ATW - In The Wings

House Manager Brian Gaynair handles the day-to-day operations of the Shubert Theatre, is the primary liasion between the production and the theatre owner, and coordinates between all the front of house departments. His career path started in security and brought him to the Shubert Theatre where he has been house manager since March 1995 during the run of "Crazy For You". Over the years he has handled challenging situations such as emergency evacuations and the First Family's recent visit to "Memphis". Gaynair shares how audiences evolve over the run of a show, and the most interesting part about being a Broadway house manager.

Sign Language Interpreter Alan Champion combines his performing skills with his sign language background to interpret live theatre. He stresses the importance of being a good listener, and concentrating on the immediate performance rather than the original script. He explains the unique circumstances in interpretting the new revival of "The Miracle Worker". Champion discusses how his career developed, and the personal and professional significance of the 1980 Tony Award winning play "Children of a Lesser God".

Art Director Gail Anderson of advertising agency SpotCo brings her passion for graphic design to create visual identities for theatrical works. Anderson traces her career from the School of Visual Arts to the Boston Globe to Rolling Stone and now Broadway. She explains how many designs are created in the limited time leading up to a production, sometimes before the show is fully formed. Examples shown include "Come Fly Away", "A Behanding in Spokane", the revival of "Hair", and the new revival of "La Cage Aux Folles". A show's poster artwork is spun off into many mediums including print ads, marquees, billboards, bus ads, and television commercials.

Theatrical Photographer T. Charles Erickson captures two-dimensional representations that become the historical record of live stage productions. Erickson grew up with a camera always by his side, from childhood through "Woodstock" to his first photography job at Yale University. At a Yale Repertory Theatre rehearsal for "Master Harold...and the Boys" he encountered playwright Athol Fugard who encouraged him. Erickson went on to photograph shows at the Long Wharf Theatre, Hartford Stage, Lincoln Center Theater, and many more; and is shown here at a dress rehearsal of "American Buffalo" at Princeton's McCarter Theatre.

Theatre Design Specialist Roger Morgan talks about how his education in scenic and lighting design and backstage experience helped determine his focus in the field of architecture. He works on new designs as well as restorations, fully evaluating the existing damage and work required. For the Nederlander Theatre, left in "grungy" condition that suited the long-running musical "Rent" which closed in 2008, Morgan referred back to historical records and photos. Morgan paid close attention to the original architectural details and interior lighting, and gave the theatre a fresh exterior highlighting the arches and original brick as well as a new marquee.

Stage Automation Engineer Chuck Adomanis designs the modern automated system for moving theatrical scenery. He demonstrates the control system on the new set built for the "Billy Elliot" tour. His designs created on computer are executed by many craftsmen on the shop floor. Notable designs using Hudson Scenic Automation are "The Lion King"'s Pride Rock, "Chitty Chitty Bang Bang"'s flying car, and the large video screens used by the current "Dreamgirls" tour. Adomanis shares the origins of his interest in stagecraft, his career path, and what continues to motivate his work.

The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of a new production of "Joseph and the Amazing Technicolor Dreamcoat", Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.

Textile Artisan Gene Mignola works closely with costume designers, taking patterns and creating fabric that ultimately conveys their vision. He explains how printing fabric has evolved over the years from designs done by hand on paper to computer-aided drawings, and from using single-color silkscreens to digital printers. He also talks about how his interest in fabrics began in childhood, the foundation for his work experience, and why he loves his job.

Costume Designer Carrie Robbins details the process of costume design from the phone call to the sketch to the construction of the costume; relates the story of finding the perfect fabric for the "Sisters" dresses in "White Christmas" and not being able to purchase enough for all three productions - and then how the fabric was created on a computer; explains the costume designers "bible" (used to hold all infor mation about the designs for a production) and the effort and detail that goes into it; and discusses the differences between costumes and clothes; what happens at fittings.

William Berloni, theatrical Animal Trainer, discusses the interaction between human and actors and their animal co-stars; how the animals learn cues and what they do if they misunderstand; how the animals adapt and learn one step at a time from Bill's backyard to an applause-filled theatre; how much to expect from animals that are onstage eight times a week; the story of how the original "Sandy" was found and trained for the first production of "Annie";and why he uses likes to use animals that have been rescued from shelters.