Welcome to July

Yet another month begins. In six weeks time I will have been on this island for a full year. And short of the recent burst of motivation on Aladdin (partially fueled by far-fetched daydreams and much needed days off compared to the 6-7 day work week I pulled most of the late winter and spring) I still feel the island grip of blase around me.

Aerobics twice a week has recently helped me feel slightly more productive and active. As well as very sore.

And in just over two weeks I've managed to build most of Aladdin and shop most of Music of Dolphins. Four more work days before my first fittings. Another week and a half after that is the publicity photo shoot. And still yet another two weeks beyond that (just over a month from now) is tech for both shows. I'm well ahead of schedule. Sure beats the road I hit running coming into this disorganized mess last fall. But running full steam ahead like this...kinda feel like there maybe a brick wall ahead. And there is in a way. Not a wall, per say, but a deadline nonetheless. I kinda feel like a kamikaze pilot who's just hit the point of no return and has nothing to do but follow course. Could be I'm just wrapped up in the tale of the Dark Tower too...with its talk of ka or destiny and fate and interwoven paths and what not.

Tangent end...

Back to Aladdin. Mostly built, short of a lot of trimming on the Sultan (mostly of the adding black bits of fur to make ermine). And a vest for Aladdin's side kick. And another robe for Aladdin when the scenic designer gets off his duff and pick out the fabric backdrop for the cave where the lamp is found...

And the general finishing and altering that happens after fittings.

But with a month to go? No worries...The Princess Leilah. This costume really only needs the embellishment at the neckline. I'm really proud of this garment. While draping wise it's basically a t-shaped garment without any shaping, the entire robe was pieced together for a 6 meter sari to make the most of the border. The center front was the pallu end...cut up and appliqued to form a long stripe instead of the square it was woven it. I did feel slightly guilty cutting into that gorgeous Indian fabric. At least it was polyester and not silk.
Okay...I cheated...I didn't actually make this one, the mother's thobe. But I do need to make the matching head wear and veil (No burqua).
This is Aladdin. I originally had purchased the shirts, but the company I ordered them from either forgot to include them in the shipment, or where out of stock and failed to call me. Regardless, they credited me without much hassle leaving me with new garments to make. It's technically a Ukrainian shirt, but honestly the only major difference between that and the Arabian kurta is the length of the garment and the shape of the yoke...the Ukrainian yoke and plaque being essentially squares and the Arabian more gracefully shaped. The vest was fun to lay out on the upholstery fabric given the numerous options of stripes it offered. And the pants desperately needed to be dyed down a notch or two and severally distressed.
And last but not least (as I have yet to start Omar's vest) is Al Zarnati (thing Jafar from the Disney version). He's pretty much done. I love it when you can buy pre-quilted fabrics.

Of course we cannot forget Pono the dog project. He's come a long way, but according to the woman I'm making it for I still seem to have a long way to go. At least I've finally managed to convince her to pay me a portion of my fee next week. After compeleting four prototypes of the pup already...

The show that will not die

Two interesting bits of news hit me this morning. First, our theatre was vandalized. Keep in mind the the theatre is located on and within the property of the Episcopal seat of the Pacific region. This is a church grounds. From the look of things, Sunday morning or afternoon a group of teens got into the space, knocked over two large scenic walls that had been propped up to dry, strew costumes and props all over the stage and house, and tore down the curtained lobby area. Most likely while their God-fearing parents were attending the Sunday services. So as a result, load in for Aladdin needs to be pushed back several hours while our TD and production manager straighten everything up.

Secondly, Rap's Hawaii will not die! Someone from the Democratic party saw the remount last week and decided it would be the perfect thing to add to the performances at the state Democratic Convention happening tonight. So costumes, props and sets are all packed up and ready to go to the Hilton Hawaiian Village for a performance in front of roughly 3500. And rumor has it O'Bama will be here. Wouldn't that be an interesting tick to add to the resume...a show I designed performed before presidential hopeful.

Not quite the surprises I expected this morning...mostly I was hoping for a shiny bit of email from another theatre.

