The Theater Above the Theater

Fly systems, rigging systems, whatever you want to call them, just know there’s a very serious show happening in the 60-plus feet of air above the show on stage.

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Looking up into the “fly space” on the side of the Morsani stage. (Photo: Rob/Harris Productions, Inc.)

One of the wondrous aspects of theatrical life, even from its beginnings, is the delightful mix of labor, craft and personalities required to pull off a show soup to nuts. In the performing arts world, the blue collar meets the sequined collar, toe shoes meet steel-toed boots and the Type A work ethic unites all the players from the star of the show to the spotlight operator. If you understand theater as a living organism, you understand that everyone is equally vital.

However, what remains seen on stage normally gets the lion’s share of attention. But what about what (and who) you can’t see?

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A micro-view of the intricate knots used to anchor the Morsani Hall fly system. Theater fly systems were modeled after seafaring lines and rigs used for large sailing vessels. (Photo: Rob/Harris Productions, Inc.)

A show – especially at the scale of Broadway and grand opera – simply cannot happen if the “theater magic” isn’t engineered with mathematical precision. Often, enormous, heavy set pieces float up and down, in and out of scenes to denote setting changes or to enhance show numbers. For fans of The Lion King, Peter Pan and Mary Poppins, you know the primal thrill of seeing the beloved characters take flight, spin through the air, leap across rooms or glide into the show via umbrella.

These theatrical feats execute through the fly system, or rigging system, which is an elaborate superstructure of ropes, pulleys, bars, weights and fasteners that make lighting, scene changes and flying people possible. From the audience, the fly system remains invisible, but if you’ve ever wondered why professional theaters are so ungodly tall, that’s why: there needs to be a tremendous amount of space above the stage to store the show’s pieces out-of-sight, suspended over the stage to be released and hoisted on cue during the performance. We have about 70 feet of “fly space” in Morsani Hall to accommodate the large-scale theatrics of Broadway and opera.

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Along the side wall of Ferguson Hall stage, you can see the ropes and weights on the flyrail.

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Further up the wall, almost to the top of the fly system.

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At the very top of the Ferguson stage “fly space” are all of the pulleys.

Our production team, the “boots on the ground” who rig each incoming show, sends a schematic called an “advance” to the show that outlines the technical capabilities of Ferguson or Morsani (or whatever house the show will be using). The show, say, Rodgers and Hammerstein’s The King and I which will be in Morsani May 2-7, then gives our team a detailed blueprint, similar to an architectural rendering, of measurements, dimensions, set pieces, weight of each set piece, etc., so our team will have a heads-up for what to expect when the show loads in.

Here’s where it gets mortally serious.

Rigging a show – that is, hooking hundreds or thousands of pounds of equipment to hang over the heads of human beings walking underneath – is no joke. The riggers themselves (often noted as the cowboys of theater) often must work at death-defying heights to secure the heavy set pieces, hang lighting and load counterweights for each metal bar that brings objects in and out of scenes.

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Side lights hanging from a bar.

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About half way up to the grid above Ferguson stage.

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Almost to the top of the “fly space.” You can see the metal bars and curtains hanging and the grid directly above.

“Communication is very important between the flyman, the carpenter on the deck, the weight loaders and the rigging crew to work safely and not hurt anyone,” says Straz Center flyman Dave Reynolds. “Many of these moves are made during the show, and they’re done in blackouts with cast and crew on stage. Any massive piece of scenery that moves needs to be coordinated properly for safety. I get to do something I love every day as well. I take my job here very seriously and strive to be one of the best flymen the country.”

The most dangerous job in theater is setting up the rigging for a show and taking it down at the end of the run. If an opera uses a 700-pound backdrop, that backdrop is hung on a “pipe” or metal bar that is controlled by a rope or “line.” The line needs 700 pounds of counterweight on it to achieve what is called a “balanced load.” The rigger sets a hand brake on the line to secure it in place. When it’s show time, the flyman pops the brake, guiding the line with the balanced load, and the audience sees the smooth, light entrance and exit of a 700-pound backdrop. What the audience never sees is the extreme safety precautions riggers take to make sure they never drop 50-pound counterweights from a catwalk 45 feet in the air or drop pipes from the same height. Or miscalculate and drop a 700-pound backdrop on Lieutenant Pinkerton.

