Backstage Passes: Nick Von Hagel Managing Director of Westminster Arts Center

An interview with Nick Von Hagel, Lighting Designer

for Mosaic Dance Theater Company 

    You may not know Nick Von Hagel by sight, but if you've seen our productions at Westminster Arts Center (WAC), you know his work! His sorcery with light gives Sir Isaac Newton pause. As Managing Director of WAC at Bloomfield College, Nick is responsible for the technical aspects of the theater.  In addition he is "it" for managing the countless operational details necessary to keep this popular venue at the ready, not only for Bloomfield College, but for the many arts organizations which, like MDTC, call WAC "home."  Here's your chance to get to know "the guy in the booth."

How did you become involved in technical theater? 

   I became involved in theater about mid-way through my sophomore year of high school.  A number of my friends were assisting with our production of Little Shop of Horrors, so if I was looking to hang out with them after school, I ended up with only one option -- working on the show with them. From building sets to working on lighting crews,

Nick Von Hagel at the sound console at WAC.

I became stoked for every new production we put on. My father, who was a hobby woodworker and built a number of pieces of my bedroom and our living room furniture, instilled in me an enjoyment for working with my hands. Using some of those skills taught by my father for theater was a catalyst for me.  I had never had much desire to just make things out of wood beyond spending time with him and assisting my father, previous to my high school introduction to theater.

What drew you to lighting design?

   Necessity! Though I design lighting for Mosaic, my primary expertise is in live mixing, skills and practice brought on after attaining my position as the Technical Director of the Westminster Arts Center.  Many people will be okay with a simple lighting design, lights up/down, but most people can't stand bad/unclear audio.  For many events that require both lighting and sound, I'll generally fulfill the sound mixing role for those reasons.  But as live reinforcement is not needed by many dance shows, and minimally even for Mosaic, I get to do the other thing I love -- stage lighting.

Can you note any differences working with dance theater vs. theater?    

   I think dance theater sometimes has more impact than a standard theatrical production.  Dance theater is so much more about conveying mood through lighting and music.  Which is not to say those things are not conveyed using those disciplines in other arts forms.  Narration/exposition are simpler in a dance theater piece so you require a little more from the other technical/artistic aspects to flesh out such pieces.

Is there any piece in Mosaic’s repertory that has particular meaning for you, and why?  

 I particularly like Ubar, The Lost City of Brass, maybe because it lets me lean on a color palette that I usually shy away from for many other lighting needs I fulfill. Ubar also runs the full gambit of storytelling and emotion from slow and sneaky mysterious action to "run for your life." 
(At left are the many moods of Ubar, The Lost City of Brass, from MDTC's production of Tales from the Arabian Nights, with examples of Nick's exquisite lighting. Photos by Gary Heller.)

 
What are the challenges for you, working in technical theater?  

    The moment of having to accept the technical limitation for what my artistic vision may be for a given moment.  Sometimes having to sit back and realize that I don't have the twenty thousand dollar magic bullet light, or the perfect lighting angle to get it the effect I want.  In the end, working with your space with the  equipment you have available to you, while still creating something amazing is something a technical artist needs to come to terms with.  
(A special lighting effect achieved in Fo(u)r Women. Photo by Gary Heller.)

How has your time with Mosaic changed or enhanced your experience in technical theater?   

Mosaic was one of my first ventures into lighting and working on dance theater.  I had designed and worked on many productions through my college years, but Mosaic was one of my first times delving into "artistic" lighting design outside of the safe "higher education" world.  I'm grateful to Mosaic for their patience with me and that first show in 2008, as I fought the terror of what I feared

may end up to be horrible lighting (it wasn't),  but terrifying nonetheless.  Ten years later, I look forward to the next time Mosaic is on my calendar, and what new story piece they may have for me to play with. 
(At left, two pieces from MDTC's 2008 production at WAC, Red Desert  and The Boating Party. Nick's lighting design captures just the perfect quality for the particular moment in each dance.  Photos by Gary Heller.)

Remembering Eddie "The Sheik" Kochak

 

 The world at large lost an indescribable force in the world of Middle Eastern music and dance, in the passing of Eddie "The Sheik" Kochak in December 2018, at 98-years young!

  Eddie was a tremendous influence on many, many dancers and musicians, creating recordings of new and traditional music in his trademark "Amer-Abic" sound. His recordings, having made the transitions from LP to cassette to CD to iTunes were (and still are) "musts" for every dancer's music library. 

And who better to remember Eddie than those who knew him well.

  Samara, MDTC's Artistic Director for Dance and Choreographer:

L to R: Gary Kupper, Samara, Eddie Kochak, Jehan Kamal

   There are some people in life who are so unique they hold a special meaning in your heart, and therefore contribute a significant  perspective of how you see the world. Eddie "The Sheik" Kochak was one of those people. He was an interesting combination of Arabic/American culture. He was a bridge for so many artists from the Middle East that immigrated to the US. They all knew the best thing was to contact Eddie Kochak and he would advise them.

   Eddie was always very supportive since the beginning of my career. His humor and warm-hearted personality always made it fun to work with him. He had a very personable way of entertaining and making people laugh and enjoy themselves. The humorous delivery of his songs and his wonderful music makes him one of the most memorable entertainers in our field! I feel so lucky to have Eddie as a dear friend.  He was actually more like family to me.
  I will never forget all those wonderful dinners on Atlantic Avenue (Brooklyn) with Eddie, where he would go into the kitchen to make sure our Baba Ganoush was fresh! He was the King of the neighborhood! Rock, Rock, Rock, Ya Habbibi! Eddie you are bigger than life! You will live on and on in your music and all who loved you. Thank you for all the wonderful memories! Priceless!

L to R: Dr. Phyllis "Phaedra" Saretta, Eddie Kochak, Soraya Melik

Phaedra
 
This article (see link below) about Eddie by Phaedra (Dr. Phyllis Saretta), MDTC's special artistic consultant, and dance legend appeared in Arabesque Magazine. 







http://www.brooklynartscouncil.org/files/downloads/Arabesque_A_Journal_of_Middle_Eastern_Dance_and_Culture.pdf

  At MDTC's October 2009 gala benefit, a special tribute was paid to Eddie and his music.  (The color photos by Gary Heller shown here are from that delightful evening.)  The evening was a perfect occasion for comedy.  Below, as a parody of B-movie interpretations of Middle Eastern dance, the Company performs Samara's choreography to to Eddie's "Salaam to You."

  No celebration of Eddie "The Sheik" would be complete without everyone joining in on the chorus of his unforgettable "Calories." In the video clip below, Samara, Jehan, are Eddie's onstage back-up dancers, while Gary Kupper plays the keys.

But Eddie's music wasn't always about comedy. Enjoy a short clip from our Harem Fantasy, a dreamy veil dance to one of his incredibly romantic rumbas.  Choreography by Samara.

  We love you, Eddie, and we miss you! You've got all those angels in heaven who are used to dancing on the head of a pin now doing drum solos!