Spending summer in the sun at Regent’s Park with the wonderful cast and crew of A Midsummer Night’s Dream!

Detail to appear here shortly.

It is an absolute privilege to be a part of this incredible, important piece of theatre, even more so to be taking it to schools, and at a time when arts education is so under threat.

It is an absolute privilege to be a part of this incredible, important piece of theatre, even more so to be taking it to schools, and at a time when arts education is so under threat.

 

This year, I have been working in the West End as Assistant Stage Manager for Cahoots Theatre Company’s production All or Nothing: The Mod Musical, with a run at the Arts Theatre before our transfer to the Ambassadors Theatre. This followed an extensive year long tour of the UK and Ireland with the same production, initially as LX2/Tech Swing before taking on the role of Assistant Stage Manager for the autumn run.

All or Nothing: the Mod Musical follows the rise and demise of the Small Faces, an English rock band from East London. The group was formed in 1965 by members Steve Marriot, Ronnie Lane, Kenney Jones and Jimmy Winston, who was replaced the next year by Ian McLagan. The story follows front man Steve Marriot and focuses on his life in particular.

Marriott was famed for his passionate stage performances and soulful voice but the band fell apart after being ripped off by notorious manager Don Arden, Sharon Osbourne’s father. He’s rock’s unluckiest star, a hero to Paul Weller and Damon Albarn, whose career ended in tragedy. With hits such as Whatcha Gonna Do About It, Tin Soldier, Lazy Sunday, Itchycoo Park and All or Nothing.

The band encapsulated all that was mod – a new phenomenon that erupted out of London’s West End in the 60’s, it was the essence of all that was cool. The boys had a unique blend of taste and testosterone, clothes-obsessed and street-wise – but most of all, a dedication to rhythm ‘n’ blues.

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This Christmas, I joined the eStage Events team and worked on my first Pantomime, Cinderella at The Broadway Theatre in Barking, East London. The story of a young girl who dreams of attending the Royal Ball and meeting her Prince, but her ugly step-sisters have other plans is presented by Polka Dot Pantomimes. Having headed straight to the theatre to join the team for the load-in, I got stuck in and quickly found my feet. Achieving jobs ahead of schedule, myself and the lovely ASM, Ana Carter were given additional tasks by Darren Madison such as designing and painting the stage floor. I found the team great fun to work with, which you would hope for, when spending the whole of Christmas with them – there were far too many 3 show days!

My main responsibilities were to assist the production manager and company stage manager in the running of the stage during fit ups, technical rehearsals, changeovers and the running of the show; constructing scenic elements and to undertake technical alterations to scenery; to help maintain scenery and props to the highest standard possible throughout the season; I was responsible for the stage left wing as well as being heavily involved in every scene transition on stage; also taking care of the outreach children involved in the show and – of course – the Ponies! I spent many lunch breaks mucking out, shovelling and taking the two ponies for walks in the park opposite the theatre – as you can imagine, it was a great conversation starter!

All or Nothing: the Mod Musical follows the rise and demise of the Small Faces, an English rock band from East London. The group was formed in 1965 by members Steve Marriot, Ronnie Lane, Kenney Jones and Jimmy Winston, who was replaced the next year by Ian McLagan. The story follows front man Steve Marriot and focuses on his life in particular. 

Marriott was famed for his passionate stage performances and soulful voice but the band fell apart after being ripped off by notorious manager Don Arden, Sharon Osbourne’s father. He’s rock’s unluckiest star, a hero to Paul Weller and Damon Albarn, whose career ended in tragedy. With hits such as Whatcha Gonna Do About It, Tin Soldier, Lazy Sunday, Itchycoo Park and All or Nothing.

The band encapsulated all that was mod – a new phenomenon that erupted out of London’s West End in the 60’s, it was the essence of all that was cool. The boys had a unique blend of taste and testosterone, clothes-obsessed and street-wise – but most of all, a dedication to rhythm ‘n’ blues.

All or Nothing: the Mod Musical follows the rise and demise of the Small Faces, an English rock band from East London. The group was formed in 1965 by members Steve Marriot, Ronnie Lane, Kenney Jones and Jimmy Winston, who was replaced the next year by Ian McLagan. The story follows front man Steve Marriot and focuses on his life in particular. 

