About

Whilst at The Royal Central School of Speech and Drama I worked as Head of Department on many productions. This included various genres of theatre not just traditional but also experimental, dance, and musicals. As HOD I was responsible for ensuring that everybody was on the same page regarding schedules, meetings, build times, budget estimations and general management of the process. In my capacity as HOD I communicated effectively on how to complete certain tasks and was able to give assistance throughout the whole show, from the model box meeting, build and then fit-up to the get-out. I consider myself to be a good negotiator, and able to work with large teams of specialists. Being able to communicate using the same language across departments is important and also having a general understanding of how long tasks would take. This helps everyone during a fit-up as we all had to comprise on times and slot each other in accordingly so that it was fair and equal across all departments.

I have a good knowledge of tools and carrying out any day to day maintenance on stage is an essential requirement. Its important that tools are used correctly to avoid injury and I am proficient in using most tools and machinery that one would have to use on stage. Whilst working on productions in the Embassy Theatre I had to be on call to help maintain pieces of scenery. There were also times that I had to come in on an interval to make sure that certain scenery and props were moving the way they should. Its also important that you take into consideration other departments when doing so, for example there cannot be any edges on the props or scenery as they could catch on actors and or costumes. Sight lines and shadows are important too, obviously things are constantly changing and moving on stage so one has to take this into consideration, for example seeing unwanted backstage or casting shadows. These are a constant maintenance jobs to ensure the show is as spectacular as possible.

Because of this Working on Pre-production set up is very much where I excel and perhaps even the part of the job that I enjoy most. The pre-production stage is often about hitting deadlines, organizing various elements and liaising across all departments. I have learned organizational skills to preempt the time that a task will take so that I can schedule accordingly. I understand the importance of implementing, editing and adjusting stage fit-up schedules. I also have a basic understanding of general back stage theatre, there-fore I can assist on a broad range of activities. I enjoy the creative process from pre-production right to the designers model box to the press night.

I have experience with band stages that needed to be erected using hired steel deck of various shapes and sizes. The first one was West side story, this particular band stage was quite challenging as it required quite a large orchestra that needed access from both sides of the stage wings. One for general access and the other for fire safety. We needed to build safe treads for both sides that complied with all health and safety regulations for example the height of the handrails etc. Working on outside hires is exciting because quite often there is a lot of research that needs to be done way before anything is actually hired. Just having general knowledge of what your are trying of achieve goes along way.

Maintaining show budgets is imperative and all productions need to be run smoothly and efficiently. While acting as HOD for the Production of sweet charity we had meetings with the production managers, directors and designers from the get-go so that we all had the same vision. Then heads of department would propose a costings spreadsheet that their department would need to abide by. Following this one has to research new methods, ideas, materials while still keeping the show to the designers, and directors concepts and this is the part that I find most thrilling. I had to research different material weights and strengths and put them to the test, I also had to research different steel merchants delivery costs etc. Keeping a production on budget consists of a lot of research and bartering and I feel that this is something that I can do very well along with keeping up to date spreadsheets for costings. Setting budgets is something comes natural to me.

Its important to keep documentation throughout a production. This ensures everything can be referenced from the beginning. Its also important for me and others to have details on all aspects of the show so that I can orchestrate a decision correctly. I recognize that maintaining health and safety files is paramount. I know exactly what people are specifically trained to do and can do so in a safe manner. It is also fundamental that all production and stage crew have a basic understanding of the health and safety regulations and adhere to them properly to protect themselves and others. Knowing this I prefer to digitalize everything and make it possible that everyone involved has access to these files at anytime.

I had to supervise peers on how to complete tasks properly and safely and communicate this professionally throughout the duration of pre-production and post-production. I also had to give advice and demonstrate to my peers on how to use certain tools and equipment safely and provide risk assessment and method statements. I felt that I could do this after actively seeking senior theatre technicians suggestions and guidance.

I believe that maintaining props, furniture and scenery is huge part of a smooth production and I have learned to do this in many ways. I think the that the most important thing to take into consideration is the storage of these items. Storing pieces of scenery and props is an art form that should not get taken lightly. I have worked on productions like Sweet Charity where there were a very large number of steel flats and interactive pieces of scenery. Storing these types of things is similar to completing a gigantic jigsaw puzzle. Mostly I got around this problem by flying scenery in and out by attaching them to fly bars and had fly-man operate them from the wing. I did this by attaching various different flying irons, grommets and shackles to all of the scenery that needed to be out of sight during various scenes.

To ensure that production designs are archived within budgetary and technical parameters is extremely important to me. The show needs to be as close to the designers vision as physically possible. I always find it thrilling taking a look back at the original model box photographs and appreciating that it looks exactly the same as what the designer wanted and also knowing that we did it in our productions remit.

I always find it necessary and terribly useful to liaise with all the relevant departments and performers prior to the show and post to get information on how it went directly. I find this is the best way to speak to everyone as any ideas that someone might have are still fresh. I also like to keep a diary with me at all times so that I can take notes everyday so that nothing gets missed. This also keeps me completely organized so that nothing gets forgotten or looked over and this also means that any issues or concerns get rectified either that evening or the following day.

It is absolutely pivotal to attend such meetings as production and technical. I like to be involved even if its not completely relevant to me and I find that vital and useful information is divulged. I enjoy taking minutes, I find that this is the best way to get an complete overview of a production meeting and I have even been known to record them too. I have learned that having daily team briefings and technical meetings literally makes a show successful.

Working change overs is exciting for me. I find this part of technical theatre just as exciting as building the set. I very much like that fact that everybody's synergy is rehearsed in perfect harmony.

I have a strong appreciation and understanding of ‘Health and Safety While Working On Stage’. Having been trained by some of the best theatre technicians and dramaturgs in the whole of London. I know how to create risk assessments and method statements. I am very familiar with the HSE’s documents regarding ‘The Safe Design An Build of Production Sets Used for Film, Television and Media Productions’ forms and also Working at Height and Manual Handling procedures advised by the HSE. I am also familiar with the CDM 2015 and the Industry Regulations and Procedures Specifically for the Theatre, Performing arts and Live Events Industry. I also have a copy of the ABTT’s Essentials for Health and Safety which is a very useful document for all young aspiring theatre technicians.

Working on a new stage will be an exciting endeavour for me, every stage is different and its an exciting challenge. I enjoy looking over theatre ground plans and I find it similar to a puzzle trying to get everything to fit perfectly onto it.