Behind the scenes—Howard Tynes, Security of a different stripe

By David Hsieh

Security guards often wear dark suits, conservative ties, and dark sunglasses. But that’s not Howard Tynes’ style. A BAM security guard for the past 10 years, he is known—especially to Fisher building audiences—for his distinctive and nifty garb: freshly pressed suits in all colors and materials, and always with bowties and pocket squares. Anyone who has seen him would not be surprised to learn that he had a career in fashion. More unexpected is his career on the baseball field. Howard Tynes tells us how his three passions intersect.

Behind the Scenes—Noel Vega, BAM ticket services

Noel Vega. Photo: David Hsieh

Noel Vega is a grandfather, a writer, a life-long Brooklynite, and a 20-year-old veteran of BAM’s ticket services. The staff of ticket services has grown three-fold since he started in 1997, forcing it to move out the Peter Jay Sharp Building to larger offices in downtown Brooklyn. Technological advancements have made remote working possible. But the core of the work remains the same: to ensure ticket buyers have the best answers to their questions, whether by phone or by email. Vega tells us how that’s done.

David Hsieh: What does the ticket services job encompass?

Noel Vega: Our responsibilities include taking orders from people, answering their questions about current and upcoming events, giving them suggestions on where to eat, park, directions to the theaters, etc. People call us for everything—I can’t buy a ticket on the Website, I can’t use my ticket tonight, what do I do? What movie is playing?

Behind the Scenes—There’s something about Mary Lou

By David Hsieh

Mary Lou Houston, BAM's wardrobe supervisor, is retiring after 20 years. Photo: Ben Katz

Mary Lou Houston started working in the theater on a fluke. It was in 1975 and she was in San Francisco, trying to open a restaurant. “A friend of mine who was working for the San Francisco Opera knew I could sew and told me the company needed someone in the costume shop. I went in for what I thought was an interview. Instead, they immediately sat me at the sewing machine, making alterations,” said Mary Lou, BAM’s wardrobe supervisor.

The sideline turned out to be very useful when the restaurant business did not pan out. So instead of spatulas and ladles, she waved scissors and needles; instead of carrots, lemongrass, and salmon, she arranged satin, sequins, and buttons. When BAM came calling in 1995, she had 20 years of experience working opera, ballet, American Conservatory Theater, touring houses in San Francisco, toured herself nationally, and worked New York theater. By then she was living in Prospect Heights and was happy to walk to work.  

Fast-forward 20 years: Mary Lou Houston will retire at the end of this season. Sitting in her sun-filled workroom in the Peter Jay Sharp Building, where the Howard Gilman Opera House is located (“Probably the best wardrobe room in New York—all these windows!”), she recalled the tens of thousands of costumes that passed through her hands and revealed a few tricks for those of us who treat a trip to the laundromat as the pinnacle of clothing care...

Voices from the Front Lines:BAM Staff Brente Kelly and Daniel Curato

In conjunction with the multimedia theater production BASETRACK Live, BAM has developed a program called Voices From the Front Lines to facilitate conversations between civilians and service members about life on, and beyond, the military’s front lines. In addition to BASETRACK Live, which was inspired by the online Facebook community Basetrack, we are hosting a variety of talks, post-show receptions in conjunction with StoryCorps Military Voices Initiative, live music, and more.

On Veterans Day, we spoke with two of our colleagues who are service members to find out more about their experiences and what today means to them.


Brente Kelly

Brente Kelly

Supervisor at BAM Rose Cinemas
Lives in Brooklyn, NY

What branch of the military did you serve in and why did you enlist?
I am currently serving in the United States Navy and I can say, it has been a great learning experience. I joined the military back in 2011 because I wanted a change in my lifestyle. I also wanted to travel and meet new people from around the world, as well as gain valuable skills and advance my education.

When you served, how did you keep in touch with family and friends?
I was always able to keep in contact with my friends and family when I was away, either by mail or Facebook.

What does Veterans Day represent for you?
Veterans Day for me represents all the other soldiers and sailors before me who supported and defended this country with their life to keep others safe and out of harm’s way. It is a day to honor our fallen comrades who made a change whether or not their cause was the most or least important. I am happy to serve these people knowing that one day I will be recognized as a veteran for my honor, courage and commitment.  



Daniel Curato

Daniel Curato

 
HVAC Maintainer
Lives in Manalapan, NJ

What branch of the military did you serve in and why did you enlist?
I served and am still active in the United States Army. I joined to serve my country and to be a better person.

