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[MUSIC].
Hello, I'm Tom Schumacher, President and Producer of Disney Theatrical Group, but
I'm here today for the American Theatre Wing.
The American Theatre Wing has produced over 300 episodes of working in the
theater, but today is going to be a bit of a change of pace.
As a producer, I'm well aware that it takes a small army of almost invisible
people to make a show happen eight times a week.
Now my favorite part of making theater is working with the creative group to make
the original production. But after opening night, we leave the
theater and it's left to these extraordinary people backstage who make
it happen eight times a week, just as it happened on opening night.
And today we want to take a look at some of those people.
Now, we certainly can't cover every area of the theater in one episode, but we can
do some of them. So today, we're going to meet the makeup
department. We're going to meet the wig department.
We're going to meet the puppet department.
We're going to meet the wardrobe department, and take an extraordinary
look inside one player in the orchestra pit.
Now our great studio here at CUNY has been taken over today.
It's a little bit like the drama club meets a science fair.
So come with me and let's take a little look behind the curtain.
[SOUND] So, here we are in a makeup room, and we're going to take a look at a
pretty extraordinary makeup. But let's start with the two people that
I'm actually with. First, in the chair here is our actress
Tshidi Manye, who plays Rafiki eight nights a week in The Lion King.
How are you, Tshidi?
>> I'm doing good and how are you doing?
>> I'm good. Are you comfortable with this experience
today?
>> Yes, I am, yes I am.
>> Now at the end we want to talk about what it's like to sit in a chair and be made
up with so much make up.
>> Alright.
>> But first, I'm turning now to Elizabeth Cohen, who actually runs our make up
department there on the Lion King. Now, when did you start working on the
Lion King?
>> 14 years ago when it started. I was in Minneapolis with the show and
moved to Broadway.
>> Now, were a make up artist before that?
>> I was an artist I'd consider myself and a theater artist, but I, I have a, more of
an art background, studio arts. So I have a painting background and I had
worked on, off Broadway shows.
>> And did you, did you train in cosmetology or any of that kind of stuff?
>> I didn't.
I just had had theatrical training in college of just basics and.
>> And how did we find you?
>> I happened to go to college with the
original make-up supervisor.
>> So the journey to come to Broadway actually was through people you'd gone to
school with.
>> Networking[LAUGH].
>> And the makeup we're going to do today was designed by Michael Ward, right?
And you worked directly with Michael when you did this, right?
>> Yeah, absolutely.
>> So Michael Ward's a British lighting, a
make up designer.
>> And hair.
>> And hair, that we, that works with us on the show.
So now let's talk first about this, this idea of you're going to do this every
night an actor needs to get made up. You're using a very specific design that
you have to follow.
>> Right.
>> So let's start first with the tools you're going to use.
What makeup is used in The Lion King to get.
>> Well.
>> And if you want to start, you can do
that.
>> We use a variety of makeups depending on the character.
Rafiki makeup was specifically designed with Fardel, which is a water-based
makeup, which comes in a cream and a liquid formulation, but is extremely
bright colors and the.
>> And these products haven't changed while we've been doing the Lion King?
>> things have evolved some, but we have
been using the same products since the beginning, and then adding to them.
>> And your brush here actually, that's a
big brush, Tshidi. [LAUGH].
>> That's, that's a lot of face to cover
with this brush. So the brush looks like a brush I'd be
using at home.
>> Yeah. The brushes that, most of the brushes I
use on Rafiki and some brushes that we use on other characters are actually
bought at an arts supply store, not a makeup shop at all.
>> These aren't makeup brushes.
>> I have a, like two or three make up
brushes I use on Rafiki, but because this paint is so, it's almost like water color
or acrylic, it works best with art studio brush.
>> And I see you've actually started to
sketch in on her some of this outline.
>> Yeah.
>> How long will this whole make up take you to do?
>> In the theater, it's a 30 minute make up,
we have exactly 30 minutes to accomplish it.
Some do it in less time, but that's the amount of time we have for it.
In a studio where I'm trying to make it look camera ready, it might take 40
minutes. but it's a 30 minute makeup.
>> I see.
And when do you arrive at the theater every night, to get made up?
>> I get to the theater by if the show is at
7:00, I have to be there by at least quarter to, 6:00.
>> Quarter to 6:00?
>> Quarter to 7:00.
>> So you need an hour an 15 minutes?
>> Yes.
>> Yes, to get ready.
>> For everything.
>> For everything.
>> We have, three characters, three actors
who, their call time is the hour before the show, because we have so many makeups
in the show that they have to start three people.
>> Well, well there are 51 people all
together in the Lion King.
>> Right.
>> But most of them do their own makeup.
>> Right. All the ensemble does their makeup, and
that's part of my job to teach them how to do that.
And give them the tools that they need in this, and the, simplest instructions that
I can give them to accomplish the design that they need to accomplish.
And the ensemble makeups are very, very simple, for the most part, but they're
very graphic.
>> But how many then, how many makeups for that, for The Lion King have to be done
in the makeup room?
>> we do three each, we have three crew members, so each of us does three
principals.
>> There's three people on the crew?
>> Yeah, and we each do three principals in the room.
>> The assistant supervisor also goes down
and helps Pumbaa with his makeup in his own room, although he does some of it
himself, and then they do.
>> What are you doing in the chair while she's painting you?
Do you want to start painting her?
>> Let's do that.
>> Let's see that a little. What are you doing when this is
happening?
>> We are just sitting. Sometimes we have like, you know,
discussions that depend on what the discussion is about on that day.
You know, you talk about your traveling, how was your traveling, what made you
upset or who did what in the train, and stuff like that.
>> So, so is Elizabeth your, your confessor,
your therapist, your,[LAUGH] is that part of your job?
>> It really is, actually.
>> It is.
>> And vice versa.
I mean.
>> because this is a very intimate relationship.
>> It is.
>> Yes, it is.
>> I mean, you literally spend 30 to 45
minutes this close to somebody.
>> You certainly know what each other have eaten for dinner.
>> Yes, definitely, definitely.
>> [LAUGH] Yes, that's for sure.
Or in this case, breakfast.
>> [LAUGH][LAUGH] You just say excuse me today, I just had a lot of garlic so, in
case this is garlic bread.
>> And we do keep these around to offer each other.
>> Yep.
>> Oh, everyone gets to have their own mint
in case there's a, a.
>> Yep.
>> Yeah, and usually we reciprocate you know, or if, if somebody needs one, we
both take one.
>> And, do you ever just want to sit and be left alone?
Do you need to communicate that with each other?
