Scenic Charge Artist Jason Edwards paints walls, backdrops, and props to create the visual surface details of a show's set. At the Woolly Mammoth Theatre Company, Edwards works with each production's scenic designer and interprets their vision, using paint and a variety of materials. Each project brings unique challenges which he solves with a simple trial-and-error approach by creating samples. Here Edwards shows how he created a cinderblock surface.

Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John...

Voice Teacher Linda Benanti shows performers how to develop their voice to make their singing sound easy and natural. Singing requires both athletic and mental abilities, along with dedication and hard work. Benanti walks us through the parts of a voice lesson; recounts being asked to work with notable performers; traces her performing career that led to teaching; and shares what it's like teaching her daughter, Tony Award winner Laura Benanti.

Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how...

Casting Director Tara Rubin talks about the casting process, working with the director and creative team; her career beginnings at Johnson & Liff casting the original company of "Les Miserables", and seen here holding auditions for its 25th anniversary tour; the excitement of casting a variety of shows; and how the biggest challenge is replacing celebrities.

Scenic designer Riccardo Hernandez creates sets built from the text of a production, creating an honest space for actors and ideas to work within. Hernandez knew he wanted a career designing opera sets by age 10, went on to study at Yale with Ming Cho Lee, and later broadened his work to theatre. At Yale Repertory Theatre, he displays the simple yet aggressive set of "Battle of Black and Dogs" that reflects a cold inhuman world. Also shown is the seemingly collapsing set for the Atlantic...

House Manager Brian Gaynair handles the day-to-day operations of the Shubert Theatre, is the primary liasion between the production and the theatre owner, and coordinates between all the front of house departments. His career path started in security and brought him to the Shubert Theatre where he has been house manager since March 1995 during the run of "Crazy For You". Over the years he has handled challenging situations such as emergency evacuations and the First Family's recent visit to...

Sign Language Interpreter Alan Champion combines his performing skills with his sign language background to interpret live theatre. He stresses the importance of being a good listener, and concentrating on the immediate performance rather than the original script. He explains the unique circumstances in interpretting the new revival of "The Miracle Worker". Champion discusses how his career developed, and the personal and professional significance of the 1980 Tony Award winning play...

Art Director Gail Anderson of advertising agency SpotCo brings her passion for graphic design to create visual identities for theatrical works. Anderson traces her career from the School of Visual Arts to the Boston Globe to Rolling Stone and now Broadway. She explains how many designs are created in the limited time leading up to a production, sometimes before the show is fully formed. Examples shown include "Come Fly Away", "A Behanding in Spokane", the revival of "Hair", and the new...

Theatrical Photographer T. Charles Erickson captures two-dimensional representations that become the historical record of live stage productions. Erickson grew up with a camera always by his side, from childhood through "Woodstock" to his first photography job at Yale University. At a Yale Repertory Theatre rehearsal for "Master Harold...and the Boys" he encountered playwright Athol Fugard who encouraged him. Erickson went on to photograph shows at the Long Wharf Theatre, Hartford Stage,...

Theatre Design Specialist Roger Morgan talks about how his education in scenic and lighting design and backstage experience helped determine his focus in the field of architecture. He works on new designs as well as restorations, fully evaluating the existing damage and work required. For the Nederlander Theatre, left in "grungy" condition that suited the long-running musical "Rent" which closed in 2008, Morgan referred back to historical records and photos. Morgan paid close attention to...

Stage Automation Engineer Chuck Adomanis designs the modern automated system for moving theatrical scenery. He demonstrates the control system on the new set built for the "Billy Elliot" tour. His designs created on computer are executed by many craftsmen on the shop floor. Notable designs using Hudson Scenic Automation are "The Lion King"'s Pride Rock, "Chitty Chitty Bang Bang"'s flying car, and the large video screens used by the current "Dreamgirls" tour. Adomanis shares the origins of...

The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of a new production of "Joseph and the Amazing Technicolor Dreamcoat", Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.

Textile Artisan Gene Mignola works closely with costume designers, taking patterns and creating fabric that ultimately conveys their vision. He explains how printing fabric has evolved over the years from designs done by hand on paper to computer-aided drawings, and from using single-color silkscreens to digital printers. He also talks about how his interest in fabrics began in childhood, the foundation for his work experience, and why he loves his job.

Costume Designer Carrie Robbins details the process of costume design from the phone call to the sketch to the construction of the costume; relates the story of finding the perfect fabric for the "Sisters" dresses in "White Christmas" and not being able to purchase enough for all three productions - and then how the fabric was created on a computer; explains the costume designers "bible" (used to hold all infor mation about the designs for a production) and the effort and detail that goes...

William Berloni, theatrical Animal Trainer, discusses the interaction between human and actors and their animal co-stars; how the animals learn cues and what they do if they misunderstand; how the animals adapt and learn one step at a time from Bill's backyard to an applause-filled theatre; how much to expect from animals that are onstage eight times a week; the story of how the original "Sandy" was found and trained for the first production of "Annie";and why he uses likes to use animals...

Projection Designer, Jeff Sugg, details the process of creating the artwork used for projections, how to get it into the computer and finally out on the stage; the technical advances in the past years; the mysticism of projections; the cohesion of the "33 Variations" design team; how projections can be visceral; his work on "Accidental Nostalgia" which recently played the Edinburugh Fringe Festival; and the various expertise needed to be a successful designer.

Martha Donaldson, Stage Manager, discusses her role as a conduit for the director, cast and designers; assisting the director with getting their vision on to the stage and maintaining the director's vision after she leaves the production; how putting together a production is like putting together a puzzle. We see her at work in the rehearsal room, at technical rehearsal in Central Park and on Opening Night of The Public's "The Bacchae" as the show starts.