Ep #6 - Petra & Lou - Oliviers, Tour Life & BTS Stories

This time, we chat to Petra Joan-Athene from Olivier Award-nominated The Boy at the Back of the Class, which has recently performed at Mayflower Studios. Petra is also a recipient of Mayflower’s Higher Education Grant in 2023. Lou Cobbold, our very own Production & Stores Supervisor at Mayflower talks to Zoe Hanson about her role within the organisation and experiences within the industry.

Transcript

SPEAKER_02 0:05

Welcome to Mayflower Spotlight Podcast. In this episode, we're talking to Petra from Olivier nominated the boy at the back of the class on her return to Mayflower.

SPEAKER_01 0:18

It wasn't until I toured I realised how special the Mayflower is. I was like, wow, that's a real dream for me.

SPEAKER_02 0:25

And we speak to Lou Cobble about her experiences in stage management and life behind the curtain.

SPEAKER_03 0:32

I didn't really know it was a job as a teenager at school. I didn't even know that job existed.

SPEAKER_02 0:41

Well, this is so lovely to have you here. Petra, and I know that you're from Winchester. You are at the moment you are on at Mayflower Studios. You are part of the cast of The Boy at the Back of the Class. Tell us about that show.

SPEAKER_01 0:58

Okay, so The Boy at the Back of the Class is based on a children's book by Anjali Q. Ralph, and it was adapted by Nick Ahad. And it's written through the eyes of a nine-year-old girl called Alexa, and it follows the story of a Syrian refugee boy called Amet, and it he shares his journey with us, and he it's about his journey and how he's settling in London in his life in the UK, and he makes friends, he befriends Alexa, and Alexa has this group of friends called the A-Team. Well, we we established the name the A-Team, um, and I am part of the A-Team, and we help him find his family.

SPEAKER_02 1:38

And you know, so I came to see the show last night, and it's about friendship. As much as it is about Amet's story, it's about the strength of friendship, the power of friendship, the power of kindness, isn't it? And acceptance. And acceptance, and it's um as much as it's a children's story, God, there's so much to learn in there. And I was giggling along, and then at the end, you know, I'm a bit, oh, I'm a bit teary, and um, and it's about these friends and how courageous they are and how much they want to stick up for their friends.

SPEAKER_01 2:17

It's really, it's it's so heartwarming, and it really that was what drew me to the production. I always like I've always wanted to be a part of stories that leave the audience with something to talk about.

SPEAKER_00 2:31

Yeah.

SPEAKER_01 2:31

And I feel like this show really gets the audience talking, and it's so nice as well that the majority of that audience is kids and they're going to their parents and asking them questions, and I think that's I think it's so rare to be a part of a show that does that, so yeah.

SPEAKER_02 2:47

And the characters in this show are just incredible. You all play the nine-year-olds, and I'm bought into it. I'm so there. Um, what do you think people take away from this show?

SPEAKER_01 3:02

Well, I think kids, I think they often learn, well, they learn about, especially the younger kids. Like today we had a quite a young audience. I think they learn the terminology of like refugee and asylum seeker. And I think it's really great because they go to their parents afterwards and they kind of ask them, okay, like, well, how does that work for me? Or maybe they start to look around their classroom and ask more questions. And I think what I would hope that they would take away is that they'd you know go to their classroom the next day and maybe ask the kid who sat on their own if they want to join in with things, and yeah, I think it's about just being kind to each other, so yeah.

SPEAKER_02 3:46

And like I said, you're from Winchester, um and before you went to drama school, you uh lived in Winchester. Did you come to Mayflower Theatre?

SPEAKER_01 3:57

Yes, I must have come about 200 times. Um I was also very fortunate that I went to the Winchester Royal like drama club, and one of my teachers, she worked as an usher here. Okay, and so she would, you know, co go to all of the parents and say, you know, I can get you like some discounted tickets if you know you want to bring the kids to the theatre. So I was like, Great.

SPEAKER_02 4:19

And my mum You're really promoting the usher job here, right?

SPEAKER_01 4:22

Yes, but um it was amazing. Like my mum was just so brilliant. She took me. There was a period where she would take me like every other week.

SPEAKER_00 4:30

It was crazy, right?

