This Spotlight focuses on Costume Designer and Educator Halei Parker, who I first met in the dressing room at the Clark Library when she showed up with a wonderful variety of cleverly designed costumes for the publicity photo shoot for Lady Windermere’s Fan when I was the publicist for Chalk Repertory Theatre. Halei really opened my eyes to the possibilities for character interpretation that a costume designer can bring to a show.
Shari Barrett (SB): What would you like readers to know about your theatrical background?
“Lady Windermere's Fan” with Chalk Repertory Theatre and the Clark Rare Book Library
Halei Parker (Halei): I'm a freelance costume designer for theatre, opera, dance, immersive experiences, and film. I'm also an educator, and think of myself as a storyteller and world creator. The projects that excite me the most are deeply collaborative and are usually highly stylized and a little weird, especially since I love mixing ideas from disparate sources to create something magical and new.
(SB): What production(s) were you involved with when word went out it needed to immediately be either postponed or cancelled?
“Gallery Secrets” with Chalk Repertory Theatre and the Los Angeles Natural History Museum
(Halei): I was mentoring students and beginning to source and fabric shop for a production of Sweeney Todd at Cal State LA when we were shut down. I was also beginning the design phase for the Getty Villa summer show. This year the Troubies (Troubadour Theatre Company) were going to be performing our new original musical LIZAstrata (think Los Vegas Liza Minnelli meets Aristophanes' Lysistrata meets the Troubies). Thankfully I had just wrapped shooting on a film and closed the show Earthquakes In London at Rogue Machine right before the world turned upside down.
“How The Princh Stole Christmas” with Troubadour Theatre Company
(SB): Here is the link to my review of the multimedia “Earthquakes on London” at Rogue Machine which examined the effects of global warming.
How were the shutdowns communicated with the cast and production team?
George Takei in “Allegiance” with East West Players and the Japanese American Cultural and Community Center
(Halei): For Sweeney, we heard in our production meeting, two days before the Stay-At-Home order. The Liza news came at the end of March. We all saw it coming, but I was really hoping it would still manage to go on. The world could really use some more Troubie joy about now. It was pretty crushing. At this point, we are looking at postponements for both of those, and thankfully not cancellations.
(SB): I really loved all the outrageous costumes you designed for the Troubies “A Christmas Carole King” which I saw at the El Portal last December.
What future productions on your schedule are also affected by the shutdown?
(Halei): The whole rest of my year is now in flux, since no one really knows when we will be allowed to gather together again to experience live theatre in a group setting. I'm just trying to keep all my fingers and toes crossed that we can make stories for the world again before the year is out.
“Hairy Ape” with Odyssey Theatre Ensemble
(SB): How are you keeping the Arts alive while at home by using social media or other online sites?
(Halei): Art is always alive in my home. More than half of my apartment is actually a costume shop, so I'm surrounded by fabrics and my tools. I've been able to keep busy by making hundreds of masks from my eclectic stock of fabrics, and have done a few costume challenges that have proven to be quite fun. I'm trying to curb my use of social media.... somewhat. That is especially true when I am designing and creating costumes for shows.
I'm also feeding my need to make Art for others right now by making a mural for my building on the wall of our little garden.
(SB): What thoughts would you like to share with the rest of the L.A. Theatre community while we are all leaving the Ghostlight on and promising to return back to the stage soon?
(Halei): Chin up, loves. The world is going to need us more than ever when we are allowed to meet again. Just keep that passion alive in your heart.
Director Marc Antonio Pritchett is currently rehearsing his cast for the next main stage production Agatha Christie’s The Mousetrap at Theatre Palisades. I sat down with this classically trained actor, singer, and stunt combatant to learn more about his take on this classic crime script and uncover a few details about this multi-talented entertainment industry professional.
The Mousetrap is truly a classic of the whodunnit genre. What is your take going to be?
How are you directing this production for Theatre Palisades?
It’s amazing to break into this material and really see how detailed Agatha Christie was - which she had to be, as the queen of crime! She put all of these little details, all of these “Easter eggs” into places that will pay off later in scenes. In rehearsal, it’s a challenge. But the payoff is worth it. We just have to cross all of our t’s and dot our i’s, and manage to act in there as well, to pull off this amazing show that’s been done more than any other show ever.
There will be some fun discoveries and connections for those who watch and listen very closely. We are definitely honoring the original script, and we are making it as digestible for a modern audience as possible.
Why did you choose to direct Agatha Christie?
I’ve always been into the genre! As a kid, I was into Encyclopedia Brown, the Hardy Boys, and Sherlock Holmes. I loved to try to figure out what was going on before the ending. So this is a really unique opportunity to help shape that experience for other people.
What inspires you as a director?
Probably the most impactful experiences have been working with the classics - working with Shakespeare in particular, where, in addition to the normal things you have to work with in a play, you have this heightened language that you have to make seem commonplace. You have to get the actors to emote through the language, and to get them to be able to communicate in a way that modern people can hear.
