People Get Ready

Club Jaeb artist Kyshona Armstrong talks about the music that made her and her journey from a music therapist into a singer-songwriter in this exclusive interview.

Caught in the Act caught up with folk musician Kyshona Armstrong while she was on the road to Missouri for a gig. She appears next Monday, Dec. 16 as our featured Club Jaeb artist for December.

Caught in the Act: Let’s talk about the South. Tell us a little bit about where you grew up and your life there.

Kyshona Armstrong: I grew up in a town called Irmo, South Carolina, and it’s right outside of Columbia. We used to run around in the woods. We spent a lot of time in the house or playing out in the yard or whatnot. My grandpa played guitar and sang in a gospel quartet, and my dad is the same. In the house, my dad was always practicing, so we would hear him playing old gospel songs on his electric or playing “People Get Ready.” [sings] People get ready, for the train’s coming. [laughs] He was always playing that or the solo from Lionel Richie’s “Hello.” Those were his go-to songs. Anytime I hear them, my brother and I are like, we think of Daddy.

When I was young, Mama put me in piano, and that was my escape. I loved telling stories through the music alone. I loved creating a soundtrack to whatever was going on in my mind. Whatever Beethoven or Mozart song, I always had a movie in my head when I was practicing and playing. That’s how I always wanted to emote.

I feel like singing wasn’t something that I grew up doing, though. I preferred getting an emotion across just through my hands. Even when I was playing the oboe, I wanted to tell a story through the music alone. I wasn’t wanting to use my voice. When I went off to college and studied music therapy, music became this ‘oh, we can create in the moment. I don’t have these notes right in front of me that are telling me what to play and what dynamic to play it and what speed to play it, but I’m able to create in the moment with my patients and with my other therapists or with my classmates.’

It got back to what I experienced with my grandfather, with my dad, of creating in the moment with others and creating an environment with the music.

CITA: Was there any particular reason why you didn’t think about singing as a part of who you were as a musician? Did you not want to speak? Did you feel like you didn’t really have anything to say?

KA: I definitely was a very shy kid, very much an introvert. I did not want to be the center of attention. I never want anybody looking at me. I didn’t want focus on me at all. Please ignore the fact that I’m in the room. [laughs].

But I didn’t really have anything to say, either. What I’ve always prided myself on, though, even when I was shy and the ultimate introvert, was the ability to convey an emotion through song. I wanted to give people the experience of going on a musical journey. I wanted to play Fur Elise by Beethoven completely different than anybody else did because I wanted the listener to have a different experience. I’ve always connected to wanting to give people a different emotional response.

But as far as me using my actual voice to do that, though … I didn’t find my voice until I was having to use it for my patients, and it was just my patients saying, ‘your voice is very soothing, your voice is very calming.’

When someone is telling you that, and they’re a person in a hospital bed, then that’s how I’m going to use my voice from then on. If someone has said ‘your voice comforts me,’ I’ll use it again in a comforting way. Slowly, I started to own the voice that was coming out.

My voice has changed for sure over the years from a quiet, comforting voice to one that is gritty. I growl a lot more. I yell a lot more, but I think that’s also because I’ve walked through the world a little bit more and I’ve seen so much more.

CITA:  Can you tell us a little bit about how you got into musical therapy as a job?

KY: I went to the University of Georgia. It was one of the oldest music therapy programs. Because I had so many years under my belt as a pianist and as an oboe player, I knew that if I was going to go to college and needed scholarships, music had to be the way to do it. I was also very fascinated with psychology. My junior year in high school, I met this guy at the cotillion for my church, and I was just talking about, yeah, I need to do music and I’m in the marching band so I know I’m going to have to major in music somehow.

He was like, well you know, there is this profession called music therapy. I leaped on it and started doing research, and I found the American Music Therapy Association organization’s website. There was a music therapist in Columbia who worked at Baptist Medical, and I shadowed her. I followed her around for my junior year class project, and at that point I was like, ‘I think I know what I want to do.’ It sounded awesome—to combine music with psychology and the ability to help people through music.

CITA:  Then you ended up working in some really hardcore situations, in prisons and with people who had mental illnesses. You went straight into what you’ve referenced before as “really heavy circumstances.” Did you feel called to be there? At any point were you aware that you were gathering materials as an artist, or did the work feel more like spiritual healing?

KA:  I definitely was not aware of gathering any kind of materials. I think it was more self-centered than that.

For me, if somebody says, ‘this is a population that is hard and it might be difficult for you, we don’t know if you can handle it,’ then I’m always like, ‘cool.’ That’s what I want to do.

My senior year, we ended up doing some clinical work in the jail that was a couple counties away. I loved the challenge, and the patients challenged me all the time. They kept me engaged. It started off like ‘I dare you to tell me I can’t work with this population because you think I’m too quiet and I’m too sweet and I’m too nice. That’s not who I am.’ After a while, I found out that I actually had the tools and the patience and the desire to go where a lot of people don’t want to go. I enjoy going into places that are difficult for me. I enjoy going into dark spaces with others. I like being stumped. I like sometimes not having the answer.

But, I also found that what I liked about going into those into the hard places was just the fact that not everybody had a positive voice for my patients. Not everybody was seeing them in a positive light.

I found I was able to truly be an advocate for those people who the medical team might have given up on. My work as a musical therapist helped me realize I have the heart and the tools to show up and speak for these people.

