It’s been an amazing journey in support of this fabulous production. I have some really good friends in the cast, among them Phil Nair-Brown playing the Creature, and Sam Razavi playing Victor Frankenstein. These actors are incredible professional actors, super talented, and also super lovely humans. Their scenes together are electric – they positively sizzle.
So if you’ve seen any publicity on Facebook, Twitter or Instagram, that will be my doing. Or press, for example this lovely article across the Worthing Herald Group of newspapers thanks to Phil Hewitt: click here. Or if you see the show and like the programme, thank you very much!
I’ve also been part of creating the lighting for the show, and I will be running lights (and there are a lot of changes) during the show. I don’t expect you to notice necessarily unless you are involved with theatre yourself – it’s there to add ambiance, to improve your theatrical experience – so people usually only notce if it’s wrong or jarring! Which is the same for sound of course. It’s been full on, lighting tech until 1.25 in the morning, then back in the Theatre 2 days later as there seemed to be issues (which it turned out there wasn’t) but changes and tweaks were requested: another 3 hours. It’s all worth it if it looks amazing, and it does.
And working with some brilliant friends while you do all this? Priceless. Absolutely priceless.
I continued my Lighting Design training with the brilliant Martin Oakley for Wick Theatre’s Pygmalion in January. It was brilliant to be able to use my maths and logical brain for the computer part, and my artistic brain for the actual lighting design, including creating a wonderful sky colourscape for big scenes set in a conservatory: I loved every bit of it!
I also ran lights during the show and was able to amend and add things that needed it on the fly, during a show, which was amazing.
Plus – never one to shirk a challenge, I did the Deputy Stage Manager: DSM role. At Wick Theatre, and some others I’ve worked with, the DSM runs the show: following the script with a detailed eye and calling all the cues: lights, sound, projections, haze, actors to the stage and anything else that’s going on. This did give me sleepless nights as so much was depending on me but I also loved every second. I benefitted from training from Julian Batstone who has been part of every Wick production since he joined, and is our most experienced DSM. I couldn’t have done it without his support.
It was really cold in the Lighting Box, by the end of the week I had brought in scarves and hats and blankets and so had the very lovely Doffey who was running sound – also for the first time! We had a great time in the box. A lovely friend had just made me fingerless gloves and I wore them throughout!
I also organised the publicity campaign of course! But it was amazing to learn 2 brand new roles in theatre. You’re never too old to learn new things or develop your skillset.