LAMDA Rep 4: Lighting on "Journey's End"

June and July 2015 

My final rep at LAMDA was to be a part of the Lighting Crew on "Journey's End" and "The Low Road." As with my Sound rotation, we prepped the hardware for both shows as a team and then I was assigned, with a partner, to operate on "Journey's End". Also, "The Low Road" required Stage LX crew to move practical lights throughout the show, so we ended up working on both shows. 

We began our preparations for the show with a refresher course on electricity via online videos presented by Dave Austin. My Fight Night Flyman joined me on this adventure, and the combination of our very low sleep rating with the brilliance of 80's/90's educational videos was almost too much to take in. When Dave demonstrated the push and pull of electrons, neutrons and protons from within an aquarium, complete with passing fish, we stifled our laughter as best we could until he pulled out a table tennis racket and smashed a proton "through" the glass. Any composure we had remaining was lost! 

This moment will live on as one of my favourite LAMDA memories;
at least our education has been entertaining! 

His methods are different, but Dave Austin managed to teach us a few things...
whether or not I remember any of this is a different issue... ugh. Science. 

Our time with Dave Austin prepared us for the most important part of prep work: cable testing. During Sound, we used a cable tester which ensured that the XLR and Speakon cables were wired correctly, but it does not test for current flow, as speaker cables do not carry power. Lanterns obviously need power, so in Lighting, we perform a Portable Appliance Test (PAT) on each of the 15A/16A power cables. This is a British safety requirement for public spaces and the little green sticker is a common sight throughout Britain. 

PAT Testing the cables consisted of two parts: First, manually opening up each plug and socket to check the wiring is correct and in good condition, as well as checking the overall condition of the cable. Second, plugging the cable to the PAT unit to check resistance etc is within the acceptable range. On the very long cables, 40m+, we often saw confusing results as we didn't have room to completely uncoil the cable for the test! My tutors gave me an explanation as to how a cable could fail one part of the test and pass the other, but I'll be honest, I only remember that it had to do with length. Lighting is basically science, which I was never good at, and added to that, I was trying to wrap my head around it after the insanity of Fight Night. My tutors were very patient with my foggy brain!

In addition to my foggy "Fight Night Brain", I contracted a cold shortly after we got into the venue. Happily, we were at The Greenwood again, where we could fly the onstage light bars down to the floor for rigging. During the focus session, however, we needed to climb up to the lights, in the dark, and point ("focus") them on particular areas of the stage to fine tune the design. I learned that I may actually have a small fear of heights! Actually, it was only on the extension of the Zargess ladder though. I was fine on the Tallescope, so maybe I don't fear heights so much as I need to have greater trust in trigonometry. 

Focus Notes - The lantern, where it is, what colour of gel is on it and where it is pointing. 

My favourite part of working on Lighting was programming on the Lighting Desk. During the plot however, my cold hit full force and I was basically useless. My brain was a fog and I'd lost my voice, which doesn't seem like a big loss for a technician, but it meant that I couldn't shout to my partner during the rig check, and was inaudible over the headsets. . So, my lost voice meant I couldn't be heard from the stage to call out lanterns for the rig check and my foggy brain meant that I was slow to turn them on when they were called to me. See? Useless. 

I armed myself with tissues, cough syrup, lozenges and hand cleanser so that by Tech I felt much better, with a bit of voice. I was happily clicking away at the desk for the rig check, when my tutor came over and said "Well, you're feeling better!" It was great to have the concentration to do the part of the job I really enjoyed. The LD (Lighting Designer) sits between the desk and the director, relaying the creative request into a technical instruction for the programmer. This is when everything starts to come to life; the actors in costume, on a full stage with props, and  Lighting and Sound pulling it all together. Each department brings their best to make theatre magic! (Yep, I said "theatre magic". I like cheese.) 