SPEAKER_01 4:32

Like I also just loved it so much. My mum loves it, and yeah, so I came here a lot. I saw ballets, I saw like all sorts. I saw ballets, I saw musicals.

SPEAKER_02 4:42

What were the shows that stood out to you? What was the night or what was the show that you saw and you thought, right, that's it, that is what I want to do.

SPEAKER_01 4:49

You know what? It I see I've seen quite a variety, but I would have to say either the ballets, I saw Manor, which was amazing, um, a really beautiful ballet. I saw Romy and Juliet here, and I also saw Singing in the Rain, the musical.

SPEAKER_00 5:07

Yeah.

SPEAKER_01 5:08

And that was just magic to me. I was like, there was rain on the stage. I was like, what is happening? Um, but also, yeah, I think like the golden age Hollywood musicals on the stage, like in front of you, it's just magic. And yeah, I just remember always feeling so inspired. I was also just so excited, like stepping into that foyer, those like automatic doors opening, and I was like, magic.

SPEAKER_02 5:31

Um, so yeah, but it is it's a feeling, isn't it? As you come through those doors, it's very grand, the entrance, the foyer, and then the seats and the decor, and you know, you really feel like this is a big experience.

SPEAKER_01 5:46

Also huge, like it's a huge theatre, and I think yeah, it wasn't until I toured how like I it wasn't until I toured I realised like how special the Mayflower is. I was like, wow, that's a real dream for me. So yeah.

SPEAKER_02 6:00

And you're here performing at Mayflower Studios, and I believe that Mayflower had a bit of a hand in this as well. Tell us about that.

SPEAKER_01 6:09

Yeah, I mean, I think me attending the theatre so much here, and they were always like the name Mayflower is always like such a big part of me as an actor, I guess, because the inspiration was drawn from here. Um, but also I was very lucky in that I received a bursary from the Mayflower in my final year of drama school. So not only was you know this theatre such an inspiration for that I've drawn from in terms of like visually, but also just they've actually physically supported me. So it's quite special really.

SPEAKER_02 6:45

Does it feel then when you come to Mayflower Studios that you're giving something back a little bit?

SPEAKER_01 6:52

I guess so. I mean, I saw um Patrick earlier, and he was like, Oh, it's just so special that you know we've been able to help you, and then you've been able to come and perform here. Um, and yeah, it does feel like such an honour. Like, I just came in and I was like, Oh, I I actually can't believe I've done this. Like, and it also makes me feel like, oh, I'm I'm glad that I was able to come here and almost like give back in a way after them being so generous. So yeah.

SPEAKER_02 7:20

What's it like being part of a touring production? Because you're here for four or five days. Yeah. Um, and you you've just done two shows today, haven't you? Yes. And so how does that feel? Are they back to back or do you get a break in between?

SPEAKER_01 7:34

It's pretty much back to back because with a family theatre touring schedule, it's like you will often have days where it's a 10:30 and a two o'clock, so it's like very, very busy, and then some days you'll have a two and a seven, and occasionally you'll get a 10:30 and a seven. So it's like really, really bizarre. But I think also with because of the content of the show, our schedule is quite unique. Um because I think this definitely this show is also very watchable for adults, so yeah, we like to accommodate both families, schools, and adult theatergoers. Yeah. Um, so yeah, it's been really busy, but also very like the tour touring life as an actor is crazy because you are literally like we're going to Edinburgh next week. So we have two days off, and then close. Yeah. So we've got two days off, and then you're on the train to the other end of the country, and you're like, How is this even a thing? Like last minute I was in London, the next minute I'm in Cornwall, and then the next minute I'm in Edinburgh, it's crazy. Um, but also exciting, and every theatre is different, every like venue brings different audiences and different vibes from the audiences. So yeah.

SPEAKER_02 8:48

And how do you how do you change that then? So do you do you have to almost acclimatise when you get there? Do you have to do you have to sort of tweak your performance?

