A "STAR" at the Opera

One of the reasons that I so love the opera is answered in a quote of mine (is it humble to quote oneself?) that says:  "I have figured out the reason I so love opera ... life is meant to be sung.” (1995)


I have been involved with the Lyric Opera of Chicago in approximately 20 operas as an acting extra (Supernumerary) for 13 years now and have been on stage (sometimes with up to 150 principals, chorus, and fellow Supers) in front of 3,600 people each time, in costume and sometimes makeup.


With only: 1) the commitment of time, 2) being able to "take direction," 3) fitting the directors vision of me as one of the characters in the opera and 4) fitting into the costume; I have become part of the company at one of the world's premier opera houses. I have done this without having had to spend years studying voice, acting, or running off to NYC to become famous (which I admit is still a fantasy!)


The majority of people I have worked with at the Lyric have been nice, humble, down to earth people. The mystique of the DIVA, for the most part, I would put to rest based on my experience.


My friend Marla (who was an avid opera fan until her death in 2005) gave me a metal, enameled star that said "A Star is Born." I put it on a ribbon and when I arrive at the opera house for a performance, I place it over one of the makeup lights at my place in the dressing room.

At last night's performance of Carmen, I really did feel like one of the "STARS" of the opera. Let me tell you why.


One of the things I enjoy doing when in an opera is giving backstage tours to friends who will be in the audience that night. They come 30 minutes before my call time and I show them around backstage, talk about he behind the scenes business of opera, and share other anecdotes about my experiences as a Supernumerary.


Last night I gave a backstage tour for friends Cathy, Joe, Alex, and Lily. This was the first opera Alex (12) and Lily (10.) They arrived at the stage door with one of the most beautiful flower bouquets I have ever seen (see picture attached.) They were a wonderful audience as I led them around the backstage areas and told my stories. An e-mail received the next day thanked me for a "very special experience" which helped everyone enjoy Carmen even more than they expected. For a half hour, I was the star of the "Backstage at the Lyric" show.


Naturally my fellow Supers had to use the flowers as an excuse to tease me: "Did you send yourself flowers again?" "Just because you are in all four acts doesn't mean you should get flowers." "I suppose Carmen sent you those?"


Next, in Act 1 when Carmen (Katherine Goeldner) enters the stage through the backstage center arch (which is located right where my newsstand is stationed) she really flirted with me this time. She got close, whispered a few endearments, stroked my face, and as she began to continue her flirting as she moved towards the front of the stage, I reached out and caressed her arm. All in the day's work of an actor but since Katherine and I have become "opera friends" as we chatted during rehearsals, her attention meant a lot to me. Also, all this went on center stage in front of 3,600 people who wanted to watch Carmen and got to watch me as well! We were both stars.


While I was waiting back stage to escort Michela to the smuggler's hideout, 12 minutes into Act 3, I was sitting next to Don Jose (Carmen's jilted lover) sung by Younghoon Lee. He said, "Oh, I have a picture of you. Let me go back to my dressing room to get it." Usually people take pictures of the stars, but here was a friend of Don Jose's in the audience during dress rehearsal and he took a picture of me!


Finally, in the back stage lobby, as I was leaving after the performance, I commented to Escamillo, Kyle Kettelson, about how much I loved his performance and the strength of his voice. In response, he imitated my regal wave as I cross the stage, The Mayor of Seville, in the parade into the bull fight ring and replied, "And I you." I was impressed that he even noticed me.


Life really is meant to be sung. And sung BIG.

OPERA Part III

I wrote this piece while "Light Walking" for the opera Regina at The Lyric Opera of Chicago. Light walking takes place when lights are being set for an upcoming opera and people are needed on stage as stand-ins for the singers to make sure the lighting effects work successfully.

• • • • •

The fire curtain goes up. The house lights dim. The auditorium black. 

Stars twinkling in the heavens ... exit signs at the back of balconies one and two. 

Six stippled red rivers flow ... main floor aisle lights on alternating rows reflecting on the carpet. 

Count the burned out yellow with red lettered EXIT lamps. 

Count the burned out orange lamped wall sconces. 

Will be working by opening night. 

Shadows of seats and rows, the audience yet to arrive. 

Reflection of directors booth, lighting booth, sur-title booth at the rear of the Artis Kranik Theater.

A makeshift desk with several computers, dim lamps, telephone, microphone at the center row on the main floor. 

Seated there, the stage director, assistant stage director, lighting director, set designer, costume designer, stage manager, assistant stage manager.

Center Stage. Apple red, glossy grand stairway. Flared upstage center, curving and raising stage left, narrows up stage some thirty steps away and exit stage left. Grand stair handrail runs the stair up stage but not securely. Hold to guide you, not support you. Some twenty higher rise steps down the escape stair off stage. Enter, exit, GO! Up the center of the stairs, at intervals, three chairs next to three tables holding three lamps. Caution taken but safe.

Up stage. Three levels of louvered windows five across each level. Level one windows raise to meet the rake of the stage. Level two windows eighteen steps off stage right. Level three windows twenty eight steps off stage left. Tall rise steps. Watch your step. Shaky but secure. Narrow walkway behind each level of windows. Narrow, watch your step. Shaky but secure. Each pair of windows secured with a bolt. Slide back the bolt. Open the window. Floor to ceiling view available. Careful. Then notice two cables from door jam to door jam to guide you. Not support you just guide you. Caution taken but safe.

Floor canvas. Wood grain painted panels, one width, double width, triple width. Randomly arranged. Blue in some light, black/gray in other. Slippery. Watch your step. Raked. Watch your step. Will work on roughing up later. Don’t fall into the pit ... or the tuba! Caution taken but safe.

