To our Stagedoor Family,

We have some incredibly exciting news to share with you! We’ve been hard at work building out an exciting schedule for programming this summer and wanted to let you know some of what we have planned for you!

Starting June 15, we will be launching Stagedoor Manor Digital Camp, led by some of your favorite directors, counselors and staff members. Here are just some of the highlights with more details to come:

• Chat with Zoey’s Extraordinary Playlist creator Austin Winsberg and cast/creatives • Workshop a new play by Arlene Hutton • Barb’s Daily Announcements and an Opening Day Celebration • OTC, Players Ensemble, Singer/Songwriter, and Dramafest • Staff and Camper Talent Showcase • Singing Technique • Shows/Table Reads • Shakespeare, Cult Musicals, and College Monologue Prep • Directing, Playwriting, and Advanced Acting • Ballet, Jazz, and Modern Dance • Lighting, Props and Stage Make-Up

To make sure we’re able to give our students individual attention and an amazing experience, classes will be limited to campers enrolled for the 2021 season, however certain camp activities will be open to our entire Stagedoor Manor family!

If you were interested in taking part in this summer’s digital programming, we hope that you made your rollover selection in CampMinder by the May 14 deadline.

Further updates will be coming soon. In the meantime, watch “Coffee Talk” Monday nights at 5:00 p.m. EST and “Stagedoor Trivia” Thursday nights at 8:00 p.m. EST live on Facebook! Don’t forget that every Wednesday is officially “Ciabatta Day.” Please send us photos of you and your ciabatta, videos of you making ciabatta or even your favorite recipe. You can send to us on Facebook or Instagram (links are included on final page of newsletter). The winner will receive a “No Day but Ciabatta Day” t-shirt.

A Message From Stagedoor Manor

all things Stagedoor Manor Studios,

Stagedoor Manor & Theatre!MAY 2020 ~ Issue 24

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MONTHLY NEWSLETTER

The Backstage Connection

Tell us a little bit about where you grew up and where you went to school.

I grew up in Oxford, England and come from a big family - with 2 brothers and 2 sisters. When I was younger my school had a very active drama tradition. I did some performing there and at the local theatre.

Growing up I moved away from performing - but never lost the l o v e o f t h e a t r e . I s t a r t e d researching other careers in that world, and came across a theatre design program at Nottingham Trent University. It seemed perfect - a way to still be in the theatrical world but nurturing my love of the arts.

When did you begin your journey in this field and what motivated you to want to work in the technical side of theatre?

Once I’d finished my degree at Nottingham I moved to London and worked as an assistant to a number of stage designers. One of them gave me a project to design and make props for a Cartoon Network touring show.

I realized after that project that I wanted to be a prop maker, and felt that I needed further study; so I did a Post Graduate diploma in Props at the Royal Academy of Dramatic Art.

RADA was an amazing experience because it allowed me to play with so many materials - and

that’s a lot of what prop making is about - experimenting, problem solving, using materials in new ways. The props we made were half anchored in the shows RADA put on, and half our own personal projects, so I really got to use my imagination. I made a giant red stiletto shoe out of polystyrene to honor the

Wizard of Oz, and a fiberglass gargoyle door knocker using the David Bowie film Labyrinth as inspiration.

Who are some of your biggest influences? Was there someone specific in the past that inspired you?

My first production managers at the Oxford Playhouse were a big influence on me entering the professional world. They were ingenious at problem solving, and had a huge amount of trust in me for a rookie graduate. My tutors at RADA taught me so much, including how to keep a sense of humor - even when failing spectacularly and cutting expanding foam out of your hair.

I’ve also been lucky to live in places where there is plenty of access to theatre, and I’ve always been influenced and inspired by the shows I’ve seen.

Recently, you’ve been doing a lot more armory work. Could you tell our readers a bit about what that is and how you came to being involved in that? Weaponry is important to so many stories. It can pinpoint a time in history, can give a character

Interview continues on following page

S t a r t i n g o f f i n t h e performance side of theatre, A b b y P r i c e g r a d u a l l y discovered the world of design. This month, the Head of Props at Stagedoor Manor chats about a project for a Cartoon Network touring show that paved the way for her passion in props design. She opens up about her influences, what brings her back to Stagedoor each year and the weirdest prop she's built.