CITA: We’re super intrigued by what you just said about being an advocate. We’ve been thinking about your evolution as an artist. In your other interviews and in your Ted Talk, you speak about finding your voice as something that must be an advocate for all people. Is that an evolution that you felt consciously, that your voice needed to be an advocate for healing in these troubled times?

KA:  It was an evolution for sure. What made me pull back from music therapy was the fact that I realized I was getting walls thrown up in front of me when all I was trying to do was good.

The more I spoke up for the kids, the more heat I got from the team. What I realized was, the moment I stepped away from the institution of it all, from the rules and the hierarchy, I could do more work by coming in from the outside. It’s almost like I have more credibility, too. I feel like I can reach people on a deeper level because I’m not confined by any kind of position. I’m not worried about my job at this point. Now, my job is to come in and be a voice. That’s it.

CITA: Who are your big musical influences?

KA:  I’m all over the place. As far as what they stood for and their mission with their music … Definitely a major fan of Nina Simone. Also Sam Cook. I’m listening to Hozier right now because he’s doing the same thing. His music has a meaning and there’s a purpose behind it. He’s trying to create change through it, but sonically it feels so good.

I love that Nina [Simone], her whole thing was that it is the point of the artist to be a reflection of what is happening in this country. That is a responsibility on the songwriter, on the artist to tell the story, of what is really happening in the world. I feel like she’s been definitely an influence of how I walk through the world with this new hat that I wear.

CITA: When we were watching your “Same Blood” video, we wondered if you had any inspiration from Nina Simone. It seems like what she was doing at the time she was visible is very similar to the times that we’re in right now and what you are doing. We’re in a social moment we’re we can no longer assume people are going to have a rational response. Because of that, we’re seeing the kinds of public social violence Nina confronted. Do you feel that too?

KA: Absolutely. Also, from the videos that I’ve seen and interviews that I’ve have heard of hers, her audience was also very similar to mine. It was mainly a white audience, and so she was a reflection of what else was happening, the other side. That’s something that I have to think about every time. Oftentimes, I show up to performing rooms, and I’m the only one who looks like me. Therefore, I try to make sure that I get it right, or as right as possible, and I speak truth.

I don’t have the comfort to just pull up in a gas station, especially if I’m in middle Georgia or South Carolina. I can’t just pull up anywhere. Oftentimes, I’ll pull up to a gas station and be like, ‘oh no, this isn’t a safe spot.’

But people think, oh, you’re a songwriter, you’re out on the road, that must be magical. Yeah, and a little dangerous at times.

I have to really think about where I am and where I’m going to rest my head. That’s not a reality people think about when it comes to what it must be like being a songwriter and storyteller. Some people see it as this awesome experience, but I’m also seeing real America, and not only am I experiencing those moments of ‘is this a safe place for me and a safe space? Can I say what is on my heart and what I’ve experienced?’

We’re currently right now driving from Nebraska. We were in Nebraska, Iowa and Kansas, and that experience … I got to see a different part of America that not many get to see. These are the people who are feeding America. You know what I mean? Their wants and needs are different, their desire is different, and I’m playing in rooms where there was no one there that looks like me. These are towns of 200 and 300 people. I’m a representation of a people, another way of living in a region that they don’t know. But the thing that I’d like to get across to them, too, my storytelling, I always start off by talking about my family and where I come from, because that’s something that many of us have in common—we have roots. We have people who fed into us. We have someone who inspired us, either from traditional or nontraditional families.

That’s something in common. I might look different than you, but somebody raised me and instilled me with qualities and with a purpose and with morals. That’s where I start, and by the time I get to the end of the show, we’re talking about how we’re walking through the world and how are we seeing one another. Are we being truthful with one another and kind with one another? I’m telling the stories of everyone that I’ve met that is incarcerated, that is dealing with mental illness, that is walking around quote unquote free in this world, but in their own prisons because of the wounds they’re carrying and the trauma they’re walking around with.

Yeah. In that way I find I have to always look back at the work that people like Nina Simone and Mavis Staples have done in just telling the stories and singing the songs and keeping the thread going. That’s the only way to bridge the gap between all the regions and all the different ways that we live, not only in this country, but in the world.

CITA:  It’s a hard walk to be true, so we’re glad you’re doing it. How do you let off steam? How do you care for Kyshona?

KA: [laughs] That’s a very good question. I just got a membership at Massage Envy.

CITA: Good idea because Massage Envy is everywhere.

KA: But this is something I’m trying to work on because I’m in a season where I’m working really hard. I’m gone a lot. I’m fortunate for it, I’m grateful for it, but the same thing that happened to me when I was a music therapist has happened. I stopped taking care of myself. I’m feeling again a little run down and a little heavy. I’m trying to just take little moments of joy. When I go home, I shut down. I might turn on some trash television. My new thing has been Schitt’s Creek, catching up on what I’ve missed over the years and just trying to find a way to zone out and maybe not think about anything. A couple of weeks ago I tried to really stand in the privileges that I have, and I went on a because-we-can trip to Barcelona for four days.

CITA: Did you love it?

KA: I did. We had no plans, other than to walk around and eat food and drink wine.

CITA: Well, what other plans do you need in Barcelona?

KA: [laughs] Right? That’s the other thing that music has done for me is pulled me into different countries, which I never thought I would be able to do as a child, or even as a young adult. I never thought I would get to travel the way I have because I have a guitar and stories and songs to share. It was great to travel to Barcelona and experience a whole other culture and a whole other way that people live, to have no job other than receive, right?

