This transcript was automatically generated and might contain errors.

[0:01] Jen Schriever: My name's Jen Schriever and you're listening to The Art of Kindness.

[0:10] Robert Peterpaul: Hello, beautiful people. Welcome to The Art of Kindness, where we have compassionate conversations with artists from all areas of the entertainment industry who are using their voice to spread joy and make this big spinning planet in the universe a better place to be. I'm Robert Peterpaul and I'm so glad you're here.

[0:38] Robert Peterpaul: Hello, friends. I'm hopped up and excited because I just got off a beautiful recording session with today's guest, who literally lit me up. We were talking all things The Lost Boys, which, if you're watching on YouTube, you can see that I'm holding up the playbill and fanning it and probably looking a little unhinged. Oh, positively unhinged. Anyway, I feel so grateful for this conversation with the one and only Tony winning Jen Schriever. Jen Schriever is one of the most celebrated lighting designers working in the theater today. Her acclaimed work has illuminated Broadway, the West End, regional theater and opera, including shows like A Strange Loop, Death of a Salesman, Glengarry Glen Ross and Mother Play.

A Tony Award winner with multiple Drama Desk and Obie Honors, she's helped shape some of the most visually unforgettable productions of the last decade, most recently including The Lost Boys. If you have not seen The Lost Boys, you need to fly like a vampire over to New York City and go see it ASAP. It is one of my favorite shows, as you will hear me say many times throughout this conversation, and I truly just think we need more fun, I wanna call it a flick, because it feels like a live movie right before your very eyes. We need more fun stories like this that have great messages about the light and the darkness in all of us. Anyway, I'm gonna push stop on the rambling and push play on this beautiful conversation, as without further ado, we welcome the joyful Jen Schriever.

[2:36] Robert Peterpaul: How you doing, Jen?

[2:37] Jen Schriever: I'm okay. How are you?

[2:39] Robert Peterpaul: I'm good. I don't know if you're back in the city. It's so hot today, so I have my little AC unit on. Hopefully you can't hear it, but I need it.

[2:48] Jen Schriever: Yes, get it.

[2:49] Robert Peterpaul: Are you back in the city?

[2:50] Jen Schriever: I'm not. I'm actually out on Long Island right now.

[2:53] Robert Peterpaul: Oh my gosh.

[2:54] Jen Schriever: I'm hiding in a room while my family is downstairs.

[2:58] Robert Peterpaul: Oh my god.

[2:59] Jen Schriever: We're visiting friends, and it just turned into, here we are, we're still here.

[3:05] Robert Peterpaul: We're still here.

[3:06] Jen Schriever: We're not in tech, so we're open to adventure.

[3:09] Robert Peterpaul: Okay, perfect. It's like, as Sondheim says, we're still here. Well, I am such a fan of you and The Lost Boys. It's probably my favorite show that I've seen in over a decade. I just think it hits every mark for me. The heartfelt underpinning the foundation, and then of course there's the cappiness and the music. I can't get enough of it, so I am thrilled to talk to you today, and I'm gonna geek out a lot. I said I was gonna play it cool.

[3:36] Jen Schriever: Yeah, I'm not playing it cool, Jen. It's fine.

[3:41] Robert Peterpaul: Tony winner. I should have said that. Thank you for being here.

[3:45] Jen Schriever: Yeah, that's crazy.

[3:46] Robert Peterpaul: Is that crazy?

[3:47] Jen Schriever: That's absolutely not so.

[3:48] Robert Peterpaul: Are you getting used to it at all?

[3:50] Jen Schriever: I mean, it's pretty cool. It's a cool addition to my life.

[3:57] Robert Peterpaul: Yeah, very cool. I mean, you're gonna be introduced that way probably from now on, at least professionally, which is pretty great.

[4:05] Jen Schriever: Yes, my son has been the keeper of the Tony. I have a nine-year-old, so he's the Tony holder right now.

[4:11] Robert Peterpaul: That would be a cute children's book, The Keeper of the Tony, and just him taking it around.

[4:17] Jen Schriever: Well, it's so well-deserved. As I said, I truly admire your creativity and your genius. And I think with a show like that, that's so rooted in light and dark, it probably could have been very simple and easy to light the lighter, kinder scenes brighter. But the nuances and the complexity, I'm gonna get into all that. I first wanted to see just how you're doing, because the Tony circuit is such a whirlwind. And coming down from that high, which I think maybe you're combating by just throwing yourself into more jobs, which is great. But how has that been?

[5:04] Jen Schriever: I mean, like the past May, May into June, really the whole process. But May into June has been like such a wild experience, a learning experience for me. I've never, I've done musicals before, new musicals before, but never something like this. So it's been just, yeah, being in the Tony circuit and all of that has been wild. I mean, really fun. I've just said yes. I've just been like a yes-sayer. Like, yes, I'll show up. I'll do it. Like, whatever's happening, I'm down to try. So my mantra has been a yes-sayer. And now it's been nice to have a little bit of rest, though I have already completed a heck of a new musical.

