work experience.pptx

Northern Stage In the weeklong program I learned about how lights work, how to rig them,
add colour, focus and programme them into a lighting desk. For sound we
developed our knowledge of sound effects as well as the mechanics of
mics, amps and speakers. I also learned about drawing stage plans to scale,
how the counter-weight system for lights and scenery works on a fly system
and how to operate them. As well as learning how to safely operate and
dispose of pyrotechnics used in a show. We were also given the opportunity
to work with the Northern Stage company manager to learn how to make
props, mark out the stage for set placement, as well as learn the role of a
deputy stage manager(DSM) including marking the book and calling the
show. The week was concluded by a technical immersive performance we
as a team created using lighting sound atmospherics(haze machine) and
pyrotechnics to immerse the audience in a world we created from scratch.

Types of lighting (Generic)
Fresnel
•Soft-edged pool of light.
•Adjustable beam size.
•Barndoors to cut off unwanted light.
The Fresnel (pronounced “Frennel”) is a soft-edged spotlight with more
control over beam angle than floods, but less control than profiles. The lens is
a series of stepped concentric circles on the front and pebbled on the back. It
was first used in stage lighting in the late 1920s.The size of the beam can be
adjusted by moving the lamp and reflector closer to or farther from the lens,
either by a screw mechanism or a simple slide. The beam can be shaped by
the four barndoors attached to the front of the lantern.
Fresnel PARcans Profiles

PARcans
This lantern first came into use in the late 1960s in the Rock & Roll
industry. It quickly found popularity due to the relative cheapness
of the lantern, the weight and the ease of focussing. The lantern
itself is simply a “can” in which the PAR lamp is contained (hence
“Parcan”). The PAR (Parabolic Aluminised Reflector) lamps are
available in a range of beam angles, depending on the amount of
diffusion on the front lens of the lamp. The lamp is a sealed beam
unit consisting of a lamp, reflector and lens in one. Because the
light produced can be very intense, Parcans are especially suited to
strong colours or for special effect. The beam produced by a
Parcan is a projection of the filament of the lamp. The beam is an
elliptical shape because of the shape of the filament and can be
rotated simply by rotating the lamp. Access to the lamp is via the
rear of the lantern. Although they’re not widely used, barndoor
accessories are available for Parcans. They’re not as effective at
cutting off the beam than they are on a Fresnel or a PC but can still
help tidy the edge of the beam. Parcans are not suitable to use for
general wash lighting except for music or comedy venues where
the amount of light and splodgy beam are not a problem.

Profiles
Profile lanterns produce clearly defined spots of
light and are the most focusable and versatile of the
lanterns. They have a lens, a lamp and a reflector, they
also have shutters and a gate. Profiles get their name
from their ability to project the shape of anything
placed in the gate of the lantern between the lamp and
the lens. These shapes may be formed by the shutters,
or a gobo. The shutters are a more flexible and
accurate version of the barndoors which can be used
on Fresnels or PCs. You can’t use barndoors on a profile
as the shutters do a better job, and the way the optics
of the profile work, the barndoors would not work
anyway. Some profiles with only one lens have two sets
of shutters, one of which gives a hard edge to the
beam, and one which gives a softer edge. These are
known as bifocal profiles. Profiles with two lenses are
best for projecting gobos and other shapes, as the size
and sharpness of the beam is fully adjustable
throughout the beam angle range of the lantern.

Smart lighting
Moving Head LED's LED PAR cans
commonly PAR64's
Par cans are powerful lights used to light up any event
or stage across the world. They use an LED bulb,
which not only produces a strong powerful beam but
also uses a lower power consumption. The lights are
ideal as part of any act, show or venue including
bands, theatre shows, music venues and clubs.
Moving Head Lights are a type of effects light
fixture that can be moved quickly in different
directions, allowing you to create dynamic and
engaging lighting displays. The lights are mounted
on a base that can rotate and tilt, allowing you to
adjust the beam angle, focus, and direction of the
light.

Lighting Additions
Gobos and Gels
Gobo:
A gobo, also called a pattern, is a thin
metal disc with a pattern cut out, like a
stencil. By placing the gobo in a holder in
front of a light source, the light will cast a
pattern on the stage. This pattern could
create an image, like a city skyline, or it
could simply add some texture to the
light.
Gels:
A gel, also called a color filter, is what lighting
professionals use to change the color of a beam
of light. Gels consist of clear sheets with a
translucent colored sheet of plastic in the middle.
By sliding different gels into the color frame on a
light, you can use the same light to cast many
different colors.