When you served, how did you keep in touch with family and friends?
When I went to training and overseas I always had internet access, and usually used Skype. I used it or some [other] type of communication—phone, email—mostly on a daily basis.

I have to say, social media has really enabled veterans to connect or re-connect after years of wondering, “What ever happened to _______?” One of my old units has a cool Facebook page and new images of old memories show up on a regular basis. Keeping up with the people you served with brings back great memories—those you served with often help fill in the gaps of your fading memory. The best memories for me stem from the fact that all these tough soldiers made me a better person. They pushed me farther than I could ever [have] by myself. They set high standards and raised the bar. They helped, encouraged, and looked out for me. I hope I did the same for each and every one I served with.



BASETRACK Live is at the BAM Harvey Theater Nov 11—15. For our full Voices from the Front Lines programming, click here.

Behind the Scenes: Christine Gruder, Theater Manager

by Susannah Gruder

Christine Gruder and friends. Photo: Susannah Gruder

After working at BAM for 25 years, Theater Manager Christine Gruder has seen it all. She and her staff, which includes 200 ushers and an Associate Manager, serve as the front line when patrons come to the theater, assisting them directly with any issues they may have, directing the flow of the audience in and out of the theater, and liaising with the various departments at BAM to ensure a successful performance. She has fielded countless complaints as well as compliments from theatergoers over the years, which she recognizes as being all part of the job. Though I know her as my mom, she’s taken care of BAM patrons for longer than I’ve been alive.

Q: Your job can be understood as the manager of the fourth wall—the audience and the house itself—an integral part of the theatrical experience. Do you see yourself in that sort of role?

A: I do in the sense that the frame of mind of the audience member affects their enjoyment of the piece. If they come in and they’re confused, or they’re irritated, or they’re angry, or they’re cold, or hot, or nervous… If they have negative feelings it’s going to affect their enjoyment. And conversely if they come in and they feel welcome, and they feel like they’re coming to a place where they’re going to be cared for and things go smoothly, it does as well. If we’re doing our job right they shouldn’t even have to think about what we’re doing. It should be seamless. And if they do experience something less than desirable, the way we handle it affects how they feel. One of the things I love about the way my department runs, is that I have such an amazing staff that I’m often told by people that an usher helped them, and that they love coming to BAM because the ushers are kind and recognize them and they’re helpful.

What We're Looking At: We're Busy Here!

Via Slate.com: The White Haired Girl, 1974. © Zhang Yaxin/Courtesy see+ Gallery, Beijing,
and Stephen Bulger Gallery, Toronto

We at the BAM Blog know what you’ve been wondering: “If I were to cruise through the offices at BAM and find employees surfing the web, what would they be looking at?”

First of all, what’s wrong with you? We’re busy over here writing press releases, programming film series, and perfecting our Excel skills. Second of all, nobody says “surfing the web” anymore. Get it together.

But let’s say, because you asked, that we do occasionally click on a recreational link. Here’s what we might be checking out …

Nellie in BAMcinématek is into One Terabyte of Kilobyte Age Photo Op, made up of a “a stash of old Geocities home pages.” Remember those? (Why do you care what Nellie's clicking on? Well, she worked pretty hard on the Richard Pryor film series.)

Adriana in Publicity recommends this article in The New Yorker and has a great idea for a book: a New Yorker true crime writing compilation. You can tell it’s a good idea because it seems like it already exists, doesn’t it? (You may have read some of Adriana's work if you've ever seen a BAM press release.)

Susan in Publications can’t stop looking at these. People hate on it a lot, but 1960s China looks like fun. (You've read something Susan wrote if you've ever picked up any BAM material whatsoever.)

Ben in Digital Media likes the way Beck re-imagines David Bowie's classic "Sound and Vision" with a groundbreaking 360-degree online performance. You can control the cameras and see this immersive concert film online. (You know who Ben is if you've ever seen a bearded guy lurking around a BAM performance with a video camera.)

What are we looking at?

Ben's been watching this 360 degree video, reading Snow Fall, and listening to the new Bob Dylan copyright fiasco box set. (And when we stopped by his office last week, he was in a heated conversation about copyright laws in general.)

Jessica is seriously enjoying the web layout on Literary Asses and, and last week she was sending this around, a send-up of Golden Globes fashion police.

I myself have been listening to various theories about "creak" or "fry" voice on two of my favorite podcasts, Professor Blastoff and Lexicon Valley.

What are we looking at?

from Coffee & the Newspaper

Here are some internet stops we're making around the offices at BAM.