[5:36] Robert Peterpaul: I know Ice Boy, which I want to ask you about for a second, too. At the Goodman Theatre, we have Megan Mullally, Nick Offerman, you know, Grey Henson. How has that been so far?

[5:46] Jen Schriever: I mean, amazing. Yeah, it opened, I left before opening, but I think they officially opened yesterday? I've lost track of time and space. I'm trying to, like, exist in the moment. But we stopped working on Friday and I came back to New York. But it's the opposite of Lost Boys in that it's, you know, every corner is revealed. You know, it's full, every smile, every glance, every nuance is, you know, ready for the audience to witness in the actor's faces. But it's so fun. It's a joy bomb. It was really delightful to work on.

[6:26] Robert Peterpaul: Yeah.

[6:27] Jen Schriever: Yeah. Although maybe a little crazy to go right from the Tony straight into tech.

[6:31] Robert Peterpaul: Hey, you know what? Another learning lesson for me.

[6:34] Jen Schriever: Listen, we all learn things and sometimes it's good just to, like, immediately shift.

[6:39] Robert Peterpaul: I guess it's like a shocking diving into a pool of ice in a way.

[6:43] Jen Schriever: Yes.

[6:44] Robert Peterpaul: Yes.

[6:45] Jen Schriever: It's lighting an ice block hard.

[6:46] Robert Peterpaul: Was that a challenge?

[6:48] Jen Schriever: No, surprisingly easy, actually.

[6:50] Robert Peterpaul: Oh, my gosh.

[6:54] Jen Schriever: Yeah, I'm sure.

[6:55] Robert Peterpaul: That's awesome. Well, OK. I'm so excited for that. And obviously, just to look at your career through the lens of kindness today. For context, I was wondering, Jen, what would you say is your definition of kindness and how you think it's evolved over the years?

[7:09] Jen Schriever: Yeah, I've been really especially honestly, even in this process, like of making the Lost Boys, I've realized like there's something about like anti cynicism in my definition of kindness, like assuming the best in people. I think it's, you know. Everybody is doing their best and like seeing that is like ultimate kindness to another person. And then something about curiosity, like staying here. I think it's the same thing, like staying curious and not being a cynic and finding there's three things being curious, not being, you know, fighting cynicism and finding comfort and vulnerability. And I think like those three things together lead to like showing up as a kind person.

[8:01] Robert Peterpaul: Yeah.

[8:02] Jen Schriever: Or lead to kindness.

[8:03] Robert Peterpaul: That's a brilliant formula. I mean, even if you look at what you do simply, it's like the light can't come through unless you're open. You know, it's like, yeah, it's like being open to all of that. And in looking at your journey before we get back to the Lost Boys, I'm just curious from like I think good vibrations to your first Broadway show that you led.

[8:20] Jen Schriever: Ghetto Clown, actually.

[8:21] Robert Peterpaul: Ghetto Clown.

[8:22] Jen Schriever: Yes. It was a one man John Leguizamo show.

[8:24] Robert Peterpaul: Oh, it's my very first.

[8:25] Jen Schriever: And then Eclipsed was second.

[8:26] Robert Peterpaul: What a legend.

[8:27] Jen Schriever: Full play.

[8:28] Robert Peterpaul: Yeah. Well, is there an act of kindness from that whole beautiful trajectory that kind of stands out as changing your journey? I'm sure there were a lot.

[8:36] Jen Schriever: Why I love the theater is I do like like people, which is helpful because it's a collaborative art form and you don't have to be around each other. So I think, you know. There's all sorts, you know, maybe what has changed is realizing it's the same, you know, like we have to love each other. It's easy to be or you don't have to, actually, I guess, but it's helpful to to love each other. And also, especially in the theater, like there's so many types of folks that show up like stagehands, designers, actors, and everybody sort of has a different ethos or a different way of being in the room. And, you know, finding room for all types of people to be themselves, you know, has been like reiterated to myself over the course of every show. Like if there's no one way to be. And and that's OK.

[9:33] Jen Schriever: You know, I'm a Gemini from New Jersey.

[9:36] Robert Peterpaul: Wait, there's a lot of people in this virtual zoom right now. Where are you from in New Jersey?

[9:42] Jen Schriever: I grew up in Ridgewood, New Jersey.

[9:44] Robert Peterpaul: OK.

[9:45] Jen Schriever: It's near the malls near Paramus.

[9:47] Robert Peterpaul: Yes. I'm from Chatham. So I'm from like North Jersey.

[9:49] Jen Schriever: Oh, sure. I do know Ridgewood.

[9:52] Robert Peterpaul: Yeah. We also have a mall, the Short Hills Mall.

[9:55] Jen Schriever: Yeah.

[9:56] Robert Peterpaul: Yeah.

[9:57] Jen Schriever: Yes.

[9:58] Robert Peterpaul: I love malls. Sorry, I could go.