I also have a background in Opera, which is very helpful, because in many cases with that genre, the audience is just looking at supertitles and may have no idea what’s going on! So you really have to make sure the performers are communicating physically and emotively for the audience to be able to follow the story all the way through.
We know directing is only one of your many skills and talents. What are some of the others?
I’m a session singer. Recently, I sang on the new Lion King movie soundtrack, which was an amazing experience! I also do fight work, sword work in particular. I’m a fight coordinator and I run a stage combat school.
So it’s a weird, eclectic mix but it all comes together when I'm directing or acting.
I went to the University of Georgia where I was a double major in Music and Drama, and I also studied Martial Arts and Fencing. A counselor there directed me to go into entertainment where all of these skills could come together. No one cares if a concert pianist can throw a side-kick, but an actor who can play piano and throw a kick is more valuable. And this is true with directors as well. So I changed my music focus to film composition, and fighting into stage combat.
What shows are on your future wish list? Besides all of Shakespeare, of course...
Hamlet was one of my first professional gigs, which I did 170 times! I’d like to do something like David Ives (All in the Timing) again, an evening of one-acts. I love hilarious one-acts like that, so either specifically David Ives, or someone who is similar. Also, some of the parodies to the classics are fun, like Fortinbras. I’ve always wanted to direct that. So maybe have a run of Hamlet on a double bill with Fortinbras.
The Mousetrap, by Agatha Christie, is performing at Theatre Palisades from August 30 through October 6, Thursdays through Saturdays at 8pm, Sundays at 2pm.
You can purchase tickets via phone at 310-454-1970 or via http://www.theatrepalisades.com/ Tickets are $20-22.
Heather Lipson Bell is a genuine Los Angeles hyphenate; dancer, choreographer, actress, educator and entrepreneur. She has carved out a successful career by following her heart and soul, connecting experiences and collaborators and weaving them together to create a tapestry of creativity, artistry, education, altruism and family.
Bell is a force in the world of dance and opera, especially as it intersects with young people and both children and adults with different needs. A quick rundown of her current job titles illustrates her lifelong love of music, dance and activism. She is the founder and creative director for Performing Arts For All, providing arts opportunities for and specializing in working with those who have special needs and limitations. She is a lead educator and the managing director for KIDS/IQUE, a division of www.muse-ique.com, an organization which provides artistic opportunities for those in foster care facilities, at-risk youth and those with additional special needs. PAFA partners with LA Opera, LA Ballet, MUSE/IQUE, Center Stage Opera and is Fiscally Sponsored by the 501c3 Dance Resource Center. Her programs are unique in that they do not separate nor isolate participants by challenge. Rather, all dancers work together and use their different strengths and weaknesses to create a stronger whole.
Bell has worked with the LA Opera since 2008 as a teaching artist, choreographer and assistant director for their in-school and community programs. She is a dancer and choreographer who works consistently. She has performed in over ten concerts with the New York Philharmonic, two of which she both choreographed and danced and which will be kept as part of a new online platform, nyphil.org/ypcplay. She performs regularly and has film and theater pieces in all states of production. Recent work includes dancing at the Ford Theater, at the Pageant of the Masters, choreographing and co-producing the short film Halfway, which she and her partner Christine Deitner (They also created the award winning "Freeze! Try Again) are now developing for presentation at the Hollywood Fringe Festival. Finally, with co-artistic director Tom Dulack (www.teatrofilarmonico.org) she is planning on touring their concerts and also in development on 2 other theater projects: Extravaganza (based on the life and work of Vivaldi) and Aphra (a play he's written about the fabulous Aphra Behn that Bell would choreograph).
Lastly, Bell is a mom who home schools her two young children and also serves as their audition chauffeur. Final note: Heather Lipson Bell is busy.
We met for hot drinks on a rainy Thursday morning for a freewheeling conversation that circled around the ideas of art as a source of inspiration, community and service, making it as a freelance artist in Los Angeles and the immense value of the support of friends and family.
The phenomenon of dance as a tool for work with differently abled people is relatively new to the general public but has been part of Bell's career path from early on. Her first major foray was her senior showcase at Boston Conservatory, with a project that involved blind and deaf dancers. Although the artistic director was “completely not on board, she thought it a terrible idea…,” Bell and her creative partner stayed committed to their idea and eventually found an enthusiastic mentor in their Laban professor. They focused on research, teaching classes and small workshops at both the Perkins School for the Blind and Caroll Center for The Blind.
“For me it was specifically a movement inspired thing. How do different people move? How do they understand movement?" She continues, "it became really interesting because we met people who were born with different levels of disability. Then also those who had lost their vision - one man who had so much anger but agreed to do our little movement class, and he was able to find movement, spacial awareness and comfort in this new sightless world.” Eventually they combined sighted dancers into the project and her path, curvy and indirect though it would be, was set. “It was this huge vast world that I had never been exposed to…..that kind of sparked my interest in movement study.”
