All That Glitters is Gold for Jobsite Theater

Jobsite Theater opens its 2018-2019 season with a return of Spencer Meyers in the lead role of Hedwig and the Angry Inch. Spencer, who by day plays our unflappable group sales associate at The Straz, debuted as Hedwig in Jobsite’s 2013 production. Says Jobsite Artistic Director David Jenkins, “I always knew the prodigious talent inside of him, but it was amazing to watch Spencer blossom through the process to fully bloom during the run. His Hedwig is delicate, self-effacing, vulnerable, a true underdog. I think Spencer is even more prepared, more in his prime, than perhaps he was before. So, I’m very excited to get back in the rehearsal room with him to see how she’s [Hedwig’s] grown in this time.” Here’s what Spencer has to say about being Hedwig and returning to the show.

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Spencer Meyers as Hedwig, backed by The Angry Inch, during a technical rehearsal. (Photo: Brian Smallheer)

CAUGHT IN THE ACT: Many people know you from your work with Jobsite and saw you in the first run as Hedwig in 2013. Are you nervous about coming back to the role? In what ways are you approaching your performance differently this time around?

SPENCER MEYERS: Tampa Famous! Of all the roles, it’s my favorite. Hedwig’s first preview was the first time I ever had stage fright, seconds before making my entrance; I literally was wondering how I could get to my car the fastest without being seen. We had a birthday in the audience that night of a long-time Jobsite supporter. I went out there, sang the birthday song like Marilyn Monroe’s JFK version and then, Hedwig took over. Now, I have a new set of nerves. Whereas the first time was, “can I do this?” This time, I know I can but I wonder – “can I live up to the hype of the last time? Or the hype that this show has had since its Broadway run/success?”

Preparation? Wait, I’m supposed to prepare? Memorizing those lines ahead of time, is the smartest thing I can do to prepare. Sections start coming back more than others. Although, I’m five years older, and it’s interesting how some moments have more meaning to me than others because of new life events.

2013 Angry Inch band

The 2013 band is pictured in the top photo (L to R: Woody Bond, Amy Gray, Spencer Meyers, Jonathan Cho, and Jana Jones). The bottom photo shows the 2018 band (L to R: Nader Issa, Jeremy Douglas, Woody Bond, Spencer Meyers, Mark Warren and Amy Gray).

CITA: We heard through the grapevine that your acting has been strongly influenced by the style of Miss Piggy. True? If so, is there anything you’re bringing to the role of Hedwig that has a little Piggy in it?

SM: Okay, this grapevine has been on my Instagram (I have a side by side comparison photo of me and Piggy–we could be related). My favorite Muppet has always been Miss Piggy. She’s loud, she’s funny and always manages to steal the scene. She’s the number one reason I love The Great Muppet Caper. Haven’t seen it yet? Watch it and see Hedwig, who shares the same diva-like qualities as Miss Piggy and some physical traits like the big smile and head tilt–as well as some aggression towards those who try to steal her light. It’s Hedwig’s show, she’s the star–never forget that.

CITA: It’s a tough, demanding role. Hedwig is always onstage, talking or singing, and swinging through a million emotions. How do you keep your energy up throughout an entire run?

SM: It’s exhausting–I’m barely a human being for the first 20 minutes after the show closes. My preparation before each show consists of a series of events the second I arrive to the dressing room. First, I shave my face, then paint my nails, wipe my face with alcohol wipes and start putting on the many layers of garments (pantyhose, fishnet stockings, Spanx slip, fishnet top).

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First step to get ready for the show: shave and glue down the eyebrows.

Then it’s time to warm up with the band (“Origin of Love”), then back to the dressing room for makeup. The makeup will usually take until close to showtime (that’s right, I’m still putting on my face as you enter the theater and get comfortable). At about 10 minutes to places, I put on both layers of my costume, the cape and then finally, the wig.

It’s a 90-minute show of Hedwig singing and telling a beautifully tragic and cheeky story of her life. As you said, a million emotions. The wonderful thing about this character as an actor is the mask you wear with the makeup. I can’t see any resemblance of myself once the makeup is completed. I’m able to let her take over, and it’s an adrenaline rush all the way until the end. The moment after I take my bow, I dash to the bathroom to take everything off and throw on comfortable clothing. So, if you are waiting for me to come out, I will–just give me a quick minute.

Spencer and Lindsay, makeup designer

Lindsay MacConnell (L) designed the makeup for the 2013 production of Hedwig and is back again for this production.