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View of the side of Ferguson stage looking down from the grid at the very top of the “fly space.” See that tiny piano on the stage?

So, the effortless appearance of scenery or characters swooping in from the wings or down from the “ceiling” actually requires quite a bit of effort, engineering, safety expertise and chutzpah from men and women who don’t get dressing rooms but do get to star in one of the most important roles in any theater production.

As If Going to the Theater Wasn’t Fun Enough, They Had to Invent the Lottery

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A crowd of people eagerly await the results of a ticket lottery for Book Of Mormon at The Straz.

It all started with Rent.

When that show blew up and became the hottest ticket in town, the producers tried a radical idea to make the show more accessible to as many theatergoers as possible: sell the first two rows of orchestra seats for a scant $20 a pop on a first-come-first-served basis. In no time, students lined up at dawn to purchase these “rush” tickets when the box office opened, and the idea – like the show – was a huge hit.

Since then, producers have been concocting fun ways to get massively discounted tickets into the hands of the widest possible audience. Recently, one of the most exciting pre-show events to emerge for these ultra-affordable tickets is the lottery.

That’s right. A good, old-fashioned luck of the draw: go to the theater, write your name on a card, drop in in a box, then wait. Competition is fierce, and hope runs high, with sometimes 200 people vying for up to one pair of coveted tickets to shows such as Matilda, Kinky Boots and Wicked.

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A few hours before curtain, a representative of the show (or theater) passes a hand over the box as the crowd of fans holds its breath with anticipation. The person reaches in the box, draws one card, then reads the name to the waiting crowd. Most groan, but there is one cheer – if your name comes out, you’re the lucky winner of one or two seats to the big show at a fraction of the box office rate. As technology advanced, the old-fashioned ways included a new-fangled digital lottery, where patrons can throw their proverbial names in the hat via a cell phone app – and be notified by text if they are winners.

One show hosting a pre-curtain lottery is Wicked*, running in Morsani Hall Feb. 1-26. This thrilling game of odds gives all people a chance to buy a ticket and take a ride to the other side of Oz. And if you lose … who cares? You can always come back and try again tomorrow. But you gotta show up in person; there’s no app to get you to Emerald City on the cheap.

*A limited number of tickets will be available by lottery for the performances of Wicked. Entries will be accepted at the Straz Center Ticket Sales Office two and a half hours prior to each performance. Two hours before curtain, names will be drawn at random for a limited number of tickets priced at $25 each – cash only. Winners must be present at the time of the drawing and show valid identification to purchase tickets. Limit one entry per person and two tickets per winner. Tickets are subject to availability.

Straz Staff Highlight Reel: Our Fave Moments from “Carpool Karaoke”

James Corden stars in the next filmed theater performance from National Theatre Live, One Man, Two Guvnors. We think this is a fine time to mention our favorite bits from his hilarious skit on The Late Late Show.

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James Corden in One Man, Two Guvnors, for which he won the 2012 Tony Award for Best Actor in a Play.

The awkward Britney Spears one. The somehow-they’re-wrestling-on-a-stranger’s-lawn Red Hot Chili Peppers one. The LOL and then cry when Stevie Wonder calls his wife one. Oh! And the FLOTUS hand-dancing to Bey one or the road tripping to the Super Bowl with Chris Martin one. We give up. Just pick one. They’re all hysterical. Of course, we’re talking about James Corden and “Carpool Karaoke.”

James Corden struck gold when he managed to launch the now cult comedy skit on his late night talk show, The Late Late Show, which he took over when Craig Ferguson left in 2014. The first episode of “Carpool Karaoke” aired in 2015 when Corden asked a “friend” to help him get through traffic to work and the go-pro pans to Mariah Carey. [*wild audience applause* team-singing to “Always Be My Baby” ensues.]

