Love and Information by Caryl Churchill, performed by the Pegasus Youth Company 16-25. For this production I worked as the Production Manager, coordinating the set, lighting, sound and video components of the show in addition to sourcing and building the set.
Working Christmas is Arts at the Old Fire Station's Christmas production. Today, was the get in and comprised of getting in the set, rigging and focusing lights and many many fairy lights.
While not a particularly foreign day of work in the theatre, it was a great day working with Nomi Everall, Jude Thorpe and Steve Coe. Set construction involved laying a floor and using a series of tank traps to secure the set which was constructed and created by Nomi off site.
Light rigging was slightly different than usual having to work around the 1000 fairy lights up in the rig and on the set. And while focusing around the fairy lights and chandelier was interesting it was successful.
The following weeks contained a variety of previews and shows. Each production became more refined through preview week. This show has allowed me to work on improving my skills and familiarity with the ETC Ion and Soundcraft Expression series of control desks. This was also my first hands on experience with the full version of Q Lab.
At the production of Fish Eye in the Old Firestation Theatre I worked with the incoming production as the second in house tech to bring in the set and assist them in any way necessary to bring the production into the theatre. This involved setting up their additional lighting equipment as well as focusing and colouring up the in house lighting rig to meet their needs.
We also constructed their set which included a series of panels on rails which were used as projection screens. Acting as in house tech also meant I had to set out chairs in the End-On formation.
At the end of the production we assisted with the get out of the set and their lighting equipment along with working on re-rigging and resetting the in-house lighting grid to the normal setup.
The production of Thoroughly Modern Millie took place at TASIS England. I worked on the production of the get-in at the beginning of the production and the get-out at the end of the production. This involved bringing the set in from the workshop and assembling it on stage two weeks before the production over the weekend of the 24th of February.
Prior to the production we had moved and installed a rail on a sloped ceiling with a custom made mounting system to be able to ensure that the sliding doors at the centre of the set would function properly. The doors worked as planned and the rest of the flats went together successfully. The get-in also involved taking down some of the normal masking and moving other masking to ensure the backstage area was masked off properly.
The get-out of the production took place on the night of the last performance and the day after the production. It involved demolishing the set in such a way that the wood used to construct the set could be re-used at a later date along with re-installing the normal masking for the backstage area. This also included assembling some Steeldeck for a production the week after the musical.
For the Alice in Wonderland production at TASIS England I worked with Jayne McTaggart (Theatre Technician) to assemble the set on the stage as well as rig and install all of the lighting fixtures which had been replaced with LED Par Cans along with the new ETC Lustr 2 Tungstens. Lighting installation took around a day along with set construction, stage painting and clearing also taking a day. I also attended the performance and subsequent set de-construction and de-rigging of the lighting equipment to return to SLX (UK Sound/Light Rental Company.
The 2016 summer gala took place in the transformed Palestra space. Working on the lighting and lighting rigging team I rigged, operated and was second designer.