SPEAKER_01 8:57

I wouldn't say tweak my performance, but I think like definitely coming here last night, um, we had the get-in and then we went up straight away. And I we had never done this show in like a smaller venue like the Mayflower Studio, so it was quite weird because I was like, oh my gosh, the audience is right there, like I could reach out and touch them, which was actually really nice in a way, but it definitely felt like it felt different. I was trying to explain it to my castmates. I was like, usually this show feels like almost like an experience, but last night it felt like a play, like it really felt like a play. Um, I think yeah, it was also so nice because our director encouraged all of us to have a moment where we connect with the audience and kind of break the fourth wall. So she was like, everyone decide that. And I was like, oh my gosh, like this is gonna be so hard. But then last night, and also today, performing to the schools, just like actually making eye contact with the kids and the teachers, it was just so special, and I just I actually felt like I've never felt more alive in this character than here, weirdly. I don't know why, but yeah.

SPEAKER_02 10:09

Well, I suppose it's that energy you can if you can see that coming back to you. Exactly, you know, there's an exchange of energy in a theatre anyway.

SPEAKER_01 10:16

Yeah.

SPEAKER_02 10:17

So if you're putting stuff out there and actually you can see the reaction coming back as well, yeah, that's a different experience for you.

SPEAKER_01 10:24

It was today. I had I had a brilliant moment where I just like very sneaky, just like had a look at what the kids' reactions to Mr. Irons was. So Mr. Irons is like the villain character in the in the play, and this little girl was beaming throughout the entirety of act one, and then I just looked over at her when Mr. Irons comes out, and she was like the big green just went to like this face of horror, and I was like, oh my gosh, and weirdly it's like given me a bit of inspiration because I'm like, oh, sometimes I feel like my character is just so big and so like she's so sparky and crazy, and sometimes I'm like, oh, is it too much? But then I literally look, I look over at these kids and I'm like, oh, they are literally they are that they are that so yeah, it's been really and and how do you get into character as a nine-year-old?

SPEAKER_02 11:16

Okay, do you have to go and hang out with them?

unknown 11:19

Well, you know what?

SPEAKER_01 11:20

Not really. I I think like all of us kind of our director invited us to come in, not necessarily like prepped with like a full, I guess, just like preparation of how to become a child. It it was like she wanted us to almost like reach from our inner child, yeah. Um and so yeah, I think it wasn't necessarily like specific, you know, I don't know, performances or just like hanging out with kids that gave me that. It was actually just reaching into myself, I guess, and connecting with my previous childhood self, which was quite healing in a way. Um, but yeah, also I did the show two years ago, and in between I like nanny'd a 10-year-old girl, which is obviously like similar age to this show, and I think that really gave me some inspiration for this time around. Um, because she was so like sassy, and and Josie, my character is so sassy, and I don't know. I'm just I guess I'm drawing inspiration from her as well.

SPEAKER_02 12:23

And absolutely, I can confirm that you are sassy and sparkly on stage. Very, very good.

SPEAKER_01 12:31

Thank you. So, yeah, Josie is very sparky, but also it's so fun for me because I am like quite a crazy silly person, and I think being able to be the 100% version of myself is great.

SPEAKER_02 12:47

Yeah, yeah, yeah. And I think it's to be given a license to do that, yeah.

SPEAKER_01 12:51

But also, I guess like it's so funny. I watched the trailer for this show the other day because I'd like not seen it, and I was just like, oh my gosh, like my voice is like a child, and I just never acknowledged how different I was until I watched that trailer. I was like, oh my goodness. Oh wow. I was like, whoa, that the the pitch is up. Uh yeah, so it was interesting. I was like, wow, the range is ranging.

SPEAKER_02 13:17

And so The Boy at the Back of the Class is a big hit as a book, and now a massive hit on the stage as well.

SPEAKER_01 13:27

Yes, we actually just found out three days ago that we've been Olivier nominated.

SPEAKER_00 13:32

Oh wow.

SPEAKER_01 13:33

Which is very exciting and also just so rewarding because we've all worked so hard, like we put the show up in two weeks. Um, so for it to receive a nomination is just out of this world. But I also think the fact that this story has been nominated is so important, yeah, especially to in today's world. So yeah, it's really special for all of us, and we are actually in London at the South Bank when the Olivier's are happening. Oh so I mean, we we do have a show during this the ceremony, but we are all gonna be interval live streaming. Did we win? Yeah, yeah, exciting.

SPEAKER_02 14:14

Well, best of luck with it.

SPEAKER_01 14:15

Thank you, thank you so much.