The set for Journey's End was amazing. The show takes place during WWI and the set creates a series of trenches increasing in height behind a bunkhouse. The main action takes place within the bunkhouse and when the actors leave for the field, we only see the tops of the heads above ground before they disappear into the unknown. This was especially effective during battle scenes, which were never actually seen by the audience. We only hear the shouts and explosions, and see the reactions of the characters left onstage to bear it. Our favourite part as Lighting operators was during 2 large battle scenes, where we discovered the best way to "show" an explosion was not to program a fancy effect, but manually operate a set of lights in time with the explosions created by Sound.  We would listen for the "eeeeeee....BOOM" of particular explosions and flicker the lights on and off appropriately. It was good fun and it also meant that each performance was unique, depending on which Sound operator was throwing the explosions and which Lighting operator was responding. 

http://q2qcomics.com/comic/q2q197/
Our LD had a 15 minute transition that was cut to 5 ... and I still had to check the screen each time. 
We teased him for his "subtle and artistic" vision :-)

Our LD's response to our sass :-) 

Our last day of Technical Rehearsals for Journey was a very special day - my 30th birthday! It feels surreal enough to be 30 years old, but celebrating it in a theatre in London made it even more so. And, the proud Canadian that I am, I made it clearly known that it was an incredibly important day for me AND my country. :) 

Happily for me, I have great friends who humour me, and my LD loves Canada. He made a red and white moving light show effect in my honour. My Fight Night Flyman and fellow LX team-mate even tried out a recipe of Nanaimo bars to give me a Canadian treat. Our LD tried one and said it was the most Canadian treat because it "tastes like kindness." 

I came home to a little pile of gifts from my amazing flat-mates, including a set of "Emergency Moustaches", from the roomie who said "If I know anyone who would actually need these, it's you!"  A friend from church said she went out to buy a cupcake for me and was surprised to find the perfect one! 

I'm very grateful to have so many wonderful people in my life. This is not at all where I expected to be at 30. I've always wanted to live overseas; I never imagined it would happen like this. It has been a great way to start my 30s. I'm excited to see what adventures I find in the next 10 years! 

My roles for 2nd year: 

Rep 1: Production Carpenter

Rep 2: Deputy Stage Manager

Rep 3: Production Sound Engineer 

Rep 4: Placement 1 

Rep 5: Production Manager 

Rep 6: Placement 2 

My home away from home - hopefully we'll be back next year!

LAMDA Fight Night & SM1 Design Exhibition

June 2015 

Before my final role at LAMDA, we had two events: Fight Night and the SM1 Design Exhibition. Fight Night is an annual school event in which the actors showcase their stage combat skins in preparation for their certification exams. The SM1 Design Exhibition is the school event where we put our completed model box projects on display, along with our other scenic art and workshop projects.

FIGHT NIGHT 

Get Outs for LAMDA reps are usually on a Friday, giving us the weekend to recover and prepare for the next rep. Because I volunteered to work on Fight Night, my transition looked like this: 

Friday: Rep 3 Get Out & Fight Night Get In 

Saturday & Sunday: All Day - Fight Night Rehearsals 

Monday - AM: Lighting Prep. PM: Fight Night Dress and Show 

Tuesday - AM: Lighting Prep. PM: Stage Combat Exams 

Wednesday: All day - SM1 Exhibition at LAMDA

Thursday: Get Out SM1 Exhibition 

Friday: First Full Day Lighting

We had a small crew for the show: Stage Manager, Deputy Stage Manager, 2 Sound Ops, Chief LX, LX Op, Lighting Designer, Carpenter/Flyman, and 2 Production Crew, who ultimately became Assistant Stage Managers once we were rigged up. I was assigned the role of Stage Manager and as there was not an official Production Manager, my role became a mesh of the two. My main responsibility as SM was to obtain props and furniture for show, as well as manage the actors and their safety in the venue. Taking on a bit of the PM role, I liaised with the venue staff as needed and was the hub of communication for the technical teams. 

The great thing about working on school events, such as Fight Night, is that they are not graded and, while the tutors are available for general advice etc, we are mostly left to manage ourselves. Also, Fight Night is the only school event held in a public venue, and as such, it is the first time, as first years, that we really test the waters as Heads of Department. 

By Friday mid-afternoon, the technical crew were transitioning their equipment for Fight Night and I was on my way to LAMDA to load a van with props, furniture and weapons for the show. When I returned, the tutors were beginning to trickle out of the theatre, as each department transitioned to Fight Night.  My PM tutor helped us install a rope swing - the sight of him testing it with a gallant "I'll save you!" will forever live in my memory - but then left me with £80 of petty cash and his mobile number. We were on our own. 