[10:01] Jen Schriever: Yeah, we grew up. We grew up with malls. That's part of our DNA.

[10:04] Robert Peterpaul: I know. Yeah. But like my, you know, we you know, like I didn't grow up like epically patient, I guess is what I mean. You know, like it. And so it's something I constantly work on to like. But but it is nice to remember, like we're doing theater because we. Typically, you like being with people, telling stories together, working together and, you know. Not taking things personally, I think is like an act of kindness and not something I do easily.

[10:36] Jen Schriever: Yeah.

[10:37] Robert Peterpaul: Well, that's good. I'm from New Jersey.

[10:39] Jen Schriever: Yes.

[10:40] Robert Peterpaul: Yeah. We just we keep bopping along and trying our best. But I wonder, you know, you mentioned Ice Boy being a joy bomb with shows like that. Don't you feel like it's a lot easier to kind of get past those little bumps and those frustrations because you're like this wasn't an instance maybe, but like we're lighting an ice block with like Megan Mullally. It's like it's so joyful that it's hard to, you know, be the opposite.

[11:00] Jen Schriever: Honestly, that's like every show, even like, you know, it's like the death of a salesman, you know, you're like, I'm yes, it's very serious and heavy, but like, look what we get to do, especially, you know, like this is so, you know, we're so lucky to be able to be creative and, you know, this is our problem solving, you know, like it's storytelling problem solving is like, you know, probably on the scale of like hard to, you know, stressful to like, you know, easy or whatever is on the on the other end than like brain surgery or, you know, climate change or.

[11:38] Robert Peterpaul: True. True. Though just as important.

[11:41] Jen Schriever: But you know what I mean?

[11:42] Robert Peterpaul: Yeah.

[11:43] Jen Schriever: I totally know what you mean. And I think you're you're doing that on a lot of levels with The Lost Boys again to get back there for a little bit, because it does distill down to something you said earlier, which is just like making room for everybody and sort of like being yourself and existing with both the light and the dark. And I loved it so much. Like I said, in large part due to your magical work on this show, I read that you started lighting design by asking or listening to sort of the adjectives people used to describe the show when you joined.

[12:11] Jen Schriever: Yeah.

[12:13] Robert Peterpaul: So like in the big picture, how do you look at the arc of your design when you're first approaching a show like this? Like how do you take the adjectives and then think about the story and and then your visual story that you're telling?

[12:23] Jen Schriever: I mean, usually, unless you're doing like major structural work or something big shift is happening, usually the adjectives are the adjectives, like how the writers and how the director and the scenic designer and your collaborators are talking about the show. That's usually like the core. So as long as you hold on to that, the how might change one time, it might be right from the get go. It might change 10 times as long as the adjective is what you're doing. So as long as it's, you know, we need this, it's really important that this moment is cavernous or it's really important that, you know, the family feels isolated from each other in this moment, whatever that is, you know. That might mean, you know, they're literally isolated in beams of light.

That might mean they're isolated in other ways. Maybe only one of them gets the moonlight from the window. Maybe the lamplight only hits mom, you know, so. So in that way, the adjectives are our guide and, you know, the how sometimes might change based on reality, too, like, well, we can't reach light through the window because they're doing a giant set change behind that window and, you know, we just can't do it. So, you know, it's less of the how has to be flexible, but the why is, is like the, you know, the guide.

[13:48] Robert Peterpaul: Yeah. The why is the guide.

[13:49] Jen Schriever: Yeah.

[13:50] Robert Peterpaul: That's a great guide for life, too. Just keep asking yourself why. And, you know, especially as a performer and anything creative, I think if you distill it down, it's like why, why, why, why, why, and in therapy, too, not to go into that.

[14:01] Jen Schriever: True that. Speaking of a therapeutic conversation, I had one with your buddy Michael Arden on here and he mentioned how grateful he was that you allowed him the act of kindness of co-lighting with him. That was like the big act of kindness he shared here. And I wonder if that was the plan from when you first signed on or just how that collaboration came to be.

[14:21] Jen Schriever: Yeah, that was his ask. You know, he called me and he was like very sweet and shy about it.

[14:26] Jen Schriever: You know, he was like, so like nervous to ask. But if you know Michael, whether you're listening, you might know him, you might not know him. He is a, you know, talk about staying curious, like he's an extremely curious human. He really wants to understand and know how and why and he does internalize like he is a great learner. So I think, you know, not just, he's always had a deep love of lighting and his own path and training in different ways. And then just as a director, he's been, you know, very focused on lighting and become an expert in his own way. So I think he was really excited about, you know, when he started to visualize The Lost Boys before he had a full design team. He was excited to participate in that part of the world making in a really intimate and deep way more than a director normally would.