CITA: We’re pumped that you’re bringing your music to Tampa. Is this your first time to this part of Florida?

KA: No. I’m actually down there often. The first thing that brought me to the Tampa area was a songwriters’ festival that I did in Safety Harbor, Florida.

CITA:  Oh wow! Yeah, that’s right up the road.

KA: Yeah, I’m always in 30A for this 30A Songwriters’ Festival. and I’ll just keep on coming south. I was just in the area a few months ago to play at Fogertyville.

I’m playing house concerts, which are nice, intimate songwriting series that are in these communities people just built up, and they’ve created a really cool network in Florida, especially around the Tampa, Clearwater, Safety Harbor Area. Florida has surprised me by their love of the singer-songwriter and their love of storytelling

CITA: Well, we’ll be glad to see you here soon.

KA: See you soon!

Learn more about Kyshona Armstrong when she appears live and in person at Club Jaeb next Monday night, Dec. 16.

Of Tangled Webs and Putting the Work in Network: Information Technology Superhero Sam Luis

This interview, a bonus in our series on non-performing jobs in the performing arts, features one of your friendly neighborhood performing arts center IT guys, Sam Luis.

Maybe you think it’s all tights, pancake makeup and “take it one more time from the top” over here, but the Straz Center relies on massive amounts of technology to run our organization and run our shows. That’s right—even Morsani and Ferguson stages have network connectivity now so shows can digitally control their sets, lighting and sound. We’ve got internets, intranets, emails everywhere from New York to Dubai, apps, snaps, hashtags, servers and an organizational text messaging alert system so we get the latest info on emergencies that affect The Straz. Although tech might be far from folks’ minds when they think about the performing arts, we are linked, synched, wi-fied and wired over every square foot of this joint. That’s why you’ll see our IT team literally running from one part of the campus to the next—they have that much to take care of in and around The Straz. They’ve got a big job to do here, and we’d like to introduce you to one of them.

Meet Sam Luis.

At rare moments, Sam can be found at his desk working on various tasks from networking and building Wifi to data security.

Caught in the Act: All right, Sam. Get us started with your path to IT, and if you will, explain what IT is.

Sam Luis: Sure. I think when you say “IT,” in general, people think it’s a guy fixing your computer.

CITA: Yes, that’s exactly what we think it is.

SL: There’s a lot of behind-the-scenes things that IT does, though. We make sure that our data’s secure. We also pull together reports in certain data for the business to make decisions, we present that in a consumable fashion.

CITA: What does that mean exactly? Can you give a specific example?

SL: Sure. A person in the organization might say, “Hey, I really want to visualize ticket purchases, but we don’t really know where they’re coming from or how we’re getting these tickets sold.” That’s where my other counterparts on my team, they go through the data and massage the data to make it more presentable. In other words, we analyze the hard data, then say, “Okay, this zip code has a lot of people coming to Show X, but this zip code has a lot of people coming to Speaker Y.” So on and so forth. That kind of visualization is what IT does. We facilitate practical interpretations of hard data the computer captures.

CITA: That makes a lot more sense.

SL: Then, how I started my career … Actually, I was fortunate enough, back when I was in middle school, that I won the magnet school lottery here in Hillsborough County.

CITA: Cool!

SL: It was a program where you would get diverted into a technology school. It’s now called Ferrell Middle Magnet School so that’s where I came from. It used to be called Middleton Middle Magnet School for Technology. We were completely immersed in technology from middle school, and it was a very early pilot program. That’s where I started, then I just kept on going and going and going in the field. Technology has always been my passion. I loved computers before I won the lottery, but that just kind of set me on my track to IT.

CITA: But this happened at a time when technology wasn’t quite as prevalent as it is as a career path today.

SL: A hundred percent. Then, when I went to the magnet school, there was a lot of, “Oh, it’s a fun little tool to play with. You should learn typing in case you want to type in a typewriter,” kind of attitudes. We were right on the cusp of the birth of the internet, so I actually got to witness that progression from having to dial in to get internet service to now. It just amazes me every day. So, yeah, I grew up with the birth of the internet.

CITA: Then what happened? Did you graduate and go to USF? Did you stick around here?

SL: I didn’t think conventional college was the right way for me. I went to a technical school. I went to ITT Tech. They’re defunct now, but I think education is what you make out of it. ITT really helped me base my overall technology standards, to learn about all the different technologies.

Sam is often called to troubleshoot connectivity issues in different areas of the building. This small closet houses audio and video connections for several of the halls and his most valuable tool in places like this is his flashlight.

CITA: You ended up at the Straz Center. How?

SL: It was very interesting. I was working at ITT as a support technician. The HR lady over there knew the HR person that was over here. I was looking to spread my wings. In IT, we move a lot, but I’m not that way. I like to stay where I’m at, so I was with ITT for about four or five years and they started mentioning, “Hey, there’s a position coming up at the Straz Center.”

I was like, what technology at the Straz Center? Four or five computers? It’s a performing arts center. They don’t have computers. Then I got interviewed, and I realized there was a lot of technology needs that just weren’t up-to-date. That excited me. It was a challenge. “Oh, I could really optimize this and change this and do this …” Fortunately, I was hired.

CITA: Mm-hmm (affirmative). When did you get to the Straz?

SL: I’ve been here seven years. I had a little hiatus for about a year between that so I was here, I think, 2013, I believe? I was here for about a year, I left for about a year, and then I came back and I’ve been here ever since.