Aladdin and pet projects

Aladdin's going well, and honestly it was fascinating to witness the cutting of a script by the playwright from it's original form produced at another theatre to a smaller version fitting HTY's three actor/one hour limitations. The adaptation process is amazing...what to keep to serve the plot, what to add to clarify the ambiguous...what some people become attached to and what others think should be the first on the chopping block. Back in January the playwright came out for a week long workshop of the play. We started with a reading of her first cut, which still ran about 20 minutes too long, followed by a talk back and design brainstorm. Two days of writing later, the playwright was ready with a second cut...this one much more streamlined but still a little chunky in places. Another reading and discussion. And she still had a day or two or surf and sun before heading back to the mainland. Workshops and readings are an invaluable process for a playwright, or so I am told. And to have a workshop sponsored by the theatre who has already agreed to perform the work must be a treat...to hear not only the words come to life by the companies actors, but also to witness preliminary design discussions...to be present while others' creative germ take seed in the soil of your work...see how others interpret and visualize your story... In Hawaii nonetheless. Hearing things aloud always evoke the imagery and pace much more clearly than reading the words on the page ever will. Plays are meant to be heard aloud after all...

I'm progressing on Aladdin. And have to say I'm quite pleased with the renderings. The design itself is sort of a hodgepodge of different regions...largely central Saudi Arabia, but bits of ancient Persia, Turkey, Afghanistan, Iraqi and the nomadic Bedouin tribes. Not that the average Hawaiian grade schooler would know the difference as long as there's a turban or too...

Music of Dolphins progresses more slowly, but seeing as it's a contemporary setting...I don't know...designing modern clothes isn't my forte. I prefer the period and ethnic challenges.

One more little side project...not progressing as quickly as I'd like...I'm developing a prototype for a stuffed animal to be sold with a local children's book. It's a small scale venture...maybe 500 books and 100 stuffed toys. However, the woman responsible had no idea how to go about it and my name was given to her a a local craft person/stitcher/patterner/etc. I've been toying with the pattern off and on since March. Below is version 2.o. I liked version 1.0 better...more cuddly and childlike. Now she's on a realism kick and until I can adapt the pattern to be more to the scale she hopes for (much much smaller but honestly to start the prototype any smaller than what I've been working at would make it exceptionally difficult for me to modify it...let alone stitch it under the machine) it's going to be gangly and strange. Of course the availability of plush fabric locally or online causes a plethora of other issues. I'm meeting with her again tomorrow. But I have a sneaking suspicion that I'll need to do at least two more version before I can shrink it down to the final prototype she wants to send to her manufactures. But being the first time either of us have done anything commercial like this....I kind of feel like the blind leading the blind...

Cleaning Shop

Three days back and a lot of shifting furniture and finally the shop is arranged in a fashion that is both visually appealing and much much more functional. What took so long? Mostly my co-worker hemming and hawing about how to rearrange and not actually doing anything about it. Oh, we kept talking about getting rid of one shelf, moving the ironing board, shifting the desk and computer into the corner...

She could have done so much in that week I was gone. Everything had already been cleaned, sorted or emptied. The stuff just needed to be moved. And none of it was really that heavy when you get right down to it. Just a bit bulky. So after her last day...of her again doing pretty much nothing...I moved everything around. It took me a scant two hours.

And it makes an enormous difference! The space is no longer dominated by the one Goliath of an industrial shelf. Just getting that out of the shop lightened the whole room. It's so open now!

We have a more defined office area and shop area (best part is my back is no longer to the door when I'm at the computer so people are less likely to scare the crap out of me when they show up unexpectedly).

I'm thrilled with the layout. And more productive too. Even with the occasional bouts of procrastination I spend online.

I wish the lighting weren't so bad...

But the show itself actually looks better in person than the photos make it out to be. A lot of work...

I'm so flexible I can kiss my own ass...

So don't make me stick my foot up yours.

Seriously. Why is it that the people who actually do their jobs are the ones who have to be flexible and bend over backwards for everyone else? I'm tired of this theatre planning fittings whenever they want 5 to 10 minutes before the fitting. I'm tired of showing up early only to sit around twiddling my thumbs until the late comers show up so we can begin rehearsal. I'm tired of other areas of the show (like...I don't know...actors knowing their lines) being so far beyond repair that the artistic director feels the need to nit pick my shit because I do give a shit and I'll consider fixing it to the best of my abilities. As opposed to seemingly everyone else (particularly the production manager) who will throw a hissy fit, swear it's not their problem and then not do anything about it.

