The Can Do Man

Mural artist Eric Hornsby, known as esh, has put his work on The Cube in the Jaeb Courtyard for a few years. Now he gathers some of the area’s premier mural artists to open a brand new Art on the Walk exhibit during our Open House Party on Oct. 6.

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Eric “esh” Hornsby in action. (Art/photos: Eric Hornsby)

Caught in the Act recently sat down with aerosol artist (a.k.a. medium of choice is spray paint) and friend of The Straz Eric Hornsby to find out more details about his story, his artistic process and the upcoming Art on the Walk exhibit that features him and other great Tampa-area mural artists Eddie Rivera, zeros, the Capco crew and reda3sb. Together, they’re installing panels of mural art inspired by people and places of Tampa during our annual free festival, the Open House Party, on Oct. 6.

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Woman with gharial (Art/photo: Eric Hornsby)

Eric’s roots in Florida go deep, starting when his family moved to Thonotosassa from the northeast after his grandfather, a retired New York police officer, bought a mobile home park in that rural area of Hillsborough County. “I have to give a lot of props to my Uncle Joe who passed away two, three years ago,” Eric says. “He had a canoe, and we didn’t even have to ask, we’d just borrow it. Literally walk five miles with the thing on our back to the lake and paddle out. I was a nature lover from the go. Living like Huckleberry Finn out there for real. We made homemade bows and arrows; we’d just camp out and cook anything we shot. We ate all that stuff. I used to swim from Sargent’s Park to Morris Bridge, that part of the Hillsborough River, for the adventure of it. Alligator-infested water,” he laughs.

Eric’s upbringing in the Florida woods led to his first career in the wilderness, first as a canoe guide, then as a park ranger, then to his job as an on-site land manager for Hillsborough County’s conservation department. Wild as he was in this career, he kept returning to his first love: art. Mostly self-taught by emulating manga, cartoon styles and comic books, Eric’s artistic style, a mash up of those styles with lurid nature symbolism, evolved. He wanted to be a professional artist, and the time came for him to put up or shut up.

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Mystery of the disco melon ball (Art/photos: Eric Hornsby)

“I read a book by Tim Ferris. Somewhere he says, ‘if you’re not doing the things you love …” essentially meaning if you’re not choosing the life you want, you’re living a false life. I was like, ‘I can’t live a false life!’ It really hit me hard, so I started moving from point A to point B, reading a lot of books to motivate me to do what I wanted to do,” says Eric. He dropped down to part time and focused on becoming a professional artist.

“Eat, Sleep, Hustle,” or esh for short, emerged.

To hear Eric speak more in-depth about his transformation and about when you can meet him and the other artists at The Straz, plug into Act2, the Straz Center’s official podcast. Our interview with Eric goes live on Thursday, 9/27/18. During the interview, we discuss his work outside of The Cube, including the paintings and murals pictured above.

We’ve included a few favorites from The Cube that you may remember below.

Cube_Threepenny Opera_Pirate Jenny

The Threepenny Opera-inspired art by Eric Hornsby.

Cube_Wicked

Wicked-inspired art by Eric Hornsby.

Cube_Rent

RENT-inspired art by Eric Hornsby.

Cube_Curious Incident

The Curious Incident of the Dog in the Nighttime-inspired art by Eric Hornsby.

Come meet Eric at our Open House Party with the other mural artists (samples of their art pictured below) and remember to catch his interview on Act2.

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Art on the Walk exhibit artist: 20-year street art veteran, zeros.

Sample_JP Parra and Vanessa Parra

Art on the Walk exhibit artists: Capco mural team, Juan Pablo and Vanessa Parra

Sample_Eddie Rivera

Art on the Walk exhibit artist: Tampa graffiti legend Eddie Rivera

Sample_Reda

Art on the Walk exhibit artist: International artist Reda3sb

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Art on the Walk exhibit artist: Eric “esh” Hornsby

He Had It Comin’

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Belva Gaertner (L) and Beulah Annan (R)

The true story of the accused but acquitted Chicago beauties who inspired musical legends Roxie Hart and Velma Kelly

The Bob Fosse masterpiece we know and love today as Chicago the musical actually started with two real women and two real murdered men. In Chicago. In the Roaring 20s.

1924 to be exact.

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A headline from the Chicago Tribune on June 6, 1924 (L) and Belva Gaertner sitting with her defense attorney, Thomas D. Nash (R).

