The next "adventure" on 11th Street

A Post from Dad:

Just after Kai wrapped up his Shakespeare Theater show, an email came from his friends at the Kennedy Center Opera House. This time, they were looking for Dad. Sure, Kai's been an extra in three operas over there on the big stage, beginning with Madama Butterfly when he was just 4, but I'm catching up! (Thanks for the coattails, Kai!)

Maybe it was my great acting as one of the 75 walk-on Russian Solders in their 2010 production of War and Peace? Anyway, the Opera's upcoming Tosca performance (Sep. 10 to the 24th) ALSO needs 'a few good men' - and, well, some clergy, too. [FYI - Tosca will be simulcast FREE to the Nationals Stadium's huge high-def screen on Sep. 22 for Opera in the Outfield]

In Act One, my big part is to stand on stage dressed as a Deacon and hold an incense pot that hangs from a chain. The assistant director told me tonight at rehearsal, "Don't swing it, just stand there. You are really just eye candy." This is a big adjustment for me, because at the first rehearsal last week they had me doing all this blessing and crossing of the choirs and audience. Later I found out I was standing in for another guy who couldn't make that rehearsal. Bummer. Still, any good Deacon knows that the Director giveth, the Director taketh away.

My big break happened at rehearsal for Act three. I was SUPPOSED to be a member of the firing squad that shoots the lead singer at the end of the opera. The director, though, had not picked a Sergeant. After a brief chat with all of us, I was moved up in rank. The costume staff were alerted. My rifle was traded for a sword and pistol and I was sent home with a CD and sheet music so I could practice the downswing with my scabbard at just the right moment - signaling the other guys to pull the trigger. As a good friend pointed out to me today, "... but you can't mess that up at all, right, I mean, isn't that sort of a key moment in the opera?!" Yeah, I've listened to that darn CD 50 times already.

It's been a blast so far - and I'll let you know how it goes.

Kai's Dad

Last Show

It was the last show on Sunday afternoon. After the show on Saturday there was a cast and crew party on the third floor of the theater lobby. There was drinks and pizza and everybody was happy to talk about how the show went and what's happening next. I was saying hi to everyone in the cast and taking pictures. I got home at midnight and didn't fall asleep until 12:30.

Sunday's show was a big success and everyone was happy to go home. But there was some sadness about the show ending. I felt like it was really over when I took my last bow. I'm going to miss everyone in the cast. This was one of the best summers I ever had.

Turn your cell phones off

During the show last Thursday night, someone forgot to turn off their cell phone. It started ringing in the middle of scene 2.1a. This is the scene where Portia and Bassanio are dancing before Bassanio chooses the casket. The phone kept ringing so Bassanio stopped the show. He said "is anyone going to claim this device?" Nobody did. Finally, a lady sitting in the front row on the right side checked in her purse and then ran out of the theater. She was found in the bathroom by backstage management crying because she was so embarrassed. The moral of the story is: Turn off your phones!

The Set

I think the set in the Merchant of Venice is a harder set to act on than usual plays because the scenery stays the same throughout the show. It doesn’t change but the actors are in a house, on a sidewalk, on a street and in a court. There also is a big huge staircase in the center going from cue light 12. During the show it is the stairs to Portia’s second story in her house, an entrance to a train station and even a balcony where Portia sees a plane go overhead. You have to really act like you are in each place or the play will get messed up.

Cue Lights

At the Shakespeare Harmon Theater, cue lights are very important. They are important because they tell people when to go on stage for their scene. There are thirteen lights total and one is at each entrance to the stage. The lights are the opposite of when you drive a car. They flicker green when you are supposed to stand by, and then when they turn off, that’s when you go on stage. Actors also listen for lines which is very hard. The cue lights are much easier.

Jobs Backstage

There are a lot of jobs backstage. Backstage management is one of them and Bonnie is in charge. Erin is the child wrangler and her job is to watch me and the other kid in the show. Wardrobe takes care of all the costumes and helps with quick changes. They keep the costumes clean and fix anything that breaks. The show has lots of props and people are there to take care of them. The props include pretzels, croissants, “champagne”, apples and large knives. All of the above plus actors equal the show.

The Trial Scene

During the trial scene, I have to stand in a window up on the second floor of the deck. We have to sit very still and act like we are really interested is what everybody's saying. We can move into a different position three times and we can't fidget. Doing that, we actually have to listen to them so I've memorized the lines to make it more fun. It makes the long scene a good deal quicker when you have something to think about. I enjoy the scene because I know the lines.

The scene is over for me when a policeman pushes us off stage. He shoos the kids off because kids shouldn't be watching what they were about to do -- cut a pound of flesh out of someone.