I remember walking across the stage at one point, each team busy in their own tasks, where I took a moment to realize that we were now in charge of making this show happen, and that we could do it. We are capable. There was nowhere else I would rather be. Later, our Flyman would confess that in a similar moment, she was looking down from the fly floor, seeing me walk the stage, and thinking the same thing! That evening, Sound balanced, Lighting plotted and we were ready for rehearsals.

Just add Medieval Crown and UV paint to the list of strange things I've transported by Tube.

During the Technical Rehearsals, the actors had time on stage to work their routines while the Tech teams programmed. My two production crew-turned ASMs were invaluable backstage as they assisted the actors with swords and other weapons, while I managed the front with the director and technical teams. I tracked weapons, furniture and props to create a crew sheet for the show.

Throughout the rehearsal period, our Director (and LAMDA's Head of Drama) was plotting many surprises for the show. One of these was a 2 man, 4 sword, UV fight. Lighting had sourced the UV lights and it was my job to get everything glowing. The ASMs painted the gloves, shoes and swords with UV paint, but even 2 coats wasn't showing bright enough on the swords.  I sought advice from tutors as well as a theatre supply store. We found the solution with white plastic coat base and 2 more strong layers of the UV paint. As we laid the swords under the UV light to "charge" during the interval, we tested the final layer of paint and it was barely dry. It was dry enough though, and the show had to go on! It looked really good, which made the weekend of UV problem solving well worth it.

My Fight Night "Office", completed with drying UV swords and bloodied sheet.

The show was great fun. After the UV fight, the ASMs ran out with brooms to sweep up the bits of UV paint that flaked off during the fight and each pass across the stage was followed by cheers and applause from the audience. When one of our actresses was "shot" off the rope swing and carried away by our "small but mighty" ASM, another round of applause followed. I cringed when I realized I would have to fetch her sword from the stage and face the same. We're techies. We're not used to being noticed or applauded! 

I learned so much from Fight Night. As "Queen of the First Aid Kit", I managed the inevitable knicks, cuts, twists and sprains.  I learned that sometimes the best First Aid is a listening ear, a calm voice and a shared joke about a silly injury. And as far as injuries go, I arrived with 7 ice packs and left with 3; I call that a success!  

I am constantly learning where my balance of kind assertiveness lies and how to manage a team. I have discovered even more ways that I can be completely awkward and embarrassing. It was good reminder that I need to be more confident and that I CAN do this, and do it well. My Head of Technical Training gave me the best compliment when he said that he was so impressed at how calm it was when he walked into the theatre for Fight Night, citing how many he's been to and that it's not a common occurrence! I had a great team! It was a wonderful experience to put on a show and step back to say "we made that happen." 

DESIGN EXHIBITION

Fight Night done, we moved directly on to our SM1 Design Exhibition! As noted in my previous blog, I was very grateful to my past self for completing this over the Easter break. I would not have been able to finish it at the last minute with all of the Fight Night insanity. 

So....Here it is! My set design for "Let the Right One In" in all of it's blue glory! It was just so blue! Blue and silver: these are my colours. During the model making process, the amount of blue in my project became a bit of a running joke, but each time I tried adding other colours, it just didn't work! So blue it was, and blue it stayed.

Three judges interviewed each of us about our designs and selected 3 winners, whose models will go on display in LAMDA over the next year. We explained our creative idea, as well as how we addressed technical issues, including health and safety. For example, I built a false floor in anticipation of a trap door for a "lake" and to have a drainage system for stage blood coming from lockers and rafters. Also, as my set is designed to be mobile, I created a storyboard of how I imagined each scene using the various pieces throughout the play.

During the "awards" section of the evening, they also announced 3 "special mentions". I was one of those selected and I couldn't help but let out a small "yes!" when the special mention was given for the "use of colour"! The three winners were incredibly deserving and we were all amazed to see everyone's final projects. We constantly thought "We're techies, not designers!", but the exhibition proved that we are all creative in our own way.

In the workshop with my freshly completed scenic painting.

Our many projects from throughout the year were also on display. This included scenic paintings, polystyrene sculptures and wooden stools. These are all things that we made in order to learn the skills that we've been applying during shows. It's a great way to show the talent of the technical students, something that is not as easily showcased as an actor putting on a show! The evening was a nice reminder of all we have accomplished in our first year, and all that we can look forward to putting to use in the second year! Onwards!