In March of that year, Belva Gaertner, a comely cabaret singer, happened to leave a bottle of gin in her parked car. Unfortunately, she also left a dead man and a gun in the car as well. Accused of killing said man—a young car salesman named Walter Law—Belva found herself in the Cook County jail, the subject of newspaper headlines and journalists who voted her “most stylish” in the clink. Decked out in ravishing bell hats, furs and delicately form-fitting dresses, Gaertner endured her trial as one of the two most famous faces of Murderesses Row. (It was really called that.)

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A headline from the Chicago Tribune on April 4, 1924 (L) and Beulah Annan with lawyer William Scott Stewart on her left and her husband, Al, on her right (R).

The other, 23-year-old Beulah Annan, found herself in Belva’s company on Murderesses Row in April. Called “the prettiest woman ever accused of murder in Chicago,” Annan, in a lapse in judgement, confessed to the murder of her manstress, Harry Kalstedt, later backtracking, stating she and Harry “both reached for the gun” during a quarrel. We bet you’ve figured out which character Beulah becomes in Chicago by now, but if you haven’t, Beulah also came with a faithful and extremely naïve husband who stood by her during the trial despite having found a dead man in his bedroom with his wife.

Naturally, there’s also a lot of booze in the backstories as well as another beautiful woman—innocent of any crime other than being a flagrantly biased journalist. This woman, Maurine Dallas Watkins, worked for the Chicago Tribune covering crime “from a woman’s perspective.” Watkins wrote very descriptive and judgy accounts of Belva and Beulah, then, when all was said and done, she took her ultra-popular crime articles to Yale University to finish studying playwrighting, which she’d abandoned for the Tribune gig. [It’s worth noting that Watkins started her studies at Radcliffe College and was in the same class as Eugene O’Neill.]

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Maurine Watkins, the Chicago Tribune crime reporter who went on to write the play Chicago, circa 1927. (Photo: Florence Vandamm, Vandamm Studio)

At Yale, Watkins turned the stories into a play.

You guessed it: Chicago, starring Velma Kelly—a comely cabaret singer—and Roxie Hart, the gamine beguiler with a dopey, impossibly faithful husband. The show landed a spot on Broadway, ran for 127 performances before closing, then years later fell into the hands of another comely cabaret singer. That woman, Gwen Verdon, happened to be married to Bob Fosse. “Bob,” we imagine her saying, “you gotta make this into a musical. It’s what I want … give in!” [Gwen played the devil Lola in Damn Yankees, so whatever she wants … you know the rest.]

Fosse tried to convince Watkins to give him the rights to the script, but she wouldn’t. Watkins was pretty amazing, which you can read about in this tribute by the Tribune.

When she died, though, her estate granted Fosse and Verdon the rights. Chicago the musical, starring Verdon and Chita Rivera as the most famous Merry Murderesses, was born. Belva and Beulah faded to the corners of Windy City history while Velma and Roxie hot honey ragged their way into musical history.

Catch Chicago when it razzle-dazzles The Straz next week.

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Gwen Verdon as Roxie Hart (L) and Chita Rivera as Velma Kelly (R) in the 1975 Broadway production of Chicago, directed by Bob Fosse.

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)

A Director of Production Services TELLS ALL!

The performing arts are big business. In this industry, we have a lot of super important jobs for people who love the theater but who may have no interest in performing professionally. This week, we sat down with Gerard Siegler, Straz Center director of production services, who plays a huge part in making sure the shows work and the forty-billionteen details of a live performance have been handled.

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Gerard Siegler, director of production services for The Straz.

CAUGHT IN THE ACT: What are production services? What do you do? Take us through a typical day in the life.

GERARD SIEGLER: Sure … there’s no typical day. The gist of my job and the job of any production manager is to deal with all the backstage needs. This would be the technical elements like making sure that we have equipment that shows need. Sometimes it means getting hospitality, booking hotel rooms, booking transportation, either to or from the airport and even sometimes air flights and things like that.

It’s a wide range of duties, sometimes it’s as simple as a speaker needing a microphone or AV equipment all the way to Broadway shows—making sure that their set is going to fit within our space and making sure we have the equipment they need.

CITA: How does this work? Let’s say we book The Phantom of the Opera, and you get the memo that Phantom is coming. Then what happens on your end?

GS: Sure. Every touring show has what we call a “rider.” A rider is basically a bible of what the show comes with, what labor they need, meaning stagehand labor—that’s something else we’re in charge of—what equipment they bring, and then what equipment they need. It also specifies how long it takes to load in a show, how long the show is. The riders are sometimes so in depth it goes into what kind of candle an actor needs for their dressing room.