Sometimes if you don't feel like talking you just you know, just sit there and
just close your eyes and just, it's not like.
>> And, and, and dream?
>> And just dream.
>> And dream?
Because this makeup is.
>> Some times you fall asleep.
>> I do fall asleep, it's really like soothing sometimes.
It's like you know gives you time to meditate, because sometimes we need to.
>> Well, I'm going to leave the two of you
to keep painting and we're going to come back and look at what happens.
>> Yes.
>> At the end of this extraordinary make up.
>> Yes.
>> So I'm just going to let, Elizabeth,
thank you.
>> Thank you. [MUSIC] So like all producers, I left the
room while the real work was being done. So let's take a look, Elizabeth.
You, now Tshidi is ready. How long did this take you to do this?
>> It's about a 30 minute job, maybe 40,
depending on the care taken for the camera.
>> And how much touch up are you going to
have to do on this?
>> Well, for the theater, I wouldn't do any unless something catastrophic happened.
>> During the course of the show you
wouldn't touch it up?
>> No, Tshidi is very careful. we don't powder her, which would set this
makeup.
>> Mm-hm.
>> but she doesn't sweat, if she were to sweat it would activate the water based
paints, so we would have to counter touch it up with powder.
>> And on a matinee day, do you take it off,
and put it back?
>> I don't take it off on the matinee, because I'm not do, I don't go out.
>> You don't go to lunch with this makeup
on?
>> I just buy food. [LAUGH] You know what, I should.
>> No you shouldn't.
No you shouldn't. This is great.
Thank you for demonstrating this for us today.
>> You're welcome.
>> And thank you, Tshidi for being here on
your special off duty. I never noticed there was gold on the
lips.
>> Yup.
>> That's great, thank you. [MUSIC]
>> That's the make-up department.
>> Thank you.
>> Thank you.
[SOUND]
>> Here we are, we're now in the wig room. And this is a simulation, really, of what
would happen normally backstage on a show, because on a show you, you, you, in
some cases there are hundreds of wigs, and it's like a gigantic beauty parlor.
But it all starts with the wig designer, or the hair designer, in this case.
And I'm here with David Brian Brown. Now he's done a pile of Broadway shows.
You have Follies running right now. What else is running of yours?
>> Sister Act, Chicago.
>> You've been doing this for how long?
>> since 1979.
>> Since 1979?
>> Well, I've been on Broadway since 1979.
>> Congratulations.
>> I've been designing for the past 16
years.
>> The the thing about wigs that I think is fascinating is their extraordinary
complexity as a, as a piece of goods. let's pull in, because what people should
see is, this is what a wig looks like before it actually gets set, right?
>> Right.
After it's made by the wig maker, it arrives raw.
>> And where does this hair come from?
>> Well it comes from all over.
I get most of my hair from, from Europe.
>> From Europe? So, there are bald women performing on
Broadway every night. How nice for them.
>> [LAUGH] Now just, I'll hold this one.
Show me what this is going to become when you actually have set it.
>> Alright.
And this is an identical match.
>> This is the exact hair right, same way.
>> The exact wig.
>> It was actually done for a show that people were playing twins.
So that's why I have two exact. so this was before, this is after it has
been set. Well.
>> Yeah that's extraordinary, I'm just, just
the level of detail. Now, how long can this, this you've
designed this wig, right?
>> Uh-huh.
>> But how long can it keep that shape?
>> Maybe two performances, actually.
>> You could get two whole performances out of it.
>> Yeah.
>> So then it has to be washed like this.
>> Doesn't have to be washed, it just needs
to be reset.
>> To be reset, okay.
>> It needs to be washed about once a week.
>> Let's put these down because I want to show what a wig looks like when it's
actually being made. Because these are custom made for people,
right?
>> Yes.
>> So I'll hold this one for you. So you would custom, so this is being
custom made to someone's head.
>> Right, everything is custom-made to to exactly fit their head, their hairline,
which you can see traced right here so their hair line from point of right is
here, and then all of this lace some of this is going to get cut away and some of
this is going to sit on their forehead right?
>> That's correct.
>> Anchors the wig?
>> It's all hand-mounted, individually.
>> Like a rug.
>> Like a rug.
>> So to speak.
>> With a tiny[LAUGH].
>> A tiny little hook, a tiny little hook.
>> A tiny little hook, and and literally
they're, they're individually tied, one by one.
>> Each hair, how many hairs?
>> I've never counted.
[LAUGH]
>> No one knows, right? OKay.
>> No.
>> Well so, clearly this is a complicated
thing. Let's put this one down and let's bring
in Gary Martori. Now, Gary Martori actually runs the hair
department, right? In this case, you're running actually
hair department on Mary Poppins.
>> Yes.
>> So, did you go to cosmetology school?
>> Yes. Yeah, early, early 80's, I did.
Yeah.
>> So, so you actually could run a real beauty parlor.
>> Yes.
>> You could be your own Steel Magnolias and
do that.
>> [LAUGH] Yes.
>> And you have to then set the wigs, do all that.
>> [CROSSTALK] What time does your day
start?
>> For an eight o'clock show I would be in sometimes three or four in the afternoon.
>> To get everybody's hair ready.
>> Yes.
>> And then you run the show?
[CROSSTALK] You get actors in their hair, out of their hair?
>> Out of their hair, quick-changes.
Most of the time it's between, it's before seven, between three and seven is
just getting everything ready for that night.
>> And then everyone arrives.
>> At 7, 7:30.
>> Well let's have someone arrive right now.
>> Right.
>> Let's take our chair, and let's bring in
Broadway legend Michelle Lookadoo.
>> [LAUGH].
>> Now how many shows have we done together, Michelle?
>> I've done three Disney Shows on Broadway.
>> Three Disney shows.
And you look fantastic. Your hair is so natural here.
>> Thank you.
>> So let's tear it off.
[LAUGH] There you are. There you are.
And you're in a wig cap, so now Gary, tell me how this preparation has gone.
>> We, we actually pink curl her head every
single night of show or sometimes they do themselves.
And we put them in a wig cap, and we protect the hair of the wig as well as
her own with a wig cap. So they could pink curl just like these
ones.
>> And how long does it take, Michelle, for you to get in that?
>> How's your pink curls?
>> About six minutes.
>> Six minutes?
You've got it down?
>> [LAUGH] And so she would stay in this all night long?
>> This would stay the whole night long but
her wigs would change throughout the night for looks and costumes, and
whatever she's wearing.
>> Right.
>> So let's try. Michelle, you played Ariel for us on
Broadway?
>> I did.
