I suppose you could say that I stumbled into the opera world 11 years ago when I was hired as a production assistant on my first production of Turandot. I had never studied a musical score or even seen an opera and I was immediately astounded by the music, grandeur, and sheer complexity of production that went into making an opera of that size presentable to an audience. After that, I was convinced that my life had to be surrounded by grandiose productions set to some of the most incredible music ever written. From Los Angeles to Boston and Denver to Charlotte, I have worked with enormously talented artists and administrators, all out to achieve a common goal: to produce the best possible product that audiences will emotionally connect with.
Now 11 years later, I look back on all of my experience in the art form—both stage management and administrative—and see how significant a role production plays, not only in the life of a company but in the stage practice of a singer. Understanding the key elements of what goes into producing an opera in addition to the functionality of the overall production team is something often overlooked in training for singers. I’ve seen many different types of opera companies as well as observed the day-to-day that most artists don’t see.
These observations and experiences led me to create my brand as an artist management firm. Managing a singer isn’t just about helping them brand and create a career, it’s also about helping them market themselves the minute they walk into a rehearsal room on the first day of a production. That is key. Sure, the audition is a very important five minutes when you sell yourself and your talent to a table of company administrators and artistic directors. But what happens when you’re actually hired?
That first gig—the one that puts your name in a program and your face in front of an audience who are all counting on you to be a conduit for the their emotional connection between the music and the production—is always a thrill. Many of you who are reading this can probably still remember the excitement of the first production you were hired to sing in. And others of you are waiting eagerly for your chance.
As you know, there is an enormous amount of preparation for auditions and learning a role. But what preparation do you need once you are hired? Your first job at an opera company or with a symphony is your chance to make a good impression. Acquiring the job is the payoff, of course, but it is just the beginning.
I’ve come up with some key elements for diving into a production period and being the best collaborative and professional colleague offstage as well as on.
Know your key players.
Identifying the key people involved in the administrative side of the production is vital to your understanding of a company’s structure. Even if you don’t interact with them on a daily basis, get to know their title and role. Stop by the administrative offices and shake their hand. Tell them what you’re singing, how long you’ll be in town, where you’re from, and ask them about themselves.
When I was working in administration in Boston and Los Angeles, I would always get excited when the artists came to town and the production period began. It was something I would look forward to each time a new production started up. The folks at a company are eager to meet you and they appreciate the work that you do. Get to know the staff and show your face around the offices. It will help you and enhance your experience at the company.
Appreciate your stage management staff. After all, they are responsible for getting you where you need to be.
This is so important. And I’m not saying this just because of my opera stage management background. Your stage managers work very hard to assist you in giving a great performance and help to provide the most comfortable rehearsal environment possible.
There’s so much going on in a singer’s mind during a production period, and the stage managers help you to not worry about the details of going onstage to perform. Their job is to not only get the show up but to also help you do your job. So, help them in return. Be on time to rehearsal, ask questions in the rehearsal room if you don’t know something and, above all, say “thank you.” You would be surprised how far those two words go in the mind of a stage manager.
Taking a few moments out of your day, in rehearsal or backstage at a performance, to tell your stage management staff how much you appreciate them is one of the best things you can do. After all, they are working for you, and the job that they do is a thankless one. Take my word for it.
Speaking of tips: Tip your dresser, or at least provide them with a token of your appreciation.
Talk about someone making you look good! The dressers on a production are the artists of the wardrobe department. They are the ones that make sure that you look your best before you step out onstage. Show them a little token of your appreciation—a tip, a Starbucks card, or even a small gift will show them that you are grateful for their service.
Get to know the crew by name. They are all working to help you be the best you can onstage.
From the head stage carpenter to the prop man who sets a chair offstage for you, they are all on your team. They deserve your gratitude and respect. Most are never thanked, and their work goes unnoticed by the majority of the people who pay a ticket to see a performance. The hours and the attention to detail that the crew and the stage management staff put in collectively are mind boggling depending on the complexity of a particular production. Most of their work happens when you’re not around, and their rehearsal time can be more limited than yours.
If you understand what a crew member does and how they are assisting you, then real camaraderie is discovered. A show crew respects what you do. Call them by name and then give them a “thank you” or a pat on the back. They certainly deserve it.
You are a freelancer, and your reputation is gold.
Even if you have an agent, you are your own work. Your name and talent sells; therefore, you’re a freelancer—selling yourself and your work. The people at companies who have the hiring power are your contacts, and you should continually stay up to date on cultivating those contacts. I keep a database or list of all of the people I’ve met, done business with, and even those I’ve met in the industry who aren’t necessarily linked to my daily business. You never know what may come from a “thank you” note or an e-mail to keep in touch, or even unexpectedly seeing someone in your travels. Each communication thread, meeting, or “hello” on the street is worth something.
Be nice to everyone at a company. If you’re difficult to work with, I guarantee you that they will remember that. You are always in the spotlight, even when no one is watching.
When it all comes down to it, this is a business.
Performing a role, playing an instrument, conducting a score, and calling a show are all artistic functions of the world we work in. And that world we work in is a business. Even though the production becomes the vehicle of presenting the art form that we emotionally connect with, the emotion does not drive the daily decisions made by the people who work hard to produce what you present to an audience.
Whether you’re hired or not, asked back, or never contacted from the same company, don’t take it personally. In the end, you simply cannot take anything personally. Be the best colleague you can in the environment that you land in, while working your hardest to make a good impression both artistically and professionally. You never know what could eventually come of your willingness to do more than enough or go the extra mile to recognize that you are part of a team with a common artistic goal.
A friend of mine in the business once said to me, “I don’t want people to notice me when I walk into a room. I want them to notice me after I leave a room.” Isn’t this true? After you leave a production, finish a contract, or depart a city where you’ve worked, you want people to remember you in a positive light and hope to work with you again. In the performing arts world the impression that you leave is more important than the one you make when you first walk into the rehearsal room. Yes, you should strive to make a good first impression, but it’s ultimately the duration of your work contract that truly shows how you operate in a multitude of circumstances spread out over a few weeks.
Even though we live in a world of critics, there will be someone who will ultimately take notice and be impressed by your attitude and artistry when you walk out of a room. Continue to put your best foot forward and you will leave your mark, both in and out of the spotlight.