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Mariah Carey helping James Corden get to work in the first episode of “Carpool Karaoke.”

The formula has more or less been the same, whether the passengers are One Direction, Gwen Stefani or Lada Gaga: Corden in an SUV, needs company driving somewhere, famous person gets in car, they sing together. They may pick up friends (like George Clooney and Julia Roberts for Gwen Stefani’s “Hollaback Girl”) or stop to play dress-ups (Justin Bieber) or, as mentioned, pull over to the curb for some “good man grappling” on a Los Angeles lawn (Anthony Kiedis won).

Most Americans don’t realize that James Corden, this lovable fanboy host, was a gigantic theater and television star in Britain before crossing the pond to headline the vamp-hours CBS talk show. Despite his recent Rolling Stone cover and Tony® Award for One Man, Two Guvnors, Corden continues to find himself pigeon-holed by Yanks as a talk show host although he spent several years hounded by British paparazzi for his fame as the character “Smithy” on the sitcom Gavin & Stacey.

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Along with Ruth Jones (left), Corden (right) co-created, co-wrote and co-starred in the BBC sitcom Gavin & Stacey from 2007-2010.

We admit, we love him most for “Carpool Karaoke,” too (we are looking forward to the upcoming skit with Madonna almost as much as we looked forward to Lin Manuel-Miranda on Drunk History). In honor of Corden returning to his more auspicious comedy roots when he stars in the filmed version of National Theatre’s One Man, Two Guvnors, we asked some of our dedicated Straz Center staff to reveal some of their favorite “Carpool Karaoke” moments.

Here they are.

“My absolute favorite was Adele. When he called her and said “Hello, it’s me . . . I was wondering if after all this time you’d like to meet” and then she comes and gets in the car. I also loved when he advised her she could have a better squad than Taylor Swift with Beyonce, Jennifer Lawrence and Emma Stone. He also got her to rap the Nikki Minaj “Monster” song which was classic!”—Jeanne Piazza, programming manager

“Favorite: when Adele double-takes directly into camera, artfully crafted eyebrows raised, as Corden starts belting out her own song, pleasantly surprised by his talent.”—Shannon Darby, production manager

“My favorite is when he had JLo (Jennifer Lopez) on his show . . . not that I’m a fan of hers, but because he asked her who was the most famous person in her phone and then she allowed him to send a text to my boy, Leonardo DiCaprio. The end result is totally hilarious and adorable.”—Amber Russell, ticket office supervisor

“My favorite moment was with Jennifer Hudson when she ordered the cheeseburger in the drive thru line for James Corden.”—Nicole Pockrus, production coordinator, education

And, of course, the “Broadway” one was a huge hit.

“Love the Broadway one, for obvious reasons. Growing up in NY as a professional actor, it captures exactly what I love most about being part of the Broadway/Theater community. Plus, it makes me miss NYC.”—Bill Rolon, corporate relations manager

“It’s the most amazing one ever. ‘One Day More’ at the end . . . Audra McDonald for the WIN! They are the perfect ensemble in this. You couldn’t have staged it better.”—Dr. Lauren Murray, music department chair, education

“The ‘One Day More’ pre-Tony Awards bit with Audra, Jesse, Lin Manuel and Jane. It hit at an inspiring time, considering we’d just begun rehearsals for Patel Conservatory Theater’s Les Miserables, School Edition.”—Suzanne Livesay, vice president of education

Virtual Sensations

How social media and television talent shows changed performing arts programming

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iLuminate placed third on the sixth season of America’s Got Talent.

Some baby-faced tween covers a Chris Brown tune on YouTube. It goes viral. R&B superstar Usher sees the video. Signs the kid to his label.

The kid’s name? Justin Bieber.

