You might think a director is more important than the caretaker, but if you irritate the caretaker and he refuses to open the building, you’re in trouble!
What is your job?
I'm a freelance lighting designer and a totuor in technical theatre.
What does your job involve?
I still do freelance lighting design work, but for the last 12 years I’ve run the Technical Theatre course at Lewisham College. I teach a BTEC National Award in Production Arts that covers all the technical aspects of theatre, including lighting, sound and stage management. Many of the students who successfully complete this one year course go on to specialise further at drama school or university.
How did you get to this point in your career?
After Mountview, I did unpaid work placements for various theatres and theatre companies, while a front of house job at Riverside Studios paid the bills. I did the standard learning on the job – forming companies with out-of-work actors, doing anything and everything as long it was to do with theatre. I got my first paid job in 1984 with The Women’s Theatre Group and have worked in theatre ever since. For about 12 years, I worked in touring theatre, travelling around the country, doing stage management jobs, lighting and production management. They were my rock’n’roll years!
What training did you do and where?
When I was at school, I had a summer job working at Chichester Festival Theatre, selling programmes and ice creams. Being around the theatre, seeing all the shows, made me think that’s what I’d like to do. After school, I moved to London and worked for a market research company where I met lots of out-of-work actors who were making their own work in fringe theatres all over London. I ended up helping them out and then someone suggested drama school. So I opened the Yellow Pages and found Mountview Academy of Theatre Arts, applied, and was accepted on a two year technical theatre training course. It was fabulous to be trained in every aspect of theatre. One of the things I love about theatre work is that you’re always creating new families with the people you work with.
Which piece of work are you most proud of?
I’m proudest of my students’ achievements. Every year, it surprises me to see the journey they make from the beginning to the end of the course. Some have never been to the theatre before, and I love seeing how their capability, understanding and committment develop during the year.
As for freelance work, I’m proudest of a show called Room 474 at the Great Eastern Hotel with live artist Stacy Makishi. The Titanic was the sister ship of the Great Eastern, and they both suffered the same fate. We took over a suite for the weekend and told stories of icebergs, cold showers, drowning, holding your breath and clinging on to life and love. It was fantastic. We lit the space and filled it with sound and smoke, and Stacy wrote the most amazing piece of theatre. See her work here: http://www.stacymakishi.com/
What do you need to succeed in your industry?
You must be flexible, very organised, positive and an excellent problem solver. Good communication skills are also vital. In a creative theatre discipline, you have to be able to listen, receive a lot of information, assimilate it and hand it on. You also have to be able to deal with all kinds of people – from actors and directors to lighting designers and caretakers – and give them equal worth. You might think a director is more important than the caretaker, but if you irritate the caretaker and he refuses to open the building, you’re in trouble!
Who’s your work hero / heroine?
It’s an ongoing process for me. I always value the people I’m working with now and look forward to the next opportunity and the new people or projects that follow.
What are you looking for in a potential student?
I look for people who are positive and motivated. They don’t have to know all about the subject, but they must demonstrate a real curiosity for it.
What are the attributes of your most successful students?
They maintain their curiosity throughout the course, they’re creative , diplomatic, they have a focused approach to their work, and show determination and commitment. And have a sense of humour!
What are your tips for anyone wanting to do your job?
Find a course at FE level, and learn some skills to see if you really want to do this. If the answer is yes, look for an accredited Production Degree at a drama school or university. If you don’t want to take that route, then get as much work experience as you can and say yes to every opportunity. Networking is really important. Deliver your CV by hand to every local theatre, fringe venue, theatre company and art centre. Footwork really pays off. You might deliver 40 letters and only get one reply, but it’s worth it. In this field, you’ve got to be really determined and committed, and if you get put off straight away, you’re not going to make it.
Creative inspirations
Black and white films
I love moody black and white films from the 1930/40s like Nosferatu, Rebecca and The Third Man. They made me realise the importance of dark corners, bright lights and long shadows. Seeing isn’t always believing.
Hollywood musicals
Singing in the Rain, An American in Paris, Easter Parade, Guys and Dolls. The colour, the music, the dancing - pure joy! That’s entertainment.
David Bowie
When I was growing up, Bowie showed how things could be done differently, with his extraordinary showmanship and stage persona, and by pushing the boundaries of sexuality. And of course, the most fantastic music.
Travelling
It doesn’t matter where I’m going, it’s the journey that’s important to me. I get my best ideas when I’m in those places in-between. You’re in limbo, free flow, nowhere. It’s a bit like meditating - just sit back and watch the world go by, and wait.
Intense colour
I love the intensity of colour that Rothko uses, and Yves Klein Blue. I love the sea, big blue skies, and I use a lot of blue when I’m lighting.
Gregory Crewdson
He’s a photographer who does these surreal shots of American homes and neighbourhoods. The lighting he uses is extraordinary, and makes real life urban scenes seem like fine art paintings.
Vienna’s art and architecture
When I was 18, I went Inter-railing. I stopped in Vienna and saw incredible iconic paintings and buildings that I’d previously only seen in books and magazines. Artists like Otto Dix, Gustav Klimt and Egon Schiele. After that experience, my advice would always be to see things for yourself.
Every show I’ve ever seen and every good idea I’ve ever witnessed.
The Sultan’s Elephant
It was magnificent to see this giant mechanical elephant on the streets of London that weekend. I had a real sense that anything was possible. Even a black president of the USA!
My mother
She was always smiling and always saw the best possible option in any situation. She used to tell me ‘Don’t spoil the ship for a ha’porth of tar’, which is great advice.
If you would like advice on creative careers and courses, contact a Creative Way Careers Adviser - either Matt Ball on m.ball@uel.ac.uk / 07889 001764 or Sarah Comerford on s.comerford@uel.ac.uk / 07515 051509.