Interview Hour with Kerry Epstein

We're loving the chance to interview the production team so we caught up with the incredibly efficient and wonderful production stage manager, Kerry Epstein over the holidays!

1) When did you start working with Signature?

My first show at Signature was in the fall of 2005. I had the distinct privilege of being in the booth for the final season in the Garage and the first season in the new building.

2) How many shows have you stage managed here and how would does your process change from show to show?

"Hairspray" is my 28th production at Signature - a list which includes 5 Sondheims, 3 Kander and Ebbs, and 3 Conners.  The job is essentially structured the same from show to show but the internal content is different.  With a world premiere like "The Hollow," there are daily script edits and changes that need to be tracked and distributed. The "Hairspray" script did not change but there are a few more props to track and many more dance steps to notate.

3) Do you have a favorite moment from rehearsals for Hairspray so far?

Hairspray is a big show (mild understatement) and this may be the largest dance show Signature has ever done which is very exciting.  Even though it is a big show, there are some priceless little moments.  Take the opening number "Good Morning Baltimore."  Each cast member has a moment or two to shine as they cross the stage portraying various Baltimorians.  At one point, the three Dynamites - Kara-Tameika Watkins, Brandi Knox, and Ashleigh King - strut across the stage. One two three, clap.  One two three, clap clap.  Sounds pretty basic, right?  Just watch the attitude Ashleigh delivers on the second clap...

"You Can't Stop the Beat" is an absolute delight.  You are going to want to jump up and dance along with the cast. Look for Erin Driscoll and Sherri Edelen (as Amber and Velma Van Tussle) as they enviously watch the dancers, wishing they could join in. (Spoiler: they do!)

4) So you recently finished technical rehearsals, how does your job change from the rehearsal room to being in the actual space?

One of the biggest changes is the physical environment.  We move from a rehearsal room with taped lines on the floor representing walls and stairs to the actual pieces. For me personally, after spending four weeks being right in front of the cast, I relocate up to the stage management booth.  Now I'm behind the dress circle looking down through the glass windows at the stage.  My calling script is in front of me with all the light, sound, and automation cues.  It's now my job to make sure all of the cues happen at the correct time. To the right is my headset console connecting me to the backstage, lighting, and sound crew.  There are 25 people onstage but there are 14 crew members working behind the scenes to keep the show moving.  To my left is a video monitor of Conductor Jenny Cartney.  Jenny is a lifesaver because it's very important to time the cues to the precise musical note and just the slightest nod of her head (since she is conducting and playing the keyboard), allows me to be in perfect sync.  There's a lot to watch in this show!