Lighting boards and programming
lights
Every light is connected to whether with wires or over Wi-Fi to a lighting desk.
Lighting desks can range in size complexity and ability, but all carry out the
same purpose of deciphering colours and projections of the lights. Lighting
desks can not only change the colour of a light, but you can also adjust the
intensity of a light which can aid in transitions such as crossfades and
blackouts. Lights are often set in channels meaning you can operate multiple
lights at once from a desk. When working on the lighting desk that can be
seen on the right, I was able to control up to 40 lights at once through the
board for example entering:
(THRU 111-118 COLOUR 435 EF 12 GO)

What are the impact of props on a performance?
Props can be used to enhance a performance in many ways
not only is it something for the actor to interact with props
can reflect emotions of a character or used to dress a set to
make it more lifelike. Props are objects that help to tell a
story they can help to move the story along and add extra
levels to a piece sometimes become iconic to a character
such as Heathers croquet bats or Indiana Jones' whip.
Overlooked by many but props can help ensure an actors and
or audiences safety especially when it comes to weapons
such as prop knives or guns that can make sure an actor isn't
actually injured. At Northern Stage we used props as an
integral piece to our show especially in the space scene.
These props didn’t cost us as they were things, we already
had in our homes, we were also shown by the company
manager how to make our own props from materials readily
available to us showing that as theatre practitioners we don’t
need to have an abundance of resources and budget to
create something that will be impactful and meaningful to a
show.

Sound effects
Why are sound
effects used?
Sound effects and music
can be used in theatre to:
•Create mood and
atmosphere
•Build tension
•Strengthen an emotion
or empathise the action
onstage
•Help set the scene
•Indicate a change of
time or location
•Focus attention on to a
particular character
Types of sound in theatre include:
•Music, which can be used to accompany the action or called for by the play text.
It can be created live on stage or pre-recorded.
•Sound effects, which can be used to create realistic or stylized sounds of the
environment or the action. They can be produced by live sounds, machines, or
recordings.
•Soundscapes, which are complex layers of sounds that create a specific mood or
atmosphere. They can be composed of music, sound effects, or other sounds.
Sound effects and music can be used to create a whole setting or even story
without the use of the other four senses being used. Whilst at Northern Stage we
worked with the sound engineer and made an audio drama of an old London
town where suddenly a house catches fire and the response to it and then a local
person is able to put it with the town's reaction at the end. To see if our project
was successful, we then brought someone in to hear our creation and asked
them to tell us what was happening in which they told us our story in full back to
us meaning that we successfully created a story using only one of the five senses.
This showed us as a group how impactful sound effects can be to a project .

Microphones-Handheld microphones
In theatre and performances there are typically three different types of
microphones(mics) allowing an actors/performers voice to be picked up and transferred
to the audience. The three types are handheld microphones (top right), lavalier
microphones (next page) and headset microphones(page after lavalier microphones).
Handheld microphones sometimes put on a mic stand are most commonly used for
music performances/comedy gigs. Handheld microphones are clutched in the grasp of
the speaker or singer. One of their biggest advantages is the fact that the distance
between mouth and microphone can be physically altered at will and with ease, meaning
that volume and fidelity can also change. Handheld microphones are usually wired
straight into a sound desk where the quality pitch and tone can be altered to make it
sound the most accurate to how the performer actually sounds whilst amplifying their
voice. You can also get handheld mics that use Bluetooth/WiFi to connect to a sound
desk and perform the same function. Wireless handheld mics are used when there is
either quite a few performers that move around on stage where wires could become a
tripping hazard used for aesthetics or when a performer crosses a large stage such as
Taylor Swift on the Eras Tour or Harry Styles on Love on Tour.
Wired Microphones
Wireless
Microphones

Microphones-Headset microphones
In theatre and performances there are typically three different types
of microphones(mics) allowing an actors/performers voice to be picked up and
transferred to the audience. The three types are handheld microphones (page
before lavalier microphones), lavalier microphones (previous page) and headset
microphones(top right).Headset microphones help to amplify the actors' voices
and ensure that every word can be heard clearly by the audience. However, not all
microphones are created equal. For a musical or theatrical performance, it is
essential to have a microphone with excellent audio precision. These microphones
typically run underneath the wig of an actor or through their hair down their spine
and plug into a mic pack that the actor will typically wear around their waist under
their costume. In bigger productions there will be two mics per actor in case one
fails or can't be picked up by the sound desk it can be transferred to the ack up. The
mic pack acts as a transmitter from the pack to the sound desk where the mics are
controlled allowing for the mics to be turned up or down and adjusted to fit an
Mic from
Hamilton
actor's voice. Headset microphones
can also be on the side of an actor's
face taped to their cheek with hooks
on their ears to provide extra stability.
These will be used typically if an actor
constantly changes wigs is bald or has
head pieces that may interfere with
the sound.

Microphones-
Lavalier Microphones
In theatre and performances there are typically three different
types of microphones(mics) allowing an actors/performers
voice to be picked up and transferred to the audience. The three
types are handheld microphones (previous
page), lavalier microphones (top right) and headset
microphones(next page).A lavalier microphone is a small
microphone that can be clipped to the clothing or attached to
the body of the user. It is a type of electret condenser
microphone that gathers sound and sends it to a device through
a wire or a wireless transmitter to the sound desk. It is designed
to be discreet, lightweight, and portable, and to provide a clear
voice and hands-free operation in various environments.

Sound desks and QLAB
The sound desk controls every element of sound
in a performance from sound effects to mics and
backing tracks. A sound desk, also known as a
mixing desk or broadcasting desk, is an
electronic device that combines, mixes, and
changes the level, dynamics, and timbre level of
different audio signals from mics inputs and
speakers. It lets you balance, position, effect and
equalise different audio channels into a single
audio image or mix. QLab offers one central
place to build sound, video, lighting and show
control cues. In my experience it is often used for
sound effects and music in a show to play the
cues at specific times controlled by the sound op
however QLab can also be used to programme
lights and projections for a show.

