Behind the Scenes of Porgy & Bess


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	Porgy & Bess Behind the Scenes A Day in Boll Hall Artists' Q & A

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Behind the scenes of Porgy & Bess
A Day in Marlene L. Boll Hall

The latest in abstract art? Not quite. In preparation for the show, the cast rehearses in Marlene L. Boll Hall at the Detroit Opera House—a perfect duplicate in size as the house's main stage. While the opera's sets are being constructed on stage, the technical department tapes out a footprint of them in the rehearsal hall, giving performers a spatial relationship with the production. These taped lines are color-coded to differentiate between the various scenes of the opera.

While rehearsing in the hall, the production department often brings in props, such as tables, chairs, and other integral items, making the production more tangible for performers, and allowing the director to block (choreograph) scenes which rely on props.

In some cases, when it's possible, the technical department will actually construct portions of the set in the rehearsal studio so that performers can get a more realistic impression of the staging. Scenes requiring a staircase, or using sets with varied elevations, are a perfect example. In the case of Porgy & Bess, the sets are too complicated to be constructed in the rehearsal hall. The production team will attempt to move rehearsals to the stage as soon as possible, so that the performers can spend as much time on-set as the Opera House's busy schedule will allow.

Photos from previous productions that used these sets (owned by Houston Grand Opera) help add another dimension to the performers' understanding of the stage. While operas do not generally tour as a Broadway show might, opera companies frequently rent sets and costumes from each other. Construction of new productions, like last April's Aida, can cost millions of dollars.

Much happens in rehearsal, even for those not immediately "on stage." Cast members spend down-time watching each other, learning their cues, studying music and memorizing the director's unique vision of the production. Technical staff also play an important role. Here, Production Stage Manager Ken Saltzman (standing) watches the rehearsal, making note of cues, props and anything else covered during the session. An integral part of any production, the stage manager organizes all aspects of the show. He is in charge of scheduling rehearsals, coaching, fittings and interviews. He is a vital link between the technical staff, stage crew, performers and artistic staff.

Seated at the production table (near to far) are Assistant Stage Director Elmore James along with cast-members Leah Dexter (Annie) and John Fulton (Jim).

Ever present in rehearsal, the show's conductor oversees all musical aspects of the opera. Here Maestro Steven Mercurio works with repetiteur (that's opera talk for accompanist) David Wolff to get the tempo just right. While the Michigan Opera Theatre Orchestra will perform the opera, most of the cast rehearsals are backed only by a piano. The Maestro rehearses separately with the orchestra. In the final week before the production opens, each cast will have one Sitzprobe with the full orchestra.

In rehearsal, stage director Roman Terleckyj (right) works closely with the performers. Here, he explains his vision for a scene to Alyson Cambridge (Clara) and Leonard Rowe (Jake).

A hands-on director, Terleckyj frequently steps in, replacing a cast member to illustrate his vision. Here, he works with Jubilant Sykes (Sporting Life) and Sabrina Elayne Carten (Maria).

It may seem hard to believe, but in less than two weeks time, Porgy & Bess will move from the rehearsal hall to the stage. Direction will be memorized, lighting will be designed, costumes will be fitted, and everything will come together. On October 21st, the curtain will go up, and the inhabitants of Catfish Row will come to life on the Detroit Opera House stage.

Photos by John Grigaitis