And the sad thing is, the level of theatre here, the expectations, are so far below what I'm used to that seeing others dropping the ball like this on top of it all eats at my soul. At times I wonder why I bother...

Working? Ha!

I pulled a 13 our day yesterday between maintenance and repairs for one show going into tech this week, progress on the show following and fittings for the high school show. Needless to say, I was wiped. And cranky. I spent most of that time on my feet. And I didn't get dinner til almost 9 o'clock. Granted it was a fabulous dinner as I was treated to diner fare in Waikiki by a friend. Followed by a beer at his local Irish Pub. Mmmm...beer.

This morning was another kicker from work though. I emailed in my fitting requests last Wednesday. The stage manager (a new one brought on for just this show as the upper management continues to piss off everyone else they hire) tried to nail down times for me with the director. To no avail. I mentioned to her this morning I still needed to see two cast members today. Call me when they can be scheduled. I wasn't two minutes out the door to the costume shop when she called "Can you see Kala'i right now?"

That's a hell of a heads up. Thank god I hadn't planned on getting my shopping done first thing in the morning so I'd be sure to have everything I needed before the fittings. And I'm sure as hell glad I wasn't planning on styling that wig before lunch so it would have plenty of time dry and be styled before tech on the other show at 8am tomorrow morning.

Thanks. Thanks a bunch.

There has been much discussion recently with a new friend about moving to New York. New York. I miss you. T he subway. The pace. The people who actually know how to stay on task. I'm giving it 15 months. Next May I'm East coast bound.

Unless another day like today happens. Then I may just buy the next cheapest ticket off the island I can.

Baragining chips

I want to thank all of my loyal readers for their support poured out of yesterday's news. I'm sorry it I raised many hopes that I would be returning. The job offer, while very real, has taken on more of a symbolic meaning than a literal choice. I am unlikely to take BTF up on their offer.

Financially it's six of one, half dozen of the other. I'd make more in MA, but over a shorter period of time, with longer hours and a much higher stress level. They would give me housing, but I'd still be paying rent here. And I have health insurance here; only worker's comp there. And no car. In the middle of the Berkshires. That is forgivable if I only needed a car for personal use...rides are easy enough to find. But if I were to take on the shop manager position I would need a car for work at my disposal. The nearest shopping in a good 30 minutes away. And you can't always depend on the designers to get it all done themselves.

The main reason I am hesitant to take the offer is the stress level. I would literal leave Honolulu on the 30th, with most of one day to recover only to start work the morning of the 1st. And jumping into a shop that's already been running without a supervisor for a few weeks.

But the bigger stress is that of my age. I would be respected by the staff and designers without a doubt. I already know most of them. It is the actors, particularly the straight, middle-age men that are the problem. For some reason they think a shop full of young women should kiss the ground they walk on. That their acting prowess somehow sways us to swooning. Our shop manager last year had her hands full with a few of them herself and she was an experienced battle ax. I cringed at times under their lewd comments and glances just in the few fittings I was required at as a draper. And I am by no means a modest person. If Cindy could not get respect from them as a theatre professional in her 50's they sure as hell aren't going to respect some 20 something spitfire. I've no patience for that.

My return wouldn't be to network, as these are already solid contacts I have made. But it is an honor just to be asked. To say one managed the shop at one of the U.S.'s premiere summer theatre festivals opens the door to a lot of other well paying possibilities. People recognize that theatre's name.

But no, I won't be adding that title to my resume. However, just by offering the position, the production manager there gave me a huge baragining chip. Other better known theatres are inquiring about me...and this theatre better damn well know about it so they fight all the harder to keep me. I will not let them take me, my degree, or my talents for granted.

I forwarded the email I received outlining the offer to my immediate boss, as well as the artistic director and managing director. Tomorrow, on paper I will have a new letter of commitment covering June 1, 2008 through May 31, 2009. And in that letter is the new pay scale. It ain't much more, but it's a start.