Fire curtain goes up. House lights dim. A hush. Auditorium black. The conductor enters, spot light, applause, dim. The conductor raises his baton, “Michael, enter at top of stairs and slowly walk down. Up stage at rail. Or closer to center if you are comfortable. GO. Michael, sit in the wheel chair holding the bank box in your lap. Stage hands secure the wheel chair. Don’t forget the rake. Raise the wheel chair foot rests. Feet flat on floor for support. Just in case. GO.

Angela, sit in chair stage left. Go to the lip of the stair landing stage right. Face down stage. Three quarters body front. Look back up stairway. Exit stage right. GO. Jim, enter third level windows stage left, stand by center windows, open windows, close windows, open windows, close windows.

The lights circle the stage searching you at just the correct angle. Lights from stage left, stage right, up stage and down stage. Each item lit to perfection. Each item aglow (or shadowed in the dim.) “The stage will go to black out. GO.” In the fly, electricians adjust lights. At the makeshift desk with several computers the people make notes, discuss, decide, make notes, pick up the microphone, say GO.

Light walkers stand and wait until the next GO. Twelve in the afternoon until ten at night, fifteen minute break every two hours, two half hour dinner breaks. Four dollars an hour ... but done for love not money.

And finally ... light walkers take a bow and thank you.

OPERA

Very exciting having been interviewed by WBEZ Public Radio about being a Supernumerary (acting extra) at The Lyric Opera of Chicago. I began my supering career in the 1998/99 season, over ten years ago, and have been in 21 operas last count. The interview took place at the opera house during rehearsals for Carmen.

Musical theater has always been a love of mine. Opera is a recent love of approximately the last ten years. My approach to music is that “Life is meant to be sung” and opera certainly fits that bill.

Several years ago I retired after 30 years as an educator. What better way to use my new found free time then to be involved with the Opera, both on stage (as a supernumerary) and behind the scenes (light walking, rehearsing, or watching a scene from the side.) 

Being a supernumerary has enabled me to pursue a career in music and acting at this time in my life without the intense training and early commitment that actors and singers must make to be successful in theater and opera.

The people at the Lyric are wonderful to work with. I feel that I am an important part of the company. As a supernumerary, I am entitled to attend all of the season’s dress rehearsals and the end of season party. 

While supernumerary roles may be small compared to the role of the chorus or principals of an opera, I am part of the big magic created by the Lyric Opera of Chicago at each performance for the approximately 3,600 people in the audience.

Click here to listen to the Radio Interview.

COSTUMES - PICTURE ONE

Act I - Gypsy Street Person

Act II - Waiter at the Tavern of Lillas Pastia

Act III - Micaela's Guide to the Gypsy Hideout

COSTUMES - PICTURE TWO

ACT IV - The Aguacil, Govenor of Seville

The Judy Garland Duets

I was so tickled to see that a quote from a review I wrote to Laura as a thank you for her wonderful performance ended up in the poster for her upcoming show at the Wilmette Theater.

Prized Chicago cabaret artists Laura Freeman and Rob Dorn pay tribute to Hollywood legend Judy Garland and her famous duets with stars such as Bing Crosby, Gene Kelly, and Mickey Rooney among many others. Cabaret critic Michael Horvich calls Freeman “sultry and spectacular as she meets each song with gusto.” Featuring memorable duets such as “For Me and My Gal” and “I’ve Got Rhythm,” the show’s a classic look back at Garland’s career and her place in old Hollywood.

The Wilmette Theatre

1122 Central Ave. Wilmette, IL.

August 16, 2010 – 7:30P.M.

www.wilmettetheatre.com

Laura Freeman in "Lexicon of Love"

LAURA FREEMAN

LEXICON OF LOVE

SKOKIE THEATER

JULY 25 2010

A performance by Laura Freeman never fails to thrill, move, and entertain. Her "Lexicon of Love," a new show that looks at how dating and love change as we get older, is another hit.

She is a singing actor whose story telling abilities speak to each person in the audience through her voice, her eyes, her repartee, and her song selection. She covers a wide range of emotions and song styles with aplomb. We laughed, cried, and tapped our feet through the entire show.

"Meadowlark" was a show stopper, another was "Surprise Me," and the piece about her grandparents filled the house with the joy and sadness of love. Laura's new interpretations of old standards and presentation of newly written material were amazing and more than worthy of any world class Broadway musical.

Beckie Menzie's accompaniment embellishes, supports, and clarifies each song and adds to Laura's beautiful voice. This was the first time we were pleasantly surprised by Becky's lovely voice in a duet with Laura. 

Becky Menzie, in her own right as a Jazz Artist,  and vocalist Laura Freeman make an excellent team. If you get the chance, do NOT miss this show!

Michael Horvich

Cabaret Critic

Chicago Illinois

Laura Freeman Sings

Saw Laura Freeman and Rob Dorn with Beckie Menzie perform The Judy Garland Duets at the Skokie Theatre Music Foundation on Sunday, August 16, 2009. Laura and I have worked together backstage at The Lyric Opera of Chicago.

Rob's tenor was in fine tune. He was equally excellent at whispering as he was belting out his songs. He almost won the "Who channeled Judy Garland!" contest between Laura and he.

A close tie in the "Channeling Contest" was Laura, whose soprano was sexy, seductive, silly, serious, scintillating, sultry and spectacular as she met each song with gusto! Laura is equally amazing in whatever approach she chooses to deliver her songs which causes you to "feel" the moment.

Beckie is not only an adept accompanist but such an accomplished musician at the piano. While she does not overpower the singers, she is an important integral part to the success of the show and a joy to listen to. Highly recommended!!!

HERE IS A SITE YOU MIGHT LIKE TO VISIT
Laura Freeman