Monthly Archives: November 2013
I had the distinct pleasure and honor to shoot Pearl Theatre Company’s world premiere production of Terrence McNally’s And Away We Go on Sunday. There were actually many pleasures involved – first, this was the first run post-tech, so I was in the first audience to see this performed, ever. Second, Mr. McNally was there and I got to chat with him briefly about the show and finally, I got to shoot side by side with Sara Krulwich, the renowned New York Times’ theater photographer. While this does mean no NY Times credit for me this show, it was great to talk with her a bit and see that our equipment list and processes (at least the shooting part) aren’t all that different.
The challenge shooting this show is apparent the moment you walk into the space. The set. The set is a character unto itself and it is a very demanding character. The stage is completely open to the walls, as it was for Henry IV, Part 1. But it is supposed to be the back stage of one of several (any?) theaters. One where collected props, costumes, marketing materials and actor detritus have collected over decades and created a warren chaotic to an outsider, but intimate and welcoming to any theatre-folk. It’s a lot to take in. You want to examine each piece. Create the backstories, consider the symbolism. Luckily since there’s no curtain (a recurring theme), the audience will be able to take it in before the actors take to the stage.
But as a photographer… The set was more of a consideration than usual. How much do I include? When might it overwhelm the actors and when does it support them? Our human eye is made for following motion, so live it wasn’t such an issue. But looking through the lens and freezing moments, the actors lose their upper hand. And there’s a gorgeous verticality and scale, as you can see, with the lighting. But to include the sculpture of the lighting dwarfs the actress or actor, which is cool from an overall composition aesthetic, but my style favors tighter shots on actors – seeing their bodies and faces, the tools they have that convey their art in a photograph. That was all but lost in that scale.
So balance was needed. Compromises were made. It is a wonderful show. Anyone who is of the theatre or who just truly enjoys theatre will adore this love letter, with its in jokes and themes. Just be sure to go early and take in that set!
This post is late in coming. I’ve been up to my ears playing Falstaff in The Baited Bear Players’ production of The Merry Wives of Windsor. Believe me, I tried to figure out how to shoot the show while I was in it. The best I could do was some shots from a rehearsal and some from the wings. But that is another post!
Despite it all, photo gigs will come! Once again, I’m thrilled to be shooting for the Nylon Fusion Theatre Company. This was another in their This Round’s on Us 10 minute play festival series. This time the theme was, appropriately, Halloween. It really is a pleasure working repeatedly with a company and getting to know their people and their style. While each show is different, there is a certain common energy to their productions, which I hope I am capturing on my sensor. I certainly see it!
As with the last iteration, TROU: Independence, TROU: Halloween was in the Gene Frankel theatre, which the Nylon Fusion people use to its utmost – they fill that place to the rafters! I took my now customary spot on the corner of the L they create with their seating and got to work.
While “Halloween” led to a few darker plays, thematically, despite my worries, they were generally bright, technically. Shooting went well throughout, with no technical challenges. For each shoot, I try to learn and grow. This time, it was about the nature of the show and how I cover it, shot-wise. During a traditional, long-form play, I shoot several shots per scene, depending on the action of the scene. Two people at a table talking will get fewer shots than a fight scene, obviously. But for eleven ten minute plays? I feel like I’m shooting more than I normally would for those “quieter” pieces, because I don’t want them to get short-changed at the end of the culling and editing process. Then during the culling process I’m trying to keep things even, so I’m maybe a little harder on the more “active” plays, really focusing on the best of the best so they don’t overwhelm the gallery.
Ultimately, they did a great job. If my hardest job is to be spoiled for choice? I’ll take it!
Next up is the Pearl Theatre Company’s production of And Away We Go! So happy to be shooting for them again. And rumor has it, I’ll be dealing with a VERY interesting challenge for Nylon Fusion’s next show (or duet of shows) coming in 2014! Stay tuned!