Greetings from Arden Professional Apprentice (APA) Laurel Hostak! Last September, >mind I took my first tour of the Arden buildings, tried out my new set of keys, and—most importantly—met six people who would become my best friends and support system as we embarked on this adventure. Today, it wouldn’t be a stretch to say we own the place. All seven apprentices work in every department, from fund development to production. On any given day we may be selling you a ticket, pouring you a glass of wine, or fixing a faulty snowblower. We know all the nooks and crannies of the building, where to hide your snacks from hungry actors, and, of course, the best places for a quick nap!
One of the most rewarding aspects of the apprentice program is the opportunity to serve as assistant stage manager for one of the Arden’s productions. I’ve been lucky to snag the coveted last-show-of-the-season slot with Michael Hollinger’s Incorruptible, finishing off a whirlwind 10 months in the company of brilliant actors, directors, designers, and technicians. I watched my fellow APA’s go through the rehearsal and performance process, anxiously awaiting my own assignment, and I can’t imagine a more fun show to go out on than Incorruptible. This medieval farce about the mystery of faith has proven itself deeply thought-provoking and uplifting in the final weeks of my season here.
Stage management is a strange and fluid world. We hover between the artistic and production sides, often serving as liaisons between the show and the rest of the company, caring for the actors, props, and costumes, and facilitating all kinds of unexpected situations. During a recent performance, an actor—Michael Doherty in the role of Jack—cut himself onstage. It was a minor injury, but the actors’ safety is my first priority. Knowing he wouldn’t be offstage until the end of the act, the stage manager, Alec, and I began a madcap scramble to help Mike without stopping the show. We managed to send Josh Carpenter (in the role of Brother Felix) into the fray with a scarf—which he cleverly used as a sweat rag for himself before slyly slipping into the hands of the injured party, who was able to wrap up his cut hand. Meanwhile, I prepared a first aid cocktail just backstage, with Band-Aids, gauze, alcohol swabs, and more, ready to shower Mike with healing gifts upon his exit. The audience was none the wiser. Most days run smoother, without blood or backstage panic, but when crisis strikes, the best person to have on hand is an APA—a trained problem-solver.
As an aspiring playwright, director, and sound designer (you know, the classic triple threat), this experience has been invaluable. Incorruptible not only brought in local playwright Michael Hollinger—who compares playwriting to archaeology (“I know it’s down there somewhere… I just have to dig to find it”)—but gave me the chance to watch master sound designer Jorge Cousineau—who can pull together scraps of wood and wire to create the live sound effect of a guitar breaking—in action, and fostered friendships with Philadelphia actors I’ve been watching onstage for years (I’m still a little starstruck). Such generous artists, under the thoughtful direction of Matt Decker, energized the rehearsal process and the long hours of tech. But the beautiful thing is the realization that I am essential to this process. I have been entrusted with this essential role, and I feel capable.
If you’d like to know more about what we do as Arden apprentices (through a funny, theatrical, sometimes musical lens), join us for the 21st Annual Arden Apprentice Showcase, Fix Your Face, on Sunday, June 22nd at 8pm and Monday, June 23 at 7pm on the Arcadia Stage at the Arden!