BackstageJobs.com interviews Mr. Big Shot: Keith Parham
Keith Parham is a company member of TUTA, and an Associate Artist for Next Theatre and TimeLine Theatre. His work with Steppenwolf Theatre has taken him from Chicago to New York to Ireland. Most recently, he recreated his Next Theatre design of The Adding Machine for it’s Off-Broadway production, resulting in numerous nominations and awards. His work has included lighting designs for Northlight Theatre, European Repertory Theatre, Chicago Opera Theatre, Lookingglass Theatre, and the Chicago Symphony Orchestra. His work can currently be seen in Chicago in the Goodman Theatre’s production of Gas for Less (through June 22), and Off-Broadway in The Adding Machine (open run).
A disclosure: Keith and I worked together as electricians for years, and even attended college together for a couple years. Also, if you want to see a decent picture of Keith, pick up the current (June 2008) issue of Lighting & Sound America and flip to the back: they have a nice interview with him, and a photo that I’ll be giving him $#!+ about the next time I see him… LOL
The “Mr. Big Shot” nickname came from when Keith began doing more and more design work, which of course meant he was less and less available to do electrician work. So, the frequent response to someone asking why he wasn’t on a call: “He’s to busy being Mr.-Big-Shot-Lighting-Designer to work here.”
- Where are you from, originally?
Lansing, Michigan
- How did you get started doing theatre, and what was the first show you worked on?
My brother was in a drama camp when we where kids. I joined the camp, found out that I had severe stage fright, and ended up running the light board. This was when I was in 6th grade.
- What are you currently working on? What are the major challenges on that show?
I am currently working on the remount of Cadillac at Theatre on the Lake. The biggest challenge is figuring out how to take a very sight specific show and make it work in a different theatre. I am also working on a piece called Future Me. The biggest challenge on this show is that it is in rep with 6 other shows. It is a new piece and working those logistics is a little daunting.
- What is your favorite show that you have worked on so far, and why?
My favorite piece that I have worked on so far has to be Uncle Vanya with TUTA. It really pushed against the typical American staging of Chekov. I love to work on smart engaging theatre that isn’t illustrative or pandering to an audience.
-What show have you not done that you want to do someday?
I have never done a Brecht piece and I really want to do all of them.
- What is your favorite control board? Tracking or Cue Only?
Apparently I am old fashioned but I still love the [ETC] Obsession and it has to be in tracking!
- What is your favorite city to work in, and why?
I don’t know that I really have one. I love to work with real theatre artists. I guess I know more of them in Chicago than anywhere else, so Chicago is my favorite at the moment.
- What do you expect from your crew during a focus?
If I say sharp to shutter for all units, for the love of God please prep them sharp to shutter!!! I am so tired of saying those words.
- How long have you been in the business, and how long to you expect to keep working?
I have been in the business since 1987 and I don’t really ever see quitting. What’s the point of quitting something you love?
- What advice would you give to someone starting out in this business?
Meet people meet people and meet people. You will get almost all of your jobs from people you know or from recommendations from people you know.
- Who would you consider to be your your biggest influences?
I have several big influences. Zeljko Djukich is the Artistic Director of TUTA. He has a very strong idea about how theatre should be done and why that I agree with and have learned from. It affects every choice I make in my designs. James F. Ingalls has been a huge mentor to me. He was the first professional I ever assisted. He has taught me a ton from how to light a show to dealing with the people in the theatre during tech. John Culbert, my professor at school, also known as dad. He really taught me how to ask questions I didn’t even know existed.
-What is the most important thing you learned in school?
I just answered this, [see previous answer regarding John Culbert] but it was how too look at a show or design and ask questions that may seem tiny or insignificant. However if you answer them they inform the entire production. I can’t tell you how invaluable this has been too me working on shows and talking to directors and other designers.
- What is the most important thing you learned outside of school?
How a show is actually designed, drafted, loaded in, and teched.
- Do you have any hobbies, and how hard is it to get time to enjoy them?
I collect music, books, and a lot of other things that can be collected. I have quite a bit of time for this.
-What is your favorite food/restaurant?
I love Stanely’s!!
-What questions do you wish you had been asked in other interviews, and what would be your answers to them?
“What do you think about the state of theatre in America?” It’s a long answer that I love to have debates about. I think that the country is in a bad place as far as theatre goes. We keep producing movies and television shows on our stages. We need to get out there and engage our audiences in a live performance and not be afraid of them disliking our show. We have to use the stage as a form of discussion every night that a show plays. It’s scary to see theatre completely disappearing as an art form.
-So, you just won an Obie Award for your design of Adding Machine. What went through your mind as they called your name, and at the podium?
What really went through my mind was “oh god I have to go up there and talk in front of all of these people”. I hate being on stage.
- Who was the first person you called after you won?
My Girlfriend
- Who was the first person that called you after you won?
A really good friend
-You also won a Lucille Lortel Award for that design, and were nominated for a Jeff Award for the same design when the show originated in Chicago. How’s that feel?
It feels good. I think that Off Broadway is really trying new things and I am a newcomer to Off Broadway. It was awesome to win the Lortel. I can’t tell you how much haze is in this show and not only did they not complain they gave me an award! This was the first time I had ever been Jeff Nominated which was exciting. However to be honest I wasn’t totally surprised about the nomination, It seems that the Jeffs only nominate lighting if it is obvious, and the lighting in this show was extremely obvious. The thing is obvious doesn’t usually mean good and I think they sometimes mistake those two things.
-I’ve been putting your name up on BackstageJobs.com and the site’s blog over the years, recently telling folks to call you by your Goodman Theatre nickname “Mr. Big Shot“. Partially to get back at you for your prank of telling people on a load-in call years ago that I was racist, partially to thank you for helping me move a few years back. Mainly because it’s fun. Have people started calling you that?
Some people have started calling me that. It’s pretty funny and it’s also a nice feeling to know that people at the Goodman still have my back.
-You worked at the Goodman for nearly ten years as an electrician, spot op, and Assistant Lighting Designer. In fact, you helped determine how the Goodman electrics department hangs lights in their theatres, as you were part of the first crews in the new building. The lighting crew still uses the phrase “If Keith were here…[he'd be able to do it]” as a way of saying that a crew member isn’t trying hard enough. Now you are back at the Goodman as a designer. Does it feel strange to be there and not have to lug gear around? How has it been to have your former coworkers now installing your design?
I thought that it was going to be strange. But I realized that you guys all cared about me and that all of the time that I had spent working there actually made it easier to get things done. It was great to be back home.
- What was the biggest challenge of lighting “Gas For Less“?
The biggest challenge on that show was working with a Director and Design team that I had never worked with before. Another challenge was the Owen Theatre it definitely has its’ own personality.
-Why do you work in Chicago?
I like Chicago because there is a lot of theatre going on in this city. We also have great audience support. I mean they really come out and support theatres of all levels. They want to see shows and they want to be challenged.
Hudson & Gaines