LAMDA Rep 3: Sound on "Her Naked Skin"

April and May 2015

After "Cat's Eye" & "Merchant", we had a one week break for Easter. During this time, two major things happened. First I went to the Harry Potter Studios Tour!! It was amazing and I completely geeked out. Here I am at Hogwarts!

However, the many White Card Models on display reminded me of my other task: my model box. The project was due in June, but I knew I'd thank myself for doing it over the break rather than trying to fit it in during shows!

When I returned from "Hogwarts", my world revolved around blue and silver paint. My flatmates were very forgiving of my monopolizing the coffee table. I was able to finish it over the break and my future self did thank me for it! More on the finished project later... :-)

 

 
Back from the break, I took on my next rep: Sound. Yikes!

I came to LAMDA knowing that Sound would be my biggest challenge. It's a tricky thing, because I like it when I understand it, but understanding it does not come naturally to me. Plus, when Sound goes wrong, you can't hide it. I'd learned in Film that Sound can make or break a project. People can tolerate a grainy image and good sound, but not a good image and poor sound. And of course, the best take would have a sound issue. It's the worst. I know how important sound is, so I was eager to face that challenge in theatre and conquer it.

The two shows for this rep were "When the Rain Stops Falling" and "Her Naked Skin". There were two Production Sound Engineers from the second year and three of us first years as Sound Assistants. Myself and another were assigned to the more "sound heavy" show, "Her Naked Skin", and the other assisted on "Rain". The two PSE's worked together to design a sound rig that would work for both shows, selecting speakers and amps that were appropriate, and laying out a plan for their locations, as well as cable runs etc.

 

While the SM2s designed the rig, we Sound Assistants sourced and prepared the sound effects for the shows. This included rifling through LAMDA's Sound Effects collection on CD and Vinyl, as well as their digital database from the BBC. (I listened to so many clock ticks and clock chimes, I was hearing them in my sleep....)  In some cases, we recorded live sound effects. For example, "Rain" went out to record actual rain, and we made a studio recording of our actresses singing the suffragette song from the play, as well as the actors shouting as MPs. The shouts were played in between live dialogue as cues, and we edited the song into a ghostly reverb to be played at the end of the show.

Though the Sound Assistants sourced for their individual shows, we all worked as a team to prepare the hardware for both. We gathered the appropriate cables, as listed by our PSE's and tested each one before packing it. The time spent testing is always worthwhile and is much preferred to fault finding once the cable is installed in the venue! I liked the cheeky reminder on our cable tester :-)

 

Before we packed everything for the theatre, we set up our sound system in the Linbury Studio at LAMDA to be sure everything was working correctly, and to familiarize ourselves with the cable runs. The PSE's created a rig plan on paper, but putting it all together at LAMDA would make a huge difference when we got to the theatre. We then packed up our flight cases and were ready to go to The Greenwood Theatre! 

The Get In is always an exciting time. I've really come to look forward to this insanity and The Greenwood Theatre was a fun new venue. It's a "flying" theatre, which means that it has counter weighted flying bars in the grid which can be "flown" down to the floor of the theatre, where lights, speakers or set can be rigged, and then flown back out. It was a great opportunity to learn and work with this system. For me, working in these various venues is one of the many benefits of being at LAMDA. It'll be great when they have their own theatre again, but I quite enjoy working out in the city.

The first two days of the Get In are reserved for Lighting and Sound to hang all of the lights and speakers. Then the set is brought over from the workshop and everything starts to take shape. As a Sound team, we then carry out the Sound Balance. This is a few hours for us to focus the speakers in the right direction and adjust levels to ensure the correct "surround sound" effect. It was really interesting to go through this process and discover how little tweaks change the effect. And how we all heard it just a little differently! That's the beauty of Sound - and theatre in general - it's all subjective!

As I've said, Sound can be a frustrating beast, and it wasn't long before the inevitable issues reared their ugly head. However, we pressed on with good humour and decorated our Sound desk accordingly. We even got ourselves a little Smurf mascot!

 Our Production Sound Engineer did the programming with the Director during Technical Rehearsals and operated on the first Dress and Opening Night. We split the other shows between us two assistants. The Mixing desk is an intimidating one and I was nervous that my first time ever operating a show would be on this beast. 

