It’s funny the responses I’ve gotten about this Crane today on Facebook. Ghostly. Peaceful. Serene. A favorite.
I thought it was odd that I looked at it this morning and saw myself drowning.
Date: October 6, 2015
Days Spent on Project: 959
Location: NW Portland, OR
Person I would have sent it to: TBD
Music I listened to while sewing: Still have The Chemical Brothers, and still loving the single “Sometimes I Feel So Deserted (Skream Remix).”
Thoughts/Feelings behind the block: My dog just figured out he can sit on the upholstered chairs in the apartment. You’d think the world just blossomed into a thousand radiant colors the way he’s rolling around in my one chair.
Anyway, while he’s in bliss, I’m sitting in my Ikea Poang chair on the balcony, with another large glass of wine, the lights dimmed low, and my dog sighing nearby.
I woke up this morning at 7:33am. I slept through my alarm for over 90 minutes. The day felt rushed. But, again, things were productive in the shop and in my office. Everyone is behind and a little stressed. We’re all smiling politely and working as hard as we can.
One of the people I’ve brought on to help in the shop recently moved back to Portland after several years supervising the wardrobe department of one of the national tours of Wicked. I didn’t know her before last spring. She’s great. She’s nice. She works hard and is pleasant about it and actually treats the shop like a professional space.
It’s so so so so so SO nice to find someone in Portland who has experience working at a certain level of theater. She and I have spent a few hours talking about managing a department, running a show, figuring out logistics like where to hide mic packs and how to organize a crew and the differences between doing a short-lived production for a few weeks versus creating a show that has to last several years and countless cast replacements.
This is the energy I miss. The dedication to creating a product that is good and impressive and has visual and artistic and structural integrity; a product that isn’t good only because it was done on time and under budget, but because it works effectively and makes good theater.
I miss working on Big Kid Theater.
I want to sit and eat at the Adult Table again.
This season I have found her, someone who has worked all over the country at good theaters and on good productions with good designers and crews and actors, and also another woman who recently left the Oregon Shakespeare Festival. She stitches together costumes, but she knows how to do the work. You give her something, she’ll ask a few questions if she needs clarification, but she takes it away and comes back with a garment… in a reasonable amount of time.
I really need to figure out a way to bring people with LEGIT experience to Portland if I’m going to push this shop to a new and better level. I’m tired of being okay with the standards the previous shop manager had. We should be above this.
I’m making progress. Progress is being made. Things are changing. And for the better.
But there’s so much more work to be done here.
And it all comes down to money. We need more of it if any true progress is to be made.
Any ideas on how to make people realize how important costumes can be?