So I was down, you know, I was, you know, it's funny, like I chatted with a few friends who are like, are you sure? You know, like you want to and I, I don't know, I love working with Michael. So I was so open to having him and it was so fun. And I would, you know, I don't know if he wants to anymore. You know, we have shows lined up in the future where we're more traditional roles, but I would co-light with him again in a second. Like it was, it was, it was really, really fun. And we pushed each other and that was fun too. And it was fun to have another voice, like when you're usually really kind of alone as a solo designer. So I, yeah, it was, it was the plan from the get go. It was a sweet ask. I was down and then we had, thankfully, a ton of fun. I mean, it could have gone any way.

[16:18] Robert Peterpaul: Yeah, that's so true. It worked out great. Do it again. You guys are magic together. I wonder, I mean, obviously your friends, you had a ton of fun, like you said, and it's, it's such a fun, layered, beautiful show. I wonder in those moments of even just creatively having this in other shows, when you sort of like have that disagreement or you have sort of like the differing view of even just what color something should be, what sort of like centers you both and allows you to kindly like reach a solution?

[16:42] Jen Schriever: Yeah, well, thanks. I think we're similar in a lot of ways in like creative process. So I think we both like allow room. So I think if I was wanting to try something, maybe he wasn't sure of, or the other way, if he was wanting to try something I wasn't sure of, we both would just go for it. You know, unless time was, unless we had like the clock was ticking and we had to just make a decision. But, but I think, you know, we both remained open to each other's ideas. And sometimes I, he would try something, or vice versa, that one of us wasn't sure of. And the person we would notice, you know, actually, I was wrong like that, but you're thanks for letting me try. That was not the right move. But oftentimes, what we would say like, ah, and then build on it.

So I think, you know, this is something I think about a lot, you know, younger me would, you know, sometimes you can resist the idea outside ideas, you know, especially when you're trying to like, form your way and, you know, yeah, you're a Gemini from New Jersey. Taking it personally, like, well, my why wasn't my idea good? Totally. Or like, this is like, I built a thread and you can't untangle this one thing, because the whole thing will fall apart. But actually, it doesn't, you know what I mean? And like, somebody is giving you a note is responding to something and, and everybody wants the show to be great. So like, it's easy to try, usually, especially with lighting, like lighting can just happen.

And you know, like, you can just turn the light off and turn another light on. And yeah, it's not like you have to go to the scene shop and build a whole thing or like, so a costume like you can just try it. So I think, yeah, I think that we, you know, yeah, we gave each other space. And there was rarely a disagreement. I honestly can't even think I'm like, I can't even think of one. Yeah, I'm sure there I know there were moments where I was like, Oh, I don't know. But I can't even it was so inconsequential. You know, it was just a moment that passed. And then we got to, you know, we got to an even better thing through the process. So just a moment in the woods.

[18:49] Robert Peterpaul: Okay, first of all, this is so random. This is so random. But do you know, Jack, the lights turn off kid on Instagram was like, we're gonna watch the lights turn off. Or I don't know. Okay, maybe we should we should hook you guys up because he goes to all these iconic places. And then he's just like 123. And he's so excited for the lights to turn off. Like he went to the sphere. He's gone to different businesses. I'm like, he should go to Broadway. But just hearing you say amazing, get the on and off thing with lights.

[19:19] Jen Schriever: Yes. Of course, it wasn't that simple with this show. Because I think overhead space was so precious. Kind of a challenge in the strangest places.

[19:24] Robert Peterpaul: Yeah, yeah.

[19:26] Jen Schriever: Yes. Very, very exciting. Very scary, but like the best kind of scary because you know, it's going to lead to something.

[19:30] Robert Peterpaul: Yeah.

[19:31] Jen Schriever: The second you know, the second I saw Dane set, I was like, Oh, okay. Like, yeah, this is gonna lead to something really interesting because the lights can only be in really interesting places. So it was a gift, actually, like that we didn't have the typical, you know, is there like a favorite interesting spot where a light's hidden? I mean, I love everything from the beyond, you know, like everything that's beyond the set, actually, you know, it's like, I've never had lights in theater like this far away they have because the set's so tall.

[20:02] Robert Peterpaul: Yeah.

[20:03] Jen Schriever: And so huge. All the lights are like farther away than normal. But it lends to like this reach of light from the beyond that. God, I mean, I wish I could keep working on the show because there's so much more to discover. I think and you know, I'm happy with where we are, but it would be fun to I know playing.

[20:30] Robert Peterpaul: I always I always wish that too. I mean, I know there's long running shows like a wicked or Chicago where things get tweaked, but I just think it'd be so cool if there were clauses or you had to come in and revisit as new like technology developed.

[20:39] Jen Schriever: Yes, I mean, we're blessed to run forever. Hopefully, if we said, you know, even if we get to do it, you know, fingers crossed, you know, London or other sit downs will it'll just get better and better because we've learned we've learned so much about the space and how it works.

[20:58] Robert Peterpaul: And well, looking at that, like, I don't know if you are currently working on the tour, but I know it was announced. And is that an even another layer of a challenge with?

