When I first interacted with the technical director of Hoyt Sherman Place, I had no idea what to expect. We hadn’t officially met. And he called me after I blindly sent my resume to him. On the phone, he was soft spoken, very to the point, and seemed very organized. We arranged a meeting and he fit those descriptions as well as I could have imagined. He hit me as the guy who’ll be polite and cordial, but he’ll really let loose only with those of his choosing. He knows what he’s doing, and he can’t help expecting the best in all people, even though he knows that the best is probably not what he’s going to be getting. At least with a majority of people.
Formerly more likely to associate with rock shows and their eccentric lighting and sound designs and managements, Felix, is very knowledgeable about the difference between what someone wants to be done, and what can be done. It’s his job to meld the two.
His sense of humor and his openness to allow for new things or simply change, I think, allows him to be very efficient as far as the individual people are concerned. And his logical brain and rock and roll experience make for a creative ingenuity that more people should have. Holding curtains and travelers with binder clips and duct tape, he plods on doing what ever it is the client would have him do.
Having gotten to know the man a little better, I have to retract the organized comment. He’s not very organized, yet he’s still very efficient. At least when it comes to the job. His desk is sadly buried under one project or another, along side his sad archaic computer that still runs very well. Hanging above his desk is an old chandelier from before the restoration in the theater covered with beads. Beads from Iowa’s version of Mardi Gras, beads from Des Moines Ballet’s “The Nutcracker”, beads from Veishea ( I didn’t know that they gave out beads from Vieshea), and beads from various St. Patrick’s days. A strange accoutrement, especially when you consider that this chandelier above his desk just happens to be located back stage. During shows, he even connects the circuitry that gives his office light, to the light board at the front of house, just so he knows when incoming staff do something wrong with the lights. (If his light goes out, he knows that the lobby lights go out.)
He’s spry and obviously flexible enough, to get the job done, but it makes me wonder sometimes, just what is the proper body type for a stagehand. Compared to Felix, I’m all mass, which makes the fly rails relatively easy for me to muster, however, the narrow stairs, are another issue. I’m very wide and they... Aren’t.
Not to worry, though. Like I said, he’s very clever and resourceful. He knows what he’s doing.
Remarkably clever and strangely resourceful, Felix will occasionally regale me with stories of one show or another show that he worked. There’s even times when he’ll tell me stories of Jim, a mutual colleague and friend, and I return the favor.
Right now, it’s hard to wager what he knows I can do or what not. I like this. He’ll tell me to do something and he expects me to either do it without question, which I have no problem with, or ask and learn how to properly.
My internship may be far from over, but right now, I’ve no problem saying that I would love the opportunity to work with Felix again.
Until next time, travelers. Be good.
-ACS
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