Previously in California...

Hello, Chicago Opera Theater Fans!

This is Terry Harper, your new Director of Production for COT. I am writing you today to tell you about my most recent trip to Long Beach California to watch the last couple of dress rehearsals of our co-production of The Fall of the House of Usher, with Long Beach Opera.

There is always time to pose for a publicity shot! 

First I would like to tell you why opera companies enter into co-productions. These agreements allow each company to be able to present a new production for a fraction of the cost of going it alone. The Usher agreement is between two companies, so both of those companies share the costs of building the scenery, building the costumes, and building the props. After it's all said and done, each company gets the opportunity to showcase the piece as a brand new production at half the cost. I have been a part of co-productions in the past that have had as many as 10 different companies involved. In this case, each company gets a multi-million dollar production for one tenth the price.

A slight addition to this agreement with Long Beach Opera and one of the advantages of having a General Director that leads both companies is that we have cast the same principle singers in both productions. A couple weeks after the show closes in California, all of the same singers will come to Chicago to perform in our production here. This allows for much less hotel nights to pay for, much less perdium, and much less rehearsal time. After all, as many of you know, TIME IS MONEY!

Taking a moment after Tech Rehearsal

One of the other cool things that will save us money is that we are using the same Lighting Designer here in Chicago, an old and dear friend of mine, David Jacques. David has planned his design so that we will hang the exact same lighting plot, and use the exact same lighting cues. We will basically load the same computer show file into our lighting computer at the Harris Theater. This will greatly reduce VERY EXPENSIVE light time that we would normally have to do if we were starting from scratch. Less time in the theater means MONEY SAVED! I have often compared time in the theater to .... THE MOST EXPENSIVE REHEARSAL HALL IN THE WORLD!

Now, back to the whole reason I am writing this blog... The reason was worth the money to send me to Long Beach to see this process, is to save EVEN MORE MONEY! I was able to watch the rehearsals in Long Beach and see any possible problems that it may cause in our theater in Chicago. I have brought back valuable information and pictures/vide to our Stage Manager, our Wardrobe Supervisor, our Wig/makeup Supervisor, and any information that our front of house staff needs to be prepared for. Any information that can save us money in Chicago will be very helpful. In closing, I would like to say that the production looks great, and I can't wait to get it our stage at the Harris and make it our own.

I am excited to see you at the Opera and share this production with you!

Terry Harper

Director of Production

Chicago Opera Theater

Thanks for Giving!

Can you believe that Thanksgiving is tomorrow?!?! We can’t either.

This time of year gives us all an opportunity to take a moment and think about all the things we are thankful for. At COT we are thankful for so much! We are so honored to have an amazing staff, an outstandingly supportive board, and such wonderfully talented artists of all sorts who contribute to our art form both on and off the stage. But most importantly we are thankful for those people who, like you, who support COT by giving a donation and buying a ticket or subscription. It is because of your support in our mission that we are able to do what we do.When you give to COT you become part of a community that is committed to bringing innovative, inspiring, and rarely seen opera as well as dynamic arts education and artist training to Chicago.

Your gifts and support continue to both humble and inspire the COT staff. The generous contributions that you make account for over half of what it takes for COT to keep bringing Chicago engaging and adventurous opera. That is why our hearts are full of gratitude this Thanksgiving, because without your belief in and active participation with COT, we could not accomplish half of what we do.

It takes a lot of people to make COT what it is. Consider, for example, a single costume like Emily Hindrichs’ (our recent Queen of the Night). That beautiful piece began merely as an idea in the mind of costume designer Gregory Gale. Using Gregory’s renderings, COT’s former Director of Production Kurt Howard coordinates with Costume Design Assistant Janice Pytel to source the necessary fabrics and various other components from vendors all across the country, which were then skillfully assembled by two different costume shops – Steppenwolf’s costume shop in Chicago and Jeff Fender Studios in New York City. Once the gown is made it needs to be fitted by drapers, kept maintained by COT’s Wardrobe Supervisor Jay Sangster, regularly dry cleaned by Cinderella Cleaners in the Loop, and after the production closes, carefully stored with the rest of the costumes in COT’s warehouse. THIS is the scope of the kind of impact your gift makes for all the passionate members of the COT team.

Giving a donation does not only go to our productions but it helps us make an impact in the community that we all share. For example, it costs COT approximately $300 for one child to participate in our Opera for All programs. This may not seem like much until you consider that this year your generosity will allow over five hundred children to benefit from our program at one of seven Chicagoland elementary schools. Our gratitude is boundless.