Ferdinand

Tonight over margaritas and dinner we had our third meeting for Ferdinand the Bull. Technically this was our first "preliminary design" meeting. Meaning finals are not really due until next month. Let's just say the costume shop suddenly went from being two weeks behind to three ahead:

Hooray for the kids!

Opening night is here again! It's kind of refreshing to go to a show, knowing that even with the reception afterwards you're likely to be home by 10pm. It's been a long week. Productive. But long.

This morning I popped into the show with the grade school audience. I always like to see their reactions before viewing the show the more inhibited adults. It is a children's theatre after all. Their cheers, laughs, screams and clapping add such life to the performance. And the actors eat it up. I don't know. Kids shows just feel a little more alive than the standard fare. The plots are simple. The shows run under an hour. And most of the theatrics are simple sleight of hand. No fancy special effects. It's pure storytelling. It makes me feel young. And reaffirms my decision to come out here in the first place.

The next touring show is packed and ready for it's first Oahu stop this week. Then I think it's off to Maui. And two shows left to build. My co-worker is at her wits end with the director for the pre-school show, but management finally stepped in and put their collective foot down. I'm sorry, but if you're a guest director for a theatre you still need to abide by the schedule and limitations of the theatre. But Yalees will always be Yalees. Egos and all. If you think they're big fish on the mainland, imagine the havoc they can reek on a theatre starved island.

But the last two shows should be fun. I'm looking forward to next week. Once the shop's been cleaned, it's kind of like we're starting with a clean plate. A new project will be a nice change of pace.

I Should be at Work

Usually I'm at the shop by 8:45am. But with the screaming kids back at school, it's so much easier to concentrate on paperwork with the more mechanical background noise of the workers power spraying the side of the building next door. And it's easier to focus on the mundane task of typing packing lists and laundry instructions for the tour from a comfy chair.

That and after working 3 long days of non-stop sewing and rehearsals, with little more than 15 minutes to eat lunch, it's kind of nice to be leisurely this morning.

The weekend cannot get here soon enough.

Like Rats From a Sinking Ship

Tonight my work day was interrupted by the surprise announcement of a going away party for one of our fellow co-workers. I had heard rumors she'd been offered another job, but nothing had been confirmed...yet another example of the communication schism between the artistic staff and administration. It's kind of strange working in a place where the costume shop is not gossip central.

This woman has been nurturing, friendly and very maternal towards all of us newbies...particularly those of us in the young age range. She has joined us on several outings to Du Vin for our weekly unwindings. And her level headed and worldly advice always calmed our ragged and frustrated nerves. Her quiet smile and sage advice will be sorely missed.

But such departures seem par for the course at this theatre. She is the third person in administration to leave since my arrival. For a company this small that number is shocking. And the primary reason is money. We are paid a fraction of what others in our position would be offered at another theatre. And money talks.

Of course the benefits help. Unfortunately today I had the shock of discovering the theatre never filed my paperwork with the insurance company. So five months here. Half of my contract. And my benefits still haven't kicked in.

Grrr.

Head First

January I hit the ground running again. That always snaps me back into production mode. Finishing up the high school touring show...easy...wigs and bowling shirts. Taking as huge of a bite as I can out of Tempest, starting with the design presentation to the actors and a day of measurement taking. A makeup workshop my first Saturday back...hard to believe it's been seven months since I cracked open my makeup kit to play. I've missed teaching that class...

And perhaps a bit prematurely...a full week of workshops for the next season here. I'm glad the theatre is motivated to get the creative juices flowing (recently the well has seemed tapped dry. No that's not it...stagnant is more like it...)

But premature. As they have yet to extend any formal offers to any of the new design staff. The powers that be on the creative team already have it in their head whose designing what. But no one has actually agreed to come back. And they haven't made any monetary offers. They haven't looked into the budgets for next year. They're setting themselves up for the same problem they had coming into this season--the costumer pulled out after finishing the first resident show and half way through the tour...not to mention about three weeks into the design process for the show I ended up taking on. It left a mess for me and my co-worker to sort through. It put my co-worker in a losing situation right from the start.

