Wednesday, December 01, 2010

World AIDS Day 2010

World AIDS Day 2010

Today marks the 22nd anniversary for World AIDS Day.

In years past, I've used this day to talk about the sobering statistics of this deadly disease that affects tens of millions around the world. This year, I'd like to remind you of the wonderful work that the fine people at Broadway Cares/Equity Fights AIDS provide. They're once again in the midst of one of their annual giving campaigns. If you've been to a Broadway show in recent weeks, you'll likely have heard from the stage about this great organization's continuing efforts.

Even if you're nowhere near Broadway, please consider giving to this industry-based, nonprofit AIDS fundraising and grant-making organization by going here to make a donation. As many of you know, I dug deep into my pocket earlier this fall, but that isn't deterring me from digging even deeper today by giving again. I hope you'll join me in giving. No gift is too large or too small.

If you're looking to receive something in return -- in addition to my sincere appreciation -- you might also consider joining me in purchasing one of BC/EFA's annual snow globes like the one designed by Broadway's very own David Gallo. For more details, please go here.

Here's to your good health and all the best for your loved ones. Thank you for your support.

This is Steve On Broadway (SOB).

In keeping with the Federal Trade Commission regulations (FTC) that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value in exchange for promotional consideration, please note that I have received nothing of value in exchange for this post.

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Sunday, November 14, 2010

David Gallo: Designing Broadway And Beyond (The SOB Interview)

David Gallo
David Gallo: Designing Broadway And Beyond (The SOB Interview)

On Friday, I provided the first portion of my interview with Tony Award-winning scenic designer David Gallo, discussing his Snow Globe creation for Broadway Cares/Equity Fights AIDS.

Today, I'm pleased to share the rest of my interview with this affable, engaging and immensely talented designer in which we discussed, among other topics, August Wilson, his incredible inspiration for The Drowsy Chaperone and even how one of his works is now in the Smithsonian Institution.

Here's the SOB Interview:

Steve On Broadway - You had a long association with August Wilson’s works.

David Gallo - That’s correct. My daughter’s name is August as well.

SOB - That's amazing. Can you tell me a little about the experience of working with this great playwright?

DG - It was just the highlight of my career. To even be alive during the same time period with such an extraordinary talent and such an important voice for forever, you know, with world literature. So that enough, but to be able to participate on them was just the highlight of a career to be able to bond with August and be able to work with him directly in developing the visuals aspects of his stories, you know, the words that he was putting together. It was amazing.

August Wilson's Fences
What was it like? I mean, it was great. It was about fourteen years of my life. It was a new challenge every day. Always interesting, you know, because my initial exposure to August was doing a production of Fences almost 20 years ago, which was the first time I had really any connection to the plays themselves. And then I designed the premiere productions of his later works and getting to the point where I was designing productions of August Wilson plays before the plays were written.

SOB - Wow!

DG - Yeah, it got to that point where we would discuss the ideas before he would even have typed out a word, I would already have pen to the paper.

SOB - Well, I was going to ask you how much influence does a director’s vision have on what ultimately you see?

DG - Well a director, a lot. But in this case the playwright, you know, usually not so much. But this was special. He was very much a part of all that stuff. He was a huge influence. And the settings were always so much more than met the eye.

Hughie -  1996 Broadway revival
SOB - With respect to your first design on Broadway, which was for Hughie, you were working at Circle in the Square (a theatre in the round), which in and of itself presents some interesting challenges. I’ve seen many shows that have worked in that space, but so many that just don’t. What were your challenges there.

DG - Well, that space is like really tough. As you know it’s a very difficult theatre to master. And a particular challenge for Hughie is it’s a play that really has just two characters. There’s only two people in it, and one of them is the focus -- the role that Al Pacino played -- and he wanders around a bit. And then the other one played by Paul Benedict is a character that literally never gets out of his chair.

So you’ve got to get a pretty tight ground plan because to get something like that to work in that context is always a little bit tricky. It’s not like a busy play with a lot of characters and a lot of movement and everything is running around that space and you really have to use that space. We pretty much were committed to a very particular play with a very particular presentation style. Yeah, that theatre is not easy.