The dress went fine and, as such, I was feeling OK about my first public show, which I knew was not a good sign. With my PSE, I tested the system and the backup before the house opened. We then muted the system so I couldn't accidentally turn anything on while people were coming in. She asked how my nerves were and if I had any questions and then went to the green room to be show cover. The show begins and I hit GO on my first cue, which is a low rumble. I can't hear it, so I pull my headset away to listen and double check my screen. It's playing, but I still can't hear it. My next cue is called and I hit GO. A very distinct song should be playing and it's not. Something is definitely wrong. I realize that the system is still on Mute. I press the button and the song plays. I pray it ends at the right time and I haven't messed it up in my panic. It's fine and I make many apologies to my DSM. But that wasn't all. Later, an alarm sounds as it should, but the cue to stop it doesn't work. The scene change ends, the actors are settled to start speaking, the alarm is still going and I don't know why. Giving up, I hit ESC which stops all of the sound effects, apologizing that the clock tick that should be now be going is not. I realize immediately after that I could have selected it on screen and stopped it individually from everything else. Investigating later, we discover it was a programming issue. So, one was my fault and I reacted poorly to the second. But, I have learned two very important lessons! Ah, the beauty of live theatre :-)

Despite Sound being my most intimidating field at LAMDA, I think that I enjoyed it most of all. My PSE's/SM2s were great HoD's (Head of Department) and my tutors were helpful, patient and good humoured. My fellow SM1s were fun to laugh with as we made mistakes, learned together and helped each other.

It's summer now and I know that I'll be a Production Sound Engineer in my second year. When my tutor said he'd be happy to have me back as an HoD, I said that his confidence that I could do it was enough for me. It seems I'm still on my way to conquering this mountain and I'm excited to see what mistakes I learn from next year!

LAMDA Rep 2: ASM on "Cat's Eye"

March & April 2015

Cat's Eye is a novel by Margaret Atwood and was adapted for the stage by Lisa Evans. The play takes place in Toronto, Ontario in the 1980s, with flashbacks to the 50s and 60s. I was surprised to be placed on a show set in Canada, but happy that my research for props and furniture would be made a little easier!

Our first task as a Stage Management team (1 Stage Manager, 1 Deputy Stage Manager and 2 Assistant Stage Managers) was to gather our scale rulers, ground plan, LX tape and some trigonometry to lay a mark up of the set onto the rehearsal room floor. The set for Cat's Eye consisted of 4 Oversize frames which the actors would interact with. To substitute this, we brought scaff poles from LAMDA and rigged up 2 H frames that the actors could sit and stand on. Our rehearsal room was in a church at Earl's Court, so we had a twice daily pilgrimage to and from LAMDA to set up and take down as well as check in with the director.

The play's design was minimalistic, which meant that our Prop and Furniture List was relatively short. However, this being our first run as ASMs, we still felt we had a lot to do.  Our first furniture find was the ladder. LAMDA keeps a small selection of furniture in which we were able to find a suitable ladder that we could modify. We switched the lower rope hinge for a higher metal brace, which would keep the ladder safe, but allow room for the performers to duck underneath it. In the theatre, we painted it white to match the hanging picture frames of the set and installed padding on the feet to prevent scraping on the floor when it was dragged across stage. 

The fun thing about ASM work is getting out into the city to find things, and the best bit is when you find something you weren't even looking for. I went on a hunt to Shepherd's Bush Market and Portobello Road, hoping to find an 80s SLR camera and a few other odds and ends. I walked behind a luggage stall and saw the perfect trunk tucked away. We even got a bit of a deal on a scratched one, happily knowing it would be covered up when we painted it to match the ladder and frames. I took it to the workshop to reinforce the lid, for standing on, and prime it for painting. I soon discovered that I am happiest as an ASM when modifying or making something.

In the play, the 4 girls play "Eaton Catalogue Ladies" where they make collages from cutout dresses and household items in the Eaton's Catalogue and imagine their future homes. It was funny to discover that in my Stage Manager's initial research, he struggled to find anything because Eaton was occasionally spelled as Eton in the script, constantly leading him to Eton College! I enjoyed scouring the internet for catalogue covers and learning more about this Canadian icon that sat fuzzily in my memory.

