Right now there are so many important and historic events happening in our country and our communities. The Black Lives Matter movement changing how blacks have been mistreated throughout history, COVID-19, record unemployment, home schooling, Zoom Meetings, and face to face isolation.
On February 24 2020 just before the public officially became aware of the novel coronavirus, a collection of artists of all genres gathered to create the Hillbarn Theatre’s 2020 Season Brochure. I need to rewind this story five years prior to that date. Tracy and I work with many theatres and performance venues in the Western United States. After having helped in creating season brochures and publicity collateral for theatres ranging from pre-Broadway houses to community theatres, August Laguio and I became restless with the look of theatre publicity imagery. August is one of the most accomplished graphic designers I have ever worked with and was responsible for so much of the marketing collateral our clients used.
We spoke to the marketing staff of all the theatres who were clients, “Hey we would like to try a new approach to how theatre presents itself to the public, a photo centric approach, not heavy with graphics and not using traditional show graphics titling.” Well what has always been done is a very difficult mindset to overcome, especially when theatres feel their income may suffer. Or they feel their season subscriber base would not take a liking to something new.
In 2006 before ever dreaming of becoming a commercial photographer I had the opportunity to spend time with Annie Leibovitz. She was on a tour for her book A Photographer’s Life and a friend arranged time for me to meet with her. “Annie, how can I learn to shoot like you?” Her reply “Mark, don’t attempt to shoot like me, strive to shoot like Mark. And one day I will look at your work and wonder why I didn’t ask you the very same question.” What she taught me in the time we spent together was not about camera gear. It was about concepts, storytelling and feeling.
So in late 2019 Tracy and I were looking through some of Annie’s work and the delicious nature of a wider shot that enveloped the entire scene of what goes into creating an image struck us both. “Let’s talk to Dan about doing it this way for Hillbarn’s 80th season, their 2020 Season Brochure!” In reality once Tracy and I are both on the same page about an idea, poor Dan didn’t really have a chance. With his typical askance look and a raised eyebrow he simply said “Uh OK I guess we can do that. Yeah it sounds good.” So we were off to the races. Of course Dano had to tell us the season so we could begin formulating a plan.
One of the most delicious elements in Annie’s style of pulled back imagery are the drops. Hand painted canvas background drops. The texture of painted drops is just delicious on film if they’re done correctly. So as Tracy often does, she began her investigation and found out that to purchase a 12’x12’ hand painted drop, averages 1800.00 per drop. Gulp! “We need to raise our prices babe!” was my response. We both agreed that we would need at least four different drops for the session. So what did she do? She researched how hand painted drops are made, what materials are used, where to find them and how they’re painted. Kelly Tighe was instrumental in helping her understand the process of selecting the correct canvas, the paints and the process. He was the first in our epic collaboration to create something very special.
So off to Musson Theatrical we went to buy the canvas, then to a paint shop in Belmont and then to the hardware store for brushes. But where do we paint these? The canvas can either be stretched over a wooden frame we would have to build or….
Stapled to a wooden floor. HEY Hillbarn’s greenroom has a wooden floor! So as luck would have it that area was clear during the times we’d need to occupy the space. So for days and nights Tracy painted, sprayed and rolled the canvases. Of course I was there for moral support as I napped in one of the prop chairs left in the room.
Dan informed us of Hillbarn’s 80th Season lineup:
- Evita
- Clue
- The Sound of Music
- A Chorus Line
- Shakespeare In Love
- The Producers
Now came the task of how to light each of the shows. Although I review gear on this blog I tend to not discuss gear too much outside of this site. Concepts are the most difficult aspect in my imagery development process. But the fact that I have been using battery operated Flashpoint strobes for the past six years makes my job easier. No more asking clients where power is located at on location venues. It’s all battery powered now, no cords, just freedom. And why is that important? Because NO ONE likes Mark’s cussing scale of one to ten. I’m a real bitch about just a few things; authentic expressions, donuts and light. Not many people know this because I don’t say, but with light and imagery I smell and taste when the shot is the right one; delicious, LITERALLY. For those who have worked with me they are accustomed to when I say I got the shot and I never even look at my camera. Sure all of the images go to my iPad, but it’s because I can taste when the shot is right that I know I got the shot. Weirdo? Yep, but it works for me.
Dan Demers the Artistic Director of Hillbarn Theatre had these thoughts:
“It’s always a challenge to think beyond the last brochure you create. Creatively you have to stretch yourself; you have to push beyond the uncomfortable beyond the safe looks. The honest reason I’m able to do that more easily now is because of the partnerships, friendships and trust I have with Mark and Tracy. So when both of them came to me with this idea I knew it was going to be powerful and I could see it in my mind instantly.