SOB - I’ve also admired your work in The Drowsy Chaperone. I thought that scenic design was absolute genius. What was your inspiration for that?

The Drowsy Chaperone - Man in Chair's apartment
DG - A guy I knew who was that character.

SOB - Really?

DG - Yes. I read that play and I said, “Holy s***! I know this guy.”

I called my friend and I said I’m coming over with my camera, and I photographed every centimeter of his apartment. The set wasn’t a replication of that apartment, but it was seriously inspired by that guy’s apartment.

He lived in the same place since the late 1970s in a Hell’s Kitchen walk-up on the fifth floor. You know, he actually has his bathtub in his kitchen, you know, and it’s completely filled with musical theatre and opera records. He hangs out there and plays these records. Really, that’s his thing. He’s also a designer -- I mean he has a life. I mean he’s not, you know, as weird as our character. He’s the real thing. So the inspiration came from that.

The Drowsy Chaperone - Play within the play
And then the play within a play was all sort of based on the work of Joseph Urban, the great designer, at the beginning of the century. What if Joseph Urban had actually designed The Drowsy Chaperone. What would it look like?

SOB - I also loved your elaborate designs for Memphis and thought you were really robbed of a Tony nomination.

DG - I never really considered that too much, but we certainly liked the way it turned out certainly.

SOB - It’s also your first Broadway show with a projection design credit?

Memphis (Photo by Wolfram Ott)
DG - Yeah. The first one on Broadway. I’ve done other things.

SOB - Do you think projection designs are here to stay?

DG - Well, yeah, I mean they’ve been around for over a hundred years. So it’s not like it’s new. There’s a lot more that we can do with the ability to make it more effective right now. I think that they’re almost a little too in vogue at the moment. But I think used effectively I think they’d be great. But they’re not going anywhere.

We just opened another one, the Colin Quinn thing – we designed all the projections for that, too.

SOB - You also did the set design for that.

DG - That’s right. It’s sort of my thing.

SOB - It certainly gave me the impression of being right in the middle of a Greek amphitheater.

DG - Oh you saw it?

SOB - Yes.

DG - Good for you.

SOB - Now you have to settle a bet. I was talking with someone about your projection design for Memphis and we were arguing back and forth as to whether it was a live video feed or it was taped.

DG - During the second act when they’re on? It’s all live. It was impossible to do tape.

SOB - And how does it feel to have gotten this far and have something in the Smithsonian?

DG - That actually happened in ’98 or ’99. It was freaky.

SOB - It’s "America’s attic."

DG - I guess so and we’ve cluttered it up with junk. They asked, and they actually had a whole bunch of my stuff and they ended up settling on one thing. But that’s what they wanted to do, and there it is – somewhere in the basement next to the Ark of the Covenant.

I don’t know. It’s never left my bio. I always thought it would. But it’s always still in there. I guess it’s interesting. I don’t know anywhere else with stuff in the Smithsonian.

SOB - I don’t know anybody else with anything there.

DG - So, it’s cool. You know. I mean, when you think about it, you donate it and now it’s not yours anymore, and if I want to go see it I have to have a good reason like it’s my own thing and they’re very clear that you can’t ever have anything back again.

I got some stuff in another museum and that was sort of trippy because I went there to give a lecture and they were like, “Well, while you’re here…” They had a model all laid out and they wanted me to glue it all back together because it had been damaged. And they’re like, “Only you can do it because you’re the original artist.” I know it’s weird. All these art archivists and art restorers are sitting there watching me glue this thing back together again. Weird.

SOB - What’s next for you?

DG - Right now we’re doing Madagascar, the movie -- we’re doing a live version of that. We’re doing a big splashy musical version of Madagascar.

