Essays

MAKE MANY LISTS & CHECK THEM TWICE

RASPYNIS GIVE TIPS ON MAKING SURE YOUR BIG SHOW GOES OVER BIG

by Barry Friedman

 

I just spoke with a good friend who recently finished performing in a revue show for eight months. I asked him how it went and he said that towards the end of the run, it finally started to smooth out.

 

Excuse me!?!? After 8 months it started to smooth out?

 

As he explained to me the technical difficulties, bad/lazy attitudes, and lame excuses, memories came flooding back to me of how bad it can be when everybody in the show knows there is time to improve.

 

But most jugglers don't have that "luxury." I certainly don't! As one of The Raspyni Brothers, for the past nine years I've lived in the world of one-nighters where everything must be perfect the first show, because there usually isn't a second one. Dan and I usually fly in, have a 60 - 90 minute technical rehearsal, do the show, pack up and fly back home.

 

So, our show must look like it has been running smoothly, on that stage, for eight months every time we do it. That includes, lights, sound, content, length and atmosphere. It's not an easy feat, but it's possible if you are organized. Here's how to do it...

 

Before Arriving

Be very specific in your contract rider. Do not leave anything open to interpretation by the producer. State, and get confirmation on, everything you will need as far as stage requirements, lighting, sound, microphone, perishable items, snacks, transportation, assistants and everything else. Specific riders actually make a producer's job much easier. I just saw Diana Ross' contract rider - 46 pages! Of course, her paycheck for the gig was approximately $150,000, so you may want to keep yours to a page or two!

 

Whenever possible, (and if necessary) insist that the producer provide a wireless microphone for you. Providing your own is risky business since you then assume responsible for its operation. For added quality, we always insist on a dedicated sound system, one that is separate from the in-house system.

 

Once You Arrive

Arrange an early rehearsal. If your show is at 9 p.m., it probably follows a reception, dinner, speeches, and awards - all of which will probably start at 6 p.m. Leave yourself plenty of extra time (about twice what you think you will need) to assure that you can be out of the room by 5 p.m. This may seem a bit excessive, but it's not.

 

Meet with the crew and diagnose your lighting needs. Most hotel banquet rooms have house lighting, track lighting (that they will have to focus onto the stage), and can arrange spot lights. Have them show you what the room will look like during the meal. Your goal is to make the same room look like a different place for your show. During dinner make sure the stage is dark and the room is bright. Then for the show, take the house lights as low as practical and put all the light you have on the stage. You don't want your show to look or feel like a continuation of dinner.

 

Run any marginally offensive material by the producer and the head of the organization before your show. If you do a show for 1,000 people and get a standing ovation from 999 of them, but offend one, you probably won't be recommended again. The complaint carries much more weight than the compliment. Even if the producer and organizer say that the joke or comment is fine, make the final judgment based on your own conscience. Offending someone is easy to do, so be careful.

 

If you use music in your act, make a detailed cue sheet. For example, make a chart with a tape or track number in the first column, a start cue (preferably visual and audio) in the second column, and an end cue in the last column. Be overly specific. Make the cues easy for the technician to follow. I recommend having each piece of music on a separate tape that is cued up and ready to roll. Expecting a hired hand to accurately fast forward or rewind to a certain spot is chancy at best.

 

If you really want to make it easy on your "temporary partner," look into a Minidisk player. This little gem allows you to record, title and re-arrange the order of your musical pieces. It's a bit pricey (approximately US$600), but worth the investment.

 

Write out your own introduction and personally hand it to the individual who will be reading it. How you are introduced will heavily influence your credibility with the audience. If you have been on hundreds of television shows and performed for presidents, let the audience know!

 

If you don't write out your introduction, the emcee might say something like, "Our

entertainment tonight is two jugglers. Please welcome The Raspyni Brothers." With that introduction, you take the stage on the back side of the acceptance curve.

 

Which reminds me... if your stage name is anything more complicated than "Bob Smith," spell it out phonetically (or the speaker. I can't tell you all the ways people have mispronounced our name. Oh, sure I can! "Rapsini, Razinni, Rigatoni, Raspuny, Ras pa ne..." You get the idea.

 

A great show is the work of many people, not just the performer. Do all you can to make sure they are as prepared as you are. Now that I think about it, doing a one-nighter is a lot like one of my favorite hobbies: flying an airplane. There are many people involved in the overall process, but you are the one person held responsible when all is said and done!

 

Barry Friedman is the taller half of The Raspyni Brothers who do over 100 one-nighters annually. Along with his partner Dan Holzman, author of "The Juggler's Little Instruction Book," they can be seen frantically packing their suitcases at any given time.