In the production “Peter and the Starcatcher,” every storm, shipwreck, and sprinkle of starstuff was brought to life by the combined efforts of seven backstage crews: build/paint, props, costume, lighting, sound, makeup and stage, along with three stage managers.
Build Crew: The process began with the build and paint crew constructing and painting the set pieces used in the show. Crew heads Gwenn Galido and Pax Martin worked alongside scenic designer Dave Ecenrode to lead the crew in ensuring each piece was both functional and visually aligned with the director’s vision. After the conclusion of the play, this crew entirely disassembled the set in preparation for the pieces to be reused for future productions.
Props Crew: The props crew was responsible for sourcing, creating and organizing the numerous items that appeared throughout the play. Crew head Madelyn Cranford ensured each prop was properly labeled, organized, and placed in the correct spot for easy access during performances. Whether it was through orphan Ted’s pineapple, Captain Smee’s grass skirt and ukulele or Black Stache’s bloody hand in his transformation to Captain Hook, the props crew helped bring the story to life.
Costume Crew: The costume crew worked to outfit the actors. Costume designer Char Wilson, who returned to MTPA after working on an international tour of “Hairspray the Musical,” outlined the costumes for all 23 actors and four stage crew members. A team of 18 students, led by crew heads Sophie Esbenshade and Madeline Newman, sewed pirate outfits, chef costumes and mermaid attire, each tailored to the actors and designed specifically for easy removal during quick changes. After each costume was sewn, seven crew members assisted actors with their costume changes during each performance.
The following four crews started about three weeks before opening night as rehearsals began incorporating lights, microphones, sound effects, costumes, makeup and moving sets.
Lighting Crew: The four members of the lighting crew worked alongside lighting designer Joe Boufford to hang and operate the lights necessary for setting the scene throughout the play. Crew members Aanya Iyengar and Carson Lefever operated the lighting board in the booth, adjusting the lights according to cues to match the action on stage. Miranda Phung and crew head Kate Peers worked in a room above the lighting board, the spotlight booth. The two were responsible for following actors during their solos and played the role of Tinker Bell, guiding a small, pink light that fluttered around the stage.
Sound Crew: Crew heads Frankie Mumma and Raven Raab assisted sound designer Scott Siegel in finding music and sound effects to enhance the show and ensuring all actors were heard properly and clearly while delivering their lines. The two consistently monitored the sound levels of the actors and communicated with the three other crew members located backstage. The backstage members of the sound crew were responsible for carefully placing microphones on the actors to make sure they were discreet and the actors’ voices were amplified clearly despite their hats. While Mumma and Raab operated the sound board and computer in the booth, the backstage crew remained on standby to check, adjust and replace microphones as needed during performances.
Makeup Crew: Stage makeup differs from everyday makeup, as the harsh stage lights require a greater contrast between light and dark to ensure the actor’s facial features are visible from a distance. The makeup crew, led by Emily Lai and Karen Perez, was responsible for applying makeup to each actor before every performance so that their features were not lost under the bright lights.
Stage Crew: The stage crew, a team of four, was responsible for physically moving the set pieces to their designated spots during the show. The location of each piece was marked with bright-colored spike tape, and it was the crew’s job to place everything quickly and accurately on its marked spot while in the dark. For this production, the stage crew was visible on stage while moving pirate ships and seaweed in the middle of a scene, so the costume crew designed pirate costumes for them to match the theme of the show.
Stage Managers: All of these crews, along with the cast, are brought together under the supervision of three stage managers: Penelope Meservey and assistant stage managers Oskar Filippo and Abi Balasubramanian. The stage managers worked side by side with the director, Kristel Kennedy, and assistant director, Michelle Luther. They worked closely with the actors from the first read-through of the script until closing night, assisting them with their lines, delivery and stage directions; they knew the show inside and out. Meservey worked with the directors and adults involved with each crew to create rehearsal schedules. Additionally, she called all lighting, sound and backstage cues from the booth during each performance. Filippo and Balasubramanian were typically found backstage, ensuring each actor, prop and stage crew member was in the correct place at all times.
Though rarely seen by the audience, these crews make each performance possible, transforming the script of “Peter and the Starcatcher” into a theatrical experience.
If the work of any of these crews sounds interesting, consider attending the pre-production meeting for the 2024 spring musical, “Singin’ in the Rain” on Dec. 2 in the Auditorium to learn more about how to get involved.