CITA: Favorite part of playing this character?

SM: Everything except the Spanx and glitter. Seriously, I love everything about her. Her story is tragic, funny and relatable. We’ve all experienced the moments of her life. We’ve had the first loves that didn’t work, distance from family members at times, heartache and that moment that we search for our place in the world. The music is what made me fall in love with the show. Honestly, I think the songs connect us all in the human experience. We cry and laugh for and with her, she’s human–like us.

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A behind-the-scenes look at Spencer getting glitter-ized for the promotional photo shoot.

CITA: Hedwig makes plenty of inappropriate remarks to audience members as a part of the show—most of which is ad libbed during the performance. How do you know who to target and how far to push the envelope?

SM: Don’t bring the kids unless you want to explain a lot of things on the drive back. I’ll admit that the inappropriate lines are some of my favorite things in this show. As I mentioned before, she likes to take over and I gladly let her. She’s like the alter ego of mine that I never knew existed. So completely different than me in my every day. Those ad libs shock me sometimes. If you get offended by something I say in the show; it wasn’t me, it was her. The first run, my biggest fear was having to ad lib and have no fourth wall because every audience will react differently.

So, you want to know my secrets on how I choose my audience participants, huh? Well, it took the first preview to know who to target. It’s a tricky game. A lot of the ad libs happen by the third song of the show, “Sugar Daddy” (prepare yourselves, I will leave the stage and come to you if chosen). By this time in the show, I know who’s into it and who isn’t. I look for the laughers. There are a lot of inappropriate jokes and funny bits early on in the script, so I take note of those who are living for it. Eye contact is important as well. If they are having a good time and not looking away when I make eye contact, then they are potentially going to get more attention throughout the show.

I don’t want to ruin anyone’s experience by making them feel uncomfortable. Some people do not like having audience interaction while watching a show. I can understand that. If you are one of those people, sit at least three rows back in the main seating bank (I’m not going to crawl over people, CenterBills and drinks just to get to you).

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Spencer, in all of Hedwig’s glory, during a technical rehearsal. (Photo: Brian Smallheer)

Tools of the Trade: Theater

We’ve realized Straz fans love knowing what goes on outside of the spotlights, so we’re running a short series called Tools of the Trade, listing some cool and maybe-unheard-of tools for life in the performing arts. This week’s spotlight is on theater.

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Orange Stick

Nope, not for fingernails—for eyelashes. False ones, that is. False eyelashes make the eyes pop, so many actors apply a pair before hitting the stage so the audience can better “read” the performance. However, if you’ve never put on a pair, these difficult-to-hold benign spikes glued upon the lash line require the hands of a surgeon and the patience of a rock. Orange sticks, typically used to push back cuticles in a manicure, aid and abet an actor needing help fitting the lash precisely to the curve of the eye.

 

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Gaff Tape

Ask a theater person—whether that pro is an actor, stage manager, theater owner or lighting tech—and she will tell you the go-to catch-all for any theater need is gaff tape. Originally used to tape or “gaff” lighting cables to the floor to avoid tripping over them, gaff tape proved to be useful for almost everything. Need a quick repair to a ripped costume hem? How about putting part of the set together? What to do about making a hat band, fixing a broken prop? Gaff tape. All of it. Just gaff tape. Everywhere.

 

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Milk of Magnesia

Theater lights emit a lot of heat. So, even though you may always bring a sweater for a show, the actors are hammering their parts underneath rows of high-energy lights that create a giant French fry warmer. The key to minimizing face sweat is to apply a thin layer of Milk of Magnesia before donning show makeup. The MOM dries, creating a tight mask that keeps the sweat down and adds the bonus of preventing makeup from flaking.

 

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Pencils, Erasers, Highlighters, Pens and Throat Coat

The actor’s toolbox somewhat resembles the back-to-school supply list for winter term. Acting and putting on a show require so much preparation, and almost all professionals keep notes, mark scripts, highlight their lines or tech needs and copy out their lines to help with memorization. When performers go “off book,” or start to deliver their lines without using the script, rehearsals kick into high gear. Voices must be protected; after all, an actor with laryngitis is very bad for business. Enter Throat Coat. This herbal concoction of primarily licorice and slippery elm bark soothes the voice with something akin to a loving embrace of the esophagus.

Tools of the Trade: Dance

We’ve realized Straz fans love knowing what goes on outside of the spotlights, so we’re running a short series called Tools of the Trade, listing some cool and maybe-unheard-of tools for life in the performing arts. This week’s spotlight is on dance.