When Phantom is put into the books, one of the production managers is assigned to the show. They go through the rider, make sure that we can accommodate everything that the show needs. What we can’t accommodate, we either supplement or we can redirect them to what we have and then come up with alternatives—if it’s a smaller rental. If they’re adamant about, “I need this amp for my guitar.” Then we will rent stuff if we don’t have it.

That production manager will work through the show. Normally the advance happens anywhere between a month to three months out, depending on how large the show is.

For Broadway shows, it normally takes about anywhere between 10 and 16 hours to load in a show. Most Broadway shows load in Monday, and we have our first performance on Tuesday. They’ll load in the entire show, they’ll do soundcheck, and then they load out … The production manager is usually the first person in and the last person to go. My typical day when I’m doing a show starts around 7:00 a.m. and gets done at 1:00 a.m. the next day.

CITA: You do that for four days in a row?

GS: Yeah, four days in a row. The Broadway shows are one of the easier shows to do. Morsani Hall is considered a roadhouse. A roadhouse means that we have most of the things that happen within Morsani, so it’s self-contained. For example, Phantom comes with everything they’re going to need. Broadway shows, for the most part, come with everything they need besides a few little odds and ends. They tend to be the easy ones. It’s the rentals, and the one-offs, and the concerts that sometimes end up being the most difficult for us.

CITA: Why is that? It seems like you’ve got a concert, you just get a mic, you plug in a sound system, you’re good to go.

GS [laughs]: It’s typically not like that. For instance, some of the smaller concerts just bring the artist and the artist’s guitar, and we supply everything else. What you see on stage is maybe 20% of the actual equipment it takes to run the concert. All you really see are the back line, the piano, the drums, a monitor … but to get all of that to work, it takes a while to load in.

Your dance shows even take longer sometimes, so your modern dance shows, like MOMIX, are very light[ing] heavy. We load in their lighting before they even show up. The day before they come in, we’ll have crew on that will set their lighting which is something that’s dictated by the show. MOMIX sends us a rider with a lighting plot, and we set the lighting plot even before they arrive. Sometimes what is a two-hour show takes three days to put together.

 

This is what the stage in Morsani Hall looked like when Wicked was loading in, 2017.

CITA: Right. A lot of what creates the magic and creates the illusion of theater is what production and costuming does. It’s the stuff that the audience doesn’t have to think about consciously. They can absorb lighting and music subconsciously and feel the feelings that they create. The catch-22 for you all is that nobody knows if you’re doing a good job unless you do a bad job.

GS: Exactly. We don’t get compliments, we get criticism. The only time you actually know we’re there is when something goes wrong.

CITA: Alright readers, so that means our production staff needs more compliments when you see a good show. When you see Gerard around, tell him that he did a good job. So Gerard, how did you end up here? First of all, tell us how long you’ve been at The Straz and then how does somebody get involved in theater production?

GS: I’ve been at the Straz … April was nine years. I started with the Patel Conservatory. I was one of their production people then moved over as a production manager to The Straz about five years ago. Last June, I became the director of production services.

I started out as an actor. I did theater in high school and performed on Ferguson Stage as a thespian. When I moved to college, I started a theater track for acting and needed a part time job, so I started doing work in the college tech shop. My technical director at the time took me under his wing and said, “You can make a whole career out of just doing this.” My sophomore year, I changed directions and did more technical theater.

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Gerard Siegler hangs lights for Blake H.S.’s production of FAME.

CITA: Were you at USF?

GS: No, I went to Flagler College in St. Augustine.

CITA: Did you find that you enjoyed the technical side more than you did the acting side?

GS: I did. I could see the product progression more, and that satisfied me more. But it’s more pressure because, like I said, you do one wrong thing and it makes or breaks a show. For me, though, building the set, running sound, running lights, putting all that together, that really interested me.

CITA: And then you got a degree in theatrical production?

GS: Yeah.

CITA: Then what happened to you?

GS: After Flagler, I went to the Shawnee Playhouse in the Poconos for summer stock. I was the assistant technical director. One of my friends who graduated with me, we both decided that since we were already in Pennsylvania, we should move to New York City for a year. That’s what I did. I moved to New York for a year, did some odd jobs, picked up some theater stuff here and there, and then moved back to the Tampa Bay area to get married. My wife, who is in the theater department at the Patel, said “Why don’t you just come out and be a summer intern for Patel?” The day before I came in for my interview for the summer internship, the technical production person for Patel had put in his one month notice that he was leaving.