Marriott was famed for his passionate stage performances and soulful voice but the band fell apart after being ripped off by notorious manager Don Arden, Sharon Osbourne’s father. He’s rock’s unluckiest star, a hero to Paul Weller and Damon Albarn, whose career ended in tragedy. With hits such as Whatcha Gonna Do About It, Tin Soldier, Lazy Sunday, Itchycoo Park and All or Nothing.

The band encapsulated all that was mod – a new phenomenon that erupted out of London’s West End in the 60’s, it was the essence of all that was cool. The boys had a unique blend of taste and testosterone, clothes-obsessed and street-wise – but most of all, a dedication to rhythm ‘n’ blues.

***

My role as LX2/Tech Swing on All or Nothing is a great example for my adaptability and versatility. I was responsible for running get-ins and get-outs, the loading and unloading of the trucks, managing local crews and the rigging of all equipment including overheads, movers, side booms, etc. This also involved handling heavy equipment, with intense split weeks and difficult venues. In addition to this I had the challenge of covering any other department at short notice, which I thoroughly enjoyed, this involved covering LX1, Sound No.2, Stage Management and Wardrobe.

I also have a good understanding of Health and Safety requirements and am able to run rehearsals and ensure the smooth running of the show during performances. I have set and re-set shows, handled and dealt with prop, furniture and set movements and very tight interval/scene changes during performances and ensure stage etiquette is followed at all times. I have a meticulous eye for detail and the ability to work under pressure to meet tight deadlines.

“You’ve Got Dragons is a thought-provoking children’s theatre show from Cardiff-based Taking Flight theatre company, currently touring Wales. 

Based on the book by Kathryn Cave, it uses dragons, played by two cast members, as a metaphor for anxieties and worries experienced by children. The play shows that it’s normal for everyone to be scared or anxious at times, gives tips on how to deal with such worries, as well as exploring mental health and young people.”

In complete contrast to Canada, I wanted to challenge and test myself even further. Cambodia is the most enchanting and magical place, bursting with ancient temples and the most kindest people. Behind the smiles, Cambodia is a country still trying to find its feet after the horrifying genocide carried out by the Khmer Rouge regime just 35 years ago. Their distaste for intellect meant wiping out almost half of the population and instilling fear into it’s survivors – the effects of which can still be seen today. 

Despite Cambodia’s heartbreaking history, the people are incredibly joyful – you felt a great sense of peace, and pure happiness with freedom. That is something that I will never forget, just like my whole experience of Cambodia.

            

If you go down to the woods today, you’re sure of a big surprise! Bluestone’s nature trail was brought to life. 

A creative installation located in the Bluestone National Resort, designed to bring the woodland walk to life for the visitors staying at Bluestone – interactive, sensory, sounds, light, features also triggered by the visitors themselves. The installation included all kinds of weird and wonderful things, a fairy village, a disco snail, enormous beetles, etc.

As well as all the above, I also got involved in assisting Michelle Cain doing something I had always wanted to try my hand at… WILLOW SCULPTING! It was a pleasure to work with Michelle, an artist in West Wales who makes small/large sized willow sculptures that appear at festivals and events. We made some touch-ups to the 20ft. tall foxes, playing fiddles. We carried on weaving focusing on the feet, making the structure more sturdy, then I weaves large fairy lights outlining, highlighting and defining the sculptures. I also did this on a huge dragon that we had completed, trimming the structure, defining the shape and adding lights throughout. I absolutely loved this job, and although it was painfully cold outside – I thoroughly enjoyed working for Gareth Dean on this wonderful installation and event.

Technical Director: Dan Paterson, Directed by Brenna Corner, Set and Puppets by Old Trout Puppet Workshop, Design by Judd Palmer and Heidi Wilkinson 

Additional roles: Set construction, scenic art, set dressing, set, costume and prop sourcing.

During my travels in Canada, I was really passionate about experiencing theatre outside of the U.K. I spent a short time with the wonderful cast and crew, whom were incredibly welcoming. I was craving creativity – having had such fun with ‘City of the Unexpected’ with National Theatre Wales before catching my flight to Vancouver –  and this production was perfect to solve that. Heidi and Judd were amazing to work for, I’ll cherish the work I was able to get involved with thanks to Dan Paterson and Tracey Flattes.

