Actor’s Diary: Final Days Backstage Leave Lasting Mental Images
By Tiffany Tang, Special to the U-T February 16, 2014
Closing weekend, much like opening weekend, arrives with its own set of rituals. Backstage, there is an air of finality. Cast members are getting antsy for their next projects. Directors are scheduling rehearsals for future shows. The life of the play, while it continues with gusto onstage, wanes in the wings.
It is about this time when I frantically begin looking around me, desperate to capture fleeting moments of this creative camaraderie. Unfortunately, trying to maintain the unique energy of a play after its final curtain is like trying to prevent an apparition-possessed witch from disappearing into the night. It just doesn’t work very well.
Some things will be easy to let go of. For instance, it has been over three weeks since I’ve worn nail polish, earrings, or my favorite perfume. I will be happy to not have to pick prosthetic glue boogers out of my pillow in the morning or wash glow-in-the-dark goop out of my hair each night. Scratching my nose without the aid of a Q-tip poked up my prosthetic face nostril will also be a relief (and I realize that might have been too much information).
Other things, however, won’t be so easy to release.
Tonight, Erin Petersen, Savvy Scopelleti and I sit at our dressing tables to begin our 45-minute makeup routine. While we have tried a variety of background makeup-applying soundtracks, the only one that ever seems to be right is the *NSync Pandora station. Rin Ehlers Sheldon, who plays Lady Macduff, laughs when she hears it, dubbing it “typical girl dressing room music.” I stretch my prosthetic nose over my face while we all harmonize to “Bye Bye Bye.”
I take a mental snapshot. While we cannot hold onto the moments, I think to myself, we can retain the memories. I eagerly begin to search for more.
Sandy Campbell, who plays Lady Macbeth, glides into the dressing room. “Hello, my witchy witches!” she says. Later, we will help her through multiple quick-changes as she entertains/kills the king. We decide we make a pretty dark trio of ladies-in-waiting.
Before the show, I give Andrew Moore, our San Dieguito Academy intern who plays Young Seward, a high-five and tell him again that geometry is not the devil incarnate. Eric Parmer, who plays Angus, offers that geometry might, in fact, be the devil incarnate, but that it’s still important to do well in it. Dylan Nalbandian, who plays Macduff’s Son, doesn’t seem convinced. I talk quinoa recipes with Christian Payne, who plays Fleance, because he is a vegan who hates quinoa and I take that as a challenge.
The show begins, and the witches and I move in perfect sync with our first heartbeat to our own relief. I mentally give our stage manager, Monica Perfetto, a thumbs-up. This opening sound/movement coordination is the result of our carefully cultivated psychic prowess.
I exit the stage in blackness and almost crash into Rob Biter, who plays Ross and is waiting in the wings for his scene. Even though this happens every night, I never stop to apologize because I have an epic run to the other side of the theater for my next entrance. Plus, on the way, I have to stop at the prop table to grab my pig intestines. Rob understands.
I am doing ballet turns in the hallway, because that is how a witch spends her downtime, and Jim Chovick, who plays Seyton, begins chatting with me extensively about dance. Weeks ago, in the darkness of our tech rehearsals, I inadvertently gave him a minor heart attack when I stepped out of the wings in full witchy makeup and whispered, “hello.”
During intermission, Brian Rickel, who plays Malcolm, and I chat about narrative archetypes. I tell Tyler Jones, who has just finished murdering Banquo, that the blood on his cheek looks like a poinsettia. Fran Gercke emerges from the dressing room, and I wonder how much chocolate syrup is in the blood that drenches his face tonight. Patrick Duffy, who plays Macduff, holds a backstage door open for me and smiles. I immediately blush because why is he so handsome?!?
During Act Two, Danny Campbell shakes his head at Erin and me as we do a small tap routine backstage while waiting for the final scene of the play.
During curtain call, I meet Sean Yael-Cox, co-artistic director and lead actor, center stage for our bows. He is understandably exhausted, having spent his last 15 minutes of stage time in a marathon brawl. And yet, once offstage, I can already see him making mental notes of what needs to happen in the next few days.
Costumes will be stored. Thrones will be relocated. Chandeliers will be disconnected. Rehearsal schedules for “All My Sons,” Intrepid’s Season Five opener, will be emailed out to a new cast working on a new play with a new life all its own.
Snapshot … end scene.
The U-T San Diego invited our blog writer, Tiffany Tang, to contribute her Macbeth ”Actor’s Diary” installments in the Sunday Arts Section of the newspaper, starting January 26 and continuing through February 16. She documented a behind-the-scenes perspective on Intrepid’s 13th production and Season Four finale. This blog was originally published in the U-T San Diego on February 16, 2014.