HGO Spotlight on: Properties Manager Andrew Cloud
Houston Grand Opera Properties Manager Andrew Cloud is colorful, from his purple eyebrows and beard, to his iconic combat boots, to his Wonder Woman T-shirts—of which he has over 30. And Cloud is just as creative as he is colorful. He embodies the essence of an artist, not only through his fashion, but also in his work environment.
His office at the Wortham Theater Center is packed with a whimsical assortment of objects that Cloud has crafted for HGO's productions during more than two decades with the company: an arsenal of stage swords and canes, a white lantern from The Little Prince, a shadow-puppet carriage from Cinderella, and a satchel he's busy altering for the Butler Studio’s upcoming production of Of Mice and Men. Between the cabinets of books and tools are Cloud’s portraits sketched of Tamara Wilson and Patricia Racette, which were featured onstage when the sopranos performed as Tosca in past HGO productions.
Cloud, a native Houstonian, fashions all the "things" that singers handle onstage. Recently promoted to the position of Properties Manager, Cloud has learned over his 24 years of service at HGO that any one of his props—no matter how big or small—can make or break a performance. We had a chance to step into his cave of wonders, where he explained how he helps to "prop up" productions.
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It's hard to miss your purple goatee, eyebrows, and eyeshadow—why purple?
My favorite color is purple because I loved watching The Osmonds and getting to see Donny Osmond's purple sequin socks.
What inspires your art style?
I am fond of freezing moments in time, hence my portrait work. I am a latchkey kid, so we didn’t have smartphones to commemorate a moment—you had to enjoy it. So, my portrait art is reflective of that. They were always of my friends, and then I painted celebrities like Marilyn Monroe. I was also a subject sometimes, because I was convenient |
What moment confirmed that you wanted to be an artist?
I would say getting kicked out of art school because of how I dressed. It was ’86, and the head of the art department didn’t like boys in makeup. It was obviously a period of great doubt for a 14-year-old, and after that I decided to commit to being an artist, even without art school. I had to choose a new path, and not every path is straightforward, so I created one that worked for me and haven’t looked back.
How did you end up at HGO?
I had done a bunch of costume designs at Stages. I was recommended by my colleagues at Stages to help at HGO because they thought I would be a good fit. And that was 24 years ago. Getting to do what I love and what I’m good at is what has kept me here. I am now the Properties Manager, which means I am responsible for keeping track of props and any new inventory we may need for an upcoming production.
Do you remember the first production you ever worked on at HGO?
My first production was Rigoletto in 2001 with Dmitri Hvorostovsky and Laura Claycomb, directed by Frank Corsaro. I remember my first big prop was Gilda's dolls. There was a little baby Gilda in this production, and she had a rag doll that was meant to look like her. But there were two singers playing Gilda, so I made two dolls. They had interchangeable wigs because Laura Claycomb’s got this long, curly red hair, and the other singer, Nicole Heaston, is a brunette. So, they had snap-on wigs.
Are there any "Easter eggs" you work into the props?
Every once in a while, I’ll sneak something in. It’s always fun when I have to make newspapers, paper props, or love letters. I think there was one book that I just ended up translating Britney Spears into Russian for the text.
What word do you feel best describes you?
Artist. Growing up (and still now) I was always drawing, painting, and sculpting. I just don’t do anything musical. So, I work for an opera company. *laughs*
What is your favorite opera?
My all-time favorite one was The Little Prince by Rachel Portman, which we built here. I grew up loving the story from my childhood—it is such a sweet story.
What are your favorite memories of working here?
The HGO 50th Anniversary Gala in 2005 was really memorable. Standing out in the wings with Susan Graham, Ana María Martínez, Renée Fleming, and Bryn Terfel—watching Elton John play the arrangement of “Your Song” with our huge chorus was amazing.
What are you most excited about for future seasons at HGO?
Of Mice and Men looks great! We’re building that, and I’ve met with the designer and director, so I’ve got my shopping list going. I usually look at eBay, Etsy, and some vendors. We have a vendor who is going to help with a taxidermy puppy for Of Mice and Men. We also have the Butler Studio Showcase this fall that I will be helping with. And I am excited about my new role as Properties Manager!
What is some advice you learned from a mentor you still think about?
The first technical director when I started here, during my interview, he said, You know, a prop can ruin an opera, especially if it’s something that the diva is holding while she’s singing. I did get in trouble once because of a blindfold. In an effort to make sure the singer could see through it, I had cut slits through the eye part of it and finished those off with a seam sealant, which made it a little harder than I thought it was going to be. So there were sharp, pointy pieces, like, right over her eyes!
We live and learn. And on that subject, what advice would you give your past self and to someone wanting to pursue a career in the arts?
Just keep at it, really. Hang on. In opera, there’s a place for everyone. I mean, we do it all! So just find your niche.