Opening with a... Sashay

We Opened!  (Yes, that's my excuse for why there have been so few posts in the past two weeks.)  And the set design (by Fred Sharkey), costumes (by Scarlett Kellum) and lights (the indefatigable Rob Siemens) look gorgeous.  Here's a quick peek-- thanks to photographer Olya Gary-- of the show.

Now that we're up and running, it's the perfect time to grab your tickets:  http://www.brownpapertickets.com/event/263326

Your Design Portfolio / Getting Hired

Personally, I don’t know much about putting together a designer’s portfolio. I know I like pretty pictures, so I understand that a bad portfolio can undermine a good designer’s work. So rather than pretend that I have expertise in this area, I’m going to link you to someone who apparently has: Pro designers Chuck Meacham and William Kenyon write about how to put together your first design portfolio, or improve your current one.

http://schooltheatre.org/publications/dramatics/2006/05/building-your-first-portfolio

I may not be an expert on putting together a portfolio, but I as a director and producer I judge them as a part of the hiring process. Variety is a key element, and I like to see the most unusual designs they've created. I also like to see the work in progress: sketches, sketches in development, and fabric swatches if you’re a costumer; lighting plots if you’re a light designer, etc. I’ll explain why:

Your portfolio is both your foot in the door and the final piece of icing. The finished examples of your work are what will get you an interview. The work-in-progress is what will get you hired.

Here’s what’s true for me as a director/producer. If I call you in for an interview, I already believe you’re talented enough to do the job. I’m interviewing you because 1) I want to know why you versus another candidate; and 2) I want to get a glimpse of how we will work together. Focus on what makes your work distinctive and unique, and tell me something about how we’ll collaborate. Whenever I interview anyone—whether a designer or a crew person—I always ask two questions: What do you need to do your best work? And how can I as the director/producer support you? When we finish the interview I want to know how to proceed with you in that position.

A Brief Chat with Our Set Designer

Veteren set designer and actor Fred Sharkey introduces the question, "Do we need a set design at all?" Today's post was directed by Second Wind's, Sorta Lim; the Director of Photography is long-time collaborator Richard Enriquez.