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Rosin Box

Slippery dance shoes? Slick flooring? No problem, thanks to this useful trick-of-the-trade. Filled with small clumps of dried pine sap called rosin that break into sticky crystals, this box lurks in some corner of the stage or studio. Dancers crush the rosin on their pointes or jazz shoes to provide a much-needed grip in dicey dance conditions.

 

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Pliers, Hammers, X-Acto Knives

Guess what? Ballet dancers literally have tools of the trade. These hand tools are must-haves to break in a new pair of pointe shoes. Pliers remove nails, hammers beat the box (the part where the toes go) into submission and X-Acto knives score the tips for traction.

 

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Athletic Tape

A dancer’s toes know. This tool of the trade belongs in studios and dance bags all over the world. Toes and feet need TLC and/or mending after hours hard at work in a pair shoes, be those shoes pointe, tap, salsa, ballroom or jazz sneakers. Barefoot dancers keep tape around for toes as well, often with a companion roll of gauze for blisters, broken skin and the occasional rehearsal sesh that involves parts of the foot’s skin falling completely off.

 

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Preparation H

Dancers love to prepare, and perfection is often the goal. We’re probably going to get in big trouble for revealing that a trade secret (for actors and other performers as well), is using Preparation H on wrinkles before showtime to create a plump, youthful face. Gentle readers, this trick-of-the-trade may not be the best idea for treating your maturing skin at home, but it works for a minute onstage. Ah, there’s no business like show business.

 

Givin’ Up the Ghost

It’s hard not to love a holiday that involves dress up, set design, hair, makeup and sound effects. Oh, and free candy. Straz staffers offer up some of their go-to DIY tricks and treats for this weekend’s festivities.

fake blood

To make fake blood that will wash out of clothing use clear dish soap or laundry detergent and red and blue food coloring. A few drops of blue give it that dark shade closer to blood. To make fake blood that is safe to have in your mouth you can use Karo syrup and food coloring or chocolate syrup and food coloring (both stain clothing).
Vivian Rodriguez, marketing and programming assistant

 

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If you’re doing a real “scare,” it can be anything from a whisper to a loud scream (or even silence). And make an effort to not only scare the person in the front of the group, scares to the middle and behind are very effective.
Brittany Horowitz, production administrator, Patel Conservatory

 

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Here is a very easy one: you just need mason jars, gauze, googly eyes, tea lights and glue. Wrap the mason jar in gauze, then glue googly eyes and finally put the tea light inside and light it.
Deanne Hensel, customer service representative, Ticket Office

 

toilet paper roll

Here is another easy one. All you need is cardboard toilet rolls, paint (green, orange, purple, black), scissors, and glow sticks. First draw eyes on the roll and then cut them out. Paint the color of your choice, then once it dries, add a glow stick when you are ready to set out.
Deanne Hensel, customer service representative, Ticket Office
**note: hiding these in shrubs and trees is fun for trick or treat night.

 

eye mask

If you are wearing a mask with eye holes, put make up the same color as the mask around your eyes and it will appear seamless and natural.
Jacob Zimmer, technical coordinator, Production Department

 

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If you need to grey or darken your hair for a costume, use a toothbrush to apply your select color of greasepaint to the areas of your hair that need white or color. Works especially well on short hair.
Suzanne Livesay, vice president of education

 

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With a little spirit gum, adhesive and theater makeup, you can go a long way. For a simple tutorial on using theater makeup techniques to create a stab wound, read this blog post.
Pics from the Monster Mash Makeup workshop at the Patel Conservatory

 

Big Hair Care

Just in time for Tosca, Opera Tampa’s Emmy®-winning hair designer divulges trade secrets about one of the great characters in opera—the wig.

Dawn Rivard’s impressive résumé of hairstyling and wigbuilding gigs spans from the ‘90s television series Animorphs to this year’s breakaway series The Handmaid’s Tale. She’s worked on the major motion reboots of Total Recall and Carrie as well as made-for-TV movies and several well-recognized films from big Hollywood studios. We know and love Dawn as our hair and makeup designer for Opera Tampa, where she oversees, art directs and supplies superior care for the sublime pièce de résistance of any great opera costume, the wig.

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Dawn Rivard, wig/hair and makeup designer for Opera Tampa.

Caught in the Act: Tell us a little bit about what exactly you do. Would you walk us through a typical job for an Emmy®-winning hair/wig designer?

