The Versatile Karen Federing on her Role as Director of Production

For all its right brain glory, theatre still takes some math. A simple ratio goes something like this – a dozen behind-the-scene workers for every star shining onstage. Designers create the world of the play while the director provides the vision. Wardrobe crews help with quick changes while the stage manager calls the cues. And while all these independent elements begin to intertwine as show time approaches, Director of Production Karen Federing assures that each piece fits together financially, professionally, and artistically. Simply put, Ms. Federing is the cranium to Central City Opera.

Director of Production Karen Federing sits on the porch
of her colorful home in Central City, The Pink House.

“It’s a multifaceted job,” Federing explained before unleashing her daily helter-skelter schedule of events only she and the Energizer Bunny could oversee with such zest.

July may conjure images of balmy beaches and idle evenings, but Central City is abuzz with performances, rehearsals, and photo shoots during its most dramatic month. Before the working day begins, Federing likes to check in with Festival Services Manager Allison Taylor on van runs for errands, scheduling details, and the day’s happenings. Next, she makes her rounds. Federing dutifully checks in with each department, valuing personal presence, one-on-one time, and eye contact. “It can take a while to physically get to my desk,” she said.

Whatever follows varies from day to day. Federing may be handing out waitlist tickets before a matinee or initialing tomorrow’s schedule as approval. She might check in backstage to see that a show is running on time or hold meetings with interns. And then at some point, like all mortals, she stops to eat. “Sometimes lunch is thankfully catered during recitals, which forces me to not go anywhere,” Federing laughed.

Evenings bring more excitement. By sunset Federing has visited Festival Hall, the company’s nucleus, for a third time. “Sometimes being a personal presence as opposed to an email is more helpful to people,” she said. Then the curtain rises at 8:00, but not before Federing can relish a favorite part of her job.

Just before the Opera House opens its birch beer-colored doors, thirty minutes before curtain, Federing stops traffic and leads her seven uniformed interns across Eureka Street as proudly as a mother goose chaperones her chicks through a busy stream. "Hit it," Federing beckons once her interns are on safe ground. The interns then chirp their witty Usher Song as Federing jovially bops along to the music, mouthing along to its tune. Later at 11:00, as the cast takes their bow, Federing rises from her desk and returns home.

Federing smiles with some of her 2014 Interns before
leading them across Eureka Street to sing their Usher Song.

From all of these interactions – with problem solving aplenty along the way – it is clear why Federing talks fast, thinks fast, and acts fast. She has perhaps the most interactive job at Central City Opera, a fact she initially did not connect to her degree in anthropology from George Washington University. Federing first wanted to be a primatologist, but she has recently discovered how her current job is indeed sociological in nature. “The truth is, in whatever environment you work there’s a culture associated with it,” she said. “We all have this one agenda, so you have to bring everyone together to move forward. You have to be curious about people and enjoy working with people.” Her college classes may not cross her mind much nowadays, but Federing, as personal in tête-à-têtes as she is gregarious at parties, still benefits from her anthropological core.

Federing is charismatically kinetic, even in the off-season. She spends the remaining eight months at her home in Yonkers, which she lovingly calls her “satellite office.” Now in her thirteenth summer with Central City Opera, Federing has been a year-round employee for about four years.

Federing poses with Festival Services Manager Allison Taylor
on June 28, the Opening Night for the 2014 Festival.

In October she’s organizing the coming season’s budget. By November she’s checking in with staff to see who will return. After the holidays she’s Skyping hopeful interns, and come springtime she’s answering umpteen emails asking, “What will my housing be like?” She chuckles at this one, knowing its answer takes at least a phone call to justly explain Central City’s quirk and charm. And finally in May, Federing’s the first non-local employee* to arrive in Colorado – but not before making the three-day, cross-country drive from waterside Yonkers to alpine Central City with clothing and shoes galore. “I pack less and less every year,” she assured. “I used to bring out bags of hangers until I thought, ‘Good lord, Federing, buy some hangers! You’re schlepping them across the country like a crazy woman.’”

The off-season may be slightly more languid, but Federing still prefers summertime's buzz. It all starts on one of Federing’s favorite days: when the young interns arrive. “It’s just the excitement of the season beginning,” she shared. “Everyone’s well-rested and enthusiastic. They may be huffing and puffing from the altitude, but they’re ready to roll.”

Indeed, Federing may be more than just the ever-pulsing cranium to Central City Opera. “Another ideal day is when [company members] start coming in telling me the work they’re going to do next,” she reflected before taking an unconventional pause. “I’ve watched people’s posture change with confidence; you can see that over two-and-a-half months. You watch somebody bloom,” she said, her eyes glistening. “You do the math – that’s fourteen interns over thirteen summers. To me that’s a lot of lives to touch.”

*During the off-season, the Central City Opera reduces to approximately a dozen staff members in the Denver administrative office, keeping the company running all year long and offering year-round programming throughout Colorado and Wyoming.

