The RSC Big Backstage Weekend

During the weekend of 6th – 7th May, HDC sponsored me to attend the Big Backstage Weekend; an event organised and facilitated by the Royal Shakespeare Company to provide training to amateur theatre companies across the UK. Needless to say, I was extremely excited at the prospect of learning from such a reputable theatre company and the experience did not disappoint!

Day 1

The weekend began in the Studio Theatre in The Other Place with a welcome meeting hosted by the RSC’s Project Producer, Ian Wainwright. It was lovely to bump into some of our friends from Shakespeare at The George who were also in attendance for the weekend.

We stayed in the Studio Theatre for a sound workshop lead by the RSC’s Head of Sound, Jeremy Dunn, who was ably assisted by technicians Nathan and James. For the first part of the workshop, Jeremy explained the various different types of sound equipment the RSC use in some detail; demonstrating how to assemble and use a basic sound system with a microphone. He also talked us through troubleshooting different sound issues we might face e.g. feedback. For the second part of the workshop, Jeremy and his technicians rigged up a sound desk and, using the sound system installed in the space, showed us how to operate the sound desk as well as use software package QLab on a laptop to create a soundscape.

After a delicious buffet lunch, we took a leisurely stroll down the road to the Clore Learning Centre for a set construction workshop led by freelance set designer Alex Marker. During his career, Alex has designed for a wide variety of West End, fringe, touring and regional productions. The first half of this workshop was an introduction to scale model making. A scale model can be an incredibly useful tool in set construction as it can be used to identify and solve potential problems before the set build commences. Alex talked us through the basic equipment and materials needed before challenging us to create a 1:50 scale model based on technical drawings. I partnered up with Julie, a fellow Drama teacher, from the Wirral and we set to work. Thankfully, Alex provided us with a few time-saving handy hints which we took on board and a short while later we successfully presented our scale model.

 

 

 

 

 

 

 

The second half of the workshop was dedicated to set construction. Alex talked us through the essential toolkit for building a set as well as the various health and safety considerations that have to be made when designing and constructing a set. After divulging some helpful money-saving ideas regarding the use of different materials, Alex introduced us to some tricks of the trade; demonstrating how to create a variety of paint effects and successfully create textured surfaces.

Following the set construction workshop, we had the opportunity to visit The Play’s the Thing exhibition. For the exhibition, the RSC have opened their archive to display a variety of artefacts spanning one hundred years of theatre-making at Stratford-Upon-Avon. There were plenty of interactive activities to engage with but it was the costumes that really sparked my interest; particularly Vivien Leigh’s costume from the 1955 production of Titus Andronicus and Anthony Sher’s hat and nose from his portrayal of the Fool from the 1982 production of King Lear. However, my personal highlight of the whole exhibition has to be seeing a copy of Shakespeare’s First Folio.

 

 

Then it was off in search of a bite to eat before attending the evening performance of Anthony and Cleopatra. The production forms part of the RSC’s Rome Season which includes Julius Caesar, Titus Andronicus and Coriolanus to name but a few. The production was presented in traditional Roman dress and used some clever staging ideas; making effective use of hydraulic lifts to change scenes. The two leads, Josette Simon and Antony Byrne had a real chemistry on stage and gave engaging portrayals of their characters. It was interesting watching the performance having participated in the workshops earlier in the day; I definitely had a heightened awareness of the use of sound and was able to recognise and identify the different types of sound effects being used throughout.

After the performance, we popped over the road to The Black Swan – more commonly known as The Dirty Duck and a regular haunt of RSC actors – for a nightcap before retiring to our B&B and, sure enough, as we were leaving we bumped into the cast of that evening’s performance enjoying a well-deserved drink.

Day 2

We were privileged to be taken up to The Other Place rehearsal room for our stage management workshop which was led by Julia Wade, Company Stage Manager of the RSC’s Mischief Festival. The room was being used to rehearse the productions taking part in the Mischief Festival and provided an interesting insight into the rehearsal process at the RSC. Julia explained the different types of roles and responsibilities involved in stage management as well as giving us a forum to discuss our own experiences of stage management. We were shown examples of the different types of paperwork produced by a stage manager e.g. rehearsal notes, show reports. We were given advice on how to mark up a script as well as the opportunity to look though the stage manager’s copy of the Antony and Cleopatra script.