[21:02] Jen Schriever: Oh, yes. It's like, well, we don't have just one place now, you know?

[21:09] Robert Peterpaul: Yes.

[21:10] Jen Schriever: Yes. I it is a challenge. I'll leave it at that. But we're gonna we're gonna figure it out. And I'm excited to figure it out. Like I think I think it'll be just as mysterious. It'll just be a little different.

[21:19] Robert Peterpaul: Yeah, but it's exciting to it's a puzzle. It's a really exciting puzzle.

[21:26] Jen Schriever: Yeah.

[21:27] Robert Peterpaul: Well, and I'm sure depending on the theaters, it's like you'll have to help create that foundation that you you to sort of like deftly crafted, which is the foundation of the lack of lighting and the inky darkness and that mystery that you created on stage. And when you're looking at the story, I know you immediately kind of wanted to have this darkness for the actors to come in and out of.

[21:44] Jen Schriever: Yes. I was like from the get go, we have to hold back as much as possible. Like, honestly, you know, I've said this before elsewhere, but like the shell of the set, the two walls, like they're always there, you know what I mean? So so yes, things come and go, but there's some times where light is the only thing changing our location or this, you know, obviously the staging, but like keeping holding back, revealing the full, you know, expression of what Dane created was a major priority. So like your mind, I think it's exciting to trust the audience and like let them fill in gaps in their own, you know, imagination and not give everything away. So like holding back and continuing to hold back, even after we've revealed the whole space was really, really important to me and can get hard when it takes you like sometimes two days to just get through the first like three pages in tech.

And you're like, why is the lighting so small? Like, well, this is just going to be like five minutes of it, you know, barely like where, you know, hang tight, hang tight in the grand scheme. We're going to be happy we held back.

[23:00] Robert Peterpaul: Yeah.

[23:01] Jen Schriever: Oh, my gosh. I can imagine like looking at it at that granular level. And you mentioned the audience, too. And with a show like this, it's so epic when and when you hear it combined with the lighting, when the lights turn off and it's like pitch black and then something turns on. Do you get involved at all with I don't know if this is a silly question, but sort of like lighting the audience? Like how much of that immersion is something you're in?

[23:17] Jen Schriever: Oh, yeah. I mean, yeah. Yeah. Not just lighting the audience. Like some of our earliest conversations were about the Palace Theater, which had a recent renovation. The whole all the walls are very pale. The exit signs are fresh and new, you know, like the aisle lights are up to the latest code. You know, it's not like the St. James, for example. You know, some of these theaters are grandfathered into like older, you know, it's still safe, super safe, but just different lighting conditions in the house. So like some of our earliest conversations were about, you know, how dark can the audience get? What you know, what how much light can we control from from not just the stuff we're bringing in, but what already exists?

And then again, yeah, like when and how are we including the audience with stuff that we've chosen to, you know, light them with? And I think that's there's a part of, you know, drawing the audience in so you're not just watching, you're sort of inside it.

[24:11] Robert Peterpaul: Yeah, which I think we we do like a pretty good job of, you know, making the audience feel like they're, you know, a part of the show. You know, it's not immersive in any way, but you're you're, you know, inside the story while you're watching the story.

[24:25] Jen Schriever: Yeah, it's it's maybe a more immersive version of being at the movies with your best friends and like people that shout at the screen because it feels like by the end people are screaming at, you know, well, I know it's all over TikTok and people know about like the added scene, which is like brilliant. And I'm so glad that got back in there. But I did. I had to double check as I was like, I saw Beetlejuice, I think was the last thing there, which was a touring version. But yeah, like, is this the same theater? Like, it just feels so different, you know, totally cozier in a way. And then it's huge. And then, yeah, you guys just nailed it.

[25:02] Jen Schriever: We play with scale in an interesting way. I had done Glen Gary, Glen Ross in that theater last year. So I knew I was doing The Lost Boys when I was doing Glen Gary. So I was constantly thinking, like, how how are we going to do it? And also the theater when we did Glen Gary, which is a play and the set filled the stage beautifully and it looked beautiful. But the theater felt huge, like the Palace Theater felt huge with a play on the stage.

[25:28] Robert Peterpaul: Yeah.

[25:29] Jen Schriever: And then when we started making The Lost Boys, weirdly, the theater started to feel small, like we've really used every inch of this room. The way your brain fills in scale is really interesting.

[25:41] Robert Peterpaul: Oh, my gosh.

[25:42] Jen Schriever: Oh, yeah. Especially with the flying, which had you lit flying before? Is that something?

[25:46] Robert Peterpaul: Not like that.

[25:47] Jen Schriever: Yeah, totally different. Super. That was the scariest, like, you know, super, super nervous.

[25:54] Robert Peterpaul: Yeah, because you're kind of masking a lot.