>> And there you appeared. And this is such an iconic look.
And I, I just want us to notice the extraordinary power that, of the
transformation of this hair. How it instantly turns you into a very
iconic character. It's a good color for you too.
[LAUGH] It's not particularly natural, but it's a good color.
[LAUGH] And let's look at how far down your face that lace comes.
Actually, Gary, can you touch where the lace is?
>> Yeah, because it's all the way down
there, right?
>> Oh, yeah.
>> But that, for the most part, we hope the audience doesn't.
>> Audience doesn't see a lot.
>> Doesn't see that.
>> And you don't, you never see that on the
stage.
>> That looks so.
>> It gets cleaned every night and redone every night.
>> This, wig would have to get cleaned every
Mm-hmm.
>> The lace would get cleaned would get cleaned, every night.
[CROSSTALK]
>> Does it feel secure when it's pinned into your head?
>> Mm-hmm, absolutely.
>> Better she's not in skates.
[LAUGH]
>> Yeah in this case, yeah, you were rolling around, so, that looks so fantastic on
you[MUSIC].
>> Well before you pin her into it though, there you are.
You know, you're so pretty even in a wig cap.
Okay.
>> Aw. Thank you.
>> I know I love you.
Okay, so there's Ariel floating away, swimming away.
And then here we come. And what time period is this supposed to
be, David?
>> This is early 30's. Could be late 20's, but early 30's.
[COUGH] That is fantastic. Now let's let's go all the way brunette,
before we finish with Michelle. And here she loses her hair once again,
in this horrible ritual. [LAUGH] Now, how many wig changes might
somebody make in a show? When you were in Mermaid, you were, with,
you were on as Ariel, you had how many wigs?
>> two.
>> Two or three?
Two.
>> Two Ariel wigs.
>> And then when you were a Mersister, you'd wear the, you had to take the wig on and
off to be various fish.
>> Yeah.
>> The brunette look is kind of scary with you.
It's very dramatic.
>> [LAUGH] I think my hair was this color in college.
>> Oh,[LAUGH] I've always thought you were a
natural blond. [LAUGH] Really?
Well, you pull off the natural blond look great.
So David, in a show, or Gary actually, in Poppins, did somebody change their wigs
over and over and over and over and over again?
>> Yes, they ensemble.
They have at least four or five different looks throughout the whole entire show.
>> So how many wigs are in, like, a show
like Mary Poppins backstage?
>> On a nightly basis it's, like, 54 wigs per show every night.
>> And how many wigs are you maintaining?
>> Sometimes like 80, 80 wigs with swings
and other understudies.
>> huh, that are, in, involved, covering the show.
>> Yeah.
[MUSIC]. [MUSIC]
>> Okay Michelle, you look fantastic as a
brunette, you can stay brunette for a while.
You get to go.
>> [LAUGH] And now we get to bring in, for a whole different idea, let's bring in
another Broadway legend, this is Tyler Maynard, who everybody knows on Broadway.
>> Hi everybody.
>> And Tyler, you've got a whole kind of yo,
yo, Keanu Reeves look going on here.
>> [LAUGH] Yeah, yeah, this is my normal this is your normal look.
>> This is your normal look.
>> Everyday.
>> People don't know that you actually do
look like that in real life. Does it feel like you could,
>> Yeah, it's so secure, yeah.
You could, you could work it? And, and, and let's talk about facial
hair, because facial hair seems so difficult.
Some of the actors just prefer to grow their own.
>> Some do.
>> But if you're in the ensemble and you
have to keep changing, you can't.
>> Right, sometimes it's facial hair.
>> So how is his facial hair attached?
>> Right now we use spirit gum. Sometimes we use double sided tape.
And it comes right off.
>> And, can we just see it come right off? Is he going to cry?
>> Yeah, it's not bad at all.
>> Now, look at that.
That's, now, this wig is really beautiful, you know, there's a fear that
men are going to look, unnatural in a wig.
But, can we actually just see what Tyler looks like?
And then also see his wig prep, oh Tyler, Tyler.
Mm-hm
>> Tyler doesn't have any hair. [LAUGH]
>> That is, it's an extraordinary,
extraordinary transformation. Can we try, can you put that one on?
I'm just curious, because this actually, tell me if this is what you looked like
when you were in college. [LAUGH]
>> This is what I looked like about four
years ago, actually four, five years ago, this was my hairstyle.
[LAUGH]
>> Isn't that fantastic, how the, the, it is right back there.
[CROSSTALK][LAUGH]
>> Would you like David to loan this to you? Is that what you're saying?
>> May be some tears when you take it off.
[CROSSTALK][LAUGH]
>> But it is, what I find so compelling about hair is, you know, in a show, we
have to see the same actors over and over and over again, unlike a movie, you can't
keep changing the people in, and so the constant transformation on stage, and it
it is pretty profound. So I'm sorry Tyler we're we're done with
our wig segment here with Gary and David and.
>> I'm going to take this.
>> Your going to, you, you can wear that for
the rest of the day. Thank you Tyler that was great.
So, after the show, how long do you have to stay in the dressing room, cleaning
up?
>> I stay at least 45 minutes to an hour sometimes.
>> To maintain things.
>> Yeah.
>> And when a show is touring, what do you
do when all this hair gets taken off people and then you have to go on the
road? You have to pack it up that day.
>> We have road boxes that are specially
made for all these wigs, and David's done it, we have done it lots of times.
>> And if the hair is wet, what do you do?
>> we have to we have dryers that the come,
we take with us. We travel with everything with us.
>> And it just all travels with you?
>> Well, yeah.
I had eight road boxes for Marry Poppins, when I was on tour.
>> On the road?
>> You know, with wig ovens and everything
in it.
>> And David, when I saw Spamalot, which you did, I recall that women actually had
hair under their arms. Did you have to make that?
[LAUGH]
>> Yes.
>> Is that the wig department too?
>> Yep.
>> So you've actually done armpit hair?
>> Yep. because sometimes you, you fight with the
makeup department on and on.
>> On who gets to control it?
>> Yeah, facial hair or armpit hair. We're a market.
>> Well, it's nice that you're soup to nuts,
pits to head.
>> [LAUGH] Thank you, gentlemen.
>> You're welcome.
>> And that's the wig department. [SOUND] So, now we're going to take a
look at the puppet department. Now, most people probably think, puppet
department? Who has a puppet department?
Well, right now on Broadway the Lion King has a puppet department.
War Horse, up at Lincoln Center, has a very large puppet department.
And off Broadway there's Avenue Q with puppets.
