Stage managing Slaughter city

University of Iowa Iowa Research Online Theses and Dissertations Spring 2015 Stage managing Slaughter city Kathleen Sarah Hains University of Iowa Copyright 2015 Kathleen Sarah Hains This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/1616 Recommended Citation Hains, Kathleen Sarah. "Stage managing Slaughter city." MFA (Master of Fine Arts) thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1616. Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Theatre and Performance Studies Commons

STAGE MANAGING SLAUGHTER CITY by Kathleen Sarah Hains A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Theatre Arts in the Graduate College of The University of Iowa May 2015 Thesis Supervisor: Lecturer David J. McGraw

Copyright by KATHLEEN SARAH HAINS 2015 All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's thesis of Kathleen Sarah Hains has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Theatre Arts at the May 2015 graduation. Thesis Committee: David J. McGraw, Thesis Supervisor Melissa L. F. Turner Eric Forsythe

To Art and Lisa who have always pushed me to do my best, to be a good person and to remember that education is key ii

For the good that I want, I do not do, but I practice the very evil that I do not want. Romans 7:19 iii

PUBLIC ABSTRACT This thesis is an outline of the stage management process working on a production of Slaughter City by Naomi Wallace at the University of Iowa s Department of Theatre in Spring 2014. iv

TABLE OF CONTENTS LIST OF TABLES... vi LIST OF FIGURES... vii CHAPTER 1. INTRODUCTION... 1 2. PRE-PRODUCTION... 2 3. THE REHEARSAL PROCESS... 8 4. POST-PRODUCTION. 14 5. CONCLUSION.... 17 APPENDIX A: SELECTED PRODUCTION DOCUMENTATION... 19 v

LIST OF TABLES TABLES A1. Production Personnel... 20 A2. Stage Management Prep and Duties... 22 A3. Stage Management Performance Check List.. 24 A4. Sample Rehearsal Schedule 26 A5. Sample Technical, Dress, and Performance Schedule 27 A6. Sample Rehearsal Report 29 A7. Sample Performance Report... 31 A8. Sample Production Meeting Minutes.. 33 A9. Props List 35 A10. Prop Meat List... 37 A11. Fight Chorography 38 A12. Sample Costume Change List... 39 A13. Sample of Running List 40 vi

LIST OF FIGURES FIGURES A1. Sample Month of Production Calendar 21 A2. Sample Stage Management Calling Script... 41 A3. Sample Rehearsal Blocking Pages 42 A4. Rehearsal Photos... 46 A5. Onstage Rehearsal Photos. 47 A6. Backstage Photos.. 48 A7. Production Photos. 50 vii

1 CHAPTER 1: INTRODUCTION Short History of The Production Slaughter City was a production of the University of Iowa Theatre Arts Department during its 2013 2014 mainstage season. This production was designed and directed by the University of Iowa s Theatre Arts Department faculty. The cast and crew consisted of students from the University of Iowa s Theatre Arts Department, with the exception of two actors. In this thesis, I will examine my various goals and challenges in stage managing Slaughter City, as well as my graduate educational experience. Our Production: Design Team and Approach The director and design team consisted of University of Iowa s Theatre Arts Department Faculty (see table 1), which included Meredith Alexander (Director), Eric Stone (Scenic Designer), Loyce Arthur (Costume Designer), David Thayer (Lighting Designer), and one student, Bri Atwood (Sound Designer). Each faculty member had an assistant to help with research and as a way to gain experience. Our production team decided on a realistic portrayal of the meat packing industry while maintaining the supernatural and dream like qualities the playwright (Naomi Wallace) envisioned. Brief Script Analysis Slaughter City by Naomi Wallace is a play set in Slaughter City, USA, during the 1990s but with historical flashbacks to 1911. Race, gender, power, social consciousness and desire make up the struggles within the meat packing industry for the workers. While the characters deal with these struggles within their jobs, they must also confront other issues such as their social classes, sexuality, love, friendship and how to treat others in their personal lives. Throughout the play, we learn about each of the workers and their personal and professional struggles.