Don't get me wrong...I've already decided I'm sticking it out. Which means kissing a summer back on the mainland goodbye.

Maybe I'm just feeling a bit Jerry Maquire-esque

SHOW ME THE MONEY!

Should be working

But I'm not. Six shirts lay there...waiting. Hoping for the completion that the attachment of their collars will bring. Longing to be whole when I deign to get off my ass and finish their hems. I need a break. Not from work. But from the lack of motivation that snuck up upon me unawares. I kinda feel like those shirts...something's missing, something's not quite done. But it will all be made whole again. Eventually. When I choose to do something about it.

It's the weird state of things. The stasis. Christmas one week away. I cannot fathom it's that late in the year already. That 2008 is ready to descend. The distance is mind boggling. Non-existant. The thought that I have to get on a plane and sit still for 10 hours in order to come back and see family. For little over a week. And then return to this little island in the middle of perpetuity. Away. Isolated.

I'm in frickin purgatory.

Change is good

I played the part of a slacker yesterday in our final design meeting. This director is very creative, and she pushes. I just wish she'd make certain realizations sooner. Mostly relationships between characters...i.e. siblings to look like siblings, lover's costumes reflect each other. They do to an extent, but I still maintain that receiving the casting and script adaptation less than a week ago set me back. Still three good but questionable costumes out of 20 some is not so bad.

That and the lack of my preferred watercolors. Yarkas just are not the same...too vibrant. Artificial. What can I say? I like muddy, diluted colors.

Despite not having color on most of the renderings, everyone was blown away by the sketches. Practice. Practice. They'll be displayed at the Hawaii Theatre during the run of the show in May. And possibly the gallery across the street in an upcoming First Friday. If I finish painting them of course.

But I'm pleased to say I have my apprentice hooked. Her attitude has done a 180. A few months back she was threatened by the heads of the program to be removed because of a negative outlook, lack of participation and tardiness. That threat got her attention, but in the last two weeks she's suddenly come out of her shell...taking the initiative. She hated me on Saturday for making her play with watercolor. A control issue...watercolor likes to do what it wants. you can coax it. You can predict it to an extent, but it's much more organic and fluid than other paints. She prefers colored pencil. Though most young designers seem to.

Yesterday she played the intern and brought a latte to the meeting for me. Along with a lapel pin proclaiming "behind every successful person is a substantial amount of coffee." Hmmm...coffee. And she proceeded to take costumes notes during the meeting, without being coaxed to do so.

Changing the theatre world one person at a time.

This afternoon will be very telling as well...the debriefing for out first show. There were a lot of issues...director and stage manager butting heads with production manager, lack of information, tempers. There will be claws out today. My favorite part of the prep for this meeting was to "anonymously" submit all comments to the production manager (how complete anonymity is possible in such a small theatre I'm not sure). That raised heckles...very few people trust the production manager enough to allow him to be the filter for comments. And in regards to the comments:

We feel that the purpose of a debriefing is for information gathering, not necessarily about implementing change.

This theatre is excellent about talking and not doing.

Contract negotiations

It's that time again. Summer theatres are making the rounds, calling up former employees to rehire. Posting job openings as they become available. And thus this theatre just got a little shove about whether or not they are considering to keep me on.

And they are.

For the entire summer.

And all next year.

Full time. No lapse in insurance. A steady income (though still well below what my previous summer theatre gigs were/are offering for the 13 week commitments). Job security.

And the driving thought...

I kind of want to come home for the summer. But what is home? I didn't realize how deep the roots are I've established here already. But with plane tickets skyrocketing...I'll be lucky to see most of those close to me on the mainland once a year. If at all. Have I really been so far away from everybody for so long that this no longer bothers me?

Time to bargain. If not for a raise, than at least for more paid vacation time than 9 days (5 of which will be eaten up by the holidays).

And I'll miss the summer theatre experience. I really miss the higher level of craftsmanship is what it boils down too. And to stay here all summer...I'd be on my own building two of the shows. Not that much of a challenge. And alone. The rest of the time properly cleaning and organizing.