Susan has advised that when we're looking for sartorial inspiration, wondering what to have for lunch, or just want to match our outfits to our meals, we should be stopping by Coffee & the Newspaper.

Christoph Niemann’s illustrated remembrance of Maurice Sendak led Claire to revisit Terry Gross’s beautiful, heartbreaking interview with Sendak from 2011 about his work, growing old, children, life ... (Claire has also been procastinating a bit lately.)

December Staff Pick: Meet Me In St. Louis

This Month's Pick: Meet Me In St. Louis 
Picked By: Matt Bregman, Vice President for Development

1. Why Meet Me in St. Louis?

First, let me claim some straight ally cred by telling you that Judy Garland is in it, and that should be reason enough! She is fabulous here—at the height of her brilliant genius powers. Second, Margaret O’Brien plays an adorable little girl who loves nothing more than talking about death. Third, if you aren’t moved when Judy sings “Have Yourself a Merry Little Christmas,” you should put down your popcorn in shame and leave the theater immediately. (Or give the popcorn to me. I love that song and I’m usually a little hungry.)  But wait, there’s more! “The Trolley Song” at no additional cost!

2. What makes it unique?

Does it have to be unique? Is it okay if it’s just great? It was made in 1944 and doesn't seem even slightly dated. It is beautiful and funny without being silly or sentimental.

Who ignited the promise of art in you? BAM staff weighs in.

We spend a lot of time here at BAM focusing on the power of art—how it broadens perceptions, changes minds, opens hearts. But it’s hard to pinpoint exactly how and when that power becomes a part of someone’s worldview, changes the way they think and live.

So we decided to ask BAM friends and fans about the first time the world of creativity opened up for them. To kick things off, we posed this question to a few BAM staffers: Who ignited the promise of art in you? The responses we received were thoughtful and passionate, and we’re thrilled to share them with you here.

Want to join the conversation? Share your story with us! You’ll even be entered to win some stellar BAM prizes: season tickets, gala invites, free movies, the works.

Hope you enjoy our stories, and looking forward to reading yours!

November Staff Pick: Gary Shteyngart Roast

This Month's Pick: Gary Shteyngart Roast
Picked By: Adam Sachs, Fiscal Manager

1. Why the Gary Shteyngart Roast?
Why the November 20th celebration of the 10th anniversary of Gary Shteyngart's debut novel, The Russian Debutante's Handbook, where Shteyngart's friends and colleagues take shots at the beloved and critically acclaimed author of Absurdistan and Super Sad True Love Story, with Kurt Andersen, Edmund White, and Sloane Crosley, hosted by John Wesley Harding? It’s just $20. Plus, Thanksgiving is two days later and this is the perfect event with which to confound your Midwestern relatives when describing it around the dinner table.

October Staff Pick: Political Mother

This Month's Pick: Political Mother 

Picked By: Rebecca Dragonetti, Education & Humanities Assistant

1. Why Political Mother?
I love the music they use for the promotional video. It seems like Political Mother will be a loud, abrasive show. I can’t tell if it’s going to be completely terrifying or completely enthralling. It will probably be a little of both. This is one of those Next Wave Festival shows that you see to learn something about the world. After a show like this one, I find myself reminded that the world is a hugely complicated place. On the bright side, there might be a mention of human resilience?

2. What makes it unique?
I love the way the dancers move in tight groups around the stage, completely in unison. The movements are so perfectly in sync, they look like a school of fish (in a good way).

Behind the Scenes: Mary Reilly, Director of Artist Services

Get acquainted with some of the people who make things work at BAM. Mary Reilly is BAM’s director of Artist Services, interviewed by Sandy Sawotka, BAM’s director of publicity.*

Juliette Binoche with Mary Reilly, Director of Artist Services. Photo by Danielle Dybiec.

Q: As BAM’s longtime director of Artist Services, your work entails a range of diverse responsibilities. Tell us about them.
A: Artist Services facilitates the logistics involved with getting artists and companies to BAM. And it always starts with a visa! Then we’re on to planes, trains, hotel rooms, apartment searches, local transportation, company dinners, backstage toasts, opening night gifts, and a few emergency room visits—sometimes on the same day. Our main goal is to remove the daily obstacles that hinder artists from concentrating fully on their performances. Each artist requires a different level of support. An Icelandic actor in New York for the first time might require more than a New York-based dancer from Mark Morris Dance Group. When a company arrives from afar, we might organize a special outing. Last year, dance troupe Pamodzi from Zambia was here as part of DanceAfrica. None of the dancers had ever been to the US, so we arranged for a Big Apple Manhattan bus tour and the company loved it! We source and make medical appointments for artists who are in need of anything from an acupuncture tune-up to the sudden need for physical therapy or a B12 shot at midnight. There have been emergency root canals and even one burst gallbladder in my time here. We’ve amassed a list of top therapists in all these disciplines and try to make everyone feel taken care of during their BAM stay—whether it be a brief few days, a week, or in some wonderful cases, months, as with performers in The Bridge Project.