[25:56] Jen Schriever: Yes. Yes. Yeah. Working hand in hand with all the folks that created the flying. But we figured it out and that I would spend more time on. Like, that's one of the places where, like, I could get so because, yeah, it's not just a line going up and down. A body moves in space, you know, just like a pendulum. So sometimes, you know, you have to let the massive, you know, human humanness. There's a factor of that.

[26:31] Robert Peterpaul: No, for sure. Which is beautiful. And I think why it's so good.

[26:36] Jen Schriever: Yeah. But I would work on it more.

[26:38] Robert Peterpaul: OK, well, undeadness, too, we should say. And I wonder, I mean, that theater might be too new. I don't I don't think there's any ghosts in that theater yet. I don't know. Have you experienced?

[26:46] Jen Schriever: OK, OK. I love I love theater ghost stories. It's like my favorite thing. Do you have any? Have you had that over the years where there's like some of these theaters like the Belasco?

[26:55] Robert Peterpaul: Oh, my God. I'm obsessed with the Belasco is my favorite theater. And I've I've been an associate in the Belasco a bunch of times and like, revisited the same place ten times and then looked down and like there's a ticket from like 1910 on the ground. And I'm like, I just passed this. Like how really, you know, I have some artifacts.

[27:11] Jen Schriever: Yeah, it's wild. So I totally the Belasco has a magical situation going on. Like, they must love you if they were just leaving you little gifts.

[27:17] Robert Peterpaul: I got some gifts.

[27:22] Jen Schriever: Yeah. Oh, my gosh. That's amazing.

[27:27] Robert Peterpaul: Yeah. Kind of danced around it. But I'm so curious about the colors, like that that fiery amber and the sort of neon bluish color, which I think I guess. OK, first of all, this is, again, might be a sillier question, but it's also in the branding. And I just wonder, like, what comes first? Whose conversation really comes first in regards to like the style and the colors?

[27:42] Jen Schriever: Yeah, I think with the branding like that was you know, that's something Michael really gets involved with. Like he is. It's also why he's such a like full on creative beast, like he just really values participating in the storytelling, being a part of every type of way the show shows up. So I wasn't involved in that. But I think Michael's hand, you know, helped tie tie the, you know, us together in that. And color is hard because, you know, especially with modern lighting, it can be any color. Light can be any color. You know, you can. So you really have to like find your palette and then know where you're going to blow it up and then know where you're going to stay true to your palate. So obviously, like we leaned into the red, the Lost Boys sign being red, the vampires having some red or fire attached to go along with the moonlight, like what kind of light shows up in the night that isn't moonlight, you know, so the fire pit or the bonfire, campfire.

[28:53] Jen Schriever: However, the sun or the moon might arrive. Is it the romantic moonlight of Star and Michael meeting? Or is it the scary moonlight of the Massacre at the Beach? What are the colors of that moon?

[29:23] Robert Peterpaul: Was there a color you knew you wanted to sort of land with by the end of the show? I guess not including the redness of the deleted scene, we'll call it.

[29:31] Jen Schriever: Sure, sure. I mean, I think it was, it's a rising sun, you know, the brightest, brightest sunlight, you know, that we never ever get to see. So we're really, you know, there's a rising sun, the cast is belting their faces off, you know, we are, you know, we think that, you know, humans have, you know, conquered the vampires and, you know, a new day has dawned. So just clarity, you know, looking whatever that clear, clear morning, you know, sunlight might look and feel like in direction in color. And then we learn maybe, maybe it's not. So, you know, then we have our deleted scene.

[30:12] Jen Schriever: Well, I did. I pitched Michael a sequel called The Found Voice. I didn't actually pitch it, but I was like, Broadway sequels like that's not done really. And I don't know, that would be so cool just to you said like revisiting this story and continuing it in a way because I haven't seen a fan base like this since I feel like Spring Awakening was one of them way back when I mean, when I went there, the line was just around the block. There's people there. I heard people muttering this was their fifth time. People are making friends in the line like they're finding each other. It's so wild.

[30:44] Robert Peterpaul: It's pretty cool. It's very cool. Like coolest fans. I don't know if Michael told you if you've there's a dog that's seen the show like 12 times.

[31:04] Jen Schriever: No, there's a there's a woman who brings her dog and or a person who brings their dog and like the dog has a vampire collar and and and a cape. And this dog, I can't remember the dog's name. Now that I've said it, it'll come up on your social media now. Like I'm calling it. I'm calling it into the space. But this this dog has seen the show. I want to say like what the last time I was there, the dog has seen the show nine times. I think it's like up to 12, but maybe more. Oh my gosh. So and the dog has a tiny playbill, a tiny dog playbill.

[31:28] Robert Peterpaul: I need to find this. I think I might know who you're talking about.

[31:32] Jen Schriever: It's amazing. It's, it's very cool. Yeah, it's also cool that you know who was behind us when we saw it. I told Michael this, but I had to, I played it pretty cool and I didn't want to bother her. But Whoopi Goldberg, who's just so like iconic. And I'm sure you've had so many of those come to see your shows over the years. But it's like, oh my god, it's Whoopi Goldberg. And just to hear her enjoying it so much. Like, I was, I mean, I was going to enjoy it anyway, but like that was even cooler.