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CURTAIN RISING

Shoe Final: Dorothy shoe, RADA project

pinpoint a time in history, can give a character status, can turn villagers into armies. The use of weapons on stage is sensitive and can be tricky, but done with attention to safety and detail - it can create powerful moments of storytelling.

I started in the armory world by working at a prop house which created replica weapons using silicone and fiberglass moulding techniques. I then worked with Bapty - a company that provides armourers to film, as well as restoring artillery for museums. With them I worked on the set of Kingsmen: the Secret Service, and helped restore a Cossipore Cannon made in 1838, one of only a few left in the world.

Armourers are expected to have a good knowledge of historical period and basic fight techniques, as well as a clear understanding of the various laws and safe handling practices.

This year I have been working for the Royal Opera House armory department. The team are responsible for the stock arms, including maintenance and restoration, as well as making and testing their own rounds. They craft all leather goods including holsters and pouches from scratch, and make retractable and blood blades. They also work the shows as part of the stage crew - monitoring the safe use of all weapons during the show. My first job on the opera Fidelio was to get 30 chorus members kitted with rifles and bayonets during a quick change - which was tricky, particularly with a horse in the wings too. Armory - particularly at the ROH - combines perfectly being involved in the show on a ground level with detailed craft work.

You’ve been part of the Stagedoor Manor family for several years now. Tell us when you first started and what is the most rewarding aspect of coming back each summer?

My first summer at Stagedoor was in 2014 as a props artist. I had a few years off and then took over as Head of Props in 2017. The people of Stagedoor Manor are a large part of the magic that keeps me coming back - the professionalism and dedication of everyone involved is

astounding. I love learning from the other members of the technical team - problem solving and sharing techniques.

I also believe Stagedoor opens up the magic of backstage just enough - it shows the next generation of young actors that theatre is more than acting; it takes many skills to make a show.

What do you feel you have gained most from working in the technical side of theatre?

You learn to think on your feet and problem solve pretty quickly. I think I am a better maker from working through mistakes and seeing my props on stage.

Technical theatre also gives you a flexible attitude and a variety of transferable skills. I’ve worked across the events, film and theatre industries - in making, buying and supervising roles. In each role I’ve had some successes and some failures - but always learnt a lot.

During your career, you’ve probably built some pretty incredible things. Could you share with our readers the funniest/weirdest prop you’ve had to design/build and what it was for?

Pantomime is a big Christmas tradition in England. It’s colorful and silly and over the years has allowed me to make some fun props, including a 3Interview concludes on following page

Teapot prep: Les enfant et les Sortileges, Glyndebourne Opera. Designer: Barbara de Limburg.

Gargoyle: Labyrinth door knocker, RADA project

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It’s colorful and silly and over the years has allowed me to make some fun props, including a rose that shot glitter, and magnetic foam mushrooms. My favorite pantomime prop was Ivan - an inflatable octopus which grew out of the oven and attacked the stage in Dick Whittington. The director loved everything larger than life and Ivan was the only prop he ever deemed large enough first time. I patterned him out of ripstock, each tentacle was 16ft long and we had to use a bouncy castle fan to inflate him.

Scale is something that opera plays with a lot too - and for Glyndebourne’s production of Les enfant et les Sortileges, we had to make an oversized teapot and tea cup. We used high density polystyrene to carve the shapes and scrimmed with size glue and paper. Sanding the layers took about 3 weeks to achieve the super smooth finish - but it was worth it.

I know I’ve cheated here and picked more than one. I’ve made so many things I’ve loved.

How have the performing arts impacted your life?

I think it’s impacted the way I see things. I’m better at listening and looking for the detail now. My sense and appreciation of history and period has grown with the shows I’ve done too. And I have met some of my best friends in the industry.

If you had to start all over, what job/career would you want to do?

My first ambition as a kid was to be Rainbow Brite - it was because of her I took up horse riding. I’m a little competitive - so maybe if I hadn’t found theatre, I could have gone into showjumping or dressage. Or competitive rodeo - with a glittery cowboy hat? Is that a career?

Octopus perf: Dick Whittington, The Oxford Playhouse.

Find and circle each of the words from the list below. Words may appear forwardsor backwards, horizontally, vertically or diagonally in the grid.

