I recently was asked a question that elicited an excited (if sophomoric) response. I was asked "Would you like to go backstage for Ariadne auf Naxos and blog the setup for the indoor fireworks". My answer was "Well, duh! Of course I would would!" One big reason I was so interested is that there is a saying in the industry: "It's all fun and games 'til someone burns the theatre down." I was going to see first hand how the fun happens while the Benedum Theatre would still stay standing.

Final dress rehearsal was last night, and the opera officially opens tomorrow. And while a select group of opera patrons gets to watch the rehearsal from the relative hush of the balcony, Christopher Hahn (Pittsburgh Opera's Artistic Director) gave me unprecedented access that permitted me to freely wander the floor level amidst the technicians and crew. And best of all, the usual theatre rule of no photographs did not apply. This was good, because the last time I tried taking pictures in a theatre (Fiddler on the Roof, when I was in 10th grade), I was ejected from the house. This time, however, Technical Director Clint Bennett took me backstage before the performance, and showed me where I could safely shoot.

Once backstage, I met Stephen Brenner and his assistant Debbie Sue Croyle, the technicians responsible for fireworks. They work for Pyrotecnico, a New Castle PA fireworks company that traces its roots back to 1889. They showed me the gerbs, mines, and airburst effects. These are a bit different from the mortars and rockets that you're used to seeing at an outdoor fireworks display. Mortars launch a fairly large explosive device into the air, while the fireworks used in an indoor theatre are a bit more restrained and tethered. If you're really interested, you can get a copy of NFPA 1126, which is the National Fire Prevention Association Standard for the Use of Pyrotechnics before a Proximate Audience. I just trusted Stephen to know what he was doing.

Stephen showed me the three banks of pyrotechnics that are used. Each bank consisted of a set of seven gerbs and half a dozen mines, all controlled by a sequencing computer and a fire control box that ignites the squibs that fire the pyrotechnics. During the first act, these are safely stored backstage-right, but during the intermission scene change, Stephen and Debbie place the three banks behind the newly placed main set. Notice the key-locks in both pieces of electronics, and notice that they are in the "safe" position. They are moved to the "arm" position towards the end of the second act, and at the right moment, Stephen presses the red "fire" button.

A scene change is a well-choreographed frenzy of activity, and you must constantly be on the alert, lest you get run over! I recommend you see Sing Faster, The Stagehands' Ring Cycle to get a better idea of what goes on backstage at an opera. Huge set pieces are muscled about, cables are set for the clamshell stage, banks of lights are rolled off-stage and on-stage, and Stephen and Debbie set their devices and cables (setup pictures one, two, and three). They then test the equipment by running a low current through each of the squibs to verify connectivity (and thus be reasonably assured that they will fire properly during the performance). There are also aerial pyrotechnic devices, but these are set up before the performance, so that Pyrotecnico doesn't need to go aloft during the intermission scene change.

Now all I have talked about is the technical aspects of the fireworks, but I need to say something about the opera itself. First of all, it is genuinely fun, which is a word I never thought I would use in the same sentence as the name Richard Strauss. But, fun it is! It is art imitating life imitating art, it is a play about a play, it plays on words and mocks itself, and is fuelled by the stellar voices of Jane Eaglen, Michael Hendrick, Lyubov Petrova, Susanne Mentzer and a dazzling supporting cast. And unlike many other operas, I found myself ignoring the supertitles and staying riveted on the acting instead - for Ariadne is extremely well acted, in addition to being well sung. There are so many facets to this opera that it defies a single classification. (See pictures 1, 2, 3, 4, and finally 5). Which finally brings us to the fireworks!

At the "moment of truth", Ariadne and Bacchus turn away from the audience, the orchestra swells, and somewhere backstage Stephen has turned his keys and pushes the big red button - and... Kaboom! A huge Flash! Then Kapow! and Crackle! and Sizzle! And finally Boom! And as the last notes of the orchestra ring out, it is all over but for the smoke and the curtain call.

I had a blast! Go see Ariadne auf Naxos - even if you can't pronounce it, you will enjoy it too!