SPEAKER_02 14:17

Uh thank you so much for coming to talk to us. It's fascinating finding out all about you.

SPEAKER_01 14:23

Thank you so much. I've just loved being here. So thank you, Mayflower. Woo!

SPEAKER_02 14:35

So we're joined by Lou Cobold, who is production and stores supervisor. What does that mean? What does that entail, Lou?

SPEAKER_03 14:44

It's actually a new role. Um I previously was stage manager here at uh Mayflower for uh about two years after being on the road for a while. Um, but I'm about 120 years old now, um, and there is a young crowd coming up who can uh take over the reins. So uh I'm now in a new role which um involves uh looking after our props, costumes, and set. Um and I'm also leading the production arts course that we have every year here at Mayflower and Studios.

SPEAKER_02 15:15

So that's no mean feat looking after props, costumes, and set, because there is a lot of it.

SPEAKER_03 15:21

There's quite a lot, yes. Uh, set, we are slowly sort of um thinning out what we've got to uh make it more efficient as far as storage and uh and the space that we use. But costumes, uh we always do a youth theatre, well, two youth theatres, uh youth theatre shows every year, uh, and the costumes that we use for that we do acquire quite a lot, so that is always increasing. So certainly our costume stock is quite large to put it on the small size.

SPEAKER_02 15:49

Where's the wardrobe?

SPEAKER_03 15:50

Where is it? It's in a secret location.

SPEAKER_02 15:52

Oh I could tell you, but then I have to kill you. And and so do you just accumulate all of these things, or do you think, right, okay, it's spring. I'm gonna go through. Is it like my wardrobe? Do you say, right, okay? Um, I haven't worn that for a year, so um that's gotta go.

SPEAKER_03 16:09

Yes and no. Um, but of course, as in normal kind of uh households, once you get rid of something, the next show that we have, of course, it's the sort of thing that we would actually need. Um predominantly a lot of our stock is for youth theatre, so it's on the smaller side. Um, however, uh where we can, we always try and reuse items. Uh, certainly a lot of our productions, um, a lot of our stock is either upcycled uh or changed to format into what we need for the new production. So therefore, we try not to spend a lot to acquire new stuff and reuse what we already have. So although we do grow as far as our stock, it's hopefully on a smaller scale uh and not quite so big. But uh culls do take place, um, which I'm sure there'll be another one coming up soon. So and props.

SPEAKER_02 16:58

So uh my my theory is, or my thought is that there is a there is a prop store somewhere with all sorts of treasures and all sorts of weird and wonderful things, isn't that?

SPEAKER_03 17:11

Right? Absolutely. Um, I mean I've worked in many theatres and uh every prop store seems to have random items where you just think, when am I ever going to use this? Or how did we get this? Um So tell me, give me some examples of stuff that you've found there. Uh well in our prop store we have um what looks to be a normal suitcase, but when you open it, it's a ventriloquist dummy. Okay. Uh uh suggestions of when we could use that in a show. Um uh please uh send in on a postcard. Um uh a real horse's head, a skull, um oh yeah, um a baby gas mask/slash incubator, which they would have used in World War II, I remember that one.

SPEAKER_02 17:50

Okay.

SPEAKER_03 17:51

Um yeah, as I said, the the randomness that you can come across in a prop store is great, but then sometimes that's the fun thing because you you are looking on the shelves and you go, What is this? And then yeah, so a story comes behind it, or someone's donated it. Um that happens quite a lot. We get people who do like house clearances or moving house, and they suddenly go, Do you want this? Because a charity shop won't take it. And we're like, okay, so um, yeah, you you never really know what you're going to come across or what people will decide to donate for you. So it's quite an interesting job to have.

SPEAKER_02 18:24

What do you love about this job then? What do you love about looking after the props and the costumes and uh the sets?