CITA: Whoa!

GS: I was hired for that position, and that was my start.

CITA: And the rest is history.

GS: Exactly.

CITA: Okay, so here you are, and you’ve been doing this for a while. You got seasoned out there in the world on your career trajectory. Do you still get nervous before a show goes up? Do you ever have feelings of, “Oh my gosh, I hope nothing goes wrong. I hope we did the lighting just right, I hope—”

GS: I get nervous the morning or the night before, thinking “What did I miss? What is going to go wrong?” Really, all it takes is for one little thing to go wrong and it can throw the whole day, especially when you’re dealing with different personalities. I’m dealing with local stagehands anywhere from … Three is normally our smallest crew, to some Broadway shows where you’re looking at 75-80 labor hands. Not to mention the actual tour, they’ve come with their own staff. So there’s always that sense of “What did I miss? What happened? What’s going to happen?” [laughs] It doesn’t matter how much pre-planning you do. When you get here and you get on the grounds, half the time the plan gets thrown out the window within the first 30 minutes.

CITA: Show business can get a little frustrating sometimes.

GS: As for the show itself, the only time I get nervous is when we’re falling behind. With The Straz being as well-known as we are, we sometimes get the first stop on tours. Once, a Broadway show had issues with their automation track. The floor that you see for Broadway shows, sometimes it’s painted elaborately, and that’s not actually our stage. It’s another deck that gets put on the stage. Sometimes they have what’s called an “automation track,” which is grooves within the stage that moves the furniture on and off.

For this show, we’re the first stop. Five minutes before I was supposed to open up the house and have the audience come in, their automation track broke. This is opening night of the first show of this new Broadway tour. I have to hold opening the house until we can get the track fixed because if we don’t get it fixed then the effect doesn’t work. That was nerve-wracking.

CITA: Did you get the automation track fixed in time for the show?

GS: Yeah. We were 20 minutes late opening up the house. We have a great usher staff and front of house staff that helped with the audience. We started only five minutes later than we would normally start.

CITA: We love these behind-the-scenes stories because it’s the show that people don’t see. It’s the high drama, the high tension of getting it to go flawlessly, or start on time. When you have all of these moving pieces in live theater, you don’t get a do over. Is that kind of excitement what drives you as part of technical production?

GS: I get my most joy from show to show. If you’re an actor touring, doing the same role for a year and a half, you’re doing the same role for a year and a half. Whereas, within a year and a half as a production manager, or the director of production services, I’m in charge of a couple hundred shows a year. I have a team, so it’s myself and there are three other production managers. Between the four of us, we are in charge of all the theaters except TECO theater.

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Gerard Siegler works shows from all genres which includes being backstage with one of the dinosaurs from Erth’s Dinosaur Petting Zoo.

CITA: Which is almost unbelievable, that a staff that small can do that many shows. Because we don’t book shows in just the theaters. We’ve got Live and Local, we’ve got Straz Live in the Park, we’ve got Fourth Friday. We have so many other events that are happening outside of the theaters, too, that just the four of you make happen.

GS: Yeah. It’s not just the shows themselves. For instance, opera has two performances that they do, but the average opera takes anywhere between two to three weeks on the physical stage to go through. You’ve got a week of loading in the set and lighting and a week of tech rehearsals. Then you have two performances, and then you load it all out in one day and you’re on to the next one. That to me is what gets me going. It always changes. Hamilton is going to be here for four weeks this season. At each show there will be some new challenge that pops up, whether it’s, “My costume ripped” or “We ruined a costume.” Or, “The washing machine went out.” You’re always on your toes.

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Close-up view of a sound board.

CITA: For people who want to be in the theater but not on stage, how do they get to where you are?

GS: I started in high school. I was one of three boys in my high school theater department, so I did a lot of stuff onstage, but I also did a lot of tech prep work. I helped with the sets, helped with the lights, even though I didn’t think about it as a career until college. If you really, really, really want to get a job nowadays behind the scenes, you either become an audio engineer or something with video. Those are the two things that are not going anywhere right now. We’re always looking for someone in audio, visual and lights. You have to be very good at what you do because as much as the actors are onstage doing their best, sometimes we’re the ones that break the performance because mics are popping.

CITA: Or you make the performance flawless.

GS: Exactly. Yes.

CITA: We have classes in technical theater here, right? Workshops for students?