Bell and PAFA at The Hard Rock Cafe in 2016
Bell moved to LA in 1999 “not to dance, but following a boyfriend. I thought I'd hang out for a year and go back to New York.” But she she stayed, “I was lucky when I came to LA - to meet a really good group of people right away who were not competitive in the typical sense of what I grew up with, but really supportive and were like, well if I don't get the job, it's good because you got the job and we all kind of came up together." She adds, "To this day - I find this a really unique group of women and that has been a great support under everything I do.” Her circle of friends and collaborators continues inspire and support her. When casting dancers for a short film she recently choreographed and co-produced, she invited people to simply take part, without telling them exactly what they would be doing. “I expected five or six people to show up and over 25 beautiful dancers came to give of themselves.”
Bell and Gary Franco dancing with City Ballet of Los Angeles at the Ford Theater in a piece that she choreographed.
Bell talks a lot about community and friendship; of the give and take of this industry. She credits much of her success to friends looking out for one another and mentions job after job that she earned after a recommendation from one friend or another. The path to creating Performing Arts for All started with a job vacated by a friend who went to go dance on a cruise. Bell was hired as a dancer by Zina Bethune and Bethune Theatre Dance, a company that created work with both traditional and differently abled dancers. When Bethune later saw Bell's resume, she hired her as an educator which led to 10 years of teaching dance to people with all kinds of challenges. After Bethune was killed in a tragic hit and run accident, some parents approached Bell because they missed her classes. This inspired the creation of PAFA.
What stands out when listening to Bell speak is the fluidity with which she adjusts the focus of her work. There is equal value given to performance, teaching, choreography and activism - all fueled by a constant search for new and inventive ways to create movement stories. Each feeds the other. For example, when choreographing a film scene with Marines who were uncomfortable with the entire premise of dancing, she drew upon what she had learned teaching those who were blind, having them do movement they were already familiar with, then guiding that movement into patterns to create dance. In this way, she essentially allows her dancers to make their own dances. She sums up her philosophy by saying, “there was never a break, I started teaching at 15, following the concept, from an Ailey dancer, of; I am not your teacher, we teach each other.” She is also vocal in visualizing, setting goals and manifesting what she wants. For example, when auditioning for a beer commercial she asked in the moment if they had a choreographer. They said no. She got the job.
Bell is pragmatic about the ups and downs of the industry. She revealed her disappointment in coming to the realization that she had limits as a choreographer; that creating new movement vocabulary was not among her skills. Initially she mourned what she considered a failing but then turned that liability into an asset. Becoming an expert at research, she studied organic movement and approached her work that way instead. Her work for the NY Phil was based in flamenco, a dance form that she was unfamiliar with at the beginning of the process yet by the time she came to the performance, the world renowned musician with whom she was partnered thought her an expert.
How does she get through the downs? "In regards to fighting depression, a simple thing to do is find one thing, one small thing a day to be joyous about," says Bell. "We all experience depression and feel stuck or powerless. For me, it seems my nature is to be happy - I am drawn to laughter and beauty and stories of strength and resilience like many, and shy away from darkness and evil and blood and guts." For example, "I choose not to go out for roles playing parts of victims, etc." Adding, "I am drawn to other projects and have been lucky to have opportunities that support this. For me I try to always: Explore. Learn. Play. Move. Connect. I'll continue to set goals, and take on too much, and procrastinate and enjoy my craft and community and family more than I could ever express."
Bell is quick to credit her family for their ongoing support. Her parents, her husband, even her young children all support and participate in her process. “I was a performer when I met my husband. He knows that it is not about the money.” She recounted her dad's reaction when she turned down an opportunity to create a health oriented business when a much less lucrative but much more artistic performance opportunity arrived. “He was like, of course you'll go dance!”
"We seem to all strive for this ‘balance' or even for ‘perfection' - and it is a fleeting thing. If it wasn't I'm sure I'd be bored by the stillness. I have always been grateful for the language of dance, for experiencing and appreciating on a very deep level the impermanence of what we do. And for the voice and opportunities it has given me. Balancing creative work, work, a marriage and motherhood is a dance. I am constantly reminded what a gift it all is and that I'm not perfect - and that is perfect."
"What I'm doing now, who I am - was present in me as a very young child. I really have always been an artist and activist and as I've been thinking the examples go so far back. I've always loved human movement and storytelling and history and music and art and elephants and trees and collaboration and community and the connections of it all and just the complexity of this world."
Performing Arts For All has a full schedule for 2017.
Two 6 week workshops culminating with a showcase.
Session 1: 1/7/17 - 2/11/17, Session 2: 2/25/17 - 4/1/17
Additional inclusion workshops at Olive Middle and High Schools (Baldwin Park)
KIDS/IQUE outreach visits us: 2/11/17 & 4/1/17
MUSE/IQUE Concert Field Trips: 2/12/17, 4/2/17
LA BALLET Field Trip: TBA
Performing with LA Opera - Community Opera Noah's Flood - shows 5/6/17