2 CHAPTER 2: PRE PRODUCTION Deciding to Stage Manage Slaughter City This was one of the worst, but best, decisions of my graduate career. After the season had been announced, I was reading through the scripts and deciding on which show I would like to work. Once I saw the title Slaughter City and how the play was about union workers fighting for their rights within the meat packing industry, I was intrigued. All the other graduate stage managers declined the project knowing that the director liked to use Viewpoints and that blood, prop meat and knives would be involved. I, however, thought this would challenge me in my stage management skills and would give me the opportunity to work on my communication skills as I had never worked with a director who used Viewpoints. There would prove to be other obstacles to overcome during the eight month process. Goals After reading the script for the first time, I knew that this production would be more challenging than I had imagined. The script deals with several loaded topics such as social class, relationships, union rights, multiple staged fights and specialty props. I decided to break these topics up into categorized goals that included building a relationship with the director, trying a new ipad blocking application, staying organized with scenic and prop elements, being informed on the subject matter of the show, and training an inexperienced assistant stage manager. Time Line The design team and director knew this would be a challenging production. Rehearsals officially began the last week of February and in order for the team to feel prepared, pre production meetings started in October. Stage management attended all the meetings in order to be kept up to date on new design choices and

3 ideas that were brainstormed about the script. As a graduate student, attendance is expected for all production related meetings. Auditions At the University of Iowa, auditions for theatre productions happen once a semester. Once general auditions are over, stage management and the director have a meeting to discuss callbacks. A discussion was held regarding Alexander s desire for a smooth callback process, which included all the actors called back to read together. A new management tool was needed in order to meet the needs of the actors and director. I designed a callback cheat sheet that lists all sides with the characters involved and which actor would read in a particular scene. Rehearsals and Expectations Before rehearsals started, the director and stage manager met to discuss the requirements needed for a successful production. Alexander expected the stage management team to keep her informed of the time, take notes, keep everyone in the room focused, and regularly update paperwork. The cast was expected to be off book by a specific date, attend all rehearsals, and keep its energy high. Alexander s biggest goal was to introduce Viewpoints to the cast to allow them to discover their character with this unique directing style. The goals created for this production are expectations to be met by the stage manager. I: Directing Style Viewpoints All directors create the actors blocking using various methods to generate natural movements. Alexander uses a method called Viewpoints, which allows the actors to be involved in how their character will be moving on stage. Most of the actors had never worked with this method and were taught that they needed to think about the physical space they were in, how their character walks, the emotion that their character feels, how their character would react to others and what the

4 script calls each character to do during a scene (see figure 4). This type of blocking fluctuates each time the scene is rehearsed and it is difficult for the stage manager to accurately record. StageWrite Never having the opportunity to work with Viewpoints before, I was unaware that the blocking would change time a scene was worked. David McGraw, Head of Stage Management, had learned about a new ipad application called StageWrite and encouraged me to try it on this production. This application allows one to record blocking digitally on an ipad by uploading the actor s photo and moving their icon around the groundplan (a design of the set), place furniture, and add text to indicate where in the script is this happening (see figure 3). This application allows one to keep up with frequent changes by having the option to save different versions of the blocking for each scene. Prompt Book When first reading a script, I use highlighters and color code information I need. Examples of categories would be characters in a scene, props and sound cues. This helps in understanding the script better and hastens paperwork as the important information is easily seen. Using post it tabs to label each act and scene helps to find a particular section of the script faster during meetings or rehearsal. On this production, I used flag post its that were easily seen at the top of the script to indicate where a staged fight was to happen. There were several staged fights in the production and I needed to be especially aware of when one was coming up. The extra organizational work helped throughout the process. II: Scenic Design and Props Scenic Design The set consisted of a show floor that was 18 X 37, a wooden boardwalk, a small stair unit that led to a brick wall, one swinging door unit, and two entrances

