Tag Archives: theatre

Theater Occupational Stereotype: Old Actress Versus Young Actress

Interview Extraction

Informant: “And then the last story is supposedly from Tallulah Bankhead who was in a play with a fairly snippy young actress who was basically telling her that she was old and irrelevant and that the world belonged to the young. At to which Mrs. Bankhead replied: ‘Honey, I can out act you and not even be on the stage.’ And the next night, in one of the scenes there was a party scene and prior to Mrs. Bankhead’s exit she was blocked* to put down a champagne glass on an end table as she exited. And she put her glass down and she set her glass so that it was like this, slightly more than half off the table and then she made her exit. And over the course of the scene the audience became aware miraculously balancing glass on the edge of the table and everyone was wondering when it would fall, and murmurs and rustlings were going through the audience. And then at the end of the scene when the stage crew struck* the glass they discovered a little piece of toupee tape under one edge of it to keep it from falling over.”

Analysis:

My informant’s story reflects an unfortunate custom that is prevalent in Hollywood, which is that the entertainment industry discriminates against people of an older age.  An aspect of the entertainment industry is escapism, and there is a desire to create a beautiful world in their films in which the audience can escape into and forget the troubles in their lives momentarily.  In the entertainment industry’s desire to do this, there has been too much emphasis put on young beauty and the sensuality that comes with it.  Therefore in this drive to create sensuality in films, older actors often have a harder time getting casted for production roles.  This has created a stereotype that older actors are not as important as their younger colleagues.

My informant heard this story from one of his colleagues at USC.  The popularity of this story suggests that the audience of this tale is revolting against the idea that only young actors are good actors.  This change in values of the entertainment industry can be seen in the currently popularity of actress Betty White who is 90 years old.  People today do not respond as well to the idea of a sensual Hollywood than they had in the past, which is part of a shift in cultural values that rejects the notion that beauty is only skin deep.  Thus the custom of shunning older actors is an idea that is currently changing, which reflects a more accepting Hollywood when it comes to age.

My informant was born in 1961, Connecticut.  He has more than 30 years of experience in theater and has worked on over hundreds of productions.  He continues to work on theater productions today, and serves as the associate professor of theater practice and technical direction at the University of Southern California. He lives in Los Angeles, CA.

*Blocked: The past tense of a term used in theater which means that an action has been planned.  When an actor moves on stage, their actions have been rehearsed prior to the performance and planned or ‘blocked’ in rehearsal.

*Stuck: The past tense of a term used in theater which means that a prop or object is being removed from stage.  At the end of every performance or during intermission, stage hands remove or ‘strike’ props or furniture that has been left on stage in preparation for the next performance.

 

Theater Occupational Stereotype: Crew Versus Cast

Nationality: American
Age: 51
Occupation: Associate Professor of Theatre Practice and Technical Director at USC
Residence: Los Angeles, CA
Performance Date: April 11th, 2012
Primary Language: English

Interview Extraction:

Informant: “One actress friend of mine was in a play where she had to kill a canary in the second act. So for the first act they had a live canary in a cage and then at intermission the canary was supposed to be switched for a stuffed canary which was then killed during the course of the action. And one night, I don’t know what she had done to the crew but they were feeling evil and they left the live canary onstage to see what she would do. And of course she couldn’t kill the live canary, that would be mean. So she put it under a bowl in the kitchen portion of the set and left it on the drain board in the kitchen. Uh, which would have worked fine except for the rest of the act this bowl sort of went ‘THUMP! THUMP! THUMP!’ as the canary tried to get out from under the bowl.

There were also the people who, she had a quick change* that involved running out of one side of the stage, dropping her skirt, climbing out a window, running around the back of the theatre and changing various articles of clothing that were placed along the route as she went. And the last step in this quick change was to step into her shoes and pull up the full skirt that was on the ground right inside the door that she then made her next entrance from. And one night they nailed the hem of her skirt to the floor so that she couldn’t get in the door. So she played the whole rest of the scene from the doorway.”