Beliebe it: so much of our culture rapidly evolved and adapted once folks figured out the marketing and promotional power of the internet, a virtual worldwide “people’s media.” Suddenly, everyone with access to a recording device, an internet connection and a computer could launch their own free channel on YouTube and be connected to billions of other people. There was absolutely no quality control, but the YouTube market and social community could, would, did and does—make people famous.

YouTube and other social media like Facebook, Instagram, Buzzfeed and Twitter remade pop culture into its current, over-saturated, digital shape, creating a parallel virtual world to real life, with many of us living in both—and almost everyone capitalizing on “see-me” wonderworld of the internet’s mass media platforms. On social media, it’s obvious what people like because videos go viral, shared repeatedly on Facebook or re-Tweeted, until hundreds of thousands or millions of people have viewed someone’s song, rant, dance performance, comedy routine—you name it. Then, sometimes, if you’re a Justin Bieber, you land on Usher’s iPhone and become a megastar.

The show business part of performing arts programming overlaps with pop culture because tickets must be sold, and there must be an audience who wants to pay money for the tickets. This fundamental formula of supply and demand eventually pushed performing arts centers to mine the talent fields at play on social media, following audience trends and taking social media seriously as a legit launch pad for performing artists with popular appeal.

Perhaps one of the biggest acts to launch itself onto the real-life stages of great performing arts centers is Postmodern Jukebox, a YouTube sensation of talented musicians and vocalists who make retro adaptations of popular songs. We had them here at The Straz last season, and the tickets went like hot cakes. YouTube also brought attention to musician Bo Burnham, who also performed here last season, and many of our Club Jaeb artists rely on YouTube and their self-promotion platform online to demonstrate their selling power when programmers, like our director of programming Chrissy Hall scouts talent.

“Well, the influx and prominence of YouTube has greatly increased the number of stars, but it tends to create a 15-minutes-of-fame-scenario,” she says. “So, the trick is finding a measure for whether the success will be more than a flash in the pan. A lot of it comes down to their prominence on social media—if they have a strong number of followers. Those numbers could indicate success in a live performance experience.  I watch the views their videos have on YouTube and the likes they get on social media, which informs the decision to book them or not. This process for fame is still relatively new, so a lot of it comes down to instinct, but, as analytics become more reliable, they help.”

The forerunner to social media, of course, was the TV talent show, an old-time game show template resurrected by Star Search, American Idol and Dancing with the Stars. The same populace-meritocracy thread—that average people’s votes determine the winner—laid the foundation for the success with social media since winning-the-Internet depends on mass popularity.

A very interesting connection between these types of TV shows and live performing arts exists between American Idol and Broadway. Several contestants on the show later found a place for themselves on the Great White Way thanks to their ride on Simon Cowell’s gravy train. Constantine Maroulis, who ended up in sixth place in season four, pulled a Tony® nomination in 2009 for Rock of Ages. Jennifer Hudson made her Broadway debut in The Color Purple this year, and other notables include Clay Aiken in Spamalot, Jordin Sparks in Lin-Manuel Miranda’s pre-Hamilton hit In the Heights and Todrick Hall, who took over the lead role as Lola in Kinky Boots on November 1.

In our season and in the seasons of other prominent performing arts centers, you’ll find artists and acts from America’s Got Talent, The Voice and other road-to-stardom television talent shows. iLuminate, a dance performance company performing here November 20, stunned studio audiences with their high-tech, minimalist lighted costumes and hip-hop dance. Their talent and popularity was the right balance to propel them to a national tour. “We try to see if these groups from TV shows have the ability to convert their popularity to a following of ticket buyers. I monitor them on social media as well, but the sure bet is always peers in the industry. They’re the best resource for knowing who of this type of artist is best to book until our analytics processes get more developed,” Hall says.

With the cancellation of American Idol this year, it’ll be interesting to see what next-big-thing emerges from the screen-based entertainment industry and how that may affect what we see on performing arts stages around the nation. While we wait, we’ll just mind the gap with YouTube dance videos.