And even right now as we're filming this downtown we're about to, there's a show
about to open. Arias with a Twist with a puppeteer.
Basil Twist, who has an entire show using puppets.
So puppets are a very major part of the theater.
But on a big Broadway show, that takes a puppet department to maintain and manage
those. Now this here, to my left, is Ilya Vett.
Hi Ilya.
>> Hi, how you doing Thomas?
>> So, how long have you been on The Lion King?
>> I've been working full time at The Lion
King for the past eight years.
>> Eight years. And how many people are on the puppet
crew?
>> We have a puppet crew of three people that we have one day worker who does all
of the maintenance that gets done every day.
>> And we have me and the head of the
department that switch our schedule so that somebody is always there for the
show, during the show, in case there's a malfunction or something that needs to be
addressed. We're there to handle it, and then the
other one does the day to day works of the fittings and the, the, maintaining
the shop and keeping all of the repairs up to schedule.
>> So what was your journey to get this job?
>> my my mother just happened to be a
costume designer. And when I was a child, the Muppets were
very popular. And my mother figured, well, let's just
make some puppets for you. So we designed and built our own
characters, and used to have our own little puppet shows and play around.
And then there was a long period of my life where I didn't address or play with
puppets anymore and
>> And they thought you had become normal again.
>> Right.
[LAUGH] And then , actually I came into the city to get into the wardrobe
department, and I've always had a love of The Lion King.
And my mother bought me the book when it first opened, and I always had a
fascination of the, the amount of work.
>> So you came to Broadway to work in the wardrobe, or as people think of it the
costume.
>> Right, the costume department. [CROSSTALK]
>> Department, to be on the course of
running costumes for the show.
>> Right, and
>> But did you do that?
>> I, I not really, I kind of fell right into The Lion King, and Beauty and the
Beast, doing a lot of their craftwork calls, and a lot of the dealing with the
puppets and, and because that's where I my passion is.
>> Well, let's let's start with first
because I want to do two different puppets, and the one in the show that's
the most straight up. Beautifully designed by Julie Taymor,
sculpted by her. Of course, our director of our show, and
the creator of the puppets with Michael Curry, a fantastic puppet maker as well.
>> So, this is Zazu.
Now, we're going to introduce Thom Warren, who actually is in The Lion King,
and actually plays both of these characters which he covers.
And he's been with us for a very long, when did you start with us?
>> nine years ago.
>> Nine years ago, he's a veteran.
Now, let's, can you get Zazu up?
>> Yep.
>> And then let's talk about, because, there's an aspect of this, which is
obviously the, the actor. In this case, a trained actor, is now
coming to this as a puppeteer. But were a puppeteer before you had this
job?
>> No I was not. I was trained to work these particular
puppets after being hired.
>> So now can you, Ilya, can you tell me the different parts of Zazu and how he works?
>> Sure.
>> Eyes and mouth and.
>> Well Zazu has an actual hard body and a
hard head and the neck.
>> So many do.
>> Is a little[LAUGH] is a little bit of a wonky neck that can move around, so he
has some movement. And inside of the head itself, there is
actually an eye mechanism, which is controlled by the thumb, you can see
here. By pushing down and up on the thumb, it
causes a lever inside of the head to manipulate the lids to open and close.
>> Mm-hm.
>> And there's also just a trigger like a
pistol grip that causes the mouth to open, and this has cables that run down,
and into this trigger itself that makes all of that manipulation happen.
And it takes the puppeteer to be able to maneuver and manipulate all of those
functions.
>> And what about the wings? So those flap as well, right?
>> Yes, the wings are done with the left
hand, and it's a paddle that you pull down on the side and it has these
armatures that pull back the wings and cause them to actually flap if you just,
flap around. [MUSIC]
>> I don't want to ruin the illusion for
anybody, but how many Zazus are actually backstage right now?
>> We actually have three Zazus on deck, and
one that's in the wings, like.
>> Is this contoured to, in the case of Thom here, is this contoured to his hand.
Is everything, do have it, your own special tensions and do you adjust during
the show?
>> there's no adjustments that we do during the show, but when we get a new actor or
somebody that comes in, and is going to be using the puppet, we find the puppet
that they feel the most comfortable with. And for instance with this puppet, Thom
and Jeff both used the same bird. And we can't custom-fit each person,
because you have to have a swing and have to be able.
>> Be able to, okay.
>> Able to to have all the people work it.
But you have to find a medium between all of the different aspects that each actor
appreciates and likes in their own.
>> Now let's put Zazu back because I want to get Thom, and Thom you're going to have
to come around the front here.
>> Okay.
>> Because we want to get you into Scar.
>> Now, the thing to think about with Scar, is that, actually if you hand me the head
while I'm talking.
>> Yeah.
>> Great. Because, when you think about Scar, and
Neal, you come around front too, because we have to get him in to his rig, right?
>> Mm-hm.
>> Now, you can start that.
>> Alright.
>> because this is actually just a mask,
right? I mean, when you think about it, it's a
mask that now Thom has to actually puppet.
So what are you putting on now?
>> This is his head mount that we have that's a, made off of a life cast of his
head.
>> And it's so that it's really strong and rigid on the top and we have a rubber
that comes around to be soft and pliable.
>> Uh-huh.
>> So that his can still sing.
>> And what's on his hips?
>> And on the hips we have, attached to the top of this boom, we have two motors that
actually manipulate and make the mechanics work on it.
We have one motor that comes up and is attached to the boom here, that makes the
arm come up and down.
>> Can you make that go right now?
>> I have to power it up.
>> You have to power him up?
>> And then, on this side, we have the mask motor that actuates the top part of the
mask. And we have a battery, and these are
control units that adjust the different placements and speeds and, and
>> This is a, were you into electronics when
you started this? no, I I just kind of learned it from
doing it. I came in and out of.
>> You were taught how to work all of this?
Yeah,
>> Cause this is really kind of, now, let's do this.
Can you make the head move first? We'll look and see what that does.
>> That's without the mask on.
>> Now we do want to put the mask on in
there.
>> Sure, and then you just step down. Then we put the mask on.
>> Now this looks like it could go terribly
wrong.
>> [LAUGH] Tom, have you had this go wrong during the show?
>> I have.
[LAUGH]
>> And what happens when it goes wrong?
>> Well, it's usually actor error, and I'll have it slide down my face, scrape the
makeup off, or sometimes it's mechanical and a wire trips, and the mask.
>> So show us the range a little.
>> Well, this, this can typically happen if
something is going wrong.
>> Alright, so show us the range of movement he can do.
What can you do with him?
