I had the amazing opportunity to work on the set for this show. Every Hoof n’ Horn show that I’ve been in, we are required to log shop hours. When I was in my first show, a couple of thoughts ran through my mind: 1. Heavy machinery?!?!? Yes please. 2. Wait, I’m not sure if I’m all that handy. 3. After rehearsing for 16+ hours a week, do I really have to devote more time to this? In high school, we would always participate in striking the set, but never held responsible for it functioning.
Well, after being required to work on a set for three shows, I found myself wanting to have the same commitment for Ragtime. Being in Torry’s set design class, I was given the opportunity to help out. Although I was just helping with painting the fake metal beams, it was a great feeling watching the set come to life knowing that I had helped in some way.
Call me out for sounding extremely sentimental or cliché, but painting the set made me feel deeply rooted in the show as a whole. Like I was more than just an ensemble member, but had I not been there to paint those beams, the set would not have looked as amazing as it did (I can dream, ok?).
For clean up, I was mainly dressing/green rooms and costumes so didn’t see the stages of the set being taken down. However, later that night when I was returning from a cappella rehearsal and heading to the set design classroom to work on a project, I walked past the side entrance to Reynolds, and there it was (or wasn’t…), an empty stage. Used to seeing a towering set, I stopped short and couldn’t help but stare.
I like to think of each show I do as a chapter in my life. Ragtime is definitely the longest chapter, but I still hung on every word and couldn’t wait for the next page. With closing night still fresh in my mind, I can’t help but look forward to continuing all the relationships I formed throughout this experience and to what will come next for me.
Oxoxo love always, Houdini’s Mother.