Emily Sillars ’15 doesn’t have the most glamorous job in the Rumors cast. If she’s very good at it, no one in the audience will even know she’s there—her small part will simply weave another thread in the magic cloth of the play.
When stage manager Minh Do ’13 tells her the cue through a headset—cue five, or six, or 12—Sillars tips a giant light mounted on a pole and spins it toward the stage windows.
“To me, it just looks like this,” says the soft-spoken Sillars, and she spins the light toward the windows. During the show, the beam plays across the interior of a sophisticated New York mansion. Or at least that’s what it looks like to the audience. From Sillars’ perch backstage, all she can see is an unfinished wall, full of exposed joists and beams.
“I can’t tell what it looks like at all,” Sillars says, adding with a gesture at the room beyond, “It all works together and makes this place.”
Masks may be the symbolic representation of the dramatic arts, but sometimes they are also the tools of the trade.