>> So he can come down, show the more animal instincts of the character.
[MUSIC]
And then he can come back up.
>> And what do you, can you show us your hand?
>> Yeah.
So I've got a finger control.
>> On the hand, he has the finger control, and on the finger control, there's two
ac-, sliders, which are actually potentiometers.
And basically what.
>> Potentiometer?
>> A potentiometer, yes.
>> Did you learn that word today for this presentation?
>> No, no that's what they're called.
>> That's fantastic.
>> basically what it is, is just a slider
that allows the position of whatever his hand finger slider goes to.
There is an actual potentiometer and slider inside the motor, so that as he
moves each of these sliders, it moves the motor a certain amount of distance inside
the box, and all that's adjusted by the control box.
>> And are you in the wings for Thom, so
that if he has a problem, he.
>> Yes. We're, we're on call during the show, so
that if there's an issue with the Scar mechanic and something happens, that we
come down and we address it and we fix it.
>> And, and how often does that happen?
>> Unfortunately, more than you'd want.
You know, it, it happens.
>> Really? After all these years?
>> Yes it's.
Usually it's something that's a small glitch, or something, but, but they're
finicky and they're electronic, so that there's, there's always a little glitch
somewhere. But most of the times it gets hammered
out without the audience[CROSSTALK] even aware.
>> Even knowing.
And are these heavy for you?
>> they're not light. [LAUGH] Yeah, yeah, we feel them.
>> You feel it?
>> Yeah.
>> And do you know when the head is
misbehaving, or does, does Ilya have to tell you the head's misbehaving?
>> Sometimes we know and sometimes we don't.
I can usually see from my scene partner's face if the thing is going like this,
somebody's usually laughing at me.
>> Oh, someone's laughing at you and you know it shouldn't be there.
And Ilya, are you actually watching the wings, or do you kind of know when you
need?
>> we have a monitor.
>> You have a monitor in your department?
>> Yes, up in the puppet room we, in the puppet shop, we have a monitor and sound
to the house.
>> And we also can hear them calling the show, So if there's an, a problem, and
say stage management sees it, they'll start talking with each other about, do
you notice this, do you notice that. And we'll hear it before they even call
us.
>> Right.
>> So we'll be able to get a jump on.
>> Well I think, what, one of the things about this, and why I'm so glad you guys
came to demonstrate this is, most people think of puppets as a very simple
manipulative thing. And we've seen both with Zazu and
certainly this. There's a lot more technology and a
gigantic piece of maintenance that's going on to keep the show alive back
stage. So, Ilya, thank you, Thom thank you and
again, we're going to move on. There are some truly unsung heroes back
stage on any show, and that's the wardrobe department.
And the wardrobe department is complicated because it's taking care of
costumes, but also taking care of actors. They move quickly around that stage
dodging scenery, dodging actors, dodging everything to keep the show flowing.
So lets take a look at what wardrobe department actually does.
Now I'm here with Carly Hirschberg, hi Carly.
>> Hi, how are you?
>> So you're a dresser on Broadway.
>> I am.
>> And you work in the wardrobe department.
So what happens in your day? Because there's two real parts of your
day.
>> Yes. Well, I do day work for Mary Poppins as
well as dressing the show.
>> What does day work mean?
>> That entails doing ironing and prep work for the clothes, checking everything,
making sure everything is safe, and it looks great.
>> What does safe mean?
>> Well, shoes, for example, can have safety
issues if, you know, taps were loose, or elastic is loose or rubber is not glued
down properly. So we go through everything with a fine
tuned.
>> Fine-toothed comb.
>> Fine-toothed comb, to make sure everything looks really great and there
are no safety issues whatsoever, which is very important because our actors are on
stage the whole time and they're working out really hard.
>> And what do you mean prep the show?
What does that mean when you get ready to actually have the show happen?
>> Well, after day work happens, after we've
cleaned the clothes, made everything look good, everything set inside the dressing
rooms or in the bunker, in gondolas, prepped for the show.
>> So the bunker would mean like where the
ensemble goes to change their clothes?
>> Absolutely. Underneath the stage, in our case, at
Mary Poppins, and that's where we do all the storage for those clothes, there, as
well.
>> Now where does Mary actually get dressed, though?
>> Mary has her own dressing room, which is
very nice. It is Mary Poppins, after all.
And in that room we contain all of her clothes for the show.
And then, during my part of the day, I will also take those clothes out and prep
them either backstage or downstairs in the bunker, or wherever we need them.
>> To preset them.
>> Presets for our quick-changes or just
fast changes or moments in the stage of the show.
>> So, when she can't go back to her, her,
her dressing room.
>> When she can't get back to the dressing room.
And since it's Mary Poppins, she's on stage most of the time, so that's often
the case.
[MUSIC]
>> And then when she's on stage where are you?
>> When she's on stage, I'm backstage and
I'm usually waiting in, in a preset area for her to meet me offstage, so we can do
a change or we could use water or hang out for a little bit.
>> Now you have a tool belt on.
>> I do.
>> And what kind of stuff is in your tool
belt?
>> Well, it's a little mix of everything. I have a shoe horn if we ever need it.
>> Uh-huh.
>> For shoe changes.
I have some sewing supplies like scissors,
>> In case you want to make a sweater?
What are you doing? [LAUGH] It's for repairing, right?
>> For repairs, or if there was a string
that we could see on stage, she comes off, we'll kind of get rid of the thread
if we can, you know, just to make things look really neat.
And in case of emergencies, you know, if there are some shoes that have elastic
laces, if they got stuck during a quick change, I'd have to cut them off and then
replace the laces. So I have laces in here too.
you know, just the, the.
>> You're ready.
>> In case of emergencies situation.
>> And stuff. And where did you come from, because you,
I know you did theater early in your career.
>> Yes.
>> We didn't find you from another show.
>> No.
No, this is my first Broadway production. prior to this it was actually in textile
design in New York, which was very exciting and very fun, but definitely a
different lifestyle choice, nine to five,
>> Well, now let's take a look at, we're going to ask Elisabeth Derosa to come in,
who plays Mary Poppins in our show. You cover the role, here you are you look
so beautiful in the costume.
>> Thank you.
>> And I want everyone to see this costume. Can you take just a little turn around.
Because Carly and Janet and Gary here, are going to actually demonstrate with
us, a full on Mary Poppins quick change. Now, set this up for us because you're,
you're wearing this dress.
>> That's right.
>> In the, the Jolly Holiday number.
>> Mm-hmm. In the scene and in the song Jolly
Holiday, Mary is dressed like this. However, it is important to note that
before that song, after the very first song in the show, Mary has to change from
her boots.