5 with strips of plastic hanging down for the patrons and cast to enter and exit the theatre. We also used the first catwalk in the theatre for the Textile Worker s World to allow interaction with specific characters when needed. Creating an open playing space allowed the actors to fully use the theatre and help tell the story, allowing the audience to feel more involved. Blood and Meat One of our most challenging props was creating and maintaining various slabs of meat that were required for the meat packing plant scenes (see table 10). When we first started discussing the various meat items that were desired for the production, it was suggested to have thirteen different types of meat and create six individual meat slabs per type. The script also calls for one of the male characters to dance with a large cow carcass that hangs from the ceiling and is lowered to the stage floor. There was also a discussion about whether there would be blood issuing from of the meat pieces when the actors cut into them. As we were still early in the process and were still researching, the scenic designer wanted to obtain more information on pricing the required materials and man hours before promising anything. Tables Another item needing attending was how the actors would be able to take the various tables on and off stage. The script calls for various types of tables (a wooden desk, metal cutting tables) but the production team wanted to assist the actors by brainstorming a way to make this physically and mentally easier for them. Our scenic designer came up with the idea to use metal tables on wheels for the actors to roll on and offstage (see figure 6). The team felt like this was going to be the best solution, but we would not find out until we could have rehearsals on stage.

6 Knives Our production team wanted to keep the realistic quality we were striving for by having the cast use real butcher knives to cut the prop meat. I worked with the faculty fight choreographer, Paul Kalina, to ensure that the cast was comfortable working with knives that had been dulled down for safety, and learning how to properly use the knives to ensure the cast was maintaining proper safety protocol during performances. III: Subject Matter of The Script Human Rights In order to keep the production realistic, it was vital for the cast and production team to be educated on the meat packing industry. Through research and talking to friends, the dramaturge, fight choreographer and scenic designer educated the cast and design team on this subject. We primarily focused on how the workers struggled on the kill floor through the years, as well as how the animals were treated and processed. The information on slaughterhouse employers, employees and procedures was important to helping not only the actors, but also the production team in re creating this culture. Sexual Identity Binding Another human rights element that the production team needed to address was binding the chest of the actress who played Cod. In the show, Cod s character is a female pretending to be a man and wears binding in order to hide her true identity. The actress who played this character was cordial with the idea of having her chest bound, but wanted to start working with the material as soon as it was ready. The costume shop had ordered several different types of clothing to help conceal her chest to have options during the rehearsal process.

7 IV: Assistant Stage Manager Experience This was my first mainstage production with the University of Iowa as the head stage manager. In the past year and a half, I had only stage managed dance concerts and student productions while Assistant Stage Managing under Amber Lewandowski who had mentored me during a musical and opera my first three semesters. I knew that I was ready to train Rachele Ekstrand, ASM, who was in her sophomore year. Ekstrand was interested in stage management and had experience while in college, but needed to learn how to communicate her needs to various technical departments, and how to create the paperwork needed for a large scale production (see table 2). As we had a longer pre production process than other shows at the University, I knew this would be a unique process for both of us.

8 CHAPTER 3: THE REHEARSAL PROCESS I: Staging Rehearsals With five and a half weeks of rehearsal to stage this emotionally intense production, we had much to accomplish before we began technical rehearsals. The rehearsal process was unlike any other production I had experienced. Alexander encourages the cast to develop their characters through acting games and allowing them to use Viewpoints to find their own blocking. During the first hour when the cast warmed up with acting games, Ekstrand and I would observe the actors learning their characters, update paperwork, and discuss tasks that needed to be completed. While much of rehearsal was spent on acting games, this approach succeeded, as the cast enjoyed experimenting to find their character. Viewpoints With the blocking fluctuating each time a scene was worked, the actors found they were having a difficult time with the little direction that was intentionally given. The cast relished the idea of Viewpoints the first two weeks of rehearsal, but with little to no feedback the actors began to shut down mentally. Since some of the actors would seek advice on how to discuss their frustrations with Alexander, I knew I would need to discuss this subject with her after a rehearsal in order to maintain respect for the director. After discussions with Alexander regarding the cast frustrations, we decided to educate the cast some more on Viewpoints. This is meant to be a freeing experience for them, but it was agreed she would also give more feedback. While the cast felt better using Viewpoints, stage management struggled to keep up with the constantly changing blocking, but using StageWrite helped mitigate this issue.