SPEAKER_03 18:35

It's basically I as I said I've been a stage manager for over 20 odd years, and even though I've stepped back a little bit, I still have my foot in the door a little bit. So I support all of our in-house productions, and therefore having a working knowledge of what we've got and knowing that if a director or a designer is asking for something, I go, Oh no, I think I've got something which is just gonna fit that. Or you're like the ready steady cook person for the theme. Yes, yeah, we'll get a prop and a bit of costume. What can I make? Yeah, or what show is this? Yeah. Um, I mean, just this morning, uh I I've been in contact with a um uh a care home that specialises in dementia, and they are doing an event uh in April, um, uh a bit of a fun sort of uh casual event with a circus theme, and they got in contact to say, Did we have any appropriate type costumes? So I was able to kind of go through and go, oh, that might be useful. And there was even sort of one of those uh tops that had a male torso printed on it to make a strong man, yeah, and things like that. So, and a kind of a leopard skin sort of like stashed over it and clown outfits and stuff, and just gave it to them because obviously it's going to come back to us, so it's just alone.

SPEAKER_02 19:41

But again, just you're the person to know for fantasy dress, aren't you, right?

SPEAKER_03 19:45

Uh uh I've got a lot of stock at my fingertips for that, so yeah. But again, it's it's it's being able to uh yeah, help the community and be able to kind of uh support their events as well. As I said, it's it's going to come back to us, so as long as it's taken care of. Um, it's nice to be able to help, especially uh uh uh you know a course like that where for a day they just get to have fun and play around.

SPEAKER_02 20:05

So wonderful stuff. Um, and let me go back to the stage manager stuff. You said you've been a stage manager for about 20 years. Tell us about stage management because oh, how much time have you got? I've seen I don't know that a lot is known about them. You know what I mean? Exactly. They're a rarity, yep, and because they are behind the scenes, we don't really know what they do. I know that they have a little Madonna microphone inside essential. Um you're sort of making the calls for people to be on stage, but but tell us about stage management.

SPEAKER_03 20:41

Correct. Well, again, like you, I didn't really know it was a job as a teenager at school. I didn't even know that job existed, um, even though we all go to theatre shows. You just things happen, yeah, and you don't really take into account all of the people that are backstage, but yeah, there's a whole team. I mean, if the if the cast is big on stage, it's going to be mirrored backstage. But stage management really, um, the clue is in the title, you are managing the entire stage. Uh, obviously, you have your lighting, your sound, wardrobe, projection, uh, automation, lots of other departments, but you are you are the point of contact, which basically makes that all work. So throughout rehearsals, you're making sure that they get all the information they need that's coming out of rehearsals, making sure the designers got what they need as well, as far as you're realizing their design with props and things like that. Your assistant stage managers are working out scene changes during rehearsals, and then when you get to the theatre to do the technical rehearsals, that's when it all comes together, and the stage manager is pinnacle because they are the ones that keep you on schedule that the production manager has uh created. Uh, so you're making sure that you're keeping everything to time, you're making sure you're communicating with the director. How do you do that? Is that the little microphone? That's a little microphone, and unfortunately, being a bit bossy and just say to people, come on, we've got 10 minutes to get through this before tea break. And you are driving it. So you are the point of contact, you're visible on stage. As soon as you need to stop things, you're communicating why, you're telling the cast what's going on, you're delegating jobs to the assistants. The deputy is the one that sat in the corner and is actually queuing the show. Okay. So making the lights, the sound, automation, flies, everything else happen. So you're you're communicating with lots of people at the same time, but you are also then relying on the fact that you have the support and knowing that everyone else in your team, as it were, and the rest of the departments also know their job, but you're basically just bringing it all together and making sure that it's running and that the show does happen, and that you know, at 7:30 on the Friday night, it opens on time and there is a show and it runs smoothly.

SPEAKER_02 22:42

Do you not want to go for about three hours there?

SPEAKER_03 22:45

Do you mean uh um here we go that the healthy diet lifestyle tends to go a little bit out the window? Um, if you've got any pets at home, by the time you get home at the end of the week, they're sat there going, um uh yeah, so your your life does go on hold for the tech rehearsal period. Um, but yeah, it's it's you are living and breathing the show, um, but as is everyone else. Um and then obviously when you you've opened the first night, it's a big relief, and it doesn't stop there, obviously, but but the tech week is a very intense time for for the stage manager. It's it's uh having to be in many places at once, but also looking very calm, confident. Yeah, it's all going fine, even if it's not it's yeah, exactly that, yeah. I'm just making sure that it's all happening, um, and that and also that everyone in a way is also having fun because it is a stressful week. You're trying to keep it kind of lively, but driving it and making sure that we get to the uh the end product, which is a great show.