But how could I make this shoot rise to the idea of it. I knew I had to reach out to some amazing creative people and ask them for help. Together I shared the concept with them and they quickly starting to see if for themselves. But I was missing something…
You see every year Mark, Tracy and I sit down and talk about the emotion or feeling behind the shoots or brochure, and it is one of my favorite days. It usually starts with an idea that has been stirring in me, then when we sit down and talk about it, Mark takes it an begins to cook up ideas or images, and usually ends with a ‘damn you, now I can’t stop thinking about it.’ This time the tables were turned. It was me who was constantly thinking about the concept. I knew we had to do more, so with this amazing group of creative people we started to craft actual scenes for each show. Pulling props, period costumes, small set pieces and using the full theater space. This creation would only enhance the beauty of the concept and idea of our 80th Anniversary season brochure. I could not wait to see the pictures, the models, and the scenes we had all created to evoke the emotion of each show.”
So on the day of the shoot, Tracy is filming and I’m shooting. My primary job is to keep the energy HIGH throughout the day. What does that mean? It means that when each of the talent arrives and begins to go through makeup, hair, wardrobe, etc. when they get to me I need to show them my energy. I’ve never been the kind of shooter that just snaps my shutter. Nope I like to tell the talent a story of what I’m looking to create. In a way, I’m a director. And if I bore or lose that momentum then I have not done a good job. Smiles need to be genuine; tension needs to be authentic, even in a studio environment. Actors are professionals, but they need direction and that’s what I try to convey. I have concepts in my mind whenever I begin any session, but it’s the organic collaboration that happens during the sessions that creates the true magic.
Being collaborative, directing and encouraging organic development of ideas on set is what makes a shoot successful, memorable and authentic. I’ve always said that a pretty photo without emotion is just a pretty photo. We all strive together to make imagery and our memories of that day magic.
And the final choices for the brochure by show
Cover
Evita
Clue
The Sound of Music – NA
A Chorus Line
Shakespeare In Love
The Producers
I asked all of the people involved to add any comments if they wished to do so:
“Any smiles shown in the picture were real and not staged, just pure happiness being around amazing people in a warm and welcoming theatre family!!!” – Kylie Abucay, actress
“Thank you for sharing these with us, and we’re honored to have taken part of this experience, despite the current circumstances. Just imagine how strong and amped up we’ll all be when this all subsides! Much love and healthy wishes to you both and your families.” – Christine M. Shulman, actress
“It was almost surreal for me to be included in this photo shoot. As long as I have been Sofia’s mom I have sat in the audience. Enjoying all you very talented thespians from the seats in the second row. I never thought I’d be part of the gang. And then Tracy and Mark thought of me as the perfect Ms Scarlett. Be still my heart. It was amazing to be included.
Growing up in an Irish Catholic school most girls had blonde hair, freckles and blue eyes. I had a ton of dark hair, a unibrow among other unwanted hair, and pretty ethnic. I didn’t feel very pretty. Moments like this, where the way I look is appreciated and never gets old. Thank you Mark and Tracy for liking my look enough to include me as Ms Scarlett! You two and Dan are amazing! We miss you all very much.” – Vicky Costantini
“Walking into the theatre yesterday was like uncovering a time capsule—from before shelter-in-place, before face masks and government mandates to stay six feet apart. Caught in the moment before everything changed, the place feels frozen. The set for Laughter on the 23rd Floor is still in place; the props are pre-set and costumes hang on racks in the green room ready to be returned to storage.
We walked out on March 16 and other than visits for mail pick up, a place that is usually filled with people and projects has been abandoned. Only weeks before we jumped ship we had spent an incredibly creative and collaborative day as part of a collective hive-brain at an 80th Hillbarn Theatre Season brochure photoshoot.
With an understanding of the show characters, limited access to stock costumes and no actor measurements, co-costumer, Melissa and I had preselected outfits. With fingers crossed we hoped the Artistic Director approved ensembles would fit and tell the story.
Over the course of several weeks we’d watched videographer Tracey Martin paint the ombré backdrops; each gradient background is arguably a work of art in itself! It was against these grey’s and sages that the actors would express character with costumes and props aiding in setting time, place and character.
Photoshoot day was one of the best ever. The process was organically synergistic and well beyond the control of any participating individual. The “process” was humming as each member of the creative crew added their layer to the storyline. Editing was rich. No one said no. Creatives love to hear yes and… not yes but. The room reverberated.” – Pam Lampkin, costumer
Hillbarn’s 80th season may not have transpired on stage as planned. But the magic and collaboration of what we all created together is something that deserves sharing. Especially in the times of COVID19, the importance of Black Lives Matter and the changes necessary to make our world what it should have become long ago.
Beautifully inclusive
Behind the scenes images in the creation of:
It becomes very evident that our sessions are very serious and boring….LOL!!!