9 StageWrite Using StageWrite allowed stage management to keep up with the new blocking each day. This is a digital sketchbook allowing us to quickly record the actor s current placement for each rehearsal. StageWrite was beneficial to our team as we saved time, paper and tempers from errors in paperwork. The best part of this application is that it can be emailed out as a PDF to anyone with an email address. The cast and production team were thankful for this, as the actors were able to see what they did in each rehearsal and the production team could see where new lighting areas could potentially be needed. Prompt Book With blocking being recorded with StageWrite, I was able to use my rehearsal prompt book to take notes on prop movement, costume changes, and the actor responsible for entering or exiting the stage with a prop. Colored post its helped to identify the items I needed to keep track of and in turn, use this information to create the run list with Ekstrand for technical rehearsals and performances. Once we were closer to technical performances, I created a new prompt book without post it notes. This allowed the insertion of lighting, sound, and deck cues that needed to be verbally called during technical rehearsals and performances. II: Props Blood and Meat After our scenic designer had compiled his research regarding material pricing and how many work hours would be required, some adjustments were made to stay on budget. Our goal was to have thirteen different types of meat and six individual meat slabs per type, but now we would have only thirty total pieces of meat that the cast would re use each performance. This research also accounted for the large hanging carcass that the script also calls for, which would need more man

10 hours and money. The carcass needed to be the size of a small cow with more details added. The production team found a compromise must be made on the use of fake blood. The prop blood would stain the costumes and the stage floor and would add expenses to our budget. The team decided that prop blood would not be used and to let the audience use their imagination. The team was happy to have The Great Meat Debate settled and to have these discussions completed. Tables and Meat Racks Two scenic challenges, from a management point of view, were incorporating the metal tables and racks into rehearsal. Staging rehearsals were at times difficult as stand ins were used to help the actors learn their movements with these large objects. The major concerns in regards to the stand ins were their sizes not being close to the actual pieces and the tables not being on wheels which the actual tables would employ. Stage management discussed this concern with the scenic designer, who allowed us to use the actual pieces during rehearsal. This was critical for the actors to start using these items and to learn the proper handling needed. III: Subject Matter of the Script Fight Choreography The script calls for several onstage fights needing to be choreographed by Professor Kalina. He educated the cast on safety and shared his research on the work in a slaughterhouse. Kalina was able to instruct the actors on the proper handling of meat as well as the physical toll on the worker. He incorporated a video of actual interviews from slaughterhouse workers for the actors to visualize working conditions. Kalina educated the cast on how to properly handle knives that would be used and how to check each one before a performance for safety reasons. When the prop meat was created, Kalina was able to instruct how butchers cut the various types of meat in order to keep their movements realistic.

11 Kalina also choreographed all the fight moments that the script required by teaching the proper movements first and next putting the fight together one step at time (see figure 5). As I have worked on several productions that required fight choreography, I was able to quickly learn the movements and in turn run the required fight call (see table 11) that must occur before rehearsal. Even if a stage manager is confident in her knowledge of staged fights, one should always pay attention during these rehearsals and take notes to properly run fight calls and maintain safety. Sexual Identity Binding During the rehearsal process, we tried multiple techniques to achieve a method to hide the actress chest in a non constricting manner. The actress started the performance in a leotard and specialty camisole to give her support while also concealing her chest. The specialty binding was not concealing her chest properly and after a discussion with the costume supervisor, more Velcro was added to both sides of the camisole that allowed us to facilitate the desired look. For the second binding method, we wrapped ACE bandages around her chest in order to show the audience and other characters that Cod is really a female. The actress and found we needed a solution to keep the binding tight but also loose enough for her to breathe and not cause a panic attack (see table 6). By working with the actress and costume supervisor, we decided on these two binding methods to obtain the desired look. IV: Assistant Stage Manger Friendship Ekstrand and I worked well as a team and even became friends during the process, which helped once the production became more stressful and challenging to manage. I am a big believer that the stage management team should be able to communicate about concerns pertaining to the production and discuss how their the process is going. I believe that a healthy relationship between the stage