SPEAKER_02 23:39

And production art, that's what um you head up. Yep, indeed. Um so talk to me about that. Talk to me about production arts.

SPEAKER_03 23:49

I mean, if it was on offer when I was a teenager, I would have jumped at it because it is exactly the sort of stepping stone that students now need. Um since that horrendous word COVID, um, the uh theatre industry, as far as the technical side of things, has been decimated. Um, a lot of people within 24 hours, within the Mayflower, luckily had a contingency plan, but a lot of people who were on tour and things like that just jobs just fell away. So there's a massive lack of uh technicians in the industry, which is of course over time going to build up, but it's really trying to bring that to the forefront and encourage students who are interested in backstage work or also may not know about it a bit more and have a bit of an insight. So it's to basically give them a bit of an introduction if they are already studying uh within higher education, because it's between about sort of 16 and 18 years old. Yeah, they're already studying, but it's to enhance and also give them opportunities. So they do um uh masterclasses in all the um backstage departments and they also shadow uh backstage uh during productions with our professional team, but also visiting companies. Uh, they can also do uh visits to other schools. Uh they've recently just been to um uh Royal Central School of Speech and Drama and had a day there and worked with the um uh the students and the tutors there. Um, they also get to see shows as well as see them backstage. Um, we've also got guest lecturers coming in, so it's a really kind of well-rounded course for them to just not only have an insight into each area but also open their eyes and go, these are careers, these are jobs, and you know, or if if they're already interested, help give them a bit more of an intuition to it, but also uh encourage them and make contacts as well. So it's in my opinion, it it's a it's a very worthwhile course for what it is, just so that they can have this opportunity to open their eyes.

SPEAKER_02 25:38

It sounds like an amazing springboard. Um but you mentioned all of the different backstage departments. Just give me a flavour of those, give me a few of those.

SPEAKER_03 25:49

Uh well, lighting. Uh, we will take them into uh one of our main studios um and our chief technicians uh who are um uh working with the um uh Mayflower and studio shows. Uh they will talk through um not necessarily the basics because we expect the students to have uh a little bit of an understanding of things. Um so just talk through the basics of um different types of lights, uh what they do. Um parcans. Am I good?

SPEAKER_02 26:17

Am I good? Gold star parkans. That was the only thing I remembered from college was parcans. Parcans, yeah. And there's also it's a type of light.

SPEAKER_03 26:27

It is. Sorry, I'm just showing up. It's very newer type of light. It's very rock and roll, yeah. But yeah, there's there's so many different types of light, and also lighting is an area where technology grows constantly as far as updates. I mean, desks used to be manual, now they're digital, the same with sound. Lights again, they used to be static, now we have moving lights. As I said, technology is moving on. So, again, just so that they've got up-to-date information, the Chief Alex will talk them through what each light does, um, but also then show them the desk and then how to program a queue, and then they actually get hands-on and we'll have a play around. Um, uh play with the shutters, try the focusing, try and program a queue, run a queue, and so they get hands-on experience. Because, in my opinion, that's the whole point. Theatre is very much a practical hands-on subject. You can't really teach it in a classroom, or there's very little you can do in a classroom, it's much more about being on the stage or being in a wing and doing it.

SPEAKER_02 27:21

Having that feeling, knowing that that cue's coming. Okay, this is it. Yeah, I've got it. You're on standby, aren't you? Yeah, absolutely. That timing is down to your instinct, I suppose.

SPEAKER_03 27:31

Yeah, you can't teach it in a textbook, or you can't read about it. So it's um it's more about getting the hands on, and it's the same with all the others. Sound exactly the same. We'll talk them through um different types of microphone, different types of speakers. Here's a sound desk, here's some sound cues, here's some software, have a play. Wardrobe the same, here are different types of costumes, talks about periods of costumes and what to look for if you're doing research about what you need to find for a show. Here, let's make something, here's a sewing machine. And again, some of these are actual good life skills. Um, about two or three weeks ago, I was doing a construction uh session where we were just literally using bits of pallet wood and screwing them together, and it was about using a cordless drill. And some of them are you know 16, 17, never even held one, never even used one. So, yes, obviously it's the sort of thing we would use pretty much daily within theatre, but even if they don't go into theatre, well, it's still a life skill which is useful for them to use, and it's in a safe environment, they're with their friends, two or three in a group. If they mess it up, it's no big deal, it's a bit of pallet wood, and they can just have a go. And some of them were really quite terrified because see the fear in their face, and then when they had a go, they're like, Oh, can I do another one? And so there you go, it's the thing of going, well, just try it, even if you don't use it again, or if you do, and you go, Oh, this is this is maybe something I want to do, great, we've given them that opportunity, but also just open your eyes and go, these are things that you can do.

