The Man Behind The Curtain by Manning Harris

For the next month the most important person in Atlanta theatre is Peter Van Dyke; but you won't see his name above the title of the monster hit musical “Wicked,” now playing at the Fox through Nov. 2. He is the production stage manager for the national touring company that will thrill thousands of theatregoers in the ATL in October. I had a chance to sit down with him backstage at the Fox during the show's “load-in,” as gigantic trucks and dozens of stagehands moved scenery, props, lights, and costumes into the 4500 seat theatre. Even as all this was happening, he calmly spoke with me about his duties, what it's like to play the Fox, and the phenomenon that “Wicked” has become.

The lanky, personable Van Dyke says, “There's something special about playing the Fox, for both the actors and the audience, that is kind of delightful in its own way.” He says it's a thrill for the performers to play to a sold-out house of that size (and if you are going and don't have tickets yet, head for Ticketmaster or the box office this second: “Wicked” expects to break the attendance record for the Fox). Van Dyke reports (good news!) that significant improvements have been made in sound at the theatre (a legendary problem in the past), such as new speakers under the balcony and other digital modifications. We all know the Fox is really too big for legitimate theatre, but sound technology keeps advancing. The idea, Van Dyke says, is to have the place sound like a more intimate Broadway theatre; we're getting closer and closer. . .

As for “Wicked” the phenomenon, he thinks the show deals with more important issues than may at first be apparent: “questions involving life, the nature of good and evil, more lasting, thought-provoking stuff beyond the boy-meets-girl, boy-gets-girl ordinary musical; it asks the audience to think about larger issues—and all the while being enormously, brilliantly entertaining.” (Of course “Wicked” is based on Gregory Maguire's book, which is based on “The Wizard of Oz.”) Also, the relationship between the two women, Galinda and Elphaba, “is not ordinary, but very strange and wonderful.” For example, the song “Popular” becomes “a sardonic view of what it means to be popular and is much more clever than it seems. It has important things to say—like the show itself.”

As for Van Dyke's responsibilities during the show, well—they remind me of those of an anesthesiologist: During an operation he or she is responsible for the life and health of the patient. Van Dyke has two assistant stage managers, and someone must “call” the show during its performance, coordinating sound cues with the music, and constantly monitor the actors, orchestra, lighting; using TV monitors and earphones. In addition, Van Dyke must make decisions on who is performing that night, and must inform a battery of people when there are understudies or changes. He also makes notes on each performance to keep everyone fresh and energetic (not an easy task for a long-run megahit show).

He says that life on the road is not glamorous, as many seem to think. But he's happy to be in Atlanta: ten years ago he started his touring career here with “The Phantom of the Opera.” As we end our interview, the polite, poised Van Dyke, theatre professional that he is, asks me to remind everyone that some seats are still available; and above all, to “have a great time!” I don't think he needs to worry.

Manning Harris' review of "Wicked" will appear on the blog next week.