 

Originally, we made the catalogues by adding a printed cover to newspapers and gluing in a few pages for the girls to cut out. However, it was too bulky to be believable. We started again, this time to create a book from scratch. This required more pages, but it was difficult to find interior pages from Eaton's. My North American knowledge finally became useful when I suggested searching for images from Sears as well. From there we printed the pages double sided and carefully bound them with thin strips of double sided tape. We were all very proud of the result!

As I put my Photoshop skills to use in making a cover for the two Bibles, the others channeled their inner child to make the scrapbook pages and Eaton collages. I'm tempted to say that they had far too much fun with this, but it is these kind of projects that make theatre great! 

Another prop to make was an art gallery catalogue to feature the work of the main character, which was to be similar to surrealist Leonora Carrington. Our SM donated a museum catalogue and I searched out some of Carrington's images that would suit some of the themes within the play and pasted them in. I made up a cover in Photoshop, with a white frame to match the set, and voila!

 "Cat's Eye" was performed in "rep" (repertory/rotation) with "The Merchant of Venice" at The Pleasance Theatre in Islington. The Pleasance was my first contact with LAMDA when I attended an Open Day there back in November 2013. It is also just a few doors down from my first London office. It was almost surreal to be back there; it felt "full circle."

 

During the run of the show, the ASMs set the props and furniture before each performance and then live backstage to assist with props and quick changes. Before each show, we would set all of the props and furniture, ensuring that everything is in the same place each night. My "favourite" task became setting the dust sheet that draped on the ladder and each show I would curse it for not behaving. It had already been a source of frustration to find a fabric to look like a gallery sheet, but still meet industry flame proof standards, and then fight with the sewing machine to hem it nicely. (Hemming the 1.5m x 3m sheet quickly became a 3 person job...)

"Cat's Eye" was the first show I worked in Rep, so it was also my first set "Turnaround". Turnaround is changing the sets between shows. Eg. Cat's Eye performs an evening and a matinee, then Merchant performs an evening and a matinee and so on. The change into Cat's Eye was usually problem free, however, going into Merchant was always finicky.

Source: www.lamda.org.uk

 The set for Merchant was a Periactoi set, made of 4 large triangular pillars, each side painted with a different scene, which were rotated in unison by the crew to create a new location. To create storage space, one side of each was removed in each turnaround. Thus, hooking the periactoi to their overhead rigging, reattaching the 3rd side and setting the periactoi to be perfectly balanced and lined up became the daily challenge. Also, we had the shiniest and most reflective of black dance floors, so there was a daily line up of SMTTs across the stage, buffing the floor. One day, as I had to leave for other ASM duties, someone set their phone to play "Cinderelly, Cinderelly" while they buffed. Ah, the glamour of theatre!

Source: www.lamda.org.uk

For a girl who hates shopping, the role of Assistant Stage Manger was a challenging one.  At the beginning, I decided to embrace the challenge of hunt in an attempt to keep the frustrations to a minimum. There were frustrations, of course, and I learned a lot about how I deal with that and how I need to communicate better. In the end, of course, it was such a rewarding experience and I'm excited to return to Stage Management next year!

The "Cat's Eye" Stage Management Team 

"Seriously, is this your life?!" "I know. I don't understand it either."

Once again, it's been too long. I'm really going to have to stop apologizing at the beginning of each blog post, aren't I? Well, best get used to it, because my life is about to get even more busy than it has been! So much has happened in such a short time and it seems that everything is happening so quickly. I know it will only speed up from now on. Also, I must thank my lil sis for inspiring the title of this blog post. Most days I can't believe that I'm lucky enough to be living how I am right now. It's baffling. Now, to catch up on the last 2 months!

The final weeks of Term 1 will forever be etched into my memories. We knew it was coming, but we still didn't know quite what to expect. The end of Term 1 brings with it two things: the Carol Concert, which we'd have to form a choir for, and the Scene Exercise Week, which would see us swapping roles with the 2nd Year Acting Students.

This prop originally said "Freedom for All". Halfway through the week, it was "Freedom for SM1s".
Rob's response was "Not a chance". By the end of the week, it was "No Freedom for SM1 Tutors." 

Luckily, we'd had a little taste of the acting experience already in our Production Exercise. As we brought together all that we'd learned over the term, we put on 2 scenes of a play, taking on each of the 6 main roles while the rest of the class acted out said play. So, by the end of the week, we'd put on that play 48 times, having acted for at least 6 rounds. (Or 12, as there was a rehearsal and then a performance.) By the end of that week, madness had taken over and we were pleading for our freedom and bribing our tutors with candy. So, when it came time to learn acting with the actors, we knew a little of the insanity that would inevitably follow.