CITA: That’s awesome. Let’s go back to something that you said, “It’s a performing arts center and they don’t have computers.’ That seems like a common belief about performing arts centers, that they’re not tech-savvy, but we cannot live without technology.

SL: A hundred percent. Five hundred percent.

CITA: It’s our ticket sales. It’s our communication tool. Our entire internal operations.

SL: Our lighting control system. I mean, just everything for the organization. It’s really amazing because I interview people for my team, and one of applicants’ top questions is ‘What technology do you guys have here?’ They think it’s just a couple of computers for the admin assistants and that’s it. Then, when we do the tour, and I show them all the controls and all the systems that we manage and maintain and secure, they’re like, ‘Wow. I would have never thought there’s that much technology behind a performing arts center.’

The IT Department has spare parts and wires on hand at all times so they can answer and fix almost any emergency.

CITA: In ticket sales alone, the importance of data security is paramount. People don’t know how far ahead of the game you guys have to be all the time. Then, our new stage floors had to be tech-ready because so many shows now rely on connectivity and technology.

SL: Correct. A lot of shows come in and they’ll require dedicated internet for their shows for automations. If that isn’t there, the show is not going to run because a lot of the automations are controlled, actually, from their headquarters in New York or Chicago. It’s a good feeling for a lot of the touring shows to not have to worry about running over wi-fi, which can be unreliable, because we have a dedicated internet network just for them.

CITA: What keeps you here versus heading to San Francisco or somewhere where people more readily associate big tech and big money?

SL: I think it’s the culture, right? Not-for-profit and the performing arts—it’s a very amazing culture. During my little hiatus when I was gone for a year, I went to a big health care firm, and I felt like just another cog in the wheel. You just kind of missed that personality and the lightness of people, just the atmosphere at The Straz. It’s a totally different animal when a show’s on. When there’s a show in you can just feel that energy of the show, and in the for-profit world you don’t have that. That’s why I like it here. I like my peers. I like working here. I like the atmosphere.

CITA: Now that you’ve been here for about seven years, do you feel compelled to get on the stage? Do you feel the itch to be a star?

SL: Unless I want to wake every dog in the neighborhood with my singing, no way. I’m more of a logical thinker. That’s just my brain. I’ve been to plenty of performances here. I’ve actually talked to my wife about, later in my years, once the kids are out of the house, picking up guitar or something like that, you know, we offer classes here. It’s crossed my mind but, I don’t know, I feel like I don’t the right mind for it. [laughs]

Sam’s tool bag is filled with everything from networking cables and scissors to screwdrivers and his flashlight.

CITA: Just so everybody is aware, you are really, really super busy as part of the IT team at the Straz.

SL: Correct.

CITA: This isn’t like you’re just sitting at your desk waiting for a call.

SL: No, I’m not playing Maytag repairman here. No, no. I have three guys underneath me. We’re in charge of support, infrastructure and security, so anything’s that’s plugged into the network, we manage. Any security issues, we manage. And then, just supporting day-to-day, “My computer broke, I need a new keyboard, emails,” All that stuff, we work on.

I think we ran a report last year, and we averaged about 10 to 12 work orders a day between the team. People go, oh, well that’s only 12. Well, one work order might take two or three hours. If you put that into context, we’re pretty busy. That’s not even including projects.

CITA: When you multiply it out over 365 days a year, then it really starts to add up.

SL: Oh, yeah. Yes.

CITA: All right, Sam, so what else do you want to tell our readers about your job here and what if they’re interested in joining you guys in IT? Do you have interns?

SL: We do. We actually have an intern position coming up. I don’t know the exact scope of the work, but I know that we are going to be hiring or getting an intern. In regards to joining the team, I know we’re potentially growing as the center grows, so definitely check the HR website. It’s a good, family team. We all pitch in together, and you don’t often find that in IT. I think that’s one of the other reasons I stick around is we’re all a team, where in bigger organizations, you’re just doing your own thing. I like that, the departure from the normal IT experience.

Called away from his desk yet again, Sam heads backstage for his next IT adventure.

If you want to intern with the Straz Center Information Technology department or explore career possibilities, visit our “Careers” page.

SEQUINS!

Like peanut butter to jelly, like Siegfried to Roy, what would the performing arts be without sequins?

marilyn monroe

If the performing arts were a country, the flag undoubtedly would be made of gaff tape and sequins. What material would befit the banner of our happy little nation-state more? When we think about a few American performing arts icons – 1) Marilyn Monroe 2) Diana Ross 3) Liberace and 4) Elvis, we think sequin 1) red dress, Gentlemen Prefer Blondes 2) 8 out of 10 costume changes 3) everything and 4) capes and jumpsuits.

This perfect plastic paillette adds shimmer, glamour, depth and a failsafe wow factor to all sorts of costumes. This spring, sequins trended in everyday wear, adorning t-shirts, shoes, belts … proletariat fashion hasn’t seen this much day-to-day glam since the ‘70s. Let’s face it. Everybody loves a sequin.

But from whence came this glittering gimcrack, this decorative doo-dad?

Leonardo_da_vinci,_Device_for_Making_Sequins

Leonardo da Vinci’s sketch, circa 1480-1482.