Our Board President, Greg O’Leary, gives to COT not just because he is our Board President , but because he sees that “COT brings world class opera and enhances Chicago’s Performing Arts Landscape.” When we spoke to him, on what he would want to say to our loyal patrons this holiday he wanted all of you to know that your impact is apparent on both a large and small scale:

“Thanks to all of our donors, subscribers and single ticket buyers. You are all helping to bring innovative opera to Chicago and without you that would not happen. You are making an impact in making Chicago a place to enjoy. 

Thank you.”  

So this Thanksgiving, enjoy the time you have with all of your friends and family and please know that COT is thankful for your sincere investment in our mission and belief in opera that is less ordinary. 

Want to become part of the community that supports COT's mission? 

Click Here for details!

“Deep Into Darkness Peering”

Our first event for our 2013 season and a first for one of our staff members!

Hey all! This is Jane, Artistic Coordinator at COT. Before, during, and after the season I look after all of

our artists (hotels, flights, schedules, etc), but in the off-season I'm putting together outreach events.

“Deep into Darkness  Peering” was not only the first event for the 2013 COT season, but it was also my first event. Not like my first event that I’ve ever attended at COT, BUT the first event that I coordinated and made happen (with the help and support of the COT team).

There were many things I dreamed would happen – for example, hundreds of people waiting in line outside, or people crying for joy at the sheer beauty of the performances.  BUT, mostly I just wanted this event to go well.  When we started planning this event, the goal was to make it a quality event that was “worthy” to have at least 20 people attend.  And for those 20 people to leave the event feeling as if they had spent their time and money well and were entertained.  When the Chicagoist listed our event as one of the top three things to do that weekend I needed to deliver. So even though I dreamed of grandeur, I really just wanted people to show up.

And they did! I’m happy to report that our first event was a success! The side room at Uncommon Ground, where the event was held, definitely felt full. And judging by the looks on everyone’s face, they were entertained and happy to be there.  It was cool to see how many people were checking-in and tweeting about the event on their phones (including some of the performers)!  We had board members, friends of staff, staff, and walk-ins at our “Deep in the Darkness Peering…” night of Edgar Allan Poe and Philip Glass.  It was great to have our trio of former and current Young Artists work with our General Director Andreas, and watching the two actors from Lifeline Theatre perform was a treat – they got a big laugh when one of them donned a jester’s cap to play Fortunato in The Cask of Amontillado.  The fantastic menu of food and drink at Uncommon Ground rounded off the evening perfectly.  The atmosphere was warm, relaxed and engaging, which left me feeling that my hard work had paid off.

I am looking forward to the other events that are coming up for COT and excited to coordinate more.  So watch out Chicago, COT’s coming to your neighborhood soon!

A Day with a COT Intern

Hi! My name is Whitney and I am COT’s new Marketing & PR intern. My job as the Marketing & PR Intern is to support the marketing department with anything, but my main focus is working on COT’s social media presence. Yup. I spend all day on Facebook, Twitter, YouTube, etc.

I have been here for about two weeks and I’m still getting settled in. Many of you, our loyal COT patrons, have seen the beautiful and cutting-edge productions on the stage. But many of you have probably never seen what a day is like at our administrative offices. I am here to give you another look at what COT does by showing you a typical day as an intern.

Here is what my day looked like yesterday:

9:00-9:15 Arrive at COT. I would love to be here at 9 but do you ride the Brown Line? For every stop I swear there is a delay.

9:15-11:00 Answer emails, check social media updates and do other housekeeping. This is also the time we catch up with each other.  One thing that I love about this office is that it is not hard to focus and we work hard, but there is always time to say hello and get to know the people you work with.  So far, this is one of the best offices I have worked in. 

11:00-12:00 On Wednesdays we have our all-staff meeting. Yesterday was my second staff meeting.  Andreas (our General Director) had us go around and share what our highlight was from last week before we gave a progress reports and updates.  My highlight was getting all of the local online calendars done for our event this Sunday.

I enjoy all-staff meetings, because it is a way to see how all parts of COT fit together.  Being a new person, it helps me to understand all of what COT does.  Which is a lot. Not only are we currently gearing up for the 2013 season, but our education department is working hard on their approaching Opera For All performances in various schools around Chicago.  Last week, our development team was able to bust out three different grant proposals.

With the end of the year coming up, enough deadlines are approaching to keep everyone busy, but luckily everyone is still smiling (as you can seem by the “candid” picture I took at the meeting):

12:00-1:30 Followed up with more emails.  It is amazing how many emails we get in a day, isn’t it?  I also took this time to plan for the other projects that are coming up that I learned about in the meeting.