Theatre LingoName: Date:

Copyright ©2020 WorksheetWorks.com

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performing arts stagedoor manor rehearsal process musical theatreplaywright workshop stagecraft ensemble costumes premiere

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A N S W E R K E Y

THEATRE LINGOAnswer key from the Theatre Lingo word search that was in the March 2020 issue of

The Backstage Connection

Dramafest will soon be upon us for summer 2020! For those of you rolling over to 2021, you can officially submit your Dramafest scripts for our digital programming this summer.

• Updated guidelines have been emailed to you

• ALL submissions must be submitted by JUNE 1st REGARDLESS OF YOUR SESSION

• Submission are being accepted through email only. Please submit them to:

dramafest@stagedoormanor.com

All fun and gamesSTAGE TERMS

We’ll reveal the answers in the next issue of The Backstage Connection

Across

1. Objects used on stage duringa performance4. A genre of theater whichincludes short sketches, songs,and dances6. A stage that's slanted up fromfront to back7. Traditional Japanese dramawith stylized song, mime, anddance12. The process of changing anactor's pitch or tone13. A poster advertising atheatrical performance17. A tone with no expressionthat remains the same pitch18. Someone responsible forlighting and technology of a play

20. The front of a stage21. Someone who prompts/cuesactors who forget lines or stagepositioning23. A mark typically made withtape on a stage floor24. Dramatic entertainment inwhich background music playswhile mimes express meaningthrough gestures25. The final night of aperformance when sets aretaken down27. Right from the point of viewof an actor on a stage facing theaudience28. Someone who dances in aseries of steps and moves

Down

2. The precise staging of actors3. A genre of drama whichincludes dancing and singing asan essential part5. The act of speaking orexpressing8. A sensational dramatic piecethat appeals to emotions9. Conversation between two ormore people10. Someone who writes plays11. Manages finances andfunctions of a production14. A speech by one actor that'slong and typically tedious

15. The back of the stage fromthe audience's perspective16. Person in charge ofsupervising actors, staff, andcamera crew19. Left from the point of viewof an actor on a stage facing theaudience22. The rhythm and timing of adrama26. Sides of a stage used forscenery, performer preparationand circulation; referred to asoffstage right and offstage left

Name: ___________________________________________ Date: ___________________

Stage Terms1

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9 10 11

12 13

14 15

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Theatre Vocabulary Crossword - WordMint https://wordmint.com/public_puzzles/231689

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Skylar Astin is everywhere. Be it stage, film, or television…music will likely be part of the mix. In his first professional role, only two years out of Loch Sheldrake, he originated the role of Georg in the Tony and Grammy Award winning musical Spring Awakening. From stage to film: He caught the eye of the world in the mega-hit Pitch Perfect franchise, winning himself two Teen Choice awards. He was just getting started. An astonishing number of projects followed.

It seems he’s been in every television show that features people breaking into song — Glee, My Crazy Ex-Girlfriend, and now the NBC hit Zoey’s Extraordinary Playlist (airing Sundays on NBC, 9pm.) where he plays Max, Zoey’s best friend, who is secretly in love with her. I would need Wikipedia to list the volume of his work…(seriously! I needed Wikipedia!)

Skylar is a New York native from Rockland County. He graduated from Clarkstown High School North and went on to attend Tisch School of the Arts at New York University, but took a leave of absence when cast in Spring Awakening. When he was 15, his agent selected his middle name Astin, as his stage name, but at Stagedoor Manor we will always know him as Skylar Lipstein. While spending his summers with us he starred in Godspell, Little Me, Grand Hotel, Les Mis, 42nd Street, and Nine. He was a member of the Our Time Cabaret.

We found Skylar “staying at home” on the West coast...

What was your first Stagedoor experience?

I went to Stagedoor from '02-'04. My first show was Godspell at the Forum and during that session the late, great Michael Larsen asked me to re-audition for my second session. He asked me to sing a Sinatra-style song, and do some jazzy dancing with it. Little did I know, I was being considered for Little Me which was a very desirable show that session.    Do you miss being on stage in a role?

Yes. I love being on stage. I always return to theater, and can't wait to do a play again. I'm dying to do something in NY. 

If you could go back to Stagedoor and direct, what show and why?