12 management team alleviates the stress from hours spent on a production. Although I am happy that Ekstrand and I became friends, it also caused problems. She was not afraid to tell me just how she was feeling and that she did not want to work on the running notes (see table 13) that are necessary for a smooth technical rehearsal and performance process. V: Technical and Dress Rehearsals At the University of Iowa, we hold two days of Technical Rehearsals (incorporating all the technical elements with the acting) that are typically eight out of ten hours long. Although we are not under Actor s Equity Association rules, we have the actors work eight hours and the technical staff and crew work ten hours as training for post graduation. Tech rehearsal weekend is usually the most dreaded part of preparing a production. People are tired and find it difficult especially when the show must hold at various points to work on lighting, sound or scene changes. Cueing Slaughter City was not a very difficult production in terms of adding technical elements, but that weekend my patience and ability to keep calm was tested while we worked on lighting cues and discussed various scene changes. My personal feelings in regards to the scripted production made it difficult to keep an upbeat attitude through the weekend. After talking with Melissa Turner (Production Stage Manager), I was able to turn my attitude around in order to keep the weekend smoother for both the actors and technical staff. Typically, the hardest cueing sequence in a production is the beginning set of cues, which set the tone of the production (see figure 2). I had to make sure specific actors were ready to enter from the second level of the theatre while making sure the light and sound board operators were prepared to take their cues. Once confirmation was made the actors were ready, I called the cue sequence. I had memorized the actors movements as the cues were based on their actions.

13 Bessie One of the biggest technical elements included a large prop carcass, nicknamed Bessie, which hung from the grid of the theatre and was lowered during one point of the show (see figure 6). This was the largest and most detailed prop of the production and required the most attention from both crew and actors. Bessie had to be wrapped in canvas each night before the house was opened, and during the show one actor would cut the canvas off Bessie and dance with the prop carcass. I had never before worked with such a large prop that needed this much attention. Stage management found much attention was needed working with a large prop. It proved to be a learning experience as safety precautions had to be learned and employed with the movement of a heavy prop.

14 CHAPTER 4: POST PRODUCTION I: Staging Rehearsals Stage Manager and Director Relationship As I had never worked with a visual director before, it was a learning curve to make sure Alexander received as much information as she needed in order to reach a successful conclusion. I assisted Alexander by keeping track of the various things needed during a rehearsal or a meeting. The designers were asked to show a representation of the prop or costume to help with the visualization of their ideas. Alexander required the sense of touch to make a final decision as well, which is common for directors. At times this proved difficult during a University production, as the department does not have the time or money in order to accommodate this request. Although Meredith and I have different styles of management, I am thankful I had the opportunity to work with her on this production and learn new directing techniques. Viewpoints Viewpoints made for a successful production. As the majority of our cast members had never worked with this type of directing style, we encountered a few frustrating rehearsals, but Alexander was able to remind us why this technique is vital to this educational and professional experience. I am thankful that Alexander employed this method as I had never worked on a production that utilized it and can take this experience and apply it to other productions. II: Props Bessie The experience of working with a large, specialty prop was an asset. The crew had to learn the technique involved with handling the large carcass, as there was no replacement. The actor who danced with Bessie had to have extra rehearsal

15 time in order to gain confidence and ease in movement needed for the dance scene. Bessie had to be hung in the correct manner from the grid. Those involved had to be cognizant of the dangers involved with a large hanging prop. I have gained confidence and knowledge for future situations involving large props. III: Subject Matter of The Script Fight Choreography Being present during fight choreography rehearsal allowed me to be prepared to run fight call during performances on my own. Kalina came in the first night to ensure I knew what to look for in terms of proper movement to maintain safety. I had demonstrated proper knowledge and the ability to assist the actors allowing Kalina to feel safe leaving the fight calls in my hands. Kalina also trusted me to make sure that the knives the actors used for the prop meat were dulled down before each performance. Ekstrand and I taught the crew how to check each knife. If a knife had re sharpened during a performance, I would be alerted during post performance checks and would include this information in our nightly performance report alerting Kalina to dull the knives see table 7). Having the cast work with real knives was a stressful situation as I needed to ensure everyone s safety. Kalina was a great mentor in teaching me what I needed to do to make sure everyone safe. Sexual Identity Binding By working with the costume supervisor and actress who needed to have binding each night, I was able to gain communication skills and learn more about safety precautions. I facilitated discussions between the actress (and her needs to feel safe) and the costume supervisor, who needed to keep the design. I incorporated the arts of compromise and persuasion ensuring all parties reached a mutually satisfactory conclusion. Knowledge was gained of specialty costumes pieces needing to be secure but at the same time allowing movement to act.