Dawn Rivard: What I do depends on the contract. There is NO “typical.” I get requested by any number of people like a director, costume designer or technical director because they have a need for a wig or hair or makeup person. It’s my job to figure out how to solve the job’s requirements at the highest level, keeping in mind the built-in restrictions like resources, time or geographic differences. Some jobs are a request for a custom fit wig for a rental, but I can’t do the fittings. In those cases, someone local sends me head measurements and other design references. I put together a wig and send it, crossing my fingers that they have someone good to address the million variables that come up with a wig.

Renate Leuschner, an iconic Hollywood wig builder, taught me years ago you can have a beautiful wig that fits amazing, but if someone doesn’t know how to put it on, you’d never know it’s beautiful and amazing.

Other contracts, like Opera Tampa, require someone who does wigs, hair and makeup design—and has a wig stock. For companies that have full time in-house wig and makeup departments, there is someone who is head makeup artist, but he or she is not the department head, and another person is lead chorus wig stylist . . . so, each job can be more specialized with larger companies. At Opera Tampa, each crew member has to be well rounded and highly skilled since there are only 3+ stylists to get the whole show done. When a basic leading lady pre-show prep is 30 minutes, a male takes 20 minutes and a character makeup is 40 minutes, that time really adds up on big shows.

A wig and makeup designer has to be able to come in and design the show around what your local crew can do or what you can show them to do in a very short amount of time.  This is not like a tour situation where the show is already built and established and all mapped out.

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Wigs for Opera Tampa’s production of Romeo and Juliet line the dressing room.

CITA: When you work with Opera Tampa, how many wigs are you making per production, and do you have to repair/re-make wigs during the show? During the run? Must you custom-make the wig to fit the performer or can you make a standard sized wig and alter it?

DR: It takes at least a week to fully make one wig. Since Opera Tampa’s schedule does not allow enough time to make a wig, I need to show up with enough already made stock so I have something for everyone.  My rule is for every one wig the audience sees on stage, I have brought at least three so I can pick the best fit and look. I do not travel light.

Often, even though I over pack wigs, there is still something I don’t have that I want. So, that’s when I purchase a wig locally and re-front it to fit the singer.  For La Cenerentola, that was Tisbe’s two wigs. What I had for Robyn Rocklein [who performed Tisbe], I wasn’t happy with, so I went on a search for something I could alter to fit her and better suit the style of the show.

CITA: How long does one wig take to create from start to finish?  What is the one tool you can’t do without?

DR: The pat answer to make a wig is one week, but that can vary greatly. The longer the hair on the wig, the more time it takes to knot it. The larger the head size, the more time it takes. The curlier the hair, the longer it takes.

For doing wigs/ hair and makeup, there are a handful of tools that are invaluable. Three crafts is expensive to supply! If we don’t have the basics for all three crafts, your production quality is noticeably less. I have lots of support from companies like Dermalogica, Cover FX, Smashbox and Hask hair.

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Dawn getting Tisbe ready for an Opera Tampa dress rehearsal of La Cenerentola.

CITA: What happens to the wigs when the production closes? Do they get re-purposed or retired?

DR: All the wigs get the hairstyles taken apart and get washed and dried.  They go back in a box and sorted for the next shows. Some get reused more than others due to color or size. Good quality wigs that are taken care of properly never really retire. I have some wigs that I started with 25 years ago.

CITA: How did you end up in this profession, and is there one wig or one production that stands as your favorite (or most memorable for whatever reason)?

DR: I worked in window display and liked everything in my windows except the wigs. I went on a hunt to find someone who could teach me wigs and that led me to The Canadian Opera Company who, back then, had a year-long apprenticeship program.  They took four students a year, and you did classes and worked on shows pretty much seven days a week. When I finished the apprenticeship, they offered me one of the two assistant jobs. I did that job for two more years, and they allowed me to keep studying in the classes with the new apprentices as long as my show work got done. So, I essentially did a three year apprenticeship while working full time for not a lot of money, but I loved every second of it. Then I went on to work in musical theater—then film and TV work.

Of course you always remember the really horrible experiences, like working outside all night in the freezing cold on a film shoot or when you’re sure you’re going to send a wig on stage that you hate because you just didn’t figure it out yet. There are the performers who were truly difficult so I spent every ounce of energy trying to make the best outcome. Then there are the ones who are just so professional that your job doesn’t feel like work at all.

There is no shortage of new experiences. And, after 25 years, I feel like I might be getting pretty good at what I’m doing.

See Dawn’s work in Tosca. If you haven’t bought your tickets yet, you can do that here.