Marketing also held a meeting with all departments about getting Fall of the House of Usher Program together. Rough Draft is already due on Dec. 10th!

1:30-2:00 I was recently introduced to the deli, Pastoral, right across the street from our offices.  I am seriously thinking of making it a tradition.  If you are in the neighborhood stop there for a salad or sandwich, you will not be disappointed.

2:00-4:00 A blur of meetings!  My favorite meetings are those where I get to brainstorm with others and come up with fun and exciting ideas for our social media.

4:00 I leave and jump on the Red Line to go to my other job!  I am starting to feel more a part of COT as the weeks go by.  And, as I get more involved, I am experiencing the great feeling of leaving work after I have contributed something. I am proud to be a part of this organization to help it achieve its goals for the 2013 Season.

So, that’s a day in the life of a marketing intern!  It may seem a little dull on paper, but I am having a blast.  I wish I really could take all of you to work with me so you could get a first-hand experience of what COT is like, not only backstage, but also in the office. 

Explore Opera N.O.W!

Well, we are in the midst of National Opera Week (N.O.W.).  A week where opera companies from all over the country host events and connect with patrons both old and new.  At COT we are taking a moment to reflect on why we want others to be involved with the art form that we love. In her address, Honorary Chair Women of N.O.W. and Queen of Soul, Aretha Franklin, describes National Opera Week as being a time for people to explore opera for the first time. So around the office, we took a moment to think about what we would say to urge someone to make their first exploration into opera.

         

Terry, our Director of Production, points out that when you go to the opera you experience more than just music.  When you see an opera you “get the full effect. You get everything: orchestra, singers, lighting, costumes, everything visual.”  Along those same lines our Education Intern, Jessica, agreed by saying, “Opera is all art forms rolled into one.  We are able to engage our Opera for All students in creating an opera because it appeals to all interests - no matter if they love to sing, dance, act, paint, or write.  That’s why I love opera so much: you don't have to choose.”  So, if you or if you have a friend who is into the arts (even a little bit) they can explore how their favorite art form is used in a production.  “Opera combines all the art-forms into a performance which has the power to draw in many people!” summed up our Education & Outreach Manager, Linden.

Going to the Opera can transport you into another world, where the stories are never dull.  Speaking on the subject of drama, Jerry (our General Manager) said, "Where else can you hear transcendentally beautiful singing from someone dying of consumption? Or poison? Or stab wounds?" He continued,"I don't think a person can imagine, without having personally experienced it, how truly awesome it is to hear and see a 95-pound soprano produce a shimmering, golden sound which is delicate, soft, and gentle... and yet somehow reaches the back of a 2000-seat opera house with absolute clarity. Without a microphone. There really is nothing like it."

                

Some of our staff thought about what they would say to someone to entice them to experience the opera that COT offers for the first time. Our new Development Associate, Cornelius, would say would say to opera skeptics “There is a lot more [to opera] that the stereotypical fat opera singer, singing center stage. COT makes opera different, especially in terms of staging. We create active and interesting productions for audiences.” Our Director of Development, Andrea agreed, “I saw my first opera at 32, and wow, I was floored at what I had been missing!  I love the opera produced by COT because it tells unique stories in daring, inspiring ways.”

                

Overall, our feeling is that exploring opera is an active experience - at COT we try to make that come alive for audiences through our productions. Regardless of whether you or your friends experience opera with us or somewhere well else, we encourage you not to knock it before you try it - you may be surprised at what you have been missing!

Introducing...Terry Harper!

MORE COT MAGIC

Our General Manager, Jerry Tietz (JT), sat down and spoke with COT’s new Director of Production, Terry Harper (TH).  The conversation touched on technical theater, David Copperfield, new works, and more. Read on!

JT: So, today is your one-week anniversary.

TH: Woo hoo!

JT: Knowing you’ve only been on the job for one week, what are your impressions so far? You came from Vancouver Opera, a larger organization that COT.  How do Chicago and COT strike you?

TH: The cities are night and day. Vancouver is located on the west coast of Canada.  It’s inside a temperate rain forest. I left right as the rainy season began. The weather is like Seattle’s. So it’s nine months of rain and the most beautiful summers you’ll ever see. So then I get here, and yeah it was nice weather at first. My first week here I was in shorts, and now I’m in jeans. But I’ve been here before, I’ve done the one-block walks where you want to die (haha).

JT: And there are differences in the companies as well. You went from a big budget to a small budget, so there’s some degree of watching your money.

TH: Before I was at Vancouver I was at Opera Omaha, which had a 3.5 million dollar budget.  And before that I was at Central City Opera, which was about the same budget. So I’m used to a small budget.