Detail to appear here shortly.

 

On the 17th-18th of September 2016, Cardiff’s City Centre was brought to life and completely immersed by the weird and wonderful world of Roald Dahl, who was born in Cardiff on the 13th September 1906. Staged to celebrate the centenary, Roald Dahl’s City of the Unexpected was Wales’ largest ever cultural event, with over 120,000 spectators taking to the streets of the Capital and over 7,000 people performers, makers and volunteers, as well as an incredibly large creative team working endless hours in the months leading up to the big weekend. It was an incredible celebration of the man, his characters and his stories.

Stone gargoyles came to life, City Hall turned into chocolate, and a ladybird married a fireman. Two hundred dancers appeared from thin air, a fox walked a high-wire and diggers danced, an 800-strong choir sang Calon Lân, 35 members of the Ministry of the Predictable stalked the streets, officers from South Wales Police & South Wales Fire Service danced along with us. Not forgetting, 118 hula hoopers, 15 roller derby roller-skaters, 8 banquet table cyclists, 12 bands, 51 circus performers, 17 fantastic foxes and… ONE GIANT PEACH!

This event was an absolute pleasure to be a part of, and I thoroughly enjoyed every mad moment. I spent the weekend assisting Saz Moir, the assistant designer, in ensuring the smooth running of all the events that were happening all over the city, many all at the same time. Once we had the peach out and performance taking place, we went ahead to ensure everything else was ready before the big crowds arrived after following the Giant Peach through the city. We would quickly set up the dancing diggers, then run over to the castle, hiding in the scaffolding waiting for the Peach to be in place before releasing the banners on the side of Cardiff Castle. It was an incredibly busy weekend, but a joy to be a part of.

In the preparation for the event, I was involved in sourcing props; painting, building and making lots of the props, furniture, set and dressing seen throughout the event, including; the Norwegian sleighs below, the protest signs, the ‘crushed’ car under the Peach, the 50ft dining table powered by bikes, just to name a few!

 

 

 

 

 

 

Technical Director: Dan Paterson, Director: Nigel Jamieson, Designer: Dan Potra, Assistant Designer: Saz Moir
National Theatre Wales, Welsh Millennium Centre & Welsh National Opera.

Photography by Dan Green, Farrows Creative and Geoff Caddick.

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Additional roles: Set construction, scenic art, set dressing, set, costume and prop sourcing, renovating an abandoned building.

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The Other Room Theatre and Headstrong Theatrical Services
It was a really interesting piece, I really enjoyed the challenge of building something unique or, in particular, something that I hadn’t seen before. We constructed 3 rooms within 1 room about 8m x 6m… a hotel room, a pub and a taxi. Unusual, right? I really liked the design, the concept was great.

 

Lighting Technician / Assistant / Shadow. I have been fortunate enough to be able to work on professional music tours, shadowing and working as a lighting assistant. It has been an incredible opportunity for me to get a real taste of what life is like on the road and the process is within that environment. I’m really passionate about the work you can create and I feel that I have learned so much from being present and working with all kinds of equipment.

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Detail to appear here shortly.

Additional roles: Set construction, scenic art, set dressing, set, costume and prop sourcing. 

My responsibility was to ensure that all the information regarding the Brechtian, heightened comedy and musical style was communicated to the creative team. Through organisation and scheduling, we had a show! As well as realising the plays in the aspects of the roles we were allocated, I contributed to other areas within the production team and helped others with workloads. This is because I feel totally committed, but also thoroughly enjoy it.

Additional roles: Set construction, scenic art; set dressing; set, costume and prop sourcing. 

On ‘Macbeth’ I was responsible for the lighting design and was keen to create the supernatural atmosphere that the director wanted to achieve. As the set design was minimalist, lighting played an enormous role in creating the sense of tension and drama. Given the modern twist on the play, the use of up lighting within grates in the raked stage for the witches’ created an eerie and sinister effect. This also highlighted the originality and exciting interpretation of Shakespeare’s tragedy. By using pin spots, hard specials and tight areas of light the action was brought to the audience’s attention, in accordance with director’s visions. Positioning and focusing on depicting each moment made the transitions smooth and dramatic, which was something I really wanted to achieve alongside tying every single scene together and not letting anything ruin the ‘magic’ of the piece.