Yes. Yes, we are. 

First up was the Scene Exercise, which I have dubbed "Mutual Respect Week". Despite it's international reputation as one of the world's best drama schools, LAMDA is very keen to keep ego at a minimum. No one is better than anyone else, no one job is more important than another; Theatre is a team effort. Thus, a few years ago, they started the initiative to give Technicians and Actors a taste of the others' job. As far as they know, LAMDA is the only drama school doing this, and I'm glad they do. Throughout the term, we've had a few of the acting classes; Movement, Voice and Stage Combat. During the final week, us Techies were given a script and we had classes on how to break down the text and really discover the characters. We were given another movement class, which was definitely out of my comfort zone! The aerobic style class a few weeks back wasn't too bad, but following my elbows through music and then making up a greeting as a different creature are certainly not things I can see myself doing to prepare for work!

As we learned text breakdowns and breathing exercises, the actors were learning how to program Sound and Lighting cues, how to write up a prompt script, run the prompt desk and then sourced props for our little show. It was a great week and it was a good chance for us to get to know the actors as well. There are many acting groups at LAMDA, and it is often hard for us to get to know them all. We were placed with the 2nd years by design; we'll be tech-ing their public productions next year and we'll all graduate together. We had a few classes together where we helped them with their technical learning and they helped us to find better ways to present our play. It was amazing how quickly they picked up on bits of the script that we'd spent 3 hours figuring out in the Text class! 

I look so awkward in this photo... because I felt awkward.
So much of this class was spent making funny faces at each other!

At the end of the week, we put on the play; actors backstage and techies on stage. It was such a valuable experience. At the end of the final day, we had a debrief with the tutors who gave us feedback on the week and also asked us for our feedback. Since this is only a 4 year old project, they've been adjusting it each year. Most of us just wished we could have had more time together to really learn how the other side works, but then we'd all be doing full courses in both acting and tech-ing!

The last day of term brought a very special Christmas tradition: the Carol concert. We were feeling fairly confident about our performance in the weeks leading up to the concert, our choir director had even said that ours was the best sound she'd ever heard from the Stage Management group, and somehow I'd ended up in a little duet at the beginning of the song. But when we arrived at the church for one last rehearsal and half of us were fighting colds, we began to get nervous. Our director cut the solos (thank goodness), putting all of the soloists together for the first verse. We returned later to light the candles, which proved the effectiveness as our training as we all became very concerned about the amount of fire in the building and if everything was risk assessed and flame proofed.

So. Much. Fire.

When we found a program and saw that ours was the last performance of the evening, we began to get really nervous. Then we saw that Patricia "Such Fun" Hodge was given a reading and realized we'd be singing in front of her too! All of the students were sat around the church facing one wall where the tutors and the audience sat. The group performances took place in the middle, but the first song of the evening was a group performance from "The Messiah". As ALL of the actors stood, our small little group of techies felt even more out of place! The evening went on and, as each year group performed their piece, we began to feel less and less talented. We just wanted put on some steel toed boots, black clothes and fade into the background to call lighting cues. However, as the penultimate act turned back to their seats and we stood up, the applause doubled in volume from their exit to our entrance. We knew we had support and even though it was probably our worst rendition of "White Christmas", we still received the biggest applause of the evening. Even without that, Rob was immediately on his feet, clapping like a proud father, and I think that was good enough for all of us.

After the Carol concert, we all made our way to one of the SM2 flats, where tradition dictates that the tutors join us for drinks and announce our roles for the next rotation. Of course, they can't be announced all at once, or in any kind of order. No, roles must be announced only 3 or 4 at a time, and not all information must be given immediately. "You're a TSM. On what show? Oh, we'll tell you later..." They thrived on every ounce of frustration they caused. Luckily, I found out my role about halfway through the night, so my suspense was shortened a bit and then I just had to wait to find out who else I'd be working with. I'm really excited to be on the construction crew building the set for "Rent". Or at least I was until I got my schedule this week: 0800-1800 each day, with a 40minute commute to the workshop. Ugh. I've warned my flat mates that I will soon be a zombie that just floats in and out of the flat, coming and going in the darkness.