NOTE: Remember, fans, take a few minutes to learn about what is fair use and what is copyright infringement before you become famous on YouTube. Wired breaks it down in this article or you can just read over YouTube’s explanation.

Extra Sensory Perception

How the stage allows us to get inside another person’s experience

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Alex Sharp in The National Theatre production of The Curious Incident of the Dog in The Night-Time on Broadway at the Barrymore Theatre. (Photo: Joan Marcus)

“You never know someone until you walk a mile in their shoes,” goes the popular adage about trying to be less judgmental and more compassionate. The key to getting in someone else’s shoes is to imagine what his or her experience must be like, to feel what she or he must be feeling. This exercise is known as empathy.

One place that’s crackerjack at making empathy 3-D is the theater.

Since its invention, theater has served as a platform for dramatizing the human experience with all the joys, humor, complications, tragedies, injustices and awkward awakenings of the human heart. The stage also acted as a mirror, reflecting back at society what it refused to see—or, in many cases, was unable to see about itself until other people literally showed humanity what it looked like. The stage is a safe place to say uncomfortable things, to challenge the status quo, to make people laugh at themselves and others, to experiment with how to make abstract concepts concrete and in-the-flesh. Sometimes a play does all of these things while singing and dancing. (We’re looking at you, Book of Mormon.)

With the rise of interest in human psychology at the turn of the 20th century, a new challenge cropped up for playwrights and actors: how to capture the workings of the mind? We know Freud relied on his knowledge of Greek theater to name two of his bigger concepts (Oedipus and Electra complexes) and that psyche is the Greek word for “soul,” from the eponymous goddess. So, drama in real life goes hand-in-hand with the drama of the mind.

However, putting that mental activity on paper in dialogue and stage directions is not so natural. The key rests in the collaborative, team-based nature of manufacturing make believe: on stage and screen, other designers lend their skills to bring the vision of the mental landscape to completion. Set design, lighting, color palettes, sound and choreography become crucial to pulling the lofty, abstract ideas of “torment,” “sensory overload,” “insanity,” or “schizophrenia,” “addiction,” or “depression” into a detailed, concrete picture that audiences can see and understand. These elements help bring audiences to empathy, to the shift in perception that allows us to see into the soul of another—or ourselves.

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Some of the best representations of the wacky, disjointed nature of thought occur on film. We’re thinking here of Charlie Kaufman’s body of work (Human Nature, Being John Malkovich, Eternal Sunshine of the Spotless Mind) or Chris Nolan (Memento, Inception) or Pixar’s 2015 offering, Inside Out, the animated film where even emotions get emotions.

Theater plays tend to explore psychology not as a setting (like literally finding a portal into John Malkovich’s brain in Kaufman’s delightfully bizarro screenplay) but as character traits or as a theme. Edward Albee’s Who’s Afraid of Virginia Woolf scarred several generations with its unflinching examination of alcoholism and head games, and Peter Shaffer’s boy-who-blinds-horses drama, Equus, continued to make audiences squirm even when Harry Potter’s actor played the lead. And let’s quickly nod to Martin McDonagh’s The Pillowman, a frightful interweaving of psychological cruelty and children’s storytelling, that proved illuminating the deep, dark perversities of the minds of men was alive and well for this 2004 Laurence Olivier award-winner.

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Daniel Radcliffe, Lorenzo Pisoni, and Richard Griffiths in the Broadway revival of Peter Shaffer’s “Equus.” (Photo: Sara Krulwich/The New York Times)

Back in the day, playwright Arthur Miller wrote in his stage directions to Death of a Salesman that the set should indicate titular salesman Willy Loman’s varying psychological conditions, and Ntozake Shange’s fierce use of dance and poetry to reveal the psychological effects of racism and sexism on black women pushed For colored girls who have considered suicide/When the rainbow is enuf to be nominated for a Tony® award for Best Play in 1977.

