New York -
Shows around the world come and go, and the audiences
are customarily treated
to experiences that keep them talking for days, and usually for a lot longer.
But behind the scenes, much planning leads up to such events, involving all parties
concerned. On the actual day of the show, artists may be on location for
dress rehearsals or sound checks. Then as the shows themselves unfold, the
discreet personnel whose job it is to keep the patrons happy (and sometimes even
in line), and the events in professional standing - spring into action, walking
that fine line - simultaneously being 'invisible' as to be unobtrusive, yet immediately on hand to 'save the day' if need be.
At New York's Lincoln Center it is no different, and these characteristics
held true for the recent Steel Pan Jazz concert on Father's Day weekend.
Many of the performers were on hand for the sound check earlier in the
afternoon; Robert Greenidge, Ralph MacDonald, Onaje 'Allan' Gumbs, Scott Galt,
Nicholas Brancker, Etienne Charles, Arturo Tappin and Buddy Williams went
through their paces, alternately breaking for refreshment, then returning to the
stage area. Instruments were checked, while the Lincoln Center staff
bustled about making sure it was all coming together. Even as the steel
pan jazz artists were rehearsing in the Allen Room, the venue of the show - the
Rose Theatre (the venue for the 2006 steel pan jazz show) across the way played
host to another event, with the respective Lincoln Center staff tasked in that
area of responsibility attending to necessary details. That theater would
host an additional event before the evening came to a close.
Back in the Allen Room
and environs hardly anything escaped attention as the
preparations moved forward - from lighting run-throughs, to
smartly attired ushers who placed programs on chairs as they
moved through the seating area ensuring all was just right, and
more. As the artists who would later thrill the crowd
during the pan jazz event sharpened up for the show, staffers
like Rosa Hyde, Brian Williams, Michael Kemp and many others
were up and about, in and out taking care of business. The
personnel on board in the technical arena included sound
engineer John Uhl and audio technician Shawn King; the latter
was familiar to and works with several of the artists in similar capacities
outside of the Lincoln Center venue. Stage manager Angela Howard
who had begun her work regimen for the steelpan jazz show weeks
before, could also be seen running to and fro as showtime drew
closer. Event promoter and AEI president Ralph Ramsey,
together with brother Darryl Ramsey, like all others behind the
scenes, seemed to 'magically' appear in every place they were
needed. Such was the scenario at Lincoln Center prior to
the steelpan jazz concert.
Finally, all appeared
perfectly set: with the sound check complete, the instruments
stood silently on stage awaiting the moment when they would come
alive under the hands of their masters. Programs giving
insight into the upcoming performance were in place on chairs
set out in tiers for incoming attendees. The heavy dark
material which previously shielded the Allen Room's entire
eastern wall of glass from the outer world, was now hoisted to
reveal the magnificent backdrop of New York's Central Park and
Columbus Circle; it was still daylight, but not too much later
the beautiful night-lit city skyline would make its own
statement and vie for attention as part of the stage set for the
evening's performances.
Soon the Allen Room
would resound with applause for the artistes as they captivated
the capacity crowd in attendance. But for all the people
behind the scenes, whose
job it was to make it happen -
'stars' in their own right when the occasion demands, and who
give 'repeat performances' of their own prior and during each
event - they too must
be applauded.