Analysis:

My informant’s story reflects an aspect of theater culture that has been built on stories such as this and stereotypes of cast and crew members.  Cast members are those who are the performers such as actors or actresses and appear on stage.  Crew members are in charge of production side of theater such as scenic design or working as a stage hand.  There is a negative stereotype in theater that perpetuates the idea that cast members are high-maintenance and crew members are mean.  This of course is not true, and every interaction with an actor or crew member will be unique to what kind of person he or she is.  Generally these two sides of theater production work peacefully and collaboratively, as they are united with the common goal to put on a good story for the audience.  However the exchange of stories such as this help build a stereotype in each others’s mind that the other is difficult, or in this case that crew members like to play mean jokes on actresses.  This can lead to dangerous assumptions and conflict if problems in the production occur.

This is because working on a theater production can often be stressful due to time constraints or budget restraints, and people tend to look for someone else to blame the problem on, which is an unfortunate aspect of human behavior. For example when a show is having problems, it is easier to say that it is the fault of a difficult actress or crew member than to get down to the real problem.  And when someone puts the blame on a cast or crew member, the story is generally believed because in theater we have accepted these stereotypes without realizing we are generalizing people.

There are moments when these stereotypes seem to hold true, such as my informant’s story about the crew members.  In addition to that, I once worked on a television program where the musician was upset that the set was gold and not pink.  However, these occurrences are rare. But the stereotype that cast members are high-maintaince and crew members are mean is an aspect of theater culture that affects the way people interact with one another.

My informant was born in 1961, Connecticut.  He has more than 30 years of experience in theater and has worked on over hundreds of productions.  He continues to work on theater productions today, and serves as the associate professor of theater practice and technical direction at the University of Southern California. He lives in Los Angeles, CA.

*Quick change: a term used in theater to describe a point in the play’s production where the actor must quickly change his clothes backstage before emerging back onstage.  Stand hands, also known as the backstage crew, often help the actor put on their costume to insure the speed and effectiveness of the quick change.

Theater Occupational Superstition: Macbeth (Version II)

Interview Extraction:

Interviewer: (continued from a pervious question) “So it’s considered bad luck to whistle in the theatre, right?”

Informant: “If you are whistling backstage it is considered back luck. I don’t know what you do to cure that, it’s not like ‘The Scottish Play’ where you have to go outside, twirl around three times and spit into the wind or something. I never entirely understood that one…”

Interviewer: “And that ‘cure’ changes every theatre your at, doesn’t it?”

Informant: “It seems to be, the cure for that seems to vary a lot with who ever you talk to. I don’t know where that superstition came from.”

Interviewer: “And is it true that that they think Shakespeare actually took real witchcraft and put it in his play?”

Informant: “Uh, well… I don’t know. However. In the production that Orson Welles did for The Public Theatre, supposedly he hired real voodoo witch doctors to play the witches. Hints, Voodoo Macbeth. And at the beginning of the play, the witch doctors arrived and they requisitioned a goat. Which was provided to them. And they then proceeded to go into the basement of the theatre for three days and at the end of that time they emerged with their drums to use in the production. Presumably they also requisitioned some lumber with which to make the sides of those drums, I don’t know… Anyway. When the production opened one of the New York Times critics was particularly vicious and did not like the play. And the cast and the crew were sort of moping around because they had gotten this really horrid review and the compliment of witch doctors supposedly went to Orson Welles and said ‘this man made you all so sad, is he a bad man?’ And Orson Welles supposedly said yes. And then three days later the critic got sick and died. You may draw your own conclusions from that! But yes, supposedly the theory was that voodoo was done.”

Analysis:

The Macbeth superstition is among the most common superstitions that people working in theater follow.  The legend of Macbeth is that it is bad luck to say ‘Macbeth’ in the theater.  To prevent unlucky things from happening such as the set falling over, people are encouraged to say ‘The Scottish Play’.  If you do make the mistake of saying ‘Macbeth’, you have to cut the curse by performing some kind of protection ritual.  This ritual changes based on who you talk to due to the fact that it is such widespread legend and many people have different ideas about the curse.  The first time I heard about the legend was in Boston, when I broke the rule of not saying ‘Macbeth’ in the theater, and the people I was with made me run around the theater three times to cure the curse.  The next time I heard about ‘The Scottish Play’ legend was in Los Angeles, where the cure for the curse was to spin around three times and spit over your shoulder.  It is hard to say if the cure changes based on your location because people in theater often travel for work, so the ideas on the legend would be mixed.  There are many different origin stories behind the legend of Macbeth, and the story my informant mentions is only one possibility of why people in theater are attracted to this superstition.