JT: You come for the technical side of theater – an aspect that your typical patron doesn’t get to look into. How does one fall into that?

TH: I started in high school, I think my junior year. I started in drama. We had the best-equipped theater in our district. I got into lighting and I liked it, and I pretty much ran the theater for my last two years of high school. It got me out of class a lot – whenever anyone wanted to do anything they’d call me.  I’d get calls over the P.A. system “Mrs.  So and So, Terry Harper is needed…” When the time came to go to college, I got a full ride in technical theater.

I went to a junior college for two and a half years. The cool thing about where I went to school – San Jacinto Junior College – was that I was the only technical major. So I got to do everything. At another college you get to wash the gels. So that was a good way to get my hands dirty. My second year I got a job as a lighting designer. And as I was working, I was learning about other aspects of technical theater, sound design and so forth.  And I realized that if you learn to do everything, you get work.

JT: So you discovered through keeping an eye on all the spheres of technical theater that you could step into other roles. Was there a point when you decided you could step out of the specific areas of expertise and into a broader administrative role?

TH: Well, after I realized that I knew everything – well, no, not everything - knew all the aspects of technical theater – the next step was to become technical director. So that’s what I did next at Houston Grand Opera. For some companies that’s management. As I did more as tech director in opera, the next step was director of production. As you get older you don’t want to push boxes and climb ladders anymore

JT: When you see a production up on stage that you’ve put together from its conception until that moment, what part of the production are you most proud of? What has your stamp on it?

TH: All of it. I wanted to be a light designer, so there was that creative aspect to productions at the start. For companies like COT that build from scratch, the director of production oversees all areas of cost, video, scenic, lighting and pretty much controls and watches over all those areas. You put the stamp of approval on the whole thing for the whole process. And that process can be a year to five years. I’ve been lucky enough to be part of 5 world-premiere operas. The last one was the most involved. At Vancouver Opera, they had just commissioned a new opera to be written by John Astachio when I started. After about year and a half of writing and workshops, you get into the normal process of hiring designers. And that is a really cool thing to be a part of. Because before the normal production part, you’re writing the opera.

JT: New productions aren’t uncommon; but the piece is often known to singers and audience alike. World premieres of commissioned works are a completely different kettle of fish.

TH: Yeah. With a world premiere, no one knows [the production]. The singers are singing it for the first time, the composer is in the audience, the whole world is watching you, and you’re basically starting from scratch.

JT: At this time, COT is looking at its first commissioned opera to potentially to take place in 2015.  But that work begins the moment you commit and then transforms into a multi-year undertaking. Changing the subject, what do you think a smaller opera company like COT fills a niche, or is relevant and needed?

TH: Definitely. I went online the other day to look at some other companies’ websites, and I looked at ticket prices, and I had no idea that top ticket prices were that much. Your average theater goer can’t afford that. Here at COT we let the every-day guy come and see a new work.

JT: Changing the subject slightly, what is [the] most affecting live theater experience you’ve ever been a part of?

TH: There are so many different aspects of that in all the different productions I’ve seen or been a part of - I did a lot of rock and roll shows, which I loved. When I started working a Houston Grand, I got to work with the world’s top designers, and I was 24. I used to read their names in college in the lighting design magazines when I wanted to be a lighting designer. Three years later, my boss puts me in charge of a late-night lighting session working with these guys. I’d go up to them and give them fifteen minute warnings that we had to stop, and I’d be scared [spit-less]. I worked for David Copperfield. I toured the world with him for 5 years. That was pretty cool, talking to him every day. The show was a celebrity magnet, and I opened and ran the house as well. Every one of his guests, I had to talk to make sure they were comfortable. Michael Jordan, Jay Leno, David Letterman, Oprah Winfrey, Wayne Gretzky.

JT: Wow.  Well, I just have one more question – what’s your favorite color?

TH: You know all my life it’s been blue….I’m leaning towards purple now.

JT: Then we can look forward to some blue-bathed productions in the future.

TH: (Haha) Maybe. You know, I’d always heard that the fun aspect of this company was the new productions and the cutting-edge stuff. I’ve done that grand opera, and that’s fun, but this is a whole new side of things – the cutting edge.  

JT: We like to think so! Here at COT we feel that if we only had those grand operas, the industry would be a less dynamic, diverse, and appealing to tomorrow’s new opera-goer.  We need to find a way to become relevant again, get our audiences back again. We have to ask ourselves how do opera companies today compete with the newest Broadway smash musical? Opera isn’t the same. How do we do it? COT is fortunate to have a new Director of Production who shares our goals and recognizes the challenges we face.