 

 

 

 

 

 

 

 

 

 

 

 

 

The final part of our stage management workshop was a behind-the-scenes tour of the Royal Shakespeare Theatre which took us into the control rooms of the lighting and sound operators so we could see what kind of environment they work in during a performance. We were also taken backstage to see the quick-change areas, prop store area and stage manager’s desk. It was fascinating to wander around the back of the cyclorama that had been used during the previous evening’s performance of Antony and Cleopatra and also see the props up close. Another highlight of the tour was discovering an RSC tradition: one of the corridors backstage was littered with illustrations and signatures of the actors involved in different productions.

For the final workshop of the weekend we were taken into the auditorium of the Royal Shakespeare Theatre – where we had sat the night before watching Antony and Cleopatra – for a lighting design workshop with the RSC’s Head of Lighting, Vince Herbert and his talented technician Claire. On stage was a rug, armchair and table with a small lamp. We were given a very brief four scene synopsis to light as a collective which incorporated the opportunity to explore practical, character and surreal lighting states. As the ideas flowed, Vince explained – whilst Claire demonstrated – how to use different types of lights to achieve a variety of effects. Vince also demonstrated how to layer the lighting; focusing on practical lighting before establishing the mood. We were given some very useful tips: if an actor is entering the stage during a blackout they should close their eyes a few minutes before to adjust their eyes to the darkness and, when working with thrust staging in particular, find the ‘sweet spot’ where all of the audience can be addressed. Claire gave us an interesting insight into the complexities of follow spot operating; having recently performed the task for the RSC’s innovative production of The Tempest which combined the use of a digital avatar with live actors.

Following the request of another attendee, Claire treated us to a tour underneath the stage of the Royal Shakespeare Theatre to Sub Level 1. Claire explained how the stage could be rearranged to meet the needs of different productions and also gave us a brief outline of the RSC’s technical rehearsal process. We were also given an insight into how the RSC create the effect of flooding the stage with blood when Caesar is stabbed by Brutus: a crewmember on a stepladder with a pump and a bucket of fake blood; reassuring to know that not all of the methods in professional theatres are high-tech!

All in all, it was a thoroughly enjoyable and informative weekend. I’d like to take this opportunity to say a massive ‘thank you’ to HDC for enabling me to participate in the Big Backstage Weekend and I look forward to passing on what I have learnt to other club members as well as putting it into practice for future productions. Watch this space!

by Guest Blogger Rae Goodwin 

Q&A With Richard James

richard-james_249We caught up with professional actor & playwright Richard James to find out what life is like on the road. Richard is currently touring in the stage adaptation of David Walliams’ Gangsta Granny and while at home for a well-earned Christmas break took some time out to talk to us…

How long have you been touring with Gangsta Granny now and how many performances have you done?

Gangsta Granny has been on the road since November 2015. Touring to a different town each week, we’ve played 416 performances in 46 different venues. By the time we finish in the West End next year, we will have performed the show over 650 times.

Have you missed any performances for any reason?

Whilst other cast members hajs78314461ve been off with various illnesses over that time, I’m lucky enough not to have missed a single show so far.

Of all the theatres you’ve played in so far, do you have a favourite? And if so, why?

Touring can be quite monotonous, especially with two shows a day, so any venue or town with something different to offer is always welcome. I particularly enjoy towns with a bit of history to them so I think Canterbury would be a firm favourite. I also enjoy seaside venues and Bournemouth in the summer was fun. Whilst we may not have a great deal of time to explore, it’s sometimes worth the effort to travel a little further afield if possible. With an evening show on our first day in Belfast, a number of us hired a car and drove to the Giant’s Causeway for the afternoon.

Can you give us an idea of what a typical day on Gangsta Granny is like? And how do you fill the time between shows?

A typical day would start with the cast and crew assembling on stage at 9.30am for notes and warm-up. Then it’s into costume for our first show of the day, usually at 10.30. This is typically a school’s matinee so the curtain often rises late as we wait for coaches to arrive. Morning shows often have a very different feel to evening performances as we could find ourselves performing to a thousand lively school children. The curtain comes down at around 12.45, and it’s time to head out to the High Street for some lunch. Following this, I might try and get some writing done (I’ve almost completed my third play this year), catch up on some correspondence, do a little sightseeing or join with some cast members to catch up on some TV together. At 7pm the curtain rises on the second show of the day followed by a bus home to my digs or a quick drink in a local bar.

