ATW - In The Wings

Cast Album Producer Kurt Deutsch, co-founder of Sh-K-Boom Records, preserves musical theatre history by overseeing entire production of cast recordings, including hiring the engineer, directing the cast in day-long studio sessions, and giving the composer the final word. Each recording has a unique vibe, as seen here in the fusion of music styles for "In The Heights". Deutsch also describes how he captured the live, organic feel of "Hair" and the sense of community amongst the cast tribe.

Sound Engineer Carin Ford ensures the sound design of a production is transparent to audiences while effecting the mood and feel of a show. Ford traces her career from her early interest in music, to meeting and working with Lily Tomlin, to numerous Broadway productions. Ford explains how mixing a new show requires observing rehearsals before adjustments can be made during run-throughs, incorporating notes from the director, designers, and music team. Ford walks us through her daily routine at "La Cage Aux Folles" to check the sound system, so she is prepared for any problems that may arise.

Model Builder Steven Kemp explains how a model is the main communication tool in visualizing and building a show's set. Kemp works with scenic designer David Gallo in turning his design sketches into perfectly scaled models. Kemp highlights the advantages of a physical three-dimensional model as well as a digital model easily viewed by computer.

Production Manager Ruth Sternberg is the primary facilitator in executing a stage production within its given financial parameters. She discusses with the director and designers what they want to achieve and provides staffing and resources for each play. After 10 years at Trinity Rep with Oskar Eustis, they both moved to the Public Theater where they work on 6 stages, "Shakespeare in the Park" at the Delacorte Theater, and off-site productions such as "Passing Strange", "Hair", "Bloody Bloody Andrew Jackson", and "The Merchant of Venice" on Broadway. Sternberg loves that her job always brings a new challenge, such as the one seen here for "Kicking a Dead Horse".

Musical Director Carmel Dean is responsible for many different aspects in a musical production, from collaborating with the director to overseeing music rehearsals and conducting performances. Dean traces her theater career from performing in high school musicals in Australia with Heath Ledger, to attending NYU where she met adjunct faculty/composer William Finn, and went on to work with him on "Elegies" and "The 25th Annual Putnam County Spelling Bee". For "American Idiot", she's worked closely with music supervisor/arranger/orchestrator Tom Kitt, and is seen here running daily vocal rehearsals and in performance conducting the onstage band.

Theatrical Shoe Designer Phil LaDuca worked as a Broadway dancer, choreographer and dance teacher before creating LaDuca dance shoes. He has created character shoes with the needed flexibility to be danceable, as well as the support and security for singers and actors. He works with costume designers, and handles the process from sketches through manufacturing in Italy to the finished products that end up on Broadway, national tours, and films. LaDuca shows how customized shoes are created for actresses such as Kristin Chenoweth in "Promises, Promises" and Bebe Neuwirth in "The Addams Family".

Theatrical Wig Maker Paul Huntley explains the multitude of advantages of using wigs on stage; how he started his career in theatre; his preference for a natural look; working on the long-running musical "Cats"; and his ability to be a prolific designer. Huntley demonstrates tying hair to create a new wig; and shows how a wig helps transform an actor into character.

Dramaturg Anne Cattaneo explains her primary responsibilities, and likens her job to an acquisitions editor in a publishing house. Cattaneo has developed an extensive knowledge of languages, culture, and theatre history. In-depth research is often required for productions with complex timelines such as "The Coast of Utopia" trilogy. The current production of "The Grand Manner" seen here utilized historical documents found at the New York Public Library for the Performing Arts.

Orchestrator Christopher Jahnke shares how he creates the way a show musically feels by breaking it down into individual instrumental parts; learned from his mentor William Brohn, orchestrator of "Miss Saigon" and "Wicked"; studied '50s music to give the "Grease" revival an authentic sound; and works closely with composer David Bryan on "Memphis" as music producer and supervisor at daily rehearsals and in the recording studio for the cast recording.

Fight director Rick Sordelet creates the action in "Superior Donuts" that is an integral part of the storytelling; demonstrates the visual and audible illusions of onstage fighting; breaks down the sword fighting staging in "The Royal Family"; and explains the purpose of a fight-call and the importance of safety.