Yet theater still experiments with finding ways to do what Kaufman’s and Nolan’s films are able to do—namely, make a character’s mind the landscape of a story. Finding plays or musicals that take place inside a person’s experience of the world to put the audience inside the character’s worldview are few and far between.

Then there’s The Curious Incident of the Dog in the Night-Time.

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Original Broadway Company of The Curious Incident of the Dog in the Night-time. (Photo: Joan Marcus)

This play (it’s not a musical), based on Mark Haddon’s novel of the same name, takes theater one step further. Curious Incident follows the events of the main character, Christopher, a boy who has a rather brilliant and extraordinary mind, after a neighbor’s dog is murdered. That mind, however, processes the world unlike most people’s minds. So, how does a production team build a play to spark compassion and empathy for Christopher? It puts the audience in Christopher’s shoes. Or, literally, in Christopher’s sensory experience.

The set itself serves as Christopher’s psychological boundaries. His mind, a grid-based thinking system (as opposed to our floaty, nebulous artists’ minds), becomes the walls of the set, the grid illuminated in different ways throughout the performance. As audience members, we are thrust into Christopher’s perception of the world with its numbers, noises, chaotic choreography, indirect and disorganized language and baffling array of incomprehensible adult reactions to facts. Christopher and his pet rat Toby must solve the murder, and we tag along for the ride, strapped into the observer’s seat in Christopher’s worldview. Often, like Christopher, we find ourselves overwhelmed by the onslaught of movement, sound and unpredictability of every day living.

Frankly, it’s a stunning theatrical achievement. Perhaps, at least in this case, we can say we know Christopher by the end of the show, not because we’ve walked a mile in his shoes, but because we’ve watched two hours from the inside of his mind.

Curious about Curious? Then come see the show.

Open To Interpretation

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Interpreters Anthony Verdeja and Carrie Moore welcome deaf and hard-of-hearing guests to the Straz Center. (Photo: Rob/Harris Productions Inc)

The Thursday night show during each Broadway run has a special performer, one whose acting and choreography chops never make a sound. As part of its Americans with Disabilities Act (ADA) initiative, the Straz Center secures a sign language interpreter for the Thursday night show in the Broadway series, with The Illusionists being the first of this season.

While any Straz Center performance falls under the ADA guidelines and can have sign-language interpretation on an as-needed basis, this initiative guarantees a regularly scheduled interpreted performance that guests can expect.

Far from being a literal English translation of the script, a signed performance requires that the interpreter don all artistic hats at once: the interpreter must emote, understand motivation in gestures and artistically translate a musical script from English into a visual language unto itself. The common misconception that American Sign Language (ASL) merely invented gestures that correspond to English words greatly underestimates the complexity of ASL as its own novel language, complete with its own grammar, nuance and expressive capability. In other words, an interpreter creates an adaptation to visual language in real time, giving deaf or hard-of-hearing patrons the thrilling emotional experience shared by patrons who can hear the performance.

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An interpreter becomes a one-person show, transforming a musical into ASL with the same need for fluency that someone would need to translate Chinese poetry into English verse. There is an ‘essence’ that must be captured in the language, and apprehending this elusive quality requires a strong set of skills and no amount of stage fright.

This tall order cannot be filled by just anyone who happens to know ASL. “We’ve engaged an exceptional company to provide sign language services,” says Straz Center director of production services Mike Chamoun. “This group is just tremendous. They add the emotional interpretation like actors, conveying that much more. Most interpreters like to locate the deaf and hard-of-hearing patrons before the show, meeting them and asking about what they want from the performance and having that dialogue inform their interpretation. It’s quite something. They are excellent at serving the patron.”

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The minority-woman owned company, Absolute Quality Interpreting (AQI), hires only nationally-certified sign language interpreters. Lisa Schaefermeyer, AQI’s founder and CEO, ensures that her interpreters deliver a great performance of the show. “There’s a difference,” she says, “between someone who knows sign language and someone who can perform. There’s a skill level needed to stand on the platform and do what they do. We are fortunate to have interpreters who specialize in the performing arts.”

