After getting over the shock of the 9am start, and following the assorted talks in the Stevenson Hall, Rosie and I discussed how best to use our day, as this would be our last time with our group. It was decided that I would spend all day in the venue, rigging with Kayrin – our Technical Supervisor – and she would spend time in rehearsals, feeding back to me information I would need, like focus points or the location of specials. With this in mind I went and collected my LED order from AV. However, I soon realised that – due to lack of flight cases – these t-bars would have to be stationary. To address this, I decided to place them on either side of the venue, pointing centre stage, in order to give side lighting and creating an in-the-round rig for the square performance space. Then, if it turned our that action needed to be highlighted we could utilise overhead spots of the movers on the rig to do so.
The rig took a shorter amount of time than I thought it would and, after showing Kayrin how to work the Juggler desk, I took to writing up additional risk assessments, to add to the one for the fit-up. Once these had been completed, and following an agreement with the other Technical Supervisors that we would all put up a generic rig at 2pm, I stuck my head into rehearsals . By doing so, the action that was taking place allowed me to compile a rough focus plot, with group members throwing out ideas for spot positions, in order to create dramatic moments. I found it empowering to see other group members taking an interest in the technical production aspect of the piece, as it can so often seem to be sidelined for just Production students to do.
In the afternoon I met with the other Technical Supervisors – two of whom were from PTM – and they outlined what they wanted. The biggest rig came from Fergus’ group, so it was concluded that we would create that one in the space, then pick elements of it or all the other groups to use. Fergus had been inspired by a Bridge Week show I had happened to be Technical Stage Manager on, so I was able to advise on how that design could best be adapted to this space. So, with kit list in hand, myself and Callum – another Production student – sourced what we needed from the dock and transported it to the venue. As my interest lies in stage teching, I took to assembling the scaff poles into booms with the assistance of other Technical Supervisors, whilst Callum took to plugging up and patching the lamps we hung on them. This system of work resulted in a quick and clean rig, and – following a focus session with Kev’s big pokey stick – the Stevenson was ready for performance. Following one more visit to my group to check for any last minute changes, and aware of the fact that they were likely to use little of what I had left them in final performance – such was the pace with which they were altering things during rehearsals, I handed my plans over and bowed out, safe in the knowledge that – if nothing else – at least the paperwork would be in order.
In conclusion, ICP has been an interesting experience for me. Having been initially reluctant to throw myself into the process it has shown me the benefits of doing just that – feeling proud of a piece you have had a hand in creating. And, unlike Bridge Week, it teaches you how to deal with people who maybe would rather be doing something else, and get their best contributions out. It has also shown my shortcomings in my ability to manage and work as part of a group – talents that I will continue to work on and, I’m sure, get better at. Though not without its low points, I’d say it has proved an overall beneficial experience.
P.S.
Upon arriving in Edinburgh for ‘Chess’, I had assumed my ICP responsibility would be at an end. However, on the Wednesday night, I noticed something which concerned me on our group chat – talk of performers being barefoot on stage. I immediately started asking questions, of course, and drafted up the appropriate risk assessment. This proved to me the importance of communication, and highlighted a lack of understanding within the group about the practicalities behind executing ideas, like having to have hazards like this risk assessed. For, had an assessment not been carried out, I would not have been in the good books of the production manager should something have gone awry.