The cues for calling a full-length ballet like Swan Lake aren’t necessarily complicated, but they do require a lot of concentration to match-up the stage projections with a live orchestra, dancers, and the stage hands moving scenery. Machines don’t take into account the adjustments that are sometimes necessary in live theater!  My job is really to follow the musical score and give cues (with the help of the assistant stage manager), to the electricians, carpenters, prop crew, projectionists, and the folks manning the spot lights. I think it helps in this job to really know music, even if you can’t read it, in order to anticipate the cues.

Here I am backstage while the Company was on tour in China, Fall 2009.

During the shows, I stand down stage right, which to the audience, is to their left, down behind the curtain. From there, I have video screens of the lighting computer, the conductor, a low-light camera of the stage (so I can see in the dark), and a full stage view. That way I can see what’s happening from several angles and follow the conductor throughout the performance. I communicate via a headset, but for rail and deck cues, I also use cue lights. By flipping a switch, a large number of crew can quickly (and silently) know what action to take.

I work as part of a team—there many people backstage making sure that each and every show goes smoothly; everyone’s job is integral to the success of what the audiences see on stage. You’ll probably never see me (I’m truly behind-the-scenes), but if you come to the Opera House, you’ll hear me: I’m the voice at the start of the performance, asking you to please put away your cellular device!

It helps to like the people you work with! Here I am with Tiffani Snow, assistant stage manager, on the Great Wall in China.