Land of the Free press clipping

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"It's the highest high I've ever had. It's really amazing. When I
walk away after a performance ... there's no other feeling in the
world. "Laura Glover, lighting designer, Dance Kaleidoscope
You could say life is a stage for Laura Glover, the woman who has
been working her magic on each performance of Dance Kaleidoscope
for the past nine years as lighting designer and assistant artistic director.
Even the most mundane situations don't escape her personal touch.
Before she and her husband of five months, JeffMountjoy, sit down
for dinner, Glover gets busy dimming the lights and firing up candles
around the room to set the perfect mood for their culinary experience.
"My husband always laughs at me. He says, 'Do you always have
to light the house like it's a set? I can't see my food!' "
"I'm a lighting designer. It's my passion," explains Glover, who has
been recognized nationally for her work with Dance Kaleidoscope, as
well as the Pascal Rioult Dance Theatre, Daniel Catanach Ballet,
Urban Artworks and Taylor 2.
Dance Kaleidoscopes performances bear Glovers signature more
than the average patron could ever imagine. She probably can best be
described as a behind-the-scenes conductor, directing dancers and crew
members on everything from sound to costumes and curtain calls.
"When we get to the performance, that's when I become another performer," she says, "because I'm really, really trying to be in tune with the
dancers. I want them to walk on stage and feel that they're supported."
Glover's work starts months before the dancers set foot on stage for
a performance. She first immerses herself in the music for each production. Then she watches rehearsals with the dancers.
After talking with the choreographers such as DK's director, David
Hochoy, about how they envision the performance, she incorporates all
three elements into one visual image, plotting the lighting for each piece.
'T call the choreographer the bus driver. I look at myself as the navigator," says Glover. "I tell you the best way to get there. I'm fortunate to be working with some really talented choreographers."
The night of the performance, Glover and her crew are extremely
attentive to every detail, even the tiniest flaw on the stage.
"My No. 1 job is to make the dancers safe. Their bodies are their life.
If an errant screw, nail or wood chip gets caught in their foot, we've got
a big problem. They can't dance. We've got to take care of their bodies."
When it all comes together on the night of a performance, Glover
experiences the most joy from what she does for a living.
"It's the highest high I've ever had. It's really amazing. When I walk
away after a performance ... there's no other feeling in the world." ♦
DANCE KALEIDOSCOPE   Feb 22-24, Land of the FreeM the
Indianapolis Civic Theatre, 1200 W. 38th St., Call (317) 940-6555
ELAINE ECKHART
"Art is such an important ele-
ment in a child's education. It is,
after all, what ive leave when we're '
gone, whether it's a painting, a
composition, an Oriental rug, or a
piece of jewelry or a recipe. ...It is
an experience that has affected my
life."— Elaine Eckhart, board member
of the IndianapoiLs Chamber Orchestra. ;
The way Elaine Eckhart sees it, the •
hours she spends volunteering as a board
member for the Indianapolis Chamber
Orchestra are just one way she's able to
show her appreciation for those who
instilled in her a lifelong love for the arts.
"I can't really ever remember not
singing," says Eckhart, who recalls per-
forming in a choral group as a fifth-grader. "I look back at that time and understand why arts education was a big deal.
"I've always loved the challenge of
singing. As an adult, I always find myself
coming back to it," says Eckhart, who
also sings as a member of the
Indianapolis Arts Chorale.
"Art is such an important element in a
child's education. It is, after all, what we
leave when we're gone, whether it's a
painting, a composition, an Oriental rug,
or a piece of jewelry or a recipe. ... It is
an experience that has affected my life."
While Eckhart enjoys performing,
she finds it equally gratifying to support
an arts organization on the administrative side and is in her ninth year as a
board member of the chamber orchestra.
Eckhart says she fully supports Mayor
Bart Peterson's initiative to heavily promote the arts in Indianapolis.
"If we get behind the arts as we did
with sports ... everybody benefits. It
enriches our daily experience and our
quality of life. It's great for the growth of
our city and our children."
And Eckhart is part of that goal.
"I'm certainly able to look back at the
growth the chamber has experienced, and
it really makes me feel good," she says.
"The organization is making a tremendous difference in the community." ♦
www.indianapoliswoman.com  February 2002
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