This might be a long recap of 'the stage' . . .
My vantage point last night, in Detroit . . .
I'm going to try for 'just the facts' and not 'the feelings' . . . that way, I won't lead myself astray, remembering how I felt like royalty in that little space.
At 6PM, we wandered into the huge, cool, air-conditioned foyer of 'The Palace at Auburn Hills' with a few dozen others. Time to pick up my backstage ticket at Will Call. As we walked to the Box Office window, I only had a moment to tell my son about my new favorite Queen song, "In the Lap of the Gods . . . Revisited", when, as if on cue, Adam's voice came through, clear and pure as crystal, singing THAT song - - - it was soundcheck!
My ticket was marked #1, and inside the packet was my lime-green bracelet, reading "QUEEN ON STAGE". On the envelope were the instructions to meet in front of the West Box Office at 7PM. I was warned 'don't be late, or you'll miss the tour!' Soon there were seven of us at the designated spot - six women, one man. The man and his partner (who was in a wheelchair) were taken directly to their stage seats; the rest of us met 'Andy', who was to be our guide for the next 45 minutes or so. Andy is a young Brit, and has been a 'roadie' for different tours for at least a decade. Told me how recommendations for this type of job are always 'word of mouth'. He's also missing Nick - the guy who wrote a savory blog until he needed to head back to the UK. Obvious from the beginning was the friendliness and cohesive nature of every person backstage. Each has a specific role; seemed the only 'down time' for the set-up and take-down crew (who share those three-tiered bunk slings in the busses) was during the show itself. Rows and rows of heavy carts lined the cement hallways under and around the stage. Andy pointed out one that still had a layer of gold confetti on it - "We just can't seem to get rid of this stuff"! Interspersed with the carts (all numbered & labeled with specific contents) were dozens of huge storage trunks, looking like they could have been at home on some historic overseas voyage. All these containers would be back in use as soon as the encore ended and Queen left the stage. Andy figured they'd be on their way to Toronto by 2:30AM. Sleep would be broken up by the border crossing/inspection, and the process of set-up would begin again around 10:30AM, upon arrival at the new venue. The only 'thing' we could not photograph were the laminated backstage crew passes. Their identifying graphic needed to remain unique. Background color for the laminates changes, too, from day to day - just like ID bracelet colors for backstage passes.
The entire backstage configuration was like a big half-circle line - - 9 tp 11 o'clock was a curving corridor with all the carts & trunks that also held a 'Creative Crew Room' with a black leather sofa, and even a room that held & dispensed walkie-talkies; 11 to 1 0'clock was a big, circular 'common area' that held equipment and was the staging area for the crew; and 1 to 3 o'clock was a corridor that contained all the rooms for the performers (hope that makes sense). It must be a full-time job just to create and post the backstage signs - - here's a sampling: "Wardrobe production", "Live Nation", "Dressing Rooms", "Tour Mgmt", "Catering", "Toilets", "Showers", "Stage", "Band Dressing Room", "Production". . . Brian, Roger, and Adam each had their own dressing rooms (and signs). In fact, Adam had two signs! One was posted next to the door that led to a small corridor which led to his dressing room. We said hi to AFL's personal manager (I think that's what he is . . . we've seen his photo numerous times . . . he is slender, and has white spikey hair) as he walked by, down that little passage. I kinda chuckled, noticing how he only opened the dressing room door a crack and slipped inside - - he made sure there would be no photo opp!
Everyone backstage was so friendly! All the crew were dressed in black t-shirts; Andy pointed out to one of the crew (kiddingly!) how he was out of compliance with the dress code . . . wearing flip-flops. Brian's personal guitar tech (I think he said he'd been with Brian for 18 years) took photos with all of us; we met the caterer, Rufus (who had been outside on a cigarette break), and Neil. A lonely but very realistic-looking ficus sat in the corridor - - - not needed in a dressing room, after all.
One guy, in the common area, was very painstakingly arranging the black fireproof suits that a crew (of eight, I think) would wear up in the scaffolding, operating spot lights during the show. Andy said that these guys are the only part of the crew that is different at every venue . . . they need the expertise of a crew that works, every day, at these individual arenas doing this job. We saw them arrive and begin their 'debriefing' before our backstage tour ended.
In front of the concrete, backstage corridors & common area, but still behind the stage, is the area that was most thrilling to me. Below stage left was a myriad of lights & screens and control panels, where the camera feeds come in from every angle, and chosen ones go on the screens at each side of the stage. I can't remember the name of the man who directs this video flow, but he posed for a photo and promised me he'd show Adam's "get on your bikes and ride!" dance for me! Did it happen?? (Yes, I asked him why they always cut away at that very moment . . .!) I think he did it. . . but then I also remember seeing video of stairs on the screen when I looked up . . . what was that??! No one was yet at the table filled with switches & blinking lights, where the 'sound man' - the one AFL gestures to - takes his place during the show. Looked like a scary seat!
Huge black snakes of cables ran all around this dark netherworld, between stage & security . . . coiled along the floor in big clumps, with fluorescent tape & covers placed for safety, and rows of what I can only describe as plastic-encased Christmas lights illuminating the exits from stage left (Adam's exit during the show) and stage right (where Spike plays the keyboard). Just below the stairs at each stage exit was a little black cloth-covered 'tent'. Inside was where the performers would find a bit of respite - and a costume change - during the performance. Adam's little tent was neatly arranged with (*gasp*) the spiked leather fringed sleeves, the lace shirt & vest, the black & white zebra-print shirt, the red leopard shirt, and the leopard jacket and pants hung on a rack; below the clothes were the black hi-top boots, leopard boots, gold platforms, & black platforms. A small plastic, white laundry basket was in the corner. Dressing table had kleenex on it . . . I can't remember what else! No mirror. A 'twin' to Adam's black cloth tent was on stage right - - - inside I just noticed a white, long-sleeved shirt and what looked like a black suit jacket. Again, no mirror. I was fascinated as I thought how these incredible artists are bigger than life onstage; and then they follow the lights down a short flight of stairs, become human again, change costumes, and then ascend and transform, anew, into greatness. Yes, they are just like us. Just amazingly so.
After the tour, we ascended our own little flight of stairs. We were warned that anyone in the front row would be fair game if a performer came over 'to interact'. We were also told no food or drink was allowed; nor could we attempt to touch a performer. A security guard sat in the unfortunate seat right behind me for 2 1/2 hours. His poor view was of my 'fat bottom', as I stood and danced behind the woman in the wheelchair and her husband, and was happy there for the entire show. I liked it better than a front row seat! Before the show, I studied the enormous curtain. It was held in place on the floor by what looked like wrought-iron bacon presses. A few minutes before 'showtime' I looked down and a 'bacon press' was gone - replaced by a pair of tan work boots. Also, one of the crew hunkered down in front of the stage and grabbed & held onto the very center bottom of the curtain. Wind blew, 'smoke' spewed, lights and sound filled the arena - the incredible heraldry was sucked to the ceiling and Queen & Adam took the stage - seized the stage.
So, here's my story telling the little I learned of the dozens and dozens of shadows surrounding the amazement we see. Supreme art, craftsmanship, attention to detail, commitment to purpose, teamwork, and a real love and knowing companionship is shaping this tour; the happiness on Spike's, Neil's, Rufus', Roger's, Brian's and Adam's faces just reflects the glow behind the scenes. There is a crew there, polishing the mirror that allows them to shine.
