10 questions: Lea Ambros

Lea Ambros and the puppet.

1) What the fuck is going on?
Puppets. And performing outdoors – that’s where the people are.

2) Do you have any unifying theories when it comes to stage management?
I’m more like a jack of all trades (sadly, master of none). It would be a lie to call myself a stage manager. I refuse to do most of that stuff. I think actors are way better at their own blocking notes and presets. Maybe I’m just lazy, but it works for us. Basically, I take care of what needs to be done.

3) How do you go about breaking down a show into manageable technical pieces?
A lot of lists . . . with little check boxes!

4) Are there any recent technological innovations that are changing the way theatre is made?
Sure, especially theatre on a shoe-string. The proliferation of random crap that is cheaply available as a result of our fucked up economy sure makes it easy to make neat props. Also, flashlights just keep getting better.

5) Any thoughts on how to light a set so that it appears dim without actually being dark?
Flashlights just keep getting better.

6) What’s a common mistake made on the technical end of theatre production?
The question is: what’s a common mistake made by me? Every kind. Especially the stupid and obvious kind. Dream big, think practical.

Lea Ambros (background, in suit)
with the cast of and what Alice found there.

7) Why are the cynics wrong?
Are they?

8) Do any independent theatre spaces that you’ve worked in stand out for being particularly well suited to highly technical productions?

I’m very excited about the Theatre Centre because it’s so damn beautiful and I’ve been in a park for 4 years. Basically next to a park everything seems like a technical dream come true.

9) Lasers, smoke or wind?
Definitely not lasers. Smoke if it’s real. I guess I’ll go with wind.

10) What’s been the most challenging technical hurdle on and what Alice found there?
Integrating video without a big ugly space-sucking white backdrop. Come see if I’ve succeeded.