SPEAKER_02 28:54

I have I have a question um about what goes on on the stage. So if you've got a prop coming on, how does that prop go on on its own? Are you like in my head, you've got like some sort of remote control on it? But the is that the way that I don't know, um, the way that a table would move across the stage or it can chitty chitty bang bang. Oh, so sure I've got to. So so there are props coming on and off all of the time. And if they're doing that on their own, is it remote controlled or what? Have you got a big magnet at the other end?

SPEAKER_03 29:33

If you can't see anyone moving it, I mean there might well be someone moving it. I've I've done the comedy standing behind a piece of scenery that's on wheels and what's up on it off stage. I've I've done that. So um uh there also is automation, which is how a lot of certainly um West End shows or West End touring shows, that's how a lot of their scenery is moved, yeah, and it is literally electronically programmed. So in the stage floor, where if you're looking at the stage, you probably won't be able to see it. You might be if you're in the circle or the balcony looking down, you'll see lines in the stage floor, and it's effectively like a track. And we will in the wings, we will what call is spading it up, and it's gonna be a little kind of hole in the floor of the whatever it is, scenery that you're moving. Yeah, and a little spade goes in and it falls into this track, and an operator who uh has spent ages programming it all during the tech will go click on their computer and and it will track to a designated mark without needing people on stage, it will just be a way of doing it. So um it's all great when it works. It it's not so great when it sometimes breaks, which is tell us a story. Tell us a story again. How long have you got? Give us your favourite. I don't know whether a stage manager would have a favourite show stop. I've had many. Um but again, it's working out a sequence that happens. Again, as I said, I worked on Chooty Chuty Bang Bang Tour uh for 18 months, um, and obviously the car does fly in that, but there are four people in it uh when it does, um, and uh two of those are very young children and needs seat belts. So uh there was a whole sequence worked out, which again is risk-assessed and with many people there making sure. Um, and uh the onus was on uh Truly, who is uh the female character, uh, to make sure that the seatbelts were done up. Uh, and the the clue was that if there was a problem, she would grab the headlight uh that was by the side of her door. So that was what I was always looking for. I'd obviously be able to see the children, but I could never see the seatbelts. So I'd be looking at her. And um, it's an actress that I'd worked with a couple of times beforehand. Uh, and the one time that that she wasn't able to do it, she couldn't remember what the sign was, and she kind of was looking around the car, and then she suddenly went and grabbed the headlight about three seconds before we were due to do the the go for the flight. So um yeah, there's there's there's many things. I've worked on dirty dancing as well, and uh the log that comes in for them to do the the dance along the log. Um that unfortunately uh decided to not play very nicely one evening and got stuck halfway as it was coming in. So there's all sorts of things.

SPEAKER_02 32:08

So did you did so did they carry on? No.

SPEAKER_03 32:11

We're using half the log or or or some sometimes you can or sometimes you can't, but also it depends on where you've stopped. Um sometimes you'll have a contingency and there's a sign from the from the wings from the stage manager saying, do this or don't do that. Um but uh if it's if it's dangerous, you have to immediately stop. And also it's then trying to get yourself out of it because if it's not the proper sequence, lighting is then out of sequence, sound is out of sequence, the MG, the orchestra might be out of sequence. So you've almost got to stop and then reset. Yeah, and there you go again. Yeah, which unfortunately is the ones that the audience love the most because that's the one that I remember. But for a stage manager, it's not ideal. But with live theatre, things happen. So well, fascinating stuff. Thank you so much. Thank you. It's been brilliant to talk to you, thank you.

SPEAKER_02 33:08

This podcast is presented by me, Zoe Hansen, the podcast lady, and produced by Owen Noon, Rebecca McKillop, and Kelly Clark from Mayflower.