UNSUNG HEROES
Part of the enjoyment of a performance of opera, compared to listening to a recording, lies in the spectacle created by the sets and the costumes and in the sound of live voices and a live orchestra. While the singers, the conductor and the director have biographies in the program, there are many other people without whom the show could not go on. Yet they seldom get more notice than their name on a list with others involved in the production. Four of these important people are the Production Carpenter, the Costume Supervisor, the Répétiteur, and the Stage Manager.
On the professional stage Production Carpenter is the title for the person who is the ultimate authority when it comes to erecting the set and making changes during the show. All other departments co-ordinate their efforts through him. The work must be planned and organized so that it can be done as efficiently as possible — the stage hands actually rehearse the changes which are to be made during a performance, and they accurately measure the time it takes. The sets are hung and assembled under his supervision. During rehearsals, as problems arise or ideas are changed, he consults with the designer and others and makes final adjustments. During a show he is the person ultimately responsible for making sure the proper sets are onstage at the appropriate time, the stage is safe and orderly, and the set changes happen in a timely manner. After the last show, he must co-ordinate the load-out, making sure all departments can work together efficiently and safely.
Although costumes are frequently rented, most companies construct some costumes especially for new productions. It is the Costume Supervisor's task to meet with the designers and talk in depth about the conversion of the designs to actual costumes. What construction techniques are envisioned? What quality and texture of fabrics are to be used? (Usually the designers provide swatches — small samples of the fabric.) What possible changes, such as dyeing will be necessary? Sometimes what a designer wants does not even exist and must be invented. All this has to be done with tact, giving the designer what is wanted and still maintaining quality and suitability for later rental, for usually the finished costumes will help pay their cost by being rented to other companies.
Once the designs are finalized, and the measurements of the artists have been obtained, it is time for the cutters and drapers to get to work. Ideally, a costume is first built of muslin and fitted to the singer. This can then be used as a pattern for the final costume. However, few companies can afford to bring singers from all over the world for advance fittings. Instead, dress forms are configured to a singer's measurements, drapers look at a picture and try to reproduce the effect by manipulating the fabric on the form, draping, pleating and folding it until it hangs properly. It is then marked, flattened out, and a paper pattern is made. This will be used to cut the final fabric. The crew of sewers and others then start actually making the costumes. (Opera costumes are made with very wide seams so that they can be altered to fit all those who might later sing the same or similar roles.) If necessary, there is also a milliner to create hats and headdresses.
One of the busiest people during an often chaotic opera season is the Répétiteur, usually called the rehearsal pianist or assistant conductor who plays during the early staging rehearsals and is also called upon to accompany auditions, to play for special occasions, to conduct a backstage banda and sometimes play unusual instruments.
As well as being an expert pianist, able to make the music resemble that of a full orchestra as closely as possible, the répétiteur must be able to read a full orchestral score to make sure that everything the singers must hear is reflected in the piano transcription, to sing everyone's part while playing, and to follow a wide variety of conductors, all of whom have their own idiosyncracies.
During an opera performance, we are all aware of the singers and the orchestra. We see the wigs, make-up and costumes and are aware that people must be changing the sets between scenes. However, unless something disastrous happens, we are unaware of the person making sure that everything happens as planned. This is the Stage Manager who can be thought of as the nervous system of a production, making sure all the other parts of the body are working correctly. But there is much more to the job than running a particular performance.
Before rehearsals start for the season the master schedule of staging rehearsals, costume fittings, coaching sessions, etc. is prepared. Lists are prepared of all the people involved in a production, and then the assignments for the staff and others are made. Always present during every rehearsal, stage managers keep track of all the instructions given by the director and even sometimes fill in for missing singers during the staging. They cue entrances, make sure the performers have the necessary props, and check that all details of the costumes are correct.
Connected through headsets with assistants and other important backstage personnel, the stage manager gives the signal for everything that happens, from the entrance of the conductor and the raising of the curtain until the end of the curtain calls. This includes all sound effects, set changes, lighting changes, and other special effects such as fog. Assistants are stationed at various entrances making sure everyone is where he or she is supposed to be and all enter at the precise moment called for.
Revised September
2005
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