And then we’re just getting started working with a rock band Phish and so we’re designing a New Year’s experience extravaganza for three dates around New Year’s. And then we’re doing scenic design and projections for a very large scale Frank Wildhorn musical -- new musical -- that’s going to happen in South Korea. And then we’re doing another in China. We’re pretty busy. And then I’m going to Stuttgart next week because we have a show opening in Stuttgart, and we just had one open in Rome recently, too.


I ended my conversation with a couple design-oriented recommendations for David Gallo while he's in Stuttgart. I'm sure I'm not alone in looking forward to what this designing genius does next.


This is Steve On Broadway (SOB).

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.



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Friday, November 12, 2010

Deck The Halls With Broadway Snow Globe; Support Broadway Cares/Equity Fights AIDS

Deck The Halls With Broadway Snow Globe; Support Broadway Cares/ Equity Fights AIDS

Looking for that perfect holiday gift for the theatregoer in your life?

Consider the all-new Broadway collectible designed by Tony Award-winning scenic designer David Gallo, who was commissioned by Broadway Cares/Equity Fights AIDS (BC/EFA) to design their 2010 Official Broadway Cares Snow Globe.

If you're a regular reader, you already know how much I support this invaluable non-profit, which is one of the nation's leading industry based HIV/AIDS fundraising and grant-making organizations. So I'm pleased not only to share details of the snow globe itself, but also present an interview I conducted with David Gallo.

According to BC/EFA:
Our newest snow globe is the most theatrical one yet, with an eye-popping, multi-layered design from Tony award-winning designer, David Gallo. The subway trains run underneath the snow covered theaters and taxi-lined streets of New York, all of which advertise over twenty Broadway musical logos. Inside the globe, three girls dance on a spectacular stage, which rotates to reveal a surprise glimpse of the goings-on backstage. "There’s No Business Like Show Business" is the perfect anthem for this collectable globe, which stands 5 ¾” x 7 ½”.
On Wednesday, I had a chance to talk with David Gallo about his efforts for BC/EFA. Here's a portion of my interview with this master designer:




Steve On Broadway (SOB) - How did your collaboration with Broadway Cares come about?

David Gallo - On this particular project, it was as simple as them just contacting me about doing this. But I’ve been participating in various forms of fundraising for them for probably almost 20 years. I always worked the Flea Market for them and over the years I’ve donated a tremendous amount of artwork.

Whenever I’m asked to sell something of my own to a museum or an individual, I always have the money given to Broadway Cares. So I’ve done that for a long time as well. And occasionally when people want to purchase memorabilia, I always have the money go to Broadway Cares.

But for the snowglobe, it was just as simple as having them call me.

SOB - I only spotted one of your shows in the Snow Globe.

DG - We made sure Memphis was right there in the center.

SOB - Tell me a little about the concept that went into your snow globe design.

DG - I really wanted to be able to tell some kind of a story with it. As an art object, it’s certainly cute enough. But I was hoping to be able to sort of develop into some basic kind of tale and give it a little sense of surprise -- so the notion of it being the street levels of New York and all the taxis and the cars and then below that the subway and then the city.

Then as it sort of spins around, seeing the city as performance -- Times Square and Broadway as performances -- seeing the backstage goings-on with the wardrobe people and the stagehands throwing the snow. It was just sort of meant as New York -- Broadway in the wintertime as kind of the event and let it work on number of different scales. Just sort of be fun from that point of view.

But alternately, the idea was just to tell some kind of silly little tale.

SOB - Have you ever worked on that kind of scale before?

DG - I don’t think I’ve ever done a snow globe before. I wasn’t unfamiliar working in model form because that’s what we do, but usually our stuff ends up getting built bigger. But yes, it really was the first time, certainly the first time.

SOB - I’m looking forward to getting one of my own.

Yeah, it’s cool. It’s actually turned out really, really well. We’re very pleased with it.


To purchase your very own whimsical snow globe (as I since have), visit the Broadway Cares/Equity Fights AIDS online store. They're just $80 each. To give directly to BC/EFA, please go here.

I'll have more of my interview with David Gallo next week as I focus more on his award-winning career.

This is Steve On Broadway (SOB).


In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.


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