The sequin seems to have emerged from the world’s cultures’ collective subconscious, as examples of sparkly disks sewn to clothes and accessories appeared in King Tut’s tomb, 2500 B.C. India, and in parts of ancient Asia. The notion of attaching coins to clothes for status caught on almost everywhere, and lo and behold, Leonardo da Vinci invented a sequin-making machine that, like his airplane, only made it to the sketch phase. However, it bears repeating: da Vinci sketched a sequin-making machine. The man who gave us Mona Lisa and The Last Supper also dreamed of full-scale sequin production.

flapper 2

Metal sequins lasted until the 1920s, which meant all those flapper dresses were a heck of a lot heavier than they looked. Later that decade, the world discovered the many uses of gelatin, one of which happened to be pressing it into sheets and punching out hundreds of lightweight, easy-to-color sequins. However, gelatin dissolves and melts, a problematic fact of life for these vegan-unfriendly decorations. Another method of back-plating acetate (clear plastic) with silver emerged thanks to Kodak and the ingenuity of a New York spangle-maker named Herbert Lieberman, who later, naturally, relocated his sequin-production operation to Florida. The acetate proved too brittle – unless, as Lieberman discovered, it was coated on both sides with Mylar.

Voila! Lieberman invented modern-day sequins that could withstand a round in the washing machine. Today, we use vinyl plastic sequins which are cheaper and more durable but not as sparkly as their acetate, divine-light-channeling counterparts. The next stage in sequin evolution will hopefully be for a glorious dot of high-reflective power that biodegrades. Stay tuned.

Try Not to Fall Asleep or Succumb to the Peer Pressure of a Standing Ovation

And other helpful tips concerning theater etiquette

We’re always finding things our guests leave behind (like shoes … how do you leave only one shoe under your seat, people? Is it when you get home that you look down and say ‘oh, I’m only wearing one shoe! Well, I don’t feel like driving back.’?). A few months ago, after a high school group came to see Dear Evan Hansen, we found a small handout listing “tips and advice on how to practice good etiquette and appropriate manners when attending a live show.”

We were thrilled. As a general rule, we love for people to practice good manners at a show to maximize the enjoyment of everyone including the performers onstage. Just Google “Patti Lupone cell phone” to discover how much actors hate having people disrupt a show to video, take selfies or answer a call. As digital rudeness continues to elbow manners right out the exit door of social events these days, knowing that many people still cherish respecting others by not texting or checking the playoff scores during a live performance brings a big ol’smile to our faces.

The handout included some other great tips unrelated to cell phone use like “#4—Eat Your Dinner Before the Show, Not DURING It” (preferably at one of our Straz restaurants, plug plug); “#11—Try Not to Fall Asleep” (um, yes please) and “#12—Standing Ovations Are Overdone, Don’t Give In To Peer Pressure” (right on! If you don’t think a performance was worth your precious standing O, by all means, stay seated with your enthusiastic clapping). Obviously “Do Not Leave Your Etiquette Handout Behind” wasn’t on the list of verboten behaviors, but we’ll forgive some things as long as you’re not livestreaming yourself watching the show.

Sometimes we do have folks who are new to the performing arts and wonder what’s appropriate and what’s not. Dress code at The Straz is more or less “wear some,” so we get everything from flip flops to Jimmy Choos at any given performance. The old chestnuts remain intact: arrive early, stay through the curtain call, be aware of the folks around you and respect their experience and sight lines—and remember, everyone in the theater can hear, see, and smell what you’re doing, so let common courtesy be your guide.

Of course, as with all rules, there are exceptions. Some shows or performers want you to go crazy posting to social during their live event because it’s awesome free advertising and builds their fanbase. They’ll let you know prior to the show if it’s okay. We also introduced sensory-friendly performances for our neuro-diverse student population at the Patel Conservatory, where it’s okay to make noise, get up and move if you need to and otherwise break the traditional theater etiquette rules to accommodate our guests with sensory sensitivities. You can read more about our sensory-friendly performances in this article from Tampa Bay Parenting magazine.

With the new Straz season on the horizon, we’ll have plenty of opportunities to practice turning off our cell phones before the curtain and making manners trendy again. At least we can be thankful folks don’t spit on the floor or throw stones at the actors anymore.

A Director of Production Services TELLS ALL!

The performing arts are big business. In this industry, we have a lot of super important jobs for people who love the theater but who may have no interest in performing professionally. This week, we sat down with Gerard Siegler, Straz Center director of production services, who plays a huge part in making sure the shows work and the forty-billionteen details of a live performance have been handled.

production

Gerard Siegler, director of production services for The Straz.

CAUGHT IN THE ACT: What are production services? What do you do? Take us through a typical day in the life.

GERARD SIEGLER: Sure … there’s no typical day. The gist of my job and the job of any production manager is to deal with all the backstage needs. This would be the technical elements like making sure that we have equipment that shows need. Sometimes it means getting hospitality, booking hotel rooms, booking transportation, either to or from the airport and even sometimes air flights and things like that.

It’s a wide range of duties, sometimes it’s as simple as a speaker needing a microphone or AV equipment all the way to Broadway shows—making sure that their set is going to fit within our space and making sure we have the equipment they need.

CITA: How does this work? Let’s say we book The Phantom of the Opera, and you get the memo that Phantom is coming. Then what happens on your end?

GS: Sure. Every touring show has what we call a “rider.” A rider is basically a bible of what the show comes with, what labor they need, meaning stagehand labor—that’s something else we’re in charge of—what equipment they bring, and then what equipment they need. It also specifies how long it takes to load in a show, how long the show is. The riders are sometimes so in depth it goes into what kind of candle an actor needs for their dressing room.