Q: How might a typical day go for you and your staff?
A: Ah, how we all wish for the typical. First we check the show reports from the night before to see if any notes exist for our department, flagging any potential problems. Then we begin tackling the myriad details necessary to get ready for the next show. It can also depend on which season we’re currently in: the Next Wave Festival or the Spring Season. The Festival has a furious pace as up to 16 different companies arrive and depart within 12 weeks. Artist Services is a staff of four including myself—a manager and two representatives who each are assigned certain shows per season. Our work is organized by who needs what first that day. With live performers, there is always the risk of injury or illness and urgent care trumps all. Getting everyone on stage is the top priority. We also manage more than 6,000 hotel nights per year. There is always a rooming list being tweaked and travel to be booked. Each rep begins by tracking her respective shows, returning calls, and processing ticket orders, backstage lists, and greenroom setups. Sometimes an artist may need child care at the hotel or want to know studios for a yoga or Pilates class. We do lots of recommending, and of course no day is complete without ordering champagne for our backstage toasts! It truly never gets dull around here.

December Staff Pick: Pina in 3D

Photo: Pina in 3D, courtesy of IFC Films

This month's pick: Pina in 3-D (Opens Dec 23 at BAM Rose Cinemas)
Picked by: Evan Namerow, Marketing intern

1. Why Pina in 3-D? The first time I saw Pina Bausch’s work (Nefes, BAM 2004), I realized that I was not only watching tanztheater but also living it. Pina’s work can be scary that way; it’s very human and real, brimming with an array of emotions that you experience right alongside the performers. Wim Wenders’ film has that effect, too. It beautifully embodies the aesthetic of Pina’s work and the honesty of the dancers.

2. What makes it unique?:
Not many choreographers are honored with a visually stunning film that pays tribute to their life’s work—and in 3D no less. There are excerpts from several of Bausch’s works along with memories shared by the dancers and rare footage of Bausch in the studio. It’s a loving tribute to Pina that truly captures her pioneering contribution to the arts.

3. You might like this if you liked…
Any of Pina Bausch’s works at BAM, including Café Müller, Vollmond, and Für die Kinder von gestern, heute und morgen. And remember the dance sequences in Pedro Almodóvar’s 2002 film, Talk To Her? Yep, that’s Pina’s tanztheater.

4. Guilty-pleasure reason for seeing the show/film:
The film was shot in Germany and wow, is it beautiful. Whether in an enormous valley, a lush green forest, or on the floating Schwebebahn (air tram) in Wuppertal, Pina’s work looks ravishing against the backdrop of her homeland. Also, the 3D effects are superb.

5. Final words:
Pina was a powerful force in the dance world until her untimely death in 2009. Wim Wenders’ gift to Pina’s memory is a gift to audiences as well. If you never saw her work performed live, Pina in 3D is the next best thing. And if you miss watching Pina’s work on stage, then you probably don’t need to be convinced that this is a must-see.

Behind the Scenes: Carl Wurzbach, Sound Engineer

Get acquainted with some of the people who make things work at BAM. Carl Wurzbach is BAM’s sound engineer, interviewed by Sandy Sawotka, BAM’s director of publicity.*

Q: Carl, as the sound engineer for the BAM Howard Gilman Opera House, you play an important role in a wide variety of BAM productions. Can you tell us about your main responsibilities?

A: BAM does it all: opera, rock & roll, modern dance, Shakespeare, even MTV specials. It’s my job to provide whatever the visiting company needs for that production’s sound and video concerns. Everything from the placement of the large speakers you see, to the dozens of little ones you don’t see—around the theater, in lighting booths, and in dressing rooms. As many as 60 microphone inputs may be used to get a band sounding good for the audience, as well as another 60 for the monitor mixes that the performers need on stage. My duties also include ensuring that the titles are perfectly executed for our foreign language productions. In addition we make certain that the video screens and projectors used in each show do what the director and designers want them to do. We also make sure the backstage communications systems provide the stagehands, electricians, prop people, carpenters, and sound folk with the ability to see and hear everything that happens on stage. Cues are called, the lights, scenery, and actors move, and the magic happens... when I am lucky, I even get to mix the show.