Do you still have to rehearse at all or does the show look after itself now?

The show looks after itself in the main. We may run a couple of sequences as we arrive at each new venue as the dimensions of the stage or wing space may alter slightly but there is no ‘tech run’ as such. In addition to this, we have understudy rehearsals each week, usually on a Friday. This in effect means we are doing three shows one after the after, making for a very tiring day!

js78314468

Of all your professional engagements, which is the most memorable and why?

I’m lucky enough to have worked on a variety of projects, from tv and film to theatre and radio. I’ve worked with some heroes along the way too, whether it be on a Doctor Who adventure with Peter Davison or with Burt Reynolds on a movie. I was lucky enough to have some scenes with Helena Bonham Carter on a film version of Great Expectations and I learned a lot from watching her work. I suppose my most formative experience was spending a year under prosthetic makeup to play an alien police officer in Gerry Anderson’s last live-action sci-fi series, Space Precinct.

You started off in amateur dramatics, would you say that it’s a good starting place for someone interested in theatre as a career?

I have never been as busy as when I was an amateur actor! As a man on the amdram circuit you are always in demand and I remember going from production to production. In one year I might have appeared in productions with SIMADS, Huntingdon Drama Club, Brampton Park Theatre Club and Shakespeare at the George. As a professional actor, work is much harder to come by as the talent pool is so much larger. I found my experiences in amateur theatre to be invaluable. It allowed me to grow as a young actor and improve my stage craft. As a company member it is imperative that you do the work with a professional attitude, that you are disciplined in your approach and do your best to get on with those around you – particularly if you’re on the road with them for the best part of two years!

Find out more about Richard’s work by visiting his website www.richardjamesonline.com  and follow him on Twitter @RichardNJames

Find out more about the Gangsta Granny tour here.

Stepping Out With Huntingdon Drama Club

Anyone who’s involved with the club knows that when it comes to our social events, we host a very lively calendar of outings, from play readings, meals out, or trips to the theatre. Since a large percentage of members’ interaction takes place within the setting of rehearsals or meetings, our social outings are spaces where we can relax and enjoy each other’s company away from the responsibilities of working on productions and planning the future of the club. Most of our events are open to non-members, so it’s also an opportunity for new people to introduce themselves and register interest.

Our most recent social event was an afternoon at the Cambridge Arts Theatre to see Stepping Out – giving this winter season something of a Richard Harris theme, as he is not only the playwright behind Stepping Out, but also the writer of the soon-to-be-performed Outside Edge. Those of us that were already familiar with the former arrived at the theatre expecting an immensely enjoyable play, and we weren’t disappointed. It was an excellent show, full of warmth, humour and – given the story – music.

The plot? Stepping Out tells the tale of a diverse bunch of personalities who meet for weekly tapdancing classes. For the members, the dancing lessons serve more as a chance to socialise with their classmates than any sort of artistic endeavour, but after they are selected to give a performance in a charity event, their teacher puts together a professional routine and organises her motley crew of dance students into a rather talented and entertaining ensemble.

Stepping Out is a play that is littered with memorable characters, brilliantly performed by all actors. The entire cast impressed, though if I were to single out my favourites, I’d choose Tamzin Outhwaite as the committed teacher Mavis and Amanda Holden as the somewhat annoying and affected but nevertheless likeable Vera. Holden brought an endearing innocence to Vera, revealing that what at first glance appears to be quite a supercilious nature, is more of a rather naïve upper-crust woman genuinely trying to be friendly and fit in, but not quite understanding how to go about it.

Harris’s musical comedy is very much a feel-good piece; that’s not to say that there aren’t touches of solemnity, but these are never lingered upon and are very much superseded by the pace of the dialogue and the amusing interaction between such disparate figures. It was made clear that for many of the characters, their dance classes were a welcome respite from the pressures and difficulties of regular life – a place that cheered them up and simultaneously relaxed and energised them – which gave the performance a very comforting aura. The exuberance that the cast brought to the play was supplemented by the attention to detail of the costume department, who outfitted the actors in some of the most colourful of 1980s fashions.

Club members’ opinions were unanimous; everyone had enjoyed the show immensely, and as one friend said to me, “It was everything that theatre should be” – sound praise indeed. We’re now more excited than ever for the impending production of Outside Edge.

by Guest Blogger Michelle Gibson