Click here to find the recording of the production on our opening night, although please take into consideration the poor video quality. Audiences remarked on the realism and variety of the atmospherics created within the theatre throughout the play but this hasn’t been captured by the camera. Enjoy none-the-less!

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Additional roles: Set construction, scenic art, set dressing, set, costume and prop sourcing. 

In Pirandello’s absurdist theatre piece, ‘Six Characters’, my role as set and costume designer was to recreate the director’s vision of a TV studio in which the action takes place. Having had a real interest in the TV & Film industry, I worked hard to capture the environment. I used monitors and specific equipment to recreate a realistic contemporary TV studio and multiple screens on which to play pre-recorded film footage. This portrayed a more immersive multi-media experience for the audience – blurring that line between what is, and is not, real! The audience is lead to think that they are in familiar surroundings. However, that is not all that it seems as it emphasises the twisted nature derived from mental illness. Making the most of the resources, I designed a set that was multi-functional and could be used for the pre-recorded film of the Dignitas clinic, bedroom, and Pace’s sordid bedroom scenes. I was able to help emphasise the differences between the modern day reality of the studio and the sordid tale enacted by the six characters.

Detail to appear here shortly.

Detail to appear here shortly.

WNO Production Management by Mike Robinson, Production Management by Louise Carey, Photography by Kirsten McTernan 

Additional Roles: Designer and maker, stage manager, scenic art, set, costume and prop sourcing, alterations, maintenance.

A Close Shave for the Workhouse Kids’ was a school’s tour that supported the tour of Sweeney Todd around the UK, it was put on by the Youth and Community Department at Welsh National Opera. It was a work placement that was supported and made possible by altering a module to accommodate the internship. I was the Production Designer covering set, costume and props. My responsibilities included designing a 5mx5m floor cloth, and making it, sourcing costumes and props, costume fittings, costume alterations, present at all rehearsals and assist stage manager during the tour. Also loading and unloading contents of the tour van, making a bird hat and maintaining everything whilst on tour.

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Additional roles: Set construction.

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Prague Quadrennial
Myself and Becky Ellard were chosen to represent our university at the Prague Quadrennial 2015 ‘Make Believe’ project. We were part of a design collective along with 30 other designers from similar courses across the UK.

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Directed by Elise Davison, Designed by Becky Davies, Costume by Angharad Gamble, Production Management by Lauren Dennis, Photography by Studio Cano 

Additional roles: Assistant stage manager, maker, set dressing, scenic art, costume and prop sourcing, costume dresser, maintenance.

Outdoor promenade theatre and outreach production. My very first professional theatre production, an invaluable experience, in which I was challenged in all aspects involved.

 

Not only was it the first production on the BA Theatre Design and Production course, at University of Wales Trinity Saint David – but it was the first production theatrical production I had ever worked on. It was a great opportunity for me to see the in’s and out’s, and learn how it’s done. My mentor and technical manager, Steve Dennis really guided me and taught me the ropes. I also used everything I had learned during the year in class, and put my experience of working with Wired-West and Span Arts Ltd previously, into practice.

In addition, I also worked on many other aspects of the production process such as set construction, scenic art, set dressing, sourcing, costume, etc.

Detail to appear here shortly.

Detail to appear here shortly.

Detail to appear here shortly.

Detail to appear here shortly.

Originally from London, moving to Pembrokeshire was rather tough having just turned 15 years old. One of the highlights when settling in to our new life in the Country was meeting a wonderful couple, Harriet and Andy. 

They have an incredibly creative model-making and design company called Autodromo. I was always fascinated about the amazing things that were made and created in the workshop. Harry started experimenting with things found around the Pembrokeshire coast, gardens and woodlands, using metal press she has created beautiful jewellery. Everything produced by the Metal Press is made within the workshop where the team cast, clean up, barrel-polish, electroplate and build each piece by hand.Over the years, I would package all the jewellery and get involved with selling them on Christmas Stalls, etc.

Please visit http://metalpress.co.uk/ to find out more and admire the jewellery!