The production of Voodoo Macbeth was a real production that occurred in 1936 under the Federal Theater Project, and the New York Times critic that gave the production a bad review really did die three days after he published his review.  Whiter or not the cause of death was related to Voodoo Macbeth remains to be determined.  His cause of death could have been influenced by homeopathic magic, in which his anxiety over the threat of the witchdoctors caused him to die or the cause could have been from contagious magic, in which the witchdoctors actually performed a spell.  This depends on your view of witchcraft.  Or perhaps his death was unrelated to the theater production, and the timing of his passing was just a coincidence.  The fact that this really happened gives the legend more power in the imaginations of those who tell the story.

Real instances such as this are what makes ‘The Scottish Play’ superstition such a popular belief in theater culture.  Another reason why this superstition is so popular along with other theater superstitions is that believing in them is fun.  People are attracted to theater because it is about storytelling.  Therefore when people in theater participate in these kind of customs, they are doing so because it is an extension of working in an occupation that is full of play.

My informant was born in 1961, Connecticut.  He has more than 30 years of experience in theater and has worked on over hundreds of productions.  He continues to work on theater productions today, and serves as the associate professor of theater practice and technical direction at the University of Southern California. He lives in Los Angeles, CA.

Theater Occupational Superstition: Don’t Whistle in the Theater!

Interview Extraction:

Informant: “Ok, so you want to hear the story about why you don’t whistle in the theatre? One reason is that supposedly the first riggers* in the theatre were sailors. And sailors received their orders via whistles, which supposedly carried better than voices in the wind. And so you didn’t want to be backstage randomly whistling ‘Two Gentlemen from Veronia’ and have the scenery come crashing down on your head because you were whistling the cue* for the sailors who were doing the rigging.

The other supposed origin of that superstition is, in the days of gas lit theatre there were a couple of stage hands who’s job it was to wander around and relight any gas jets that had gone out because other whys you would get sort of a large pocket of unburned gas that would eventually get to another gas jet and you would have a big fireball and the theatre would blow up and… that was bad. So they were listening for a particular whistling sound that supposedly this gas jet that wasn’t lit would make and you didn’t want to distract them from their fairly important work.”

Analysis:

This superstition was not one that I was aware of prior to my informant mentioning this belief in one of his class lectures.  The belief is that it is bad luck to whistle in the theater, and doing so will doom the production you are working on.  There are no known ways to cut the curse.  The superstition of whistling in the theater is similar to the superstition that walking under a ladder is bad luck.  Both superstitions serve as a way to teach safety, because if someone were to break those beliefs they would get hurt.  Something could fall off a ladder and hit them on the head or a piece of scenery could fall on top of them.  You are more likely to get told to stop whistling in the theater because you are distracting the production crew than you are to be told to stop whistling because it is bad luck.  Working in theater can be very dangerous if you are not aware of your surroundings because crew members are constantly moving heavy equipment.  Distracting people from their job not only serves as a danger to yourself, but to others as well.  In that sense, whistling in the theater becomes homeopathic magic because it really will bring your production bad luck due to the destruction and distraction it can cause.

However it is unclear which one of the two stories is the true origin of the superstition.  There is a possibility that the true origin of the whistling superstition came from the first story my informant mentioned, because that theory is more well known to people in the theater than the gas-jet theory.

My informant was born in 1961, Connecticut.  He has more than 30 years of experience in theater and has worked on over hundreds of productions.  He continues to work on theater productions today, and serves as the associate professor of theater practice and technical direction at the University of Southern California. He lives in Los Angeles, CA.

*Riggers: is term that describes someone in charge of moving or lifting heavy objects using a pulley system.  The term comes from sailing speech, in which a rigger is someone who uses ropes to hoist the sails on a ship.  This is exactly what a rigger in theater does, but instead of hoisting sails they are hoisting scenic pieces.

*Cue: is a term used in theater that means a signal to do something.  A signal or cue indicates that it is time to move a part of the set or play a certain song for the production.

High School Pre-Show Ritual

Nationality: American
Age: 20
Occupation: Student
Residence: Los Angeles, California
Performance Date: April 24, 2012
Primary Language: English

Maddy Heyman

Los Angeles, California

April 24, 2012

Folklore Type: Ritual

Informant Bio: Maddy Heyman is one of my apartment mates and good friends. She is a twenty year old Sophomore and double major in Theatre and Narrative Studies at The University of Southern California. She is from St. Paul, Minnesota and has lived there her whole life. Maddy is a very active member of her theatre community back in St. Paul. She also has acted and directed shows at USC. Although she is thriving in college despite tearing her meniscus and finding out she has mild Crohn’s disease, she is very attached to her home, family, friends, and Theatre community in St. Paul.