When Phantom is put into the books, one of the production managers is assigned to the show. They go through the rider, make sure that we can accommodate everything that the show needs. What we can’t accommodate, we either supplement or we can redirect them to what we have and then come up with alternatives—if it’s a smaller rental. If they’re adamant about, “I need this amp for my guitar.” Then we will rent stuff if we don’t have it.

That production manager will work through the show. Normally the advance happens anywhere between a month to three months out, depending on how large the show is.

For Broadway shows, it normally takes about anywhere between 10 and 16 hours to load in a show. Most Broadway shows load in Monday, and we have our first performance on Tuesday. They’ll load in the entire show, they’ll do soundcheck, and then they load out … The production manager is usually the first person in and the last person to go. My typical day when I’m doing a show starts around 7:00 a.m. and gets done at 1:00 a.m. the next day.

CITA: You do that for four days in a row?

GS: Yeah, four days in a row. The Broadway shows are one of the easier shows to do. Morsani Hall is considered a roadhouse. A roadhouse means that we have most of the things that happen within Morsani, so it’s self-contained. For example, Phantom comes with everything they’re going to need. Broadway shows, for the most part, come with everything they need besides a few little odds and ends. They tend to be the easy ones. It’s the rentals, and the one-offs, and the concerts that sometimes end up being the most difficult for us.

CITA: Why is that? It seems like you’ve got a concert, you just get a mic, you plug in a sound system, you’re good to go.

GS [laughs]: It’s typically not like that. For instance, some of the smaller concerts just bring the artist and the artist’s guitar, and we supply everything else. What you see on stage is maybe 20% of the actual equipment it takes to run the concert. All you really see are the back line, the piano, the drums, a monitor … but to get all of that to work, it takes a while to load in.

Your dance shows even take longer sometimes, so your modern dance shows, like MOMIX, are very light[ing] heavy. We load in their lighting before they even show up. The day before they come in, we’ll have crew on that will set their lighting which is something that’s dictated by the show. MOMIX sends us a rider with a lighting plot, and we set the lighting plot even before they arrive. Sometimes what is a two-hour show takes three days to put together.

 

This is what the stage in Morsani Hall looked like when Wicked was loading in, 2017.

CITA: Right. A lot of what creates the magic and creates the illusion of theater is what production and costuming does. It’s the stuff that the audience doesn’t have to think about consciously. They can absorb lighting and music subconsciously and feel the feelings that they create. The catch-22 for you all is that nobody knows if you’re doing a good job unless you do a bad job.

GS: Exactly. We don’t get compliments, we get criticism. The only time you actually know we’re there is when something goes wrong.

CITA: Alright readers, so that means our production staff needs more compliments when you see a good show. When you see Gerard around, tell him that he did a good job. So Gerard, how did you end up here? First of all, tell us how long you’ve been at The Straz and then how does somebody get involved in theater production?

GS: I’ve been at the Straz … April was nine years. I started with the Patel Conservatory. I was one of their production people then moved over as a production manager to The Straz about five years ago. Last June, I became the director of production services.

I started out as an actor. I did theater in high school and performed on Ferguson Stage as a thespian. When I moved to college, I started a theater track for acting and needed a part time job, so I started doing work in the college tech shop. My technical director at the time took me under his wing and said, “You can make a whole career out of just doing this.” My sophomore year, I changed directions and did more technical theater.

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Gerard Siegler hangs lights for Blake H.S.’s production of FAME.

CITA: Were you at USF?

GS: No, I went to Flagler College in St. Augustine.

CITA: Did you find that you enjoyed the technical side more than you did the acting side?

GS: I did. I could see the product progression more, and that satisfied me more. But it’s more pressure because, like I said, you do one wrong thing and it makes or breaks a show. For me, though, building the set, running sound, running lights, putting all that together, that really interested me.

CITA: And then you got a degree in theatrical production?

GS: Yeah.

CITA: Then what happened to you?

GS: After Flagler, I went to the Shawnee Playhouse in the Poconos for summer stock. I was the assistant technical director. One of my friends who graduated with me, we both decided that since we were already in Pennsylvania, we should move to New York City for a year. That’s what I did. I moved to New York for a year, did some odd jobs, picked up some theater stuff here and there, and then moved back to the Tampa Bay area to get married. My wife, who is in the theater department at the Patel, said “Why don’t you just come out and be a summer intern for Patel?” The day before I came in for my interview for the summer internship, the technical production person for Patel had put in his one month notice that he was leaving.

CITA: Whoa!

GS: I was hired for that position, and that was my start.

CITA: And the rest is history.

GS: Exactly.

CITA: Okay, so here you are, and you’ve been doing this for a while. You got seasoned out there in the world on your career trajectory. Do you still get nervous before a show goes up? Do you ever have feelings of, “Oh my gosh, I hope nothing goes wrong. I hope we did the lighting just right, I hope—”

GS: I get nervous the morning or the night before, thinking “What did I miss? What is going to go wrong?” Really, all it takes is for one little thing to go wrong and it can throw the whole day, especially when you’re dealing with different personalities. I’m dealing with local stagehands anywhere from … Three is normally our smallest crew, to some Broadway shows where you’re looking at 75-80 labor hands. Not to mention the actual tour, they’ve come with their own staff. So there’s always that sense of “What did I miss? What happened? What’s going to happen?” [laughs] It doesn’t matter how much pre-planning you do. When you get here and you get on the grounds, half the time the plan gets thrown out the window within the first 30 minutes.