The pros and cons are kind of in balance at the moment. I'm waiting for the one thing that will really tip the scale one way or the other.

Accountability

Teeheehee....I feel a bit like an instigator. And I get a sick satisfaction out of holding others accountable for their words and deeds.

Today's conflict: terminology during tech week. What is first dress rehearsal? What is a Q2Q? How should we integrate costumes into the tech process? My co-worker had mentioned, in an email, her confusion over why first dress rehearsal was listed on Tuesday when the cast was expected to be in costume on starting Monday. Monday just listed "tech rehearsal." It was unclear whether Monday was Q2Q, dry tech, a run...as there are actors dry tech is not the appropriate designation. Q2Q with costumes? Then what do you call Tuesday? It's not really first dress, but it is a good way to let the rest of administration know it is a good rehearsal to see.

But First Dress implies it is the first time costumes are used. Had I been freelancing for this company, I would have assumed I was not needed in the tech process until the term first dress was used.

My co-worker voiced her confusion and concern over the terms chosen. Our boss turned it around into an accustion...a suggestion that perhaps we had not planned on having costumes finished before Monday. She replied that the deadline was not the question...the terminology was.

So I added my two cents. Reasserting my own confusion from the previous tech. Supporting my co-worker's previous stance. Bluntly saying in the end "It is confusing coming into a new company when established theatre terminology seems to be an exception rather than a rule." Part of me wanted a fight.

For whatever reason, I seem to carry more weight than several of my co-workers. Despite the fact that they are older and have worked professionally longer than I have. The emails work. Our boss will re-evaluate how labels are applied to the process.

The whole thing seemed petty. But you know what...sometimes it's the small battles that make people realize you are serious. I enjoy keeping people on their toes.

The World is getting smaller and smaller...

Today I had yet another dose of the six degrees of separation that separate those of us working in the entertainment business. During the summer of 2006, the craft room had an assortment of volunteers help building armor. At the time, it just seemed kind of neat...one of our volunteers said he was from Hawaii...involved in a dance troupe in Honolulu. He loved that he was working in the craft room because he got to chat to us about masks...one of the key elements to his performance duet. He and his companions worked chiefly with fiberglass..not that unusual considering other hobbies included manufacturing surf boards. I took his post card...hoping to catch a performance should the company pass through Chicago or New York.

Over a year has gone by since that random encounter. I had not thought upon Monkey Waterfall until it smacked me in the face today. Our guest scenic designer was filling me in on a little bit of his other projects...one of them being the creation of a dance performance piece called Monkey Waterfall that his wife is one of the dancers in. Wait a second...that name sounds awfully familiar...I remember meeting a guy excited about masks who was the waterfall to her monkey...where had that chance meeting been...

From Honolulu to Spring Green. I've now met two thirds of the mastery behind this group. Not only that, but worked with two thirds of the troupe under completely different circumstances...neither of which are related to their primary project. The world is becoming smaller by the minute.

Hmmm...Red Wine

One of the fun little weekly traditions developed by some of the newbies here at this theatre is the post work happy hour. Not at some oak paneled pub or dive bar, but at a classy wine bar...a brasserie (not brassiere you pervs...). We sit out on the patio in the twilight, drinking shiraz, noshing on bread, baked brie and olives. And the occasional creme brulee.

It started out as just three of us decompressing after a particularly rough day. Now slowly our numbers are climbing. Oddly, most of those joining us are of the administration. It seems weird to vent and unwind in front of the person ultimately responsible for signing our paychecks. But I like to think of it this way: My boss complained of a divide between the artistic staff and the administration. We three have become ambassadors trying to bridge the gap. If nothing else, it is job security. Especially when we discover we are not alone in our feelings towards one individual. Turns out the schism is ultimately his fault.

Obake!

The first review is out. Not the most positive, but certainly dead on for this production. Of course the person who took greatest pride in their work and who refused to compromise their design for ease and flow of the show took the most offense, but the critique is a very honest one. I wondered myself why fishnets hung in a graveyard...

Kabuki is not everyone's cup a tea...in fact the tea ceremony metaphor is perfect for this production.

C'est la vie. I quite enjoyed the review.

And production stills, as promised...