The crew work on any show requires at least as much artistic creativity and discipline as performing onstage; the set for Ragtime is without a doubt the most beautiful and comprehensive design I have ever worked with. I loved watching its development, from the bare bones to finished product. My work behind-the-scenes, however, mostly involved lighting and costuming. I volunteered for several hours on the day when Jeff and our lighting designer figured out all the cues and appropriate colors to set the mood of every scene. I can’t even describe the moment when I walked in and saw Reynolds in the dark with our set for the first time; when they were testing a lighting scheme of gently falling snow it literally took my breath away. The next several hours were a blur of standing onstage, moving to one side or the other, running through choreography for dances, and just providing a body onstage to guide the direction of the lights. It was amazing to watch the gradual establishment of the beautiful light system that adds so much to the performance. In addition, I cleaned out everyone’s shoes and hats in the costume shop.
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