CITA: Show business can get a little frustrating sometimes.

GS: As for the show itself, the only time I get nervous is when we’re falling behind. With The Straz being as well-known as we are, we sometimes get the first stop on tours. Once, a Broadway show had issues with their automation track. The floor that you see for Broadway shows, sometimes it’s painted elaborately, and that’s not actually our stage. It’s another deck that gets put on the stage. Sometimes they have what’s called an “automation track,” which is grooves within the stage that moves the furniture on and off.

For this show, we’re the first stop. Five minutes before I was supposed to open up the house and have the audience come in, their automation track broke. This is opening night of the first show of this new Broadway tour. I have to hold opening the house until we can get the track fixed because if we don’t get it fixed then the effect doesn’t work. That was nerve-wracking.

CITA: Did you get the automation track fixed in time for the show?

GS: Yeah. We were 20 minutes late opening up the house. We have a great usher staff and front of house staff that helped with the audience. We started only five minutes later than we would normally start.

CITA: We love these behind-the-scenes stories because it’s the show that people don’t see. It’s the high drama, the high tension of getting it to go flawlessly, or start on time. When you have all of these moving pieces in live theater, you don’t get a do over. Is that kind of excitement what drives you as part of technical production?

GS: I get my most joy from show to show. If you’re an actor touring, doing the same role for a year and a half, you’re doing the same role for a year and a half. Whereas, within a year and a half as a production manager, or the director of production services, I’m in charge of a couple hundred shows a year. I have a team, so it’s myself and there are three other production managers. Between the four of us, we are in charge of all the theaters except TECO theater.

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Gerard Siegler works shows from all genres which includes being backstage with one of the dinosaurs from Erth’s Dinosaur Petting Zoo.

CITA: Which is almost unbelievable, that a staff that small can do that many shows. Because we don’t book shows in just the theaters. We’ve got Live and Local, we’ve got Straz Live in the Park, we’ve got Fourth Friday. We have so many other events that are happening outside of the theaters, too, that just the four of you make happen.

GS: Yeah. It’s not just the shows themselves. For instance, opera has two performances that they do, but the average opera takes anywhere between two to three weeks on the physical stage to go through. You’ve got a week of loading in the set and lighting and a week of tech rehearsals. Then you have two performances, and then you load it all out in one day and you’re on to the next one. That to me is what gets me going. It always changes. Hamilton is going to be here for four weeks this season. At each show there will be some new challenge that pops up, whether it’s, “My costume ripped” or “We ruined a costume.” Or, “The washing machine went out.” You’re always on your toes.

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Close-up view of a sound board.

CITA: For people who want to be in the theater but not on stage, how do they get to where you are?

GS: I started in high school. I was one of three boys in my high school theater department, so I did a lot of stuff onstage, but I also did a lot of tech prep work. I helped with the sets, helped with the lights, even though I didn’t think about it as a career until college. If you really, really, really want to get a job nowadays behind the scenes, you either become an audio engineer or something with video. Those are the two things that are not going anywhere right now. We’re always looking for someone in audio, visual and lights. You have to be very good at what you do because as much as the actors are onstage doing their best, sometimes we’re the ones that break the performance because mics are popping.

CITA: Or you make the performance flawless.

GS: Exactly. Yes.

CITA: We have classes in technical theater here, right? Workshops for students?

GS: Yes. Patel has a stage management class and we’re going to try to work with them this year to make a technical theater class that deals with a little bit of everything. I give tours all the time to college and high school groups, especially that are technical theater oriented to come. They look at our stage; they can go into the booths.

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Inspiring the next generation of production managers, Gerard and his son Maddon on Carol Morsani Hall stage.

CITA: That’s cool.

GS: They go up to the fly rail—10 stories up. CJ Marshall, who’s our director of operations, has really tried to spearhead getting younger people interested in technical theater because when you go to a high school program, you get 30 kids who want to be actors and maybe two or three who want to work back behind the scenes. We’re trying to invest in the future.

CITA: That’s fantastic. Do you love your job?

GS: I do love it. Like I said, it’s a new thing every day. It always keeps me on my toes. This summer we’re updating and renovating a lot of our old equipment. We’re excited in the production department. We’re taking on a lot, especially with the next season almost here. It’s always fun.

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A family affair – Audrey Siegler, Patel Conservatory theater department managing director and Gerard’s wife, with their daughter Ellie, Gerard and son Maddon. Gerard is testing the new assisted listening system while the family enjoys Paw Patrol.

This Is What It Looks Like to Change a Child’s Life

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On the far side of the indoor basketball court, a line of wobbly-kneed elementary school kids stomps through a sequence of shuffle-step, shuffle-step with their dance teacher clapping time. Their shiny, tiny tap shoes clobber the gymnasium with sounds, their faces an endearing mix of intense concentration and unadulterated joy.

Out of context, this line of adorable grade schoolers looks like any other kids’ dance class, but there is a stark difference: these children are in the temporary safety of Metropolitan Ministries’ shelter, their lives upended by homelessness, domestic violence and other horrors beyond their control and not of their making.

Facing an uncertain future and abrupt changes, these children have this dance class in which to feel their joy, to be kids among kids, to have a normal, kind, loving thing happen to them at a predictable time every week. This one dance class helps hold their worlds together. This one dance class works its small, tireless magic to calm the beast of trauma ravaging their lives.