[31:58] Robert Peterpaul: For some reason. Yes. All of these things considered looking at your biggest part in the show, which is that that tech process. I'm curious how kind you are to yourself, Jen, on the long days, which I know can be tough.

[32:13] Jen Schriever: Yeah, I mean, that's probably the hard, you know, in the like, obviously, but like in the root of all kindness, like it has to start with yourself. It's very hard to be kind to others if you're not with yourself. Yeah, I think like, it's funny, you know, as a younger person, when I was starting out, I remember lighting shows and, you know, the first day of tech being like, I'm terrible. I don't know what I'm doing. I'm a hack. Like, why did I even get hired? And that, you know, I think resonates with a lot of lighting designers, because you're just making it on the spot, you know, like you're expected to create in front of everybody without any, there's no model, there's no, you know, you're, you're just making the lighting.

So there's a version where you're, you know, trying your hardest to figure out what's going on on day one. And day one of tech is my least favorite part of the process, because you're like, I'm just learning my tools in front of everybody who's ready. Yeah.

[33:16] Jen Schriever: So, so, you know, the older I've gotten, you know, you learn, I'm, I am, you trust yourself, like I'm gonna get there, the first day might not be great, I might suck this first day, I might rewrite everything I've done on day one. But I'm never going to leave the show in a state that I'm not super proud of. So, you know, it can be easy to hear criticism or a thought on day one, like defensively. But I think, you know, the older I've gotten, it's, it's, it's, I, you know, you remind yourself, like, you've got this, like, you do this all the time, like you do this for a living. And, and you want to tell me now, Jen, you can add that in.

[34:21] Jen Schriever: Like, I might actually not know how to like this transition, or what the button of this number should look like in this exact moment. But we'll just put something in, we'll move on. And, and absolutely, we'll get back to it. And it will be the thing it's meant to be. You can't just, you know, so trusting that, like, you're going to get there. You know, obviously, like eating well, drinking water.

[34:41] Robert Peterpaul: Yeah, that's helpful.

[34:42] Jen Schriever: I drink a ton of coffee, probably too much coffee.

[34:47] Jen Schriever: And it's better than Celsius, which I was very addicted to a couple years back, which had me like this. Although, you know, I shouldn't say anything about any brand, because I really did enjoy it. But I think that those are wise words. And it's funny, because the more people I talk to, and even just with my own experience, it's like, if you look at a tech week, we're all there. Someone's in the spotlight on the stage, very, very vulnerable, seeing designers for the first time thinking maybe judging them. You're in the back thinking maybe they're judging your lighting. Someone isn't thinking, oh, the set's not finished, they're going to think it's ugly, whatever it is. And it's like, we all have to learn that there's hopefully no judgments. And I guess that stems from the top down, right? Like, it depends on the environment that's being created, which is hopefully always that safety net.

[35:32] Jen Schriever: And weirdly, in The Lost Boys, it was that. Like, producers, you know, general management producers, Michael, Dane, props, you know, everybody, stagehands. It was, I'm not trying to like, you know, it's truly was like one of the most open, safe, collaborative rooms that I've been in for a project that huge. Which, you know, doesn't always happen like that because people, there's so much money, you know, you really want to make sure you're delivering. But I think there was a lot of like, there's a lot of good trust. So it helped us all make really good work in very fast time.

[36:14] Robert Peterpaul: Oh my gosh, I love to hear that. And I mean, even just hearing you say all those collaborators, does the studio get involved at all? I mean, I know it's an older sort of classic.

[36:34] Jen Schriever: I know. Like, you get the note, like, it's too dark or like at the beginning, you know, like, I can't see the actors in the beginning. And it's like part of the process. You know, you can, you're carving away, you're getting there. Like, you'll never leave the show where it feels, you know, incomprehensible. It just might, it's just not gonna, you know, just like an actor has to learn their lines. Like, it just takes a second. So, you know, but we never got any of those notes because there was ultimate trust.

[37:01] Jen Schriever: It was full on trust, like full on trust in the process. And like that we're all telling the same story. And I'm sure there were conversations from the studio that I wasn't a part of, but it was all good. You know, like just good vibes. Yeah.

[37:15] Robert Peterpaul: Good vibrations. Another show you worked on. But in looking at sort of, I mean, I keep seeing the playbook behind me. It's like the hand coming out of the darkness and the acts of kindness you experienced, I guess, to flip it. Is there anything that stood out even during tech week that somebody did for you that you feel like, you know, really lit your campfire?

[37:33] Jen Schriever: I mean, honestly, like for me, I know I have a nine year old. So my partner caring for the home and our child and our family while I was gone, like totally selflessly, totally easily allow, you know, my one day off a week, you know, I'd sleep, you know, or rest, you know, and try to hang. But like, yeah, the support that that is the ultimate support and kindness. You know, besides all the stuff that was happening naturally in the theater, I needed that.