Context: Maddy and I were in our dimly lit apartment late in the night around midnight when I asked her to share some theatre folklore knowing she is a Theatre major. She had just closed a show the previous weekend.

 

Item:

M: There is a super secret pre-show ritual at my high school that no one is allowed to talk about, but now that I’m graduated I can. So we would all gather in a choir room behind the stage in the hallway area. It would be fifteen minutes before the show. One thing we did was the bugaloo, and that was pretty normal (sings) let me see you bugaloo. There was traditionally a leader of the bugaloo. They would be the leader for the whole year. It was passed through, well we had these testaments in the paper at the end of the year, and the leader would be named that way. So we would do the bugaloo and people would do ridiculous ones like let me see you fry like bacon. Or we would do things that make fun of the show. The next one would be ride my pony which was pretty basic. You know, ride, ride my pony and then we would ride our ponies around the room. And then after that we would scope. We would get a bottle of Scope and some Dixie Cups. We would pour the Scope, and we had a phrase. We would say, “Scope that shit up, mothafucka what? Scope that shit up, mothafucka what?” continuously until all people have Scope. The order people got Scope and got to count down would be different every night, some nights would be seniors, or all the girls first, or all the chorus leads. When we Scoped we had to swish it in your mouth as long as everyone counted down from ten. And then right after you’d just go and do the show. Well except on the last night. We would get together early, turn off the lights, and light a bunch of candles on the piano ‘cause we were really safe. Then each senior gives a little speech about their experiences and advice for the uh, the whatever we call younger people in high school that I can’t remember anymore.

A: Underclassmen?

M: Yes (sweeping hand gesture) underclassmen. Then we’d do the bugaloo and everything. And that is the Central High School pre-show ritual. And if anyone knew I’d shared that with you,

A: You would be murdered?

M: An’ you’d be murdered. It’s cool to see each place’s pre-show rituals.

 

Informant’s Analysis: (The following interaction applied to her analysis and why the ritual was important to her)

A: Why is this one ritual in particular important to you?

M: Just ‘cause this was the most long-standing tradition I’ve experienced. They have always been a part of the ritual for as long as people can remember, and like no one knows how they started. We do it for every single show, every single year (hand chop down). Especially since at SC each pre-show ritual depends on the show so they’re different. I also just think the fact that all shows have pre-show rituals is interesting.

 

Analysis: Maddy has a serious attachment to her home and life in St. Paul as well as her childhood. She has a tattoo of Alice from Alice in Wonderland because of that attachment. This particular ritual is most likely important to Maddy because it connects a large part of her childhood home life to her passion and career choice. Remembering these experiences allows her to reminisce when she is having a hard time being away from home especially with all of the stressful physical issues she has had to face while adjusting to living away from St. Paul for the first time. This memory also keeps her spirit and passion going when the Theatre world is less than kind as it is known to be. The ritual itself like many things in the Theatre world was probably developed from personal experiences and inside jokes of various casts over time. Although Maddy claims the ritual has not changed over the years, it has probably been adapted slightly from cast to cast. The bugaloo is one version of several Theatre games actors use to warm up. It combines rhythm and improvisation. Ride my pony is also a Theatre game that is energizing and loosens nerves. The Scope ritual appears to be a combination of hazing and was probably an incident that turned into an inside joke for one of the casts that started this pre-show ritual. The seniors sharing their experiences by candlelight on the last evening of the show is a fairly common occurrence with most show casts. The cast of a show is a lot like a family because there are people that love each other and people that hate each other, but everyone has to interact and work together or the show will fail. Theatre people are also generally more flamboyant and in tune with feelings because they have to express them on stage in front of people, so a final sharing of knowledge and memories is a way to feel like a collective family for the last time before the mandatory time together are over. This is especially true for high school seniors because they are about to or have entered into a giant transition in their lives out of childhood and into an interim phase of college before true adulthood. This ritual is a way to create a collective memory and connection as well as relax before a performance.

 

Alex Williams

Los Angeles, California

University of Southern California

ANTH 333m   Spring 2012