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“These kids, so many of them, have a history that should happen to no one,” says Janet Pantaleo, vice president – major gifts officer of Metropolitan Ministries (Met Min). “The transformational power of the arts, it’s tremendous. There’s no question about it. Yes, people have needs like food, shelter, rest … but humans need a creative outlet, too, to be alive. These children love their dance class, their music class, their theater class.”

Quietly and tenaciously, the Straz Center has offered performing arts classes for the children of Met Min since 2007. Today, we offer in-school and afterschool programs. We are there for hip-hop class, tap class, ballet class, music and theater. We are there when homeless children need hope, need a way to communicate without violence, need to feel confident and hear a roomful of people applauding their achievement.

“The kids have been blessed, very, very blessed to have been given this opportunity to have performing arts classes. How intimidating is it to stand up in front of people and do a tap dance or speak your part of a play? But they do it,” Pantaleo says, “and they gain confidence. Then they think, ‘if I can do that, what else can I do?’ Our relationship with The Straz makes us able to give well-rounded support. It’s mind, body and spirit.”

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Some of those elementary-aged kids clomping through shuffle-step at the end of the basketball court? They will utilize full scholarships to train at the Patel Conservatory – and who knows where they’ll be able to go after that.

Every one of our classes for Met Min children happen 100% through donor support. When you give to The Straz this holiday season, you’re also giving to Met Min and every one of our other 44 community partners. That’s what we call playing it forward.

Together, we can keep changing lives through the power of the performing arts.

IIIIIIIIIIIIIIIII Love a Parade!

This year, Macy’s hosts its 91st Thanksgiving Day parade. With all the costumes, singing, dancing, choreography, floating sets and music, a parade represents an oft-overlooked cousin in the performing arts family.

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Theater and industrial designer Norman Bel Geddes (left) worked on float designs for some of the early Macy’s Thanksgiving Day parades. His modernist eye created work-of-art-caliber floats, including Cinderella’s Coach, 1926. (right).

Human beings and parading have a long love affair, from early uses in rites of passage to military victories to funeral processions to the American modern spectaculars like Mardi Gras and, happening this Thursday, the Macy’s Thanksgiving Day parade.

In the United States, we parade for holidays, gay pride, soldiers, soldiers who died in combat, giant football competitions like the Rose Bowl, to mark our independence from Britain and to celebrate a newly elected president, mayor or sheriff. If you travel around small-town America, you’ll find as many local festivals as there are small towns and a parade that goes with it. (Chicken Festival, Strawberry Festival, Cow Chip Festival, Festival of Trees, PumpkinFest, GeckoFest … the list goes on.)

Some of the great American parades developed as off-shoots of a bigger parade. For example, take a look at the Mardi Gras Indians. Deprived access to permits because of racism, the New Orleanians of African descent created their own parading organization, ranking structure and processional guidelines. As a show of respect to the native tribes in Louisiana who sheltered enslaved Africans and brought them into their communities, this band of African-Americans in New Orleans named themselves the Mardi Gras Indians.

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They formed tribes instead of krewes and relied on the cultural knowledge of West African and Native American beadwork to construct unbelievably intricate beaded “suits” for the parades as well as gathering the requisite brass band and showing off in processional dancing. Though the origins included (often mortal) fighting to settle scores, eventually the sheer magnitude of artistic ability to create the elaborate Mardi Gras Indians suits (called “masking”) gained national attention. One of our favorite New Orleanians in this tradition is Ronald Lewis who curates and directs The House of Dance and Feathers, a Mardi Gras Indian museum in a trailer on the back of his property in the Ninth Ward.

Here, Ronald talks about the time and effort required to make an Indian suit, and you can catch a glimpse of a few Mardi Gras Indian parades in the footage as well:

Though Mardi Gras and the Mardi Gras Indians specialize in the New Orleans-style brass band, most parades follow suit with marching bands. This Thanksgiving, Macy’s parade features 12 marching bands from around the country as well as performances from celebrities (Gwen Stefani opens the parade this year with “White Christmas,” which we find ironic), Broadway stars (like Hamilton’s Leslie Odom, Jr, who performed at The Straz this past summer) and seven dance troupes. The spectacle of Macy’s parade is, of course, the enormous balloons which make this parade so unique.

From a theatrical standpoint, Macy’s Thanksgiving Day parade represents a mobile multi-faceted show complete with the “wild-card” variable of navigating an enormous helium balloon. This year’s floating Pillsbury Doughboy is large enough to make four million crescent rolls. That’s a lot to handle.

We speak for many Gen X-ers who cherish the 1997 Thanksgiving Day parade in which Barney the Dinosaur was impaled by a Times Square street lamp during surprise wind gusts and died spectacularly on 51st St. Symbolic as it was culturally, Barney’s death would probably make a great documentary featuring interviews with the unfortunate souls tasked with handling the careening character. Quelle horreur!

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Parades, especially for joyful holidays like Thanksgiving and Christmas, capture the youthful insouciance of performing arts: it’s fun for fun’s sake. We can laugh, clap, ooh and ahh, be entertained and fawn over favorite characters and performers for no other reason than to enjoy the moment.

Delight for delight’s sake.

We can be grateful for that.

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This year’s parade starts at 9 a.m. EST, broadcast live on NBC. Keep your eyes peeled for performances from casts of four Broadway blockbusters, Dear Evan Hansen, Anastasia, SpongeBob SquarePants and Once on This Island. Florida’s own Flo Rida (get it?) stars on the Krazy Glue float, “Fun House.”