[38:03] Robert Peterpaul: Yeah, that's that's nice. Yeah, Jen, I'm about to become a dad in the fall. So I'm thinking about all the yeah. I appreciate hearing the balance because of course, it's true in any career, but especially this one. It's like the ass are kind of crazy sometimes. Totally. Yeah, it's beautiful to hear that.

[38:27] Jen Schriever: Yeah, it's awesome to show up, you know, for your little inner circle in that way. And obviously return the favor when I'm not in tech. But like, yeah, God, what a what a like, talk about selfless and kind. That is like my partner to to a T.

[38:45] Robert Peterpaul: Oh, I love that. Well, you also give back in the way of being a mentor at SUNY Purchase, I believe you're a teacher there. What's the advice for kids out there looking up to you, maybe listening right now and hoping to be a lighting designer one day, which maybe isn't as much of an out there track as like, you know, you see best acting advice and all these things splashed across your feed. What would you say to those kids listening?

[39:07] Jen Schriever: Yeah, I mean, the thing like the number one thing I say, that's so basic. But like, if you want to be a designer, you have to be a designer, meaning like find, you know, and, you know, you're going to find design gigs, go to if you don't even know where to start, you know, connect with younger directors or peers, go to Playbill.com and find the $300, you know, light my festival in the studio circle in the square or whatever. I don't know what that is now. But like, you know, I did clip lights and circle in the square, you know, like with Home Depot, Rheostat dimmers when I was getting out of college, you know, like, you have to participate in designing, even in its basic form, or, you know, to be to be practicing being a designer.

So, you know, being a designer requires designing is, you know, my first advice. And the second is to, you know, you never know who is to be nice to people like you just never know who in a room is going to suggest you recommend you who you're going to love, you know, you know, the next go around. Maybe you didn't connect this first show, but then you're reunited again. So, you know, trying to find room, room for people's humanity. Don't be too judgy. And, and, you know, say yes to work and see where that leads you.

[40:37] Robert Peterpaul: That's awesome. I always end with a tangible kindness tip, but I think you just gave us like 10. So I would love to end with a surprise game, which is called the compliment game. And basically, I reached out to someone in your life for a loving statement about you. I'm going to read it to you and you have to guess who said it. And yeah, it's very on theme for today. I don't think it'll be hard, but you can ask me yes or no questions. And we'll say three guesses. I don't know.

[41:03] Jen Schriever: Okay, so when you're ready, I'll read it to you.

[41:16] Robert Peterpaul: Bring it.

[41:33] Jen Schriever: God, my God. I know. I know. And there was, I don't think there was a hint.

[41:40] Robert Peterpaul: That is really sweet. Well, is it someone from the Lost Boys?

[41:44] Jen Schriever: I have a hint if you want. It's pretty. Give it away. Okay.

[41:47] Robert Peterpaul: Give it. Okay. Give it away.

[41:48] Jen Schriever: His name might be the most used word in the Lost Boys.

[41:53] Robert Peterpaul: That's sweet, Michael.

[41:54] Jen Schriever: Yes, Michael Arden.

[41:56] Robert Peterpaul: Thank you, Michael.

[41:59] Jen Schriever: That is so nice. I'm going to put that. I'm going to tattoo that on my inner wrist.

[42:05] Robert Peterpaul: Yes, I love that so much. It seems like you two had such a great time together.

[42:09] Jen Schriever: I guess we really did. It was a real love fest.

[42:12] Jen Schriever: I keep joking because, you know, Dane, the Dane, the set designer and Michael have been longtime collaborators forever. And I keep like, I'm like, and Jen, you know,

[42:23] Jen Schriever: I don't know if you saw the SNL skit with Kristen Wiig. Like, I'm here, too. I have a feeling you will be there.

[42:28] Robert Peterpaul: Hi, I'm Paul. I'm like two best friends and Jen.

[42:33] Jen Schriever: Like The Hangover. He's like, we're the three best friends.

[42:36] Robert Peterpaul: And you're like, oh my gosh, exactly.

[42:41] Jen Schriever: But just keep doing that. It'll work. And I'm sure it's already worked. You know what I mean?

[42:45] Robert Peterpaul: No, we've had such it's been so, so, so nice.

[42:48] Jen Schriever: It's just nice when you click, you know, it is it is a gift.

[42:52] Robert Peterpaul: Well, this was a gift. This was so nice.

[42:54] Jen Schriever: And you kind of just lit up my day, my fellow New Jerseyans.

[42:58] Robert Peterpaul: So thanks for being you. And thanks for being here.

[43:01] Jen Schriever: Thank you so much. So nice to be here, too.

[43:04] Robert Peterpaul: See you at the mall.

[43:05] Jen Schriever: I will see you at the mall.

[43:08] Robert Peterpaul: Until next time, remember, everything is going to be A-OK.