Women fill a variety of important roles in the arts—not just on stage, but also behind the scenes. Step backstage and discover what it’s like to work in theatrical production, plus hear career advice from three women who aren’t afraid to run the show.
HEATHER OLCOTT, STAGE MANAGER
Describe your career trajectory. How did you start working as a Stage Manager?
I was a Dance major at Point Park University when I was assigned to crew one of the shows. It was during that experience that I learned what a Stage Manager does and immediately became intrigued! I was able to add a Stage Management minor and began soaking up as much information and experience as I could get. By the time I graduated college, I knew that I wanted to pursue a career in Stage Management as opposed to performing.
Explain your role with Boston Ballet. What does a “day in the life” look like?
The Stage Management team facilitates communication across technical and artistic departments, supports and organizes the day-to-day running of a production from rehearsals through performances and post-show, and calls all technical cues during a performance. Each day varies based on the schedule, which keeps day-to-day interesting! When the Company is in rehearsal at the studio, we are here to support their needs based on what is being rehearsed, as well as prepping paperwork and details for the upcoming performances. When the Company is at the Opera House, one of us calls all technical cues for the technical rehearsals and performance while the rest of the team manages keeping people safe backstage.
What project are you most proud of?
Most recently, I am proud of CHOREOGRAPHER! The team let me take the lead on that program, which felt fitting as a woman, and was exciting as my first full program to call with the Company. It’s not often you get to work on five world premieres in one program!
What challenges have you faced while working in this field?
At previous organizations, as a woman backstage, one of the biggest challenges was that women were often still not given the respect of an unbiased introduction in this field. I’ve had the opportunity to tour a lot of the country and in many places, it was never assumed that I was in charge. It was a frequent occurrence that a male colleague was approached for information because it was assumed he was the lead based on gender. In some countries, the crew would not take directions from a woman, regardless of her title. I’ve witnessed women, including myself, receive less respect because of their gender. We’re taught to have a thick skin and to not take it personally, but what if we were simply respected in our positions from the start?
Do you have any dream projects you’ve always wanted to work on, or artists you’re looking forward to collaborating with?
One of the many things I love about Boston Ballet is the variety of the repertoire: classical, neo-classical, new works, story ballets, contemporary ballets, and more! I love the mixed repertoire programs and am looking forward to this spring’s performances of Jiří Kylián’s Bella Figura and William Forsythe’s ballets, to name a few. The only story ballet I had worked on prior to Boston Ballet was The Nutcracker, so I am excited to work on more story ballets as well.
Who inspires you?
KRISTIN COLVIN YOUNG, the Production Stage Manager of Alvin Ailey American Dance Theater. I had the opportunity to shadow her for a show when I was a senior in college, and since then she has been an inspiration, a mentor, and a friend.
INGRID SILVA, who in my eyes is a superwoman. She is a dancer with Dance Theatre of Harlem, she started the organization EMPOWHER NEW YORK, she’s a mother, mentor, and so much more! Her work ethic, determination, and kindness never cease to inspire me.
What is your message for other women wanting to get into backstage work for theatrical productions?
The answer is automatically “no” if you don’t ask the question. So don’t be afraid to ask, because there is a chance the answer will be “yes.” Also, ask questions and ask for help if you don’t know something. Oftentimes people think asking questions makes them seem weak, when it actually shows a level of awareness, insightfulness, and good listening skills.
LAUREN SCATTOLINI, DECK ELECTRICIAN
How did you get into lighting theatrical productions?
When I went to college, I knew I wanted to work in the technical side of the theater, but I honestly wasn’t sure which part. My first semester of freshman year I took a lighting class; we had to do practical hours, and my first time in a genie lift I was both incredibly terrified and incredibly hooked. I just became more hooked as I learned about the technology involved.
Oh, and the fact that my lighting professor told me I’d never make it in this industry just made me more stubborn about my path.
After college I landed as a Journeyman (not quite an intern but not quite a full staff member) at Actors Theater of Louisville. I worked my way up over the next five years to Assistant Lighting Supervisor. The skills I learned there about light console programming and being a Master Electrician (the person who works with the designer to realize their vision in a practical way) really helped me once I moved to Boston. At the time, the lighting console I had learned in Louisville was still fairly new and not many people knew how to use it, so I became valuable as a freelancer very quickly. From there I ended up working as a Master Electrician at several local theater companies before I came to Boston Ballet.
Explain your role as a Deck Electrician. What does a “day in the life” look like?
Anything that happens on stage (the “deck”) that involves lights or cable is my domain. Changing colors in lights, operating practicals (things like chandeliers or lights mounted in the set, such as the light bulbs on the Nutcracker palace backdrop), sometimes even flying booms (the large lighting towers) in order to accommodate scenic transitions, are all examples of things that happen during shows. For larger shows like The Nutcracker and Swan Lake, I have a crew of electricians, and it is my job to assign tasks and make sure everyone is where they need to be to cover all aspects of any deck changes. I also deal with any atmospherics like fog or haze that happen during the show. That cannon fog during the Drosselmeier scene in The Nutcracker? That’s me sitting behind the set with my hand on the button. All those swans emerging out of the fog in Swan Lake? It’s my job to ensure that the foggers are working. Luckily, I have a crew to help since we run four dry-ice foggers simultaneously!
Honestly, one of my favorite aspects of my job is that I have no typical day! When we’re not at the Opera House, I am at the electrics shop preparing our next show, hanging moving lights for testing and labeling cables. On load-in days I am on the deck helping hang lights before I go up to my other domain: 35 feet above stage left to hook up all our power cables, and then going even farther up to the grid to run power to stage right.
But show days are my favorite. We come in and check to make sure all the lights work. On a good day, everything is fine! On a less good day, I may have to scamper up that 35-foot ladder on stage left to release cable so a problem light can be lowered and fixed. After that, I get the stage ready for the top of show. What is required next depends on the show; anything from color changes to setting rovers (lights on a rolling stand) to turning on hazers or flying booms or…. the list goes on! Each ballet is different, and each has its quirks that I have to work out and ensure all transitions are smooth.
Are there specific types of projects you really enjoy?
I love projects that let me play with new technology, or really any kind of gear that I’ve never had the opportunity to use before.
What is your message for other women wanting to get into backstage work for theatrical productions?
Don’t let anyone tell you that you are “too anything” for this job. You are not “too weak,” “too quiet,” “too loud,” or too anything else. I believe any of those negative comments can be turned into strengths. If nothing else, it gives you the determination to get better! And if you find yourself working with knowledgeable people, ask questions. Never be afraid of not knowing something: the skills and knowledge you can pick up this way are invaluable.