Chamoun requests a copy of the script from the show, then forwards the script to AQI so the interpreters have time to prepare their own performance. “But they don’t get months of rehearsal,” Chamoun says. “They’re lucky if they get two weeks.”

“The additional prep time allows the interpreter to give a better performance for the audience. She or he has time to think about the right sign to reflect what is happening on stage. Imagine a monotone reading of an audio book, read by someone with no training,” says Schaefermeyer. “Then imagine a great actor performing the text of the same book, and you’ll get an idea of what is possible with great sign language interpretation.”

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Typically, a Broadway show requires two interpreters to cover the many parts. In Morsani Hall, they stand in a small, specifically-designed alcove complete with its own lighting so that the interpreters fade out or blackout in sync with the main show. “It’s under the house right mezzanine,” says Chamoun. “So, it’s not on stage but on the orchestra level so patrons have a good view. We encourage our deaf and hard-of-hearing patrons to call the Ticket Sales Office and have a representative make sure they get seats with a good view of the interpreter. We want to make sure they get the same Straz experience, and we are happy to do what we can.”

“We are so excited to be able to do this,” says Schaefermeyer, who has a few decades of experience in the field. “Our interpreters love their jobs, love to spend time with patrons and getting to know cast members. And that comes through in the interpretation.”

Talking With Yu Ho-Jin, The Manipulator

This week, we are pulling a little sleight-of-hand by sharing this “Behind the Persona” feature from the Straz Center’s INSIDE magazine featuring Yu Ho-Jin, The Manipulator, from The Illusionists, which returns to Tampa Sept. 23.

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How did you get started in the business?
I got into magic at the age of nine after witnessing a magician doing a stage card manipulation act. Eventually my parents, who were opposed to me performing magic, became my greatest supporters when they realized the passion I had for it. Soon I began to receive awards at various magic competitions. When I was 19, I won the Grand Prix award in the stage magic division at the International Federation of Magic Societies’ 2012 World Championship of Magic in Blackpool, England. This gave me the opportunity to perform around the world.

What’s always in your refrigerator?
There is always Korean food in my refrigerator. I love ice cream; I am huge big fan of it. Also eggs and ham. And not in the refrigerator, but in the kitchen, there are bananas.

What is your worst quality?
Hmm … hard to say (laughs). Well, I love to cook but am not very good at it. So I eat bananas.

What music is on your playlist?
Classical music played on the piano is a passion of mine. It inspires me. While I’m a fan of most music, hip-hop gets me moving.

What’s your favorite place to vacation?
Natural wonders make me very happy. Of course, the best place for vacation is anywhere my family and friends can join me. Someday I hope to show my family Florida.

What are your thoughts about our great state of Florida?
Miami is one of the places where I want to stay for a long vacation with my family. Florida has unique natural landscapes and a beautiful coastline. I can’t wait to enjoy Florida!

Read any good books lately?
I used to devour self-help books about self-management, leadership and communication skills but these days, I look for a good novel for an escape.

Ginger or Mary Ann?
Well, I like both, but if I have to choose only one, Mary Ann.

What’s the greatest thing since sliced bread?
There are too many choices! To me, the Internet and computer, hands down. Without the ability to search, download music, play games and send emails, I cannot imagine what we would do with our lives.

What’s your “guilty pleasure” television show?
I usually don’t watch television. When I travel and I am feeling lonely, I will watch a Korean mini-series.

Who or what inspires you?
I respect my friends, like the other performers who work with me in The Illusionist shows. Theyinspire me in every moment. Also, I respect David Copperfield and the way he has made his own magical world.

What do you consider your greatest successes – personally and professionally?
Personally, of course, I love my mother, father, sisters. Without my family, what does my life mean? Professionally, I want to create more mystery and wonder using my magical inspiration and share my magical creations with people around the world.

If you hadn’t chosen a career as an illusionist, what other career path do you think you’d have followed?
Well right now, this is my dream and it works. I just concentrate on my present.

 

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