Central City Celebrates Annual Madam Lou Bunch Day

Central City is lovably quirky.

It’s known simultaneously for its singing Opera House and dinging casinos. Its elevation is nearly 8,500 feet, placing it among the highest cities in the country. And once a year it’s host to dames on beds being pushed around by townsfolk in drag.

Interns McEntee, Abernathy and Ting posing in costume
in the Opera Garden before the Madam Lou Bunch parade commenced

Madam Lou Bunch Day is arguably Central City’s most unique event. Bunch was a notorious prostitute in the 1880s who allegedly grew too wide to physically leave her brothel’s brass bed. To annually commemorate one of Central City’s most colorful characters, locals dress up in costumes ranging from stuffy Victorian to saucy barmaid. Additionally, many compete in the Bed Races where a pair of boys push ladies-on-beds-on-wheels up and down Main Street. The teams often dress in a costumed theme, with prizes for the fastest teams and slickest costumes.

Ladies of Central City dress up as brothel women
for Madam Lou Bunch Day and pose on the bed that was used in the races

Eight teams competed in the Bed Races this year, all representing local businesses from Century Casino to Central City Opera. This year three CCO interns (cross-)dressed as characters from the upcoming three shows in the 2014 Festival. Props Intern Austin Abernathy owned the garconne look with his flappers dress for The Marriage of Figaro, which will be set in the 1920s. Assistant House Manager Dahlia Ting donned prison garb (and a myriad of tattoos) to showcase Dead Man Walking, and Marketing/Public Relations Assistant Billy McEntee dressed as a nun for The Sound of Music.

Abernathy pushes McEntee and Ting uphill during the back nine of the Bed Races

While these dynamic garments sadly did not merit the Best Costumes award, the three youngsters did take home the Maiden Voyage ribbon for their first time competing. The speedy workers at Johnny Z's Casino, the reigning champions, came in first place and won $300. Nevertheless, the CCO racers succeeded in advertising their upcoming productions and entertaining townsfolk with their enthusiasm, irreverent costumes and loopy steering.

Living, Learning, and Loving: How Opera Singers Have it Right

Editor's Note: Today's blog is written by 2013 Festival Office/Music Library Assistant Corbin Rugh.

As a recent graduate in music education, I never imagined that my degree would take me into the world of opera. Though I knew the summer internship would be full of adventure, I did not imagine I would be so deeply moved by my colleagues.

Blog author Corbin Rugh with William Ferguson, David Portillo and Patrick Carfizzi (George in Our Town and Almaviva and Bartolo in The Barber of Seville)

It is no secret that many talented singers bring Central City Opera to life each summer. Beyond the immaculately finessed notes and divine artistry lie some truly amazing people. This particular crowd of opera singers proves that an uncommon career path lends itself to appreciating often overseen dimensions of life. The most profound lessons that I will take with me long after this summer are the following:

Bloom where you're planted.

Opera singers find work in all corners of the world. This means that the conventional concepts of “home” and “work” change as often as the gig. It is up to the individual to establish roots and to blossom in each experience. As a twenty-something getting ready to move overseas, I know I will sport these same tenets as I venture into unfamiliar ground. There is no measure for success but our own accumulation of triumphs.

Be true to yourself.

"Work with what you have" sounds like bad advice from a mother to a temperamental teenage daughter, but it proves true in the most wonderful way in opera. Vertically challenged? Add that to the comedy of your role. Have an amazing high C? Use it to tug at our heartstrings! In Our Town, the Stage Manager says, “Something is eternal in everyone.” We are all one of a kind and that is our contribution to the world. Capitalize on your unique qualities and make the most of everything that is you.

Corbin with one of the 2013 Festival billboards outside the Central City Opera House

We create the culture that in turn creates us.

This is the quintessential phrase of one of my dear professors. My favorite Central City illustration of this was a moment in rehearsal for The Barber of Seville. Early in staging, two principals had the idea of a new move they could do in a scene. It came to fruition because the climate was supportive of creative collaboration and the director’s intentions were clear. This seemingly small exchange gave way to a wonderful moment in the show that leaves the audience in stitches! Once we individually embody aspects of a productive and supportive culture, we become part of something greater than ourselves.

Live in every moment.

On all levels, productions have an amazing power to bring people together for a common goal, but only for a short time. In my student teaching, the high school auditorium seemed to magically transform for the week of the spring musical, just as Central City takes on new life in the summer season. As quickly as it comes together, it ends. Enjoy each moment of the journey with those around you and put energy, intention, and love into every breath.

Corbin "lives in the moment" backstage at The Barber of Seville.

The gifts opera singers give us go beyond the two hours we experience in the theatre. The next time you see an opera in Central City or elsewhere, look beyond the production and consider the people who are bringing the characters to life. If we take even a page from their books, we are sure to live, learn, and love wholeheartedly.