Theatre Design & Technology - Spring 2009 - 74

book

reviews
What We Do

Working in the Theatre

by bo Metzler; West Conshohocken, PA, Infinity Publishing,
2008. 241 pp. Paper, $15.95.
Reviewed by dave Williams
Hybrids, by nature, cause
confusion. Think how perplexed the first human was
who saw a platypus. Part
handbook and part memoir,
bo Metzler's What We Do:
Working in the Theatre may
create a similar unsettling
first impression. This will
likely give way to an appreciation of the book's genuine
value as a source of information and a similar appreciation of its mixed contents,
entirely appropriate to the
impure, one could almost say mongrel, nature of theatre.
bo Metzler has been fortunate to have had many strings
on his bow. As many people do, he entered the world of theatre through acting and pursued that track with above-average
success. Without solid assurance that acting alone would pay
his bills, he turned to technical theatre. He was an assistant
stage manager and stage manager on broadway, most notably
as a substitute stage manager for La Cage Aux Folles. He has
worked extensively as a stage carpenter and as a member of
the props crew for, among other shows, The Lion King. He
toured with Harry belafonte to France, Italy, Spain, and Zimbabwe as his wardrobe supervisor and dresser. In 2006, a
disabling injury forced him to retire from active work. but
protean theatre worker that he is, he has now written this
book, with definite plans for at least one more. You can't help
admire such a strong and flexible artistic drive. Young people
entering the profession, who may envision a linear path to
stardom, will find his actual career path both grounding and
inspiring.

Structured like a performance
In an offbeat and appealing touch, the book is structured like
a theatrical performance, with a "Pre-show" taking the place
of a preface, a "Program" instead of a table of contents, and
a "Prologue" for an introduction. The contents are divided

theatre

design

technology

S P R I N G

2009

into two parts, or "Acts": "Who and What" and "Where and
How." In between there's an "Intermission." An "Epilogue"
and "Curtain Call" round out the proceedings. because the
author explains each of these terms, the book has a metatheatrical quality to it as well.
The book grew out of Metlzer's need to explain to his
relatives exactly what he did in his theatrical careers and why
he did it. He has calibrated his diction and delivery accordingly. He wants you to feel a part of a conversation with a
person who has much knowledge to impart and much experience to share. Although he doesn't aspire to or reach the
level of specialized texts on technical theatre, he has created
a work of considerable value to the aspiring or neophyte theatre artist. Even those with much experience will learn new
things. (For me, it was the definition of "ballyhoo," which
he tells us is "swinging a follow spot beam around in a figure eight pattern.") Without question, beginners in the field
will be grateful to have the difference between "theater" and
"theatre" spelled out as clearly and authoritatively as he has
done.
The first part, or "Act I," is divided into "Scenes." Each
takes a look at the work of the specialists who contribute to
the theatrical experience: Writer, Producer, director, Stage
Manager, designers, Actor, and the Crew. "Scene 8" broadens out to The Show. Since this the typical genesis and development of a show, this logical order makes for a very
reader-friendly experience. Novices will get caught up in the
excitement of watching the show move from idea to fully-realized performance. veterans will smile to recollect similar
experiences from past shows. Will the reader learn all there
is to know about these specialists? Of course not. What you
do get is a solid, general delineation of the work of each artist and craftsperson, leavened with just the right amount of
personal experience to make the material come alive in a way
that a more academic treatment might not.
Considering the vast territory Meltzer has staked out,
each chapter is a marvel of economy. The whole is well-articulated and comprehensive, while encouraging the interested
reader to pursue each separate topic in greater depth.

Change of subject
"Act Two" changes the subject but not the format. Here the
three "Scenes" are "Where It's At," "How to Get It," and
"Waiting." Once again, Metzler gives solid information and
advice regarding the New York theatrical landscape. Subjects include broadway, Off-broadway, Off-Off-broadway,
Tours, the Trades, Agents and Managers, Training, and the

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2009