GS: Yes. Patel has a stage management class and we’re going to try to work with them this year to make a technical theater class that deals with a little bit of everything. I give tours all the time to college and high school groups, especially that are technical theater oriented to come. They look at our stage; they can go into the booths.

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Inspiring the next generation of production managers, Gerard and his son Maddon on Carol Morsani Hall stage.

CITA: That’s cool.

GS: They go up to the fly rail—10 stories up. CJ Marshall, who’s our director of operations, has really tried to spearhead getting younger people interested in technical theater because when you go to a high school program, you get 30 kids who want to be actors and maybe two or three who want to work back behind the scenes. We’re trying to invest in the future.

CITA: That’s fantastic. Do you love your job?

GS: I do love it. Like I said, it’s a new thing every day. It always keeps me on my toes. This summer we’re updating and renovating a lot of our old equipment. We’re excited in the production department. We’re taking on a lot, especially with the next season almost here. It’s always fun.

testing the new hearing system at Paw Patrol

A family affair – Audrey Siegler, Patel Conservatory theater department managing director and Gerard’s wife, with their daughter Ellie, Gerard and son Maddon. Gerard is testing the new assisted listening system while the family enjoys Paw Patrol.

And Now, a Few Words about Hamilton Tickets …

The first words are “wait for it …” as in “we still have no idea when single tickets will go on sale.” The second is “yes,” as in, “there’s a best way to get the best seats at the best prices and that’s strazcenter.org.” Otherwise, you might get sucked into a bad situation by ticket brokers and scalpers.

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Strazzers, we’re in a cutthroat game of Charlie and the Chocolate Factory for the precious few golden tickets that are left for our regular Broadway season. We’ve had a ton of new subscribers because of the Hamilton Effect. By “a ton,” we mean thousands—which is an extraordinary place to be in as a performing arts center. We are beside ourselves with glee at the new faces and families who will be joining our beloved Broadway faithfuls this season.

However, we also know that this windfall of incoming Strazzers means that unauthorized ticket brokers/scalpers are already setting up websites with fake tickets hoping to get the single ticket buyer to pay astronomical prices for tickets that may or may not even exist.

Don’t fall for it.

So, let’s make a few things really, really clear because we do NOT want you getting ripped off or put in an unpleasant situation once you get to your seats and discover people with trackable Straz tickets are already sitting there.

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GROUND RULES:

1. ONLY BUY FROM STRAZCENTER.ORG, FROM A HUMAN BEING IN OUR TICKET SALES OFFICE, OR BY CALLING 813.229.7827
A generic Google search will list ticket broker/scalpers first because they have the $$ to buy AdWords to be first on the search. We have patrons who think these are legit sites, buy tickets at obscene prices, then encounter problems once they get here with suspicious tickets. Don’t even search. Just s-t-r-a-z-c-e-n-t-e-r-d-o-t-o-r-g and get in a virtual line to wait for your turn to buy. Or call us and wait your turn. Or visit us and wait your turn. The point is: we have the real goods, we have the lowest ticket prices. Always.

2. WE ARE THE AUTHORIZED SOURCE TO SELL TICKETS.
If you’re somewhat confused right now because you already found Hamilton tickets to The Straz online, then we need you to know that you are the exact person we are trying to help. There are no tickets available to the public as of today. Trust us. We talk to the show’s producers all the time, and we are waiting to find out the on-sale date. The reason why the on-sale date is so guarded is to protect the buying public from scalpers and brokers. Again, buy directly from The Straz. If you don’t trust your internet skills, come down here when the tix go on sale. We’d love to see you, find out how the kids are doing. We love y’all.

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Okay. So, let’s say you’ve got Hamilton fever so bad you gamble big on buying from an unauthorized source. What’s gonna happen? Well, you’ll pay out the nose. Then, you’ll be in a situation where we can’t help you because the tickets you’re holding are not from us, your authorized and totally willing concierge ticket service. That means we have no ways to refund, relocate or replace. With outside tickets, there’s also no guarantee that you’ll be admitted. It’s just too much to risk, and we cannot be any plainer about how it pains us for you to be unhappy and there’s nothing we can do about it.

We can avoid all of this if you purchase tickets from

www.strazcenter.org
• 813.229.7827
• Or visit our friendly staff at the Ticket Sales Office, a.k.a. box office.

Good luck. And look, as soon as we get the word that tix can go on-sale, we’re gonna tell you asap. Don’t wait to buy your show tickets this year. We mean it.