>> Now, yeah, this is interesting. You're not actually wearing the period
boots. This is a Bob Curley costume.
Bob Curley designed all of our sets and costumes for the show.
>> Yes.
>> But Bob designed a period boot.
>> Yes, he did.
>> But you can't wear that in the Jolly
Holiday sequence because why?
>> Because as you'll see when I come off of Jolly Holiday, or come out of the park
scene in Jolly Holiday into the number, she has to wear this lovely pink outfit
that we see here.
>> That we've crumpled on the floor, yeah.
>> [LAUGH] It's such a quick change that they'd be no way.
>> Lacing the boot.
>> To unlace her boots and to re-lace.
>> So you're cheating.
>> Exactly.
>> These are your cheater shoes.
>> It's a cheat.
And we hope that no one notices that these are not boots.
>> Well, after all these years I hadn't
noticed until today.
>> >[LAUGH] Now my other question is, you're on stage, but you're actually exiting
behind a piece of scenery for the quick change.
So you're going to actually start the quick change.
>> That's right.
>> Not in view of the audience, but on
stage.
>> Exactly, actually it starts center stage, believe it or not.
as the scenery, they're called sliders, as they move off stage right, I will be
moving behind along with them, and preparing myself to change, which means
opening the coat and opening my shirt, and getting, peeling back the layers.
>> So it's.
>> Yes.
>> You're starting to open everything up, so
that when you walk off to do it. Okay, I'm going to step out of this
scene. Now, Gary, don't you have to put that hat
on prepare? So Gary wears the hat, you're going to go
back where you belong as if you were exiting, Carly's going to do this.
I'm going to bring Janet in as I exit, and we're going to run this Mary Poppins
quick change in real time. Everyone ready?
>> Sounds good.
Yes.
>> All right.
>> Here we go. I'm exiting.
[MUSIC]
>> That was fantastic. And what was great is that we got to see
you actually drop the lipstick.
>> Yes[LAUGH].
>> Now, well of course it does, because it's in real flow and it's back stage.
>> Right.
>> Now you would have to run on whether you
could change it or not, the lipstick. You have to go.
So you've got new hat, new dress, and none of this is tear-away because you've
got to be able to dance in this stuff.
>> That's right. Right.
Full dance numbers.
>> So, you're going to go off like you do in the show, and we're actually going to
watch you put the clothes back on again in the same real time change that you do.
[MUSIC]
>> That was fantastic. So tell me, you had to change her hose.
>> Yes.
>> She went from black to white to black
again.
>> Yes.
>> Right? And what's the hardest part of this
change?
>> Oh, the hardest part? Well you know sometimes the very center
back snaps can be a little tricky. And it's a little different for each Mary
that's on. So, there can be just a lot of.
>> You're kind of out of breath right now.
>> I know.
It's quick. It really is quick.
And so you're just kind of like, you've got to go with the flow, see what it
feels like. Make sure the actor's comfortable and
also, you know, just really get her into her clothes, properly.
>> And have you ever messed it up?
Oh, I once got one sock stuck inside the other sock, and so there was a nice
little lump. that was the, the classic.
>> Oh yeah, yeah.
She had a whole lump for the whole number?
>> She had a lump for a portion of the
number. It was not my favorite stage moment for
me.
>> Well, these things happen.
>> But it was a new day.
>> Well, that was fantastic. And Elizabeth was great and I, I want to
watch that all happen again. But I'm not going to make you do it,
because it will put you out of breath. But I think we can see what it is about
the wardrobe department because it's very intimate.
It's very pressured backstage. And it's absolutely these three different
things of prepping during the day, setting up the show, and then helping
manage the life of that actor backstage. That's the wardrobe department.
Thanks.
>> Thank you. One of the glories of the musical theater
is, of course, live music. But so often today on shows, either you
can't even see that there's an orchestra pit, or sometimes the band is actually in
a different room altogether, sometimes even seven flights up within the theater.
And that's done for all sorts of reasons about controlling the sound and
microphones, and blending with actors, and of course so many new electronic
instruments that are being used in the orchestra pit.
And because of this, although we love their work, we so often don't see inside
the orchestra pit, so today I thought I'd introduce you to Dave Weiss, who has been
in The Lion King band since we began to show 14 years ago now.
>> Correct.
>> Now let's first talk about just life
inside the orchestra pit. wouldn't, when did you start playing, an
instrument?
>> Well, I started very young. I started on violin when I was five years
old. Both my folks are professional musicians
and I, I switched to woodwinds, a couple of years later because I just liked the
flute better. And that was my instrument, and then
shortly after that, saxophone and clarinet.
>> And how'd you get into Broadway?
>> Well, over the years after, after I got
out of music school when I was in, I was in New York.
It was a place where I knew I could work and I, enjoyed the work because I played
both classical and jazz style, and it just fit what I did better than playing
in an orchestra. And I started working for the show Barnum
in 1982, right when I, after I started to do conservative.
>> And how many Broadway shows have you
done, roughly?
>> I've done about 50 Broadway and off-Broadway shows.
>> That's extraordinary.
>> Yes[LAUGH].
>> So now on a typical night, when you're
actually in the pit playing, what time do you arrive?
>> I get to the theater probably about an
hour before.
>> An hour before. People always imagine the orchestra
arrives about 10 minutes to curtain.
>> Yeah. It depends on the individual too, but I
have all these instruments I have to play for Lion King so it's, it's an hour
before maybe more like 45 minutes. I have to make sure everything is working
and ready to go and.
>> Well, now that gets me to why I think what you do is so interesting.
Because when people think about the orchestra, they think somebody's down
there playing an instrument, or maybe two or three instruments.
>> Mm-hmm.
>> But you play, what, 12 different
instruments?
>> I'm playing 12 instruments for Lion King, yeah, yes.
>> And, and they're all around you, on the
floor? Where are they?
>> No, I have specially made stands to the
left and the right of me. And I have to leave an area so the
conductor can come up through that. That's for the, this big guy here, so.
>> And, and, since you've been with us in
the beginning, how many flutes did you have with you when we started the show?
>> When we started in workshop, I brought
close to 50 or 60 different instruments.
>> You can play 60 different kinds of flutes?
>> I own easily that much, probably more.
>> Wow.
>> It's an affliction, I think.
[LAUGH]
>> Yeah, I think it's a curious thing. Okay, so let's talk about the flute in
general. Since where, because you're down there in
the pit. You've got all these instruments.
Now, what you're holding is actually what people think of as a traditional flute.
>> Right.
