When You’re Not Into Acting, But You’re Still Into Theatre: Part 3

Written by Ashleigh Gardner

March 8, 2017

Welcome to Part 3 in our short series where we interview theatre production professionals. Are you a theatre student who loves acting, but have found an interest in lighting, electrical work, set design, direction, or playwriting? You might be a student who isn’t even enticed by performance, but by creating a world for the stage with your eyes, ears, and hands. Looking for some advice on how to pursue your newfound love for directing, design, or stage management?

In this short series on theatre production, we’ve interviewed professionals from the industry who tell us where they started, where they are now, and what inspired them to pursue what they do best. This week, we interview a costume technician, a production manager, and a dance choreographer.

Costume Technician – Naivette Henriquez (Orlando, FL)

What was the first play you ever worked on and what did you do for it?
The first play that I can actually remember being a part of was Seussical the Musical my freshman year of high school. I was a Jungle Creature, more specifically a Tiger. I had a lot of fun being involved with that show, and it introduced me to a world of art I never really knew existed. I was introduced to the hidden magic that was technical theatre and quickly fell in love.

What inspired you to pursue costume technology?
I tried my hand at all things technical theatre throughout high school, but I was constantly finding my way back to costuming. I wanted to know everything I could about how costumes fit into the theatre world. I loved the idea of hiding a small detail into each character’s costume piece to help say a little bit more about them and the story as a whole. When it came time for college, I knew I needed to be in a place that would help me hone in on my sewing skills while still allowing me to be part of the backstage magic as a wardrobe member. I found a wonderful Costume Technology program at University of North Carolina School of the Arts

What are you working on now?
I currently work with Norwegian Cruise Lines in the Entertainment Department. I take the lead on projects involving wardrobe for 5 ships out of the 24. We’re in the middle of a short break in between seasons, so we are cranking out as many builds as we can before the next cast rolls in at the beginning of January.

What do you have planned for the future?
Working with Norwegian Cruise Lines has been a dream come true. I travel and install shows on ships all around the world. I hope I get to continue doing this for a very long time.

What advice would you give young people interested in costume technology?
My best advice would be to continue doing what you love. Each technical theatre skill is a skill you will constantly improve on throughout your entire life. There is something new to learn every day, so be open to take it all in. As long as you love what you do, you’ll have a long career.

Production Management – Amanda Woodward (Cookeville, TN)

What was the first play you ever worked on and what did you do for it?
The first show I really worked on was Perils of Pinocchio by Paul Crabtree of the Cumberland Co. Playhouse (CCP) in Tennessee. I was 8. I was cast in three featured ensemble roles, but I also helped with some of the costumes and set/prop pieces.

What inspired you to pursue production management?
When I was a teenager, I became a company intern at CCP. Part of the internship was to do a few weeks in each area to “well round” us so that we could get a better appreciation for technical theater. We also took acting and dance classes. At the time CCP hired a lot of actor-techs. So since I was 11 years old I have always thought one area went hand in hand with the other. During this time interning, I realized I enjoyed a lot of the areas, and I thought if performing became unfulfilling, I could always go into technical theater…little did I know I would end up being more fulfilled behind the scenes than in the spotlight. I began running backstage tech tracks and the fly rail at 15 with my dad as the Deck Manager. I would help the scenic team at strike, the light teams for hang/focus. I ran follow spot, performed in 3 rep shows weekly, and was homeschooled. I lived in the professional helms of the costume shop learning to dye LaDuca’s and clean/style wigs. I became an ASM, then SM, and Props Master. By 18, I lived in company housing. So I was lucky, immersed, and have had a 25+ year love affair with technical theater.

What are you working on now?
I currently work for Norwegian Cruise Line as a Production/Project Manager for Entertainment installing new production shows on our ships. I am currently running the N. Joy ship, which will be launching Spring 2017 and will be based out of China.

What do you have planned for the future?
Possibly additional NCL projects through 2018, ideally looking for full time employment as a project manager for a cruise line or entertainment company.

What advice would you give young people interested in production management?
Find your niche. What are you really passionate for? What do you do better than anyone else? How can you improve and better the company? I never stop learning about different things, and each project has different needs. My current project is using several mediums outside my knowledge, but I have learned about costs, operational upkeep, installation, and what it takes to produce these things. NEVER GIVE UP YOUR DREAM. It’s okay if your dream changes, but always follow your heart and you will be happy. We’re making magic.

Dance Choreography – Daniel Hunlap (Orlando, FL)

What was the first play you ever worked on and what did you do for it?
The first thing I set choreography for was not a full length play. I started dabbling in setting choreography at my childhood dance studio at 15. I was mostly working with the guys at my school. It was all boys, tap and jazz mostly. I was one of the older guys at my school and had been fortunate to study with other instructors outside of my studio on a national level. When I would come back from training elsewhere over the summer, I would share what I learned, whether it be ballet or tap with the other guys. This allowed me to start at a young age. I found that I enjoyed moving, and I discovered what could make me a little different with my own style.

The first full length play I had the honor of setting was Singin’ In The Rain. I worked alongside Rob Anderson on the project. He did direction and group choreography. I set the principle dance scenes. It was such a good experience and I learned a lot! From the flexibility needed to mold your movement style to new dancers to working with everyone’s real life schedules.

What inspired you to pursue dance choreography?
What inspired me? The greats. Gregory Hines, Mikhail Baryshnikov, Sammy Davis Jr., Donald O’Connar, Fred Astaire, etc… Watching these guys dance like men was a huge part of my style and what I hope to portray.

What are you working on now?
At this moment, I am currently a contracted performer for Walt Disney World. I perform in The Festival of The Lion King at Animal Kingdom. I am the role of the Red Bird. Outside of this, it’s that time of year where I spend most of my time at the dance schools around town that I am an instructor at — working with the kids to get the competition numbers all clean and ready for the season. I spend between 15-20 hours on each number, be it a solo or a group number, trying my best to make it fit my student the best way to show off the skills they have and also to have my own little Hunalp flair. It is a lot of work but to see your students on stage sometimes, not always, you see your student receive that top score award it’s a great feeling to have been a small part of that equation.

What do you have planned for the future?
I hope to remain dancing professionally a few more years. I have been faced with a lot of medical setbacks in my career, and each day I can continue to do what I am passionate about is a great day.

What advice would you give young people interested in dance choreography?
The most useful advance I could give someone is to be yourself. You must always acknowledge that every single body has its own way of moving. Some of the most creative and amazing movement I have seen is super quirky and DIFFERENT. Different is good. Be you.



Need some advice? We’ve got you covered.

Ashleigh Gardner received her AA in Theatre/Drama/Dramatic Arts from Valencia College and her Bachelors Degree in English Literature and Masters Degree in Literary, Cultural, and Textual Studies from the University of Central Florida. She is a playwright, an actor, and PerformerStuff.com’s Editor.