When the Fire Fades: A Reflection of the 2016 USITT Ntl Conference

In traveling to the immersive National Conference this past spring break, I was reminded that what we do as artists isn’t just confined to our universities or playhouses. We live and work in a world of endless possibilities with thousands of creative minds, and getting those minds together in a room to “stir the pot” made for a week of discovery in both professional relationships and technologies.

By far the most fascinating part of the conference was the atmosphere on the expo floor. I was really taken aback at how available vendors, schools, and companies made themselves to the attendees, and I think it’s a strong testament to the familial aspect of our industry. Even in they were unable to hire, the interviewing companies were still very welcoming and encouraged technicians to apply in the time to come, which was incredibly validating to me both as a technician and an artist. Their support was unlike anything I would expect to find in the business or science world, and it made me glad to be part of the theatre community. Better still was that the communal feeling was not just limited to the expo floor.

            At the new products showcase I had the good fortune of meeting the head of a performing arts center in California, as well as some fellow students that took a genuine interest in who I was and the work I planned on doing. Like the exhibitors on the floor, they countered my “tell me about your company” question with “tell me about your work”, which felt every bit as much like an act of friendliness as it did an interview question. The sessions were the same – presenters were open to conversation and more than willing to share their expertise with aspiring artists, perhaps because they remember being in a similar position.

            The sessions didn’t feel at all like a lecture. Instead, it was easier to consider them a 70-minute training session, although there was little hands-on work. Mary McClung’s session on expandable foam and molding opened my eyes to the intricacies and time investment of making “fleshy” masks through the use of chemical foams, which sparked my interest in involved craft mediums beyond your standard paper mache and thermoplastics. When I met her again on the expo floor we spoke for some time about the medium, which eventually led us into exchanging contact information and even her reviewing my portfolio. In all that time our relationship stood in the realm of teacher and pupil while the focus remained on my work and what I plan to do with my career. It was comforting to speak with a professional on this level, rather than as a subordinate, which I feel would stifle and intimidate a young artist.

            My other session with maskmaking professionals introduced me to Wonderflex and Fosshape while acquainting me with tricks and applications I wouldn’t have imagined otherwise. Some of the information was tedious, but leaving the session I was confident that I could work with the new materials easily, even never having handled them before. In contrast, the poster series sessions we attended seemed like they were geared more towards educators, and though I took some time to poke around the ballroom, I would probably get more use from them later in my career.

            In the first day the stage expo was open, I admittedly missed one of my sessions, as I had been so wrapped up in talking with people that I lost track of time. The floor was full of opportunity, and the more I networked, the more I came to realize that the real networking isn’t just talking to people that work in your discipline, but seeking out those who may be in an unrelated field. I never would have thought a vendor from RC4 would have been a props artisan from UMKC, and when I spoke with him, he pointed me to the Stage Managers’ Association to get more connections with special effects and weapons people. It's a big world, but as my colleagues quip, "the theatre is comprised of 40 people". Everyone knows someone, all you have to do is ask.

            While on the expo floor I also made several connections with Shakespearean companies and operas while seeking out craftsmen and vendors of props mediums. Even Disney and Cirque took the time to review my resume. These are the companies that turned my attitude of “what to do next” into “what’s out there” for the remainder of the conference. I met circus people, SFX technicians, and pyrotechnicians all standing shoulder to shoulder with theatre designers and actors. It’s just awesome to see such big names making big offers to small fish like me. I had always planned on working for the summer, but I had no idea the vast scale of opportunities are out there, and I certainly never dreamed that Cirque or Disney would take any interest in me. It was reassuring to interview with them and reinforced my belief in the advice: “apply everywhere”. You never know who’s going to pick you up.

The Keynote Address, though Tupac didn’t get to speak much, was an inspiring presentation that reaffirmed my appreciation for visual art while reminding me that a “lighting designer” doesn’t have to design lights for the theatre any more than a physicist has to confine themselves to a laboratory. We saw this in the distinguished speaker series and in our sessions, where chemists, biologists, engineers, and architects alike have all found their place in the theatre, like some theatre people find their place in fashion or spectacles like extreme sports events or cruise lines. And still, many of the connections I made in those fields were able to direct me back to the theatre. It’s an incredible web of talent, that, with careful navigation and patience, has the potential to take you all the way back around to where you belong.
And belonging is certainly the order of the day. USITT has members in several foreign countries, and it honors them every bit as much as it does our artists here in the United States. Though he had moved to the US some time ago, it was still rather warming to see a student from China awarded for his scenic design – a reminder that we’re all in the arts together. We may be the United States Institue for Theatre Technology, but we recognize artists from all origins and walks of life. That kind of community is what I think makes this organization work from the inside out. I hope to return in the next year to see all the fantastic people I’ve met and the new technologies that helps make our art shine. 

            This conference is one I would absolutely attend again, and every member should consider making their way to the conference hall at least one in their lifetime. It was actually the deciding factor in whether or not I was renewing my membership in the coming fall. Compared to the investment the Institute makes in its members (at home or abroad), it’s but a drop in the bucket to pay for another 12 months of membership.