Nonetheless, I'm still excited. I've seen pictures of the model box for the set and it looks like a lot of welding. I used to hate welding, mostly because you can't see what you're doing until you start making sparks, but LAMDA has fancy new eye masks that only go dark when the weld begins. I enjoy it a lot more now :-) I'm also excited to really learn the CNC (Computer Navigated Cutter) machine.  It reminds me a lot of the CMC (Computer Mat Cutter) that I used when doing Custom Picture Framing. I've used it once; I needed to cut a round board for a project and asked if it would be quicker to have a quick lesson on it, rather than measuring it out with the hand router. My Construction tutor obliged. I like to think that my enthusiasm for it was part of the reason I was put on the construction crew this rep. That, and the fact that I can handle the cold. The workshop is under three rail arches and doesn't have central heating, just little heaters everywhere, so it can get quite chilly. In fact, when Rob was reading out the assignments for this term, he even said "Ah, who wants to be cold? Megan, you're on Construction." Works for me. I'm used to being out in my Dad's shop with strategically placed heaters. It'll feel like home. Just with British accents and annoying Phillips screws instead of my beloved Robertson.

My first use of the CNC Machine. I can't wait to really put this thing through its paces. 

Christmas itself was fun and really low-key. I took on a bit of Temp work, mostly so I could spoil myself with some plays (Made in Dagenham, The Curious Incident of the Dog in the Night-time, The 39 Steps, The Railway Children) ..... And I spent some time working on school projects and generally enjoying the time to relax before Term 2 takes over my life! The KwAussie flatmate and I have made it our tradition to go for a walk on Christmas Day and this year it was Regent's Park. It was a beautiful day and a nice excuse to fill ourselves with Christmas dinner later on :-) As ever, it was great to Skype with my family and have my little moment of homesickness for my amazing family. Have I mentioned how great my family is? I have? Well, too bad. They are awesome and I will never stop saying it. I would not be living the amazing life that I have if it were not for them.

The ducks and I in Regent's Park on Christmas Day. 

The first week back to LAMDA was basically a "Pre-Pre-Production" week for the shows as well as final prep time on our design projects. This is another LAMDA "Mutual Respect" initiative which sees us taking on the role of the Designer and working with a Director to create a scale model box for a set for a play. I'm doing "Let the Right One In", which has over 20 locations and supernatural vampire effects that I need to deal with. Not only must we come up with a design, in collaboration with the Director, but we must build it to 1:25 scale within the Lyric Hammersmith Theatre (according to 1:50 floor plans), keeping in mind all technical and safety issues that we would face if this play were actually being put on. For example, my design has mobile lockers which move around and open up to reveal different items and create locations, as well as being climbed on and spurting blood in a vampire murdering spree at the end of the play. In addition, we're flying in rafters/girders as windows and the jungle gym, as well as hanging people from wires throughout the play.

The Design Project visualization. Now to build the thing properly.

 So, I have to know that my floor must be anti slip, possibly with a drainage system, my lockers must be weighted for stability and have braked casters, the rafters that fly in as the jungle gym must be able to bolt to the false floor etc. This doesn't even get into the rear projection system on the "Cyc" that I need to allow room and angle for. Oh yeah, and everything that I build must be accurate enough to be built from. In real life, the construction crew will receive floor plans as well as the scale model box and they will measure from either one to build the real thing.  Does your head hurt? Good, because future blog posts will probably include some complaining about this project. So far, I'm enjoying it, but now that the design is basically complete, I have to start building the darn thing and I'm bracing myself for 1:25 frustration. In the end, the models will go on display where industry professionals will view them, interview us and choose 3 winners. I think one will actually be turned into a show and all will go on display in LAMDA over the next year. No pressure then.

It's strange to say that I am officially done my first term at LAMDA and already picking up speed in the second. There are days that I'm still amazed I'm even here. The first term was focused on classroom learning, very practical learning, but it was instruction time nonetheless. Now that we are into second term, the tutors no longer consider themselves to be our teachers. They are our colleagues and mentors as we navigate our way through the next 2 years of theatre production. We're excited to get to work, but it does feel as though we're being sent out onto a tight rope and they're not holding our hands anymore, they're just the safety net. Here I go!