectacle,” and says using strongly encourages his students to fo- and regularly oversees productions new technology to work out creative cus on an area that they wish to spe- full of spectacular effects and compli- solutions to the challenges that land cialize in. He wants his students to cated scenery. Leahy’s job differs from on his desk keeps his work interest- have the vocabulary and skills re- the work of most TDs in that he has ing. A graduate of the University of quired to learn new technologies as no scene shop of his own. All CST Delaware’s Professional Theatre they arise and be able to communicate scenery is built off-site by a Chicago- Training Program, Leahy says, “I love

DRAMATICS • APRIL 2005 my job. I’ve got big budgets to do cool things in cool shows.” A job description ‘The practical side A TYPICAL TD has responsibilities that reach far and wide. In addition to of the storyteller’s brain’ scheduling and supervising the shop crews in the carpentry, paint, and For all their differences, TDs every- properties departments, the TD is held accountable for any activity related where still share the same basic respon- to the creation, maintenance, and cost of all scenic elements. This includes sibilities. One of the most important drafting the plans that will detail the method of construction for the car- jobs almost all TDs share is managing penters and communicating as necessary with the scenic designer to assure the scenic budget. To do this properly that the build is conforming to the original design. they must be able to estimate the costs The technical director must also attend production meetings on a regular of a production: what kinds of materials basis (usually weekly) to keep other theatre personnel abreast of build are needed, how much of each, and progress and any unexpected problems with construction. Once the build how long it will take the shop crew to is complete, the TD supervises the installation of the set and addresses any build the set. Sometimes certain scenic unforeseen problems. At this point, the TD will also complete any items elements will need to be handled out- that could not be finished in the shop. side of their theatre, and it’s the TD’s After installation, the work is still not done. The technical director will responsibility to obtain bids for this attend all technical rehearsals to deal with any problems that arise with the work as well. scenery now that it is onstage and the performers are interacting with it. Production work always happens un- Usually, the TD and his crew will make slight alterations to scenery after der deadline pressure, and the TD must watching actors use the space. make sure that sets are installed and When the show has opened and is in performance, the TD will stay in ready on schedule. Relationships with contact with the production carpenter (sometimes known as the stage su- scenic designers are also a crucial part pervisor or deck chief) to help with any repairs that might need to be done of every TD’s job. DuWell boils all of during the run of the show. Then the process starts all over again. this down by describing himself as —M.L. “part of the practical side of the storyteller’s brain.” DuWell, Leahy, and Contello all have contact with any member of the com- or approach a project. It is good to be assistants, known as ATDs, to help pany that affects, or will be affected aware of the variety of approaches that them keep up with the details. Leahy by, the work he does. may exist.” describes his assistant’s duties this way: Finally, Campbell notes that even “I keep an eye toward the future—the Paths to a TD job without the goal of pursuing a career ATD keeps an eye on the facility as it is For students considering a career in in the shop, being involved in theatre right now.” DuWell usually employs the scene shop, DuWell thinks that in high school or college teaches valu- two ATDs, whose tasks include han- college and professional experience as able lessons. “It teaches you to work dling all technical drafting, some pur- a scenic carpenter are the best avenues with other people, to be collaborative, chasing, and carpentry work during the to earning the title technical director. to work on deadline, to be creative, to build process. Contello began working full time be comfortable being up in front of Most TDs do not spend much time right after earning his diploma from a people,” he says. “These are all really honing their own carpentry skills. Nei- Houston performing arts high school. important skills for anything.” ther DuWell nor Contello work in their His advice to students interested in Campbell also has some concise ad- shops regularly and Leahy will only oc- becoming TDs is to get on the over- vice for young design and production casionally need to build something hire list (the people a TD hires for students who are interested in entering onsite, in which case he employs CST’s temporary work) of a local theatre. the ranks of professional technical di- loading dock as makeshift shop. “This way you can experience first rectors. “Be a jack of all trades and Contello tries to be on hand when it is hand how the business really works. master of one,” he says. “You need to necessary, and DuWell says “if I’m It is also a great way to learn the vari- have that one thing that you are an ex- building it’s as a last resort or I need to ety of ways things can get done.” pert at, because that will be your av- fulfill an urge.” Contello believes students of technical enue to jobs. And be a nice person. Above all else, DuWell believes that theatre should embrace their indi- Seriously.” having superb people skills are essen- vidual ideas for tackling technical tial to being a successful technical di- jobs. “There are a number of ways to Mike Lawler is a freelance writer who rector. He is keenly aware of how he approach the same project,” Contello has worked professionally in technical fits into the big picture at American says. “One of the hardest things to do theatre for over ten years. He lives in Players Theatre and keeps in constant is teach someone a new way to build Austin, Texas. APRIL 2005 • DRAMATICS Originally published in Dramatics magazine. More info: Schooltheatre.org