May the odds be ever in your favor and the force be with you.

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Put Out the Light – and Then – Put Out the Light

Okay, okay, so Morsani and Ferguson Halls “going dark” for August may not be as dramatic as Othello in Desdemona’s bedchamber (who got the blog title reference?), but us taking a short time-out is important for a number of reasons. Want to know what secret stuff we’re up to in the big Straz venues? We’re happy to spill the beans.

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A view from backstage in Morsani Hall, looking up. (Photo: Rob/Harris Productions, Inc.)

It’s no secret that our hems are a little frayed, alright? We’re thirty years old. Millions—millions—of feet have trod the carpets, butts flopped in seats, hands run along the railings. We’ve grown at the speed of time-lapse so yes, maybe, just maybe, some of our tech is retro in the wrong ways. But when you’re presenting thousands of performances in five theaters all year long, when do you have time to stop and darn the curtains?

So, good people, we are taking a breather in August and early September to attend to several exciting capital projects, most of which will happen in Morsani Hall and Ferguson Hall. Of course, Jobsite Theater kicks off its amazing 20th anniversary season with a return of Spencer Meyers in Hedwig and the Angry Inch in the Shimberg Playhouse during this time, so we do have other theaters that will be up, running and cranking out incredible shows.

From Aug. 6-Sept. 11 our facilities, information technology, food and beverage, and production departments will be furiously updating our operations, grounds, and services. Both Morsani and Ferguson stage floors and sound systems will be replaced as well as the Patel Conservatory sidewalk. We’re upgrading our stage lighting equipment to LED (yay!) as well as chucking our infrared listening system for a brand-new mobile connect assisted listening system (read: new Wifi and an app are involved). Our print signs are going digital, so you’ll soon be seeing more video around campus, and we’re bringing in 21st century portable staging to replace the old stuff that is probably a contemporary of the original Cats.

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Stage lights in Ferguson Hall.

You’ll notice quite a few improvements around our cocktail activity with revamped concession stands, gleaming portable bars and new equipment at the Riverside bar. We have some non-sexy but crucial upgrades in stuff you probably won’t notice like new A/C coils, door replacements and spiffy new awnings. We’ll get automated rigging pipes in the Jaeb which makes heavy lifting and reconfiguration of set pieces easier.

So even though a few theaters will be dark, we’ll still be busy-busy making The Straz the stupendous experience you know and love. If you see any of our facilities or production staff on campus while you’re here for a show or a class, you may want to shock the life out of them by saying “good job” or “the new awnings look fantastic” since they are truly our unsung heroes and sheroes of The Straz.

As always, we thank you, good people, for your support of The Straz to fund these improvements that keep your experience magical and meaningful. We hope you’ll be as delighted with our shiny new hems as we are.

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The view from the stage in Morsani Hall.

Tools of the Trade: Music

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 music.

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Gouging Machine

Not just for medieval torture anymore, the gouging machine serves professional oboe players in the manual labor of their art—the making of reeds. Unlike clarinet and sax players, who can purchase pre-made reeds, oboists and bassoonists must learn to make their own. So, before practice comes the making of reeds, a time-consuming, meticulous process that involves a gouging machine which thins and contours the piece of cane that becomes the reed.

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Drum Key

The glorious kettledrums, unlike many drums, must be tuned to specific notes – which is where this little gem comes in quite handy. The timpanist fits this key on the screws securing the drum’s head to the kettle and gives it a quick quarter-turn ratchet to adjust the tone. Originally a Middle Eastern invention, the kettledrum traveled around the world, entering Western symphonic music as the timpani around the mid-17th century.

 

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Felt Wedge

While this handy little gizmo can double as a door stopper, the felt wedge has an important role to play in the life of a piano. Tuning a piano gets tricky because there are a lot of strings in that bad boy, and what happens if you accidentally hit the string next to the one you’re trying to tune? Well, then. If you have a felt wedge, you can mute the surrounding strings and get on with your business.

 

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Eight Dollars and Some Change

… will buy you a decent conductor’s baton, which happens to be the least expensive tool in any orchestra according to Detroit Symphony Orchestra harpist and blogger Patricia Masri-Fletcher. Of course, some batons run much more than that, like these Mollards, which we imagine choosing the conductor, much like a wand to a wizard. (“12 inches, cocobolo knob, birch shaft, pliable … ah, yes.”) With many conductors of major metropolitan symphonies making million dollar salaries, that’s quite a return on investment.