Hmmm…great question. Perhaps Nine or Grand Hotel. I always liked being in those darker shows in the Elsie. I'd love to challenge

a young cast with that material. Or I could just do 13, and bring out the actual youth and current state of campers at that age.  6

STAR SPOTLIGHT

As Jean Valjean in Les Miserables and The Baron in Grand Hotel. 2003.

Star Spotlight concludes on following page2004. Skylar Astin as Guido, Brian Muller as Young

Guido in NINE.

Spring Awakening was your first professional job. Wow! Do you remember coming to Stagedoor and having your hair recreated in the Playhouse?

My hair was recreated in the Playhouse? Oh no, I don't remember that! A great memory I have from the original cast of SA was when Tom Hulce and Ira Pittleman gathered the cast in the house of the Atlantic Theater to tell us that our show was transferring to Broadway. I was speechless. Lea screamed. Then everyone started hugging!

I r e m e m b e r M i c h a e l M a y e r ( t h e  S p r i n g Awakening director) showing me a drawing of how he wanted my hair to look, and I thought he was pranking me. They cut into my hair in such a severe way and made me look so crazy with the glasses and the haircut, that I got a reaction even when I stood up in the first scene. I had to keep that style for about two years, and it was so brutal. It was such a great experience, but that hair will haunt me forever.  

Broadway to Screen! Pitch Perfect created a Teen Idol with TWO Teen Choice Awards!

First time I went to the Teen Choice Awards, I thought my ear drums were going to rupture. Bieber, and all of the  boybands  were there. It was hysteria over One Direction and everyone else. Fandom at its finest! And then Liam Hemsworth gave me a surfboard. So it balanced itself out!  

Great TV roles followed. Crazy Ex-Girlfriend?

Oh, I loved that whole experience. Many of the cast and crew have become such dear friends of mine. Rachel is a genius, and always created a solid hang on that set. 

Now Zoey’s Extraordinary Playlist is a huge hit! Incredible concept!

I think the show is spectacular and so different. And what would be so terrible is if we thought we were sitting on being the high-concept, new, different show and everyone's like, "Oh, I've seen that same thing a million times." But that hasn't been the case, and I'm so glad audiences have taken to it.

A lot of the other musical TV shows or movies like Pitch Perfect  and Glee, oftentimes they make mention of a riff-off or a national, regional competition that's coming up. So the music doesn't take you by surprise as much. It's more set up and the narrative focuses more on the competition aspect, whereas our show really is a musical.

I absolutely love the care that we take in the transition between scene and song. It usually comes as a surprise, and often has a sense of magic to it.  

What's on your “Things to Do" list for the future?

GO TO NY AND HUG MY WHOLE FAMILY.  

(Just like many other celebrities, Skylar is passing the t ime at home through song. Check out his extraordinary covers on his Instagram page!)

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Summer 2007 Skylar does a Celebrity Chat in the Playhouse, along with fellow Spring Awakening cast member Lauren Pritchard (she played Ilse). Lauren re-created the famous

Georg hair style for us.

Skylar as Julian Marsh, with Meredith Perryman as Peggy Sawyer, in 42nd Street. (Left)

In a performance of Our Time Cabaret. 2004. (Right)

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HAVE EXCITING UPDATES?

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ALUMNI, STAFF, & CAMPER NEWS See what some of our amazing Alumni, Staff & Campers are up to!

TIKTOKTIKTOKTIK

Congratulations to alum Emily Kassie who's been nominated for a Peabody Award for her work with

The Marshall Project. We could not be more proud of you!

We know that all schools and current/upcoming productions have either been canceled or postponed. With that in mind, many of our updates are on hold,

but we will continue to bring you any exciting updates that we receive.

Congrats to Marlie Kass, whose play was chosen to be one of the five in the Eugene O’Neil Young Playwrights Festival. Way to go

Marlie!!

Congratulations to alum Larry Owens, on winning the

Outstanding Lead Actor in a Musical Lortel Award! His show, A

Strange Loop also, by the way, won the Pulitzer Prize for Drama!

A big shout out and congrats to Brogan Hall, who plays the role of Bucky in the Disney show, Sydney

to the Max. Be sure to check Brogan out during upcoming

episodes.