This is a Western designed flute. It's a particularly expensive one.
It's a gold flute. And but it's almost identical in design
to what kids are playing in high school bands and marching bands.
>> And give us a sense of what this classic
sound of a.
>> Sure.
>> The flute is. [MUSIC] How adorable is that?
That's fantastic. [LAUGH] Now with, so that's the classic
flute sound.
>> Right.
>> Now this, you also play the piccolo in the show?
>> Sure, yeah.
It's actually quite a lot of piccolo in the, in the show.
>> Lion King doesn't seem like a piccolo
show to me. I'm thinking of John Philip Sousa with
the piccolo.
>> Well, well, when you think of the stampede and all in.
>> So how does the piccolo sound then?
[MUSIC]
>> Do you get a sore lip by the end of the show?
>> Never, no, no.
>> No?
Are there repetitive motion problems with playing flute?
>> in the hands, yes, especially with larger
instruments, like something like this that can give you a lot of problems.
>> Okay, big one.
So now I am curious because I suppose most people would probably, of all your
flutes, most recognize this. So can you tell us about this?
>> Right.
Well now this is a pan pipe, oh, I'm sorry, or a pan flute.
this is a European design actually, a lot of people.
>> Why do I think those are Latin American?
>> Well, you probably see guys on the
street, as a matter of fact right in Times Square right where we work, there's
always some sort of.
>> Oh those guys are good.
>> Right, they're excellent, they're excellent.
Now, those are generally from Peru or Ecuador, and they play a different style
of pan pipe. But this is the European style.
You'll notice that it's curved and it's one row.
The South American style actually has two rows and it goes back and forth.
But you find pan pipes all over the world, in China, in Africa, again this is
Eastern European.
>> So how does this sound?
[MUSIC]
>> Now in Lion King when do we first the, the
>> You hear this right in the beginning this
instrument is strongly associated with Simba, but not Simba all the way through,
Simba, the younger Simba. That we have in the first act, and half
way through the second act. So right in Circle of Life, right, in
the, in the first number of the show.
>> In all, when everyone's on stage.
>> Right. So you hear this melody.
[MUSIC]
>> That's fantastic. This, that actual motif, which was first
created by Hans Zimmer for the movie.
>> Right, mm-hmm.
>> And then was incorporated into our show. And of course, Mark Manchino and Hans and
Lebo and all these guys who did, but then you're also working with orchestrators,
who are figuring out which flute to play right?
>> Right, yeah, when we first started the
show the, the musical, I started working on it a good year and a half before we
opened. And the only thing they knew at that
point was we want pan pipes, because that's the sound of Simba, that's, that's
what they hear, and that's what was in the movie.
After that it was a blank slate. If we were going to try and.
>> Well, so what are these?
>> Well, these are.
>> Cause they're pretty painted up and
glamorous.
>> Right, right. These are various bamboo flutes from many
different parts of the world. We have China, this is from actually an
American make.
>> And do they really sound different?
>> Oh, yes, they do. This one, for example.
Now this is actually on American-made bamboo flute, but it's very similar in
design to flutes I've seen from Africa and India.
This is an Indian flute. So, but, well, talk, talk, talk, I can
show you what it sounds like. [MUSIC]
>> And that's a melody that's follows
Mufasa.
>> And now tell me, is this tunable? Because, what do, what do you do about
keys and things?
>> Well, well that's why I have to have so many.
The design of the flute, I mean if you go, a flute like this, which is, you
know, a contemporary make flute, actually you could say is a renaissance flute.
It's not only an Indian flute, a Chinese flute.
when, during the Renaissance and Medieval times, but then over the years in the
west, it slowly developed into an instrument like this, with all this key
work on it. And what the key work does is, to make it
as simple as possible, if you'll envision the piano with the white keys and the
black keys, well, all that key work allows you to play the white keys and the
black keys.
>> So could anybody who plays a traditional flute play one of these?
>> Well, you could, you're halfway in, but
these do work a bit differently.
>> Well, okay, I want to hear this and then I want to talk about that.
So this big honker here.
>> Okay, right.
>> What is that?
>> Well, this is from South America. It's called toyos.
It's a bass pan pipe, it's the large.
>> Version of that.
>> Version of this, but I've seen pictures of Pygmies in central Africa on a.
>> That's taller than a Pygmy.
>> On a tree stump, well he gets on a tree
stump and he plays it like this. But we use this twice in the show.
Actually, well for two different sounds. First in Circle of Life, where we're
using this sound. [SOUND] And then later on, or shortly
thereafter.
>> huh.
>> We used a lower end and it really colors the evil Scar character.
>> Oh yeah, yeah.
What's that sound like?
>> [SOUND] And that follows him around quite a bit.
>> Now, I think what everyone would be
wondering right now, we started, we talked about you in the pit.
How many people, because you can't be there every night.
>> No.
>> So how many people are there who actually
could play 12 flutes? How many people do you have?
>> Well right now I have five people that
have learned how to play it, and I teach them how to do it.
>> So you're responsible for teaching them.
>> Yeah.
>> And do you schedule them, if you want a
night off?
>> Yes, exactly. I mean, I can't, I don't feel it's right
to call somebody, say, at six or seven o'clock and say, go in and cover me.
Because it's an awful lot to play. You have to be ready to go, and if you
haven't played it in a few weeks or a few months, you know, it's just not fair.
>> You have to practice up.
>> Yeah, generally I have, have it scheduled
out a few days in advance as to, when someone should come.
>> And is it some traditional, you know?
So many people watching, play an instrument.
And we know what music looks like, but it, the music is written out, but does
it, do you have to indicate then in the music which one of these flutes to play?
>> Oh, sure.
You have to pick up the exact right instrument, otherwise the complete wrong
notes are going to come out. It's going to sound horrible, so.
[LAUGH]
>> Yeah, it could be a disaster.
>> Yeah. [LAUGH]
>> And I would suspect that some of the
sounds you've made with this one, people think are electronic.
Are there any electronic flutes in The Lion King?
>> No, none at all.
>> Everything, when we go to the show,
everything we're hearing is you?
>> Yeah. Is all these instruments, yeah.
>> That's fantastic.
>> There's actually a few more that I play
in this show, but they wouldn't fit on the table.
[LAUGH]
>> They wouldn't fit? Are they too big?
>> They, there's just more, more pipes.
>> More of this kind of thing?
>> Yeah, yeah.
>> Well, David, this is extraordinary.
I think, when we think of the orchestra, we think of traditional instruments.