16 IV: Assistant Stage Manager Ekstrand and I quickly bonded during this production, which proved to be successful, but frustrating. We worked well as a team employing good communication techniques involving necessary updating of paperwork and tasks to be completed. The unfortunate consequence was Ekstrand voicing her opinion on not wanting to work on the running notes. The running notes is a document that contains all the information that needs to happen backstage in order for each production to run smoothly. I realized I had not taught her the importance of this discipline and how her hard work on maintaining this document would be beneficial when we got to technical rehearsals. Training an inexperienced stage manager educated me how to properly interact in order to create a professional relationship. Having this experience proved to challenge my mentoring skills, which allowed me to reevaluate how to advise inexperienced stage managers on future projects.

17 CHAPTER 5: CONCLUSION Lessons learned From My Goals and Challenges My goals for this production were to learn how directors use Viewpoints, explore a new ipad blocking application (StageWrite), stay organized on scenic and prop elements, stay informed on the subject matter of the show and to train an inexperienced stage manager. By meeting all my goals, I was able to learn new skills that I can use postgraduation to become a stronger stage manager. My early involved in production enabled me to learn how the designers set the tone and helped me communicate with the design team. Although I feel it was in invaluable to my education, I was also attending classes and stage managing another production during our pre-production planning. By not recharging between productions I had to work harder on maintaining a good attitude and keeping the energy fresh. The biggest accomplishments were the relationships formed during the entire production process. The cast and crew learned to trust me when we needed to push ourselves to finish a particularly hard scene or change. Alexander and I were able to communicate better as time went on and she taught me how to work with a visual director and the proper method of using View Points. Summary of My Graduate Studies Most people are not aware of a stage manager s role in a production. The stage manager is one of the most vital roles played as she makes sure that everything is on schedule and ready for opening night. The stage manager is in charge of running production meetings, keeping rehearsals on track, checking in with all designers and shop heads to see the progress being made, maintaining the director s vision, keeping the flow of communication open, reading the room to assess attitudes and checking in with people to make sure they are comfortable with the process.

18 I have grown as a stage manager due to this production and have become a more mature person. Learning the skills of persuasion, compromise, delegation, and communication has given me the confidence needed as I leave University life for the real world. I believe these three years have prepared me for the future. Being a student has given me skills in leadership strategies, time management, and new knowledge in technology. All of these skills can be applied to both my professional and personal lifestyle in order to keep growing and learning. The things I will take away from graduate school are the connections I have made through the program, the friends who have encouraged me to do my best, and knowledge that I know how to lead a group of people in order for a production to be successful. Coming to the University of Iowa has proven to be a very positive experience and I am glad that I was able to receive my Master of Fine Arts degree from UIowa.

19 APPENDIX A: SELECTED PRODUCTION DOCUMENTATION

20 Table A1. Production Personnel

21 Figure A1. Sample Month of Production Calendar

22 Table A2. Stage Management Prep and Duties

23 Table A2. Continued

24 Table A3. Stage Management Performance Check List

25 Table A3. Continued

26 Table A4. Sample Rehearsal Schedule

27 Table A5. Sample Technical, Dress and Performance Schedule

28 Table A5. Continued

29 Table A6. Sample Rehearsal Report

30 Table A6. Continued

31 Table A7. Sample Performance Report

32 Table A7. Continued

33 Table A8. Sample Production Meeting Notes

34 Table A8. Continued

35 Table A9. Props List

36 Table A9. Continued

37 Table A10. Prop Meat List

38 Table A11. Fight Choreography

39 Table A12. Sample Costume Change List

40 Table A13. Sample of Running List

41 Figure A2. Sample Stage Management Calling Script

42 Figure A3. Sample Blocking Pages

43 Figure A3. Continued

44 Figure A3. Continued

45 Figure A3. Continued

46 Figure A4. Rehearsal Photos Photos of the cast participating in Viewpoints. Photos by: Kathleen S. Hains

47 Figure A5. Onstage Rehearsal Photos Professor Kalina rehearsing fight choreography with two cast members. Photo by: Kathleen S. Hains.

48 Figure A6. Backstage Photos Photos of our backstage prop tables. Photos by: Kathleen S. Hains

49 Figure A6. Continued Photo of the fake meat in our backstage prop area. Photo by: Kathleen S. Hains Photo of a crewmember preparing the fake pig heads during pre show. Photos by: Kathleen S. Hains

50 Figure A7. Production Photos Photos by Ian Servin

51 Figure A7. Continued Photos by Ian Servin.