"Long and Hard...."

 

"Navy Building circa Fall 1975"

I often wondered why most people came to the all-night work sessions in the Shop or Breech Little Theater; sorry Theater--I spelled it wrong on the sign I painted Fall '75. That sign hung outside the building for years. I also spelled Dave's last name wrong the year I made poster/banner for either his birthday or when he starred in Wild Oats. Remember it had his shoes stuck to it and said something like "what man could fill this shoes". I was in a hurry to get it on the wall because Rich, who ran the food service was so kind to let me do it at the last minute. We also had quite a tradition of hanging in the shop. Not people but items of interest- scenery and actual shoes. Mike Mallory's boots were screwed to the wall above the door; honoring our elders is a good tradition. But I digress already....

"All-nighters" were the norm at times when you needed to cram for a test or catch up after a production opened. We also participated in work sessions in the shop and the theater to get the scenic elements done in time for our tech rehearsals. After working in "the real" theater, tech and "10 out of 12's" were not much fun. Imagine sitting in a dark theater waiting for the Lighting Designer to create one sequence of cues for a big musical number. For me, it was tedious and really a torcher, but we had to be supportive and collaborate in any way. I once heard (name dropping) Julie Taymor during tech of The Green Bird ask Don Holder to speed it up a bit. Don Holder is a very kind and patient "everyman" type, sorta looks like William Bender the actor. He came back with a retort that was fiery and punctuated. He was working as fast as he can to achieve a good visual product.

But why did we need to do "All-nighters" for college productions? Was it scheduling, a tradition, a rite of passage or for bragging rights. I at times think it was for the latter. I also blame myself for being the "Cecil B. DeMille" visionary Scenic Designer. Thinking back on it, maybe AWL that realism wasn't such a great thing. But, that is what I had to bring to the table of collaboration. Bit my ass again later designing a show for DRURY, the musical Violet. The set was never finished and me, the guest artist, had to go to the shop and first clean it up and organize, then build the scenery that the TD had failed to create. I couldn't disappoint my director, but I had under estimated the commitment of the students and TD. I was so embarrassed, it was a quality design that never came to full fruition. I worked wee into the morning hours in Breech/Wilhoit thinking experiences for me have not changed in the building. I learned from that to never design a show for your alma mater. And from another experience, never recreate a design for a previous theater production. It will never be the same atmosphere or energy; totally new group of artists, craftsman and commitment to the project.

I can remember an "All-nighter" during The Dark of the Moon that was so misrepresented the next day during Breakfast in the Commons. It was a big push to get things done. I thought I had delegated authority and jobs to the right people. As usual I went about my business doing something that needed my attention. Hours later I see people sleeping on the floor or administering back rubs. I was like, "what the hell!" Maybe I said something cynical an snarky, I wouldn't put it past me at that age. I was working like crazy and then I turn around and WHAT!?! Well with many years of hindsight on it, I know the level of scenic carpentry and painting skill and knowledge was varied in our group. I always prided myself on the fact I could find the right person to do the job and finish. Then I would continue to challenge them to do something out of their zone of comfort and skill/knowledge in order for them to learn and grow. I learned this from a supervisor at an early age, and it has worked for me in the past and today with assistants. We AWL learn from each other, it is a loop of communication.

So back to breakfast after the tired and weary workers were staring down the barrel of attending classed at 8 am or 9 am, we convened in the commons. We AWL sat at "the Theater table" and  someone who was smart and slept that night came to breakfast and asked us how it went. I will always remember this and I won't mention the person who said it (insignificant), but that person who spent most of the time goofing off and distracting others that night, said with a very dramatic way, "It was long and hard". WHAT!?! give me a break!!! I looked at Dave Quinn and we both laughed and laughed. It became our traditional statement for ridiculous times studying and working in the shop or theater. "Long and hard" oh my Goodness it makes me laugh even more when I know who uttered those words.

Finally on an ending note, one "All-nighter", Jerry Pettus, Dave and I went to get breakfast. I was TOAST, TIRED from working many nights in a row; 3 was my limit; we sat down with our trays and began to eat. Jerry and Dave were telling me a story we had laughed and laughed about during our work session. They waited till I was about to drink a glass of chocolate milk and they started up again with the story. I began to laugh and then the milk came spewing out of my nose like a geyser at Yellowstone. THEY Laughed and Laughed about that even though I had sprayed milk on their trays. It was a fun time for sure. And then I had to run off to attend my Eastern Religion Class to get my sleep. I wonder if Buddha or Dali Lama can spew goat milk through their nostrils?

Tomorrow is like today, just happens tomorrow. 

And in Retirement, next week is like this week, just happens next week.