>> And we think of our high school band, and
of course that's where people can start, but in this case I, I don't know anybody
who plays more stuff in, in one show and has to manage then, if you will, the
flute department within the orchestra.
>> Right.
>> So thanks for doing this. So that's a look inside, if you will, the
orchestra pit, and some of the complexities that the musicians there
find. Thanks.
>> Thank you, Tom.
[SOUND]
>> So, you know, we've done this whole show with each of you in your segments, but
that's in a sense not at all the world you live in, because you're part of a, a
community backstage. So I'd like to just talk about that for a
second.
>> Ilya, backstage, who do you deal with most?
>> Most of the time when I'm backstage
during the show, I'm paying attention to the puppets that are currently being
used, or puppets that are in the wings ready to go on.
So top of the show, I'm usually paying attention to Scar, because he's the first
big puppet mechanic that's being used for that reveal.
>> And what department do you have to relate
to most? Are you pretty isolated in your.
>> most of the time we work hand-in-hand
with the wardrobe department, because the costumes and the puppets are so
integrated to other another with the, in the Lion King.
So wardrobe is the main, main pairing that we have, but we also work closely
with hair and makeup, because the hair and makeup, depending on how we mount.
>> It integrates right in.
>> Yeah, depending on how we make the head
mount and on how we mount certain pieces, we need to have, the the area for makeup
for instance to to do their job, and for met, hair to put on the wigs and such, so
we work a lot with John, Jordan, and Elizabeth.
>> And Elizabeth, so Elizabeth you have to
mess with puppets, who else do you have to encounter?
>> Hair, hair mostly, really
>> So Gary's department is the one you, not
on your show.
>> Right, right.
>> The one where Gary runs is where you.
>> And we have people who come up into the makeup room at the hour call.
We have the, the young boy comes up and he gets started because he has body
paint, so we paint him a little bit, and we mostly paint a part of the face that
would be very difficult to paint after hair is put on.
And then he goes over and gets his hair on and then finishes his makeup
afterward.
>> And you send him to someone else.
>> Same happens with adult Nala.
>> And, Gary, who do you mess with most?
>> Mostly with Carly. Carly and I together, we're partners in
crime.
>> because your in, in this sense, you're a team, cause you're actually on the same
show. So Carly gets Mary dressed, and you get
Mary prepared with her hair.
>> I do from here up, and she does from here down.
>> And do you ever trade off each others
stuff? Like, I mean, haves you ever had to do
any wardrobe stuff? Have you ever messed with her hair?
>> I mean if there's we, we look out for
each other. So if there's something I would say,
Carly, or I would help her. And she would like, oh no, Gary you need
the hat, or we definitely help each other, yes.
We look out for each other.
>> And the hat's a big part of that too. Because there are times where Gary is
responsible for checking the hat. And then other times where I'll pick it
up from somewhere and store it away, or something like that.
So it's kind of a trade off there.
>> Presumably, with over 100 people back stage at a musical, there have to be
people you don't get along with. [LAUGH] Does that create tension
backstage? Well there's a whole dynamic to the back
stage choreography, really.
>> Mm-hmm.
>> So you're running into everyone. But depending on where you are and and
what your your role is, you know, we kind of have brief encounters with everybody.
>> We're isolated from everybody.
>> No, yeah, so we're flying through.
Now, I want to talk about that isolation, because Dave, you probably feel very
isolated from the show in a sense.
>> That, that's true, yeah, we're.
>> You're in the orchestra pit. Can you see the action from where you.
>> I see almost all none of it and I'm right
next to the conductor too, but just we're so deep in the pit, I can see a little
bit of the opening number and that's about it.
>> So are you wondering what's going on?
>> No, I've seen, I've seen the show
probably 15, 20 times over the years, especially when we were first making it.
And I saw it quite a bit then.
>> And can you tell when something has gone wrong?
>> Oh you can hear it in a second, yeah.
I can't really see if something's going wrong, but if the conductor is on the
phone and he's conducting like this. And it's all sorts of mishegoss going on,
then I know, you know, something's gone wrong.
>> And I'm curious for all of you, do you
now the audience of course, wants to see a perfectly finished show, although they
often talk about a show that, it's not a movie, it's going to be different and
live every night. Do you all sort of relish little things
going awry just to change up the day?
>> [LAUGH] Sometimes big things go awry. For instance, there was a time in The
Lion King many, many years ago when in the middle of the, He Lives in You number
which is Simba and Rafiki. and he throws the stick.
They have the interchange in between. And it hit her in the face.
And she went down.
>> And it's in the middle of the song, and we had to.
>> And this was Sheila Gibbs, when she.
>> That's right.
>> was playing Broadway, and she was
playing.
>> Sheila Gibbs and Chris Jackson.
>> Rafiki, and she actually got knocked out by, by Christopher Jackson.
>> Right, right.
And we had to make up her cover in 6 minutes.
>> So the show stopped.
>> So the show stopped, Show stopped, they
brought the curtain in.
>> They make up the cover, but we took that makeup that we did earlier today which is
a 30-minute makeup, we took 6 minutes to get her in makeup mic and costume, 6
minutes to stage.
>> And got the actress on stage.
>> Which we were 5 stories up in, in those days too, so we all had to run downstairs
as well, right, right.
>> And you've had puppets come apart in your hands.
>> yeah, I think probably one of the most
nerve wracking once is when Pumbaa's spine snaps.
And, basically what happens is Pumba is like a back pack with two spines that
hold out his rear legs, and during the show, the lower spine snapped, so the
entire puppet dropped to the ground, and we had to.
>> That's not actually desirable is it?
>> No, and we actually ended up having to,
with zip ties, duct tape, and casting material.
>> To keep the show going.
>> We wrapped it and got it, got it through
the end of the show, and then since now, we have actual pieces that we fabricated,
so that in case they snap, we can put these custom pieces into re-, you know,
fortify that joint.
>> You know when I introduced this, I talked about you as an army, and I think most
people don't realized the extraordinary coordination, the knowledge of your own
area, and coordination that goes back stage.
So, thank you for joining us today. this has been for me I've even, I've
learned a lot of stuff about you, so we've babbled on long enough.
It's time to wrap up. So thank you for joining us.
These programs are brought to you from the graduate center of the City
University of New York, in partnership with our friends at CUNY TV.
On behalf of the American Theatre Wing, I'm Tom Schumacher, and thanks for
joining us for another edition of Working in the Theater.
[SOUND] I'm Ted Chapin, Chairman of the American Theatre Wing.
The Wing has played a vital role in New York's theatrical life for more than 60
years, best known for creating the TONY Awards, who stand for excellence, but we
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