What is Deputy Stage
Management?
A deputy stage manager(DSM) will record everything in a
script during the rehearsals for the Directors and Actors to
keep an accurate record of everything an Actor does or
needs in the production. A DSM will also record any
changes made to the script help coordinate a technical
rehearsal of a production and coordinate the dress
rehearsal alongside the Stage Manager to ensure the
performance runs smoothly. It is also the responsibility of
the DSM to call the show this means that they go through
the script as the show is happening and tell the technicians
not only to begin the show but inform them of their cues
throughout the show basically controlling the show by
telling the lights sound pyro fly's and general technicians
when to go. For the end of week show for all the
performances I took on the role of DSM.

Pyrotechnics
Pyrotechnics can be anything ranging from explosions, flashes,
smoke, flames, fireworks etc. Other pyrotechnic-driven effects
used in the entertainment industry are referred to as proximate
pyrotechnics. Proximate refers to the pyrotechnic device's
location relative to an audience. The two different types of
pyrotechnics include hot and cold pyro. Cold fireworks are a
type of pyrotechnic that uses a combination of liquid nitrogen
and other chemicals to create a unique visual effect. Unlike
traditional fireworks, cold fireworks do not produce any heat or
sound, making them ideal for use in areas where noise and heat
may be an issue such as in theatre or in areas where people may
be in close proximity to the pyrotechnic. Hot pyrotechnics,
chemical explosive or flammable firework effects have a manual
detonation. Usually electrically fired with specially designed fail-
safe equipment. In the show we used a hot pyro similar to the
one seen on the top right corner.

Fly systems and Masking
A fly system is a system of ropes,
pulleys, counterweights and related
devices within a theater that enables a
stage crew to fly quickly, quietly and
safely components such as curtains,
lights, scenery, stage effects and
sometimes, people off on and on stage.
Masking Drapery is typically black
drapery which, rather than being part
of the stage design, is intended to
“fade” into the background while also
hiding something from the audience
these are held up by fly's and can be
easily removed and placed onto stage.

Theatre Layouts
Many theatres differ in layout depending on
size money and purpose, but this is a
stereotypical layout.
Backstage areas
Audience areas
Fly system
Musician areas
Actors' areas
Trap door exit

The Show(Inside the Mind of a Teenager )
-Northern Stage
At the end of the week, we were put into smaller groups to work on 3 different sections of the
show we had created our groups task was to work on the train and pyro of the show we planned
and filmed the projection for the show. We were also responsible for the lighting design and finding
sound effects as well as recording voice overs and finding audio tracks to go with them. Our group
was also responsible for pyro meaning that we had to get extra health and safety training to
execute it properly as well as me as the DSM making sure it is safe before I cued the pyro to go. This
meant that we had to have a 2M radius around the pyro as well as making sure it didn’t falter and
was disposed of correctly after the show. Due to the technicalities of the pyro we decided to
remain in the same roles for both shows as we did have the opportunity to change roles but the
safest route that we collectively agreed was to remain in the same roles for both shows. The shows
successfully went off without a hitch and everyone was safe.

Theatre Space North East
"Theatre Space North East is built on the belief that theatre is for
everyone and shouldn’t be trapped inside the walls of a venue."
Ever since their first production in August 2012 they have been finding ways to create
accessible theatre for audiences of all ages and backgrounds. From there the
company began to grow, supporting new writing and local actors, as well as working
with schools across the region and running regular youth theatres across the city.
Their aim is to include everyone in theatre and give opportunities to local people and
help them start out in the industry whether as an actor or behind the scenes. They
are also disability and mental health aware and never turn anyone away everyone is
welcomed and made to feel a part of a family whilst creating a professional piece of
theatre to be enjoyed by everyone.

Next Steps
Young
Company
After the week of work experience at Northern
Stage it was recommended to me that I should
join their youth programme Young Company.
Young Company offers a welcoming place for
young people to engage in all elements of a
theatre from admin to acting from wardrobe to
lighting. The weekly sessions allow me to further
develop my skill in technical theater in an actual
working theatre alongside people who are
interested in all types of theatre disciplines.

Romeo and Juliet
“For never was a story of more woe than this of Juliet and her Romeo.”
Romeo and Juliet was not only the first
production and worked on with Theatre
Space Northeast, but it was my first
production I worked on as a technician.
For the most part I was shadowing the
Stage Manager, and she was also
operating the lights and sound however
by show 4 I was doing over 75% of the
lighting cues for the show under the
supervision of the stage manager. Due to
making a good first impression this is
where I was asked to come back 3 weeks
later to start on the Tempest.

Durham Fringe Festival
After my training at Northern Stage I applied as a
technician for Durham Fringe is highly selective in
who they pick as technicians I never imagined that I
would be selected however due to my
professional manner and references I was selected
to work as a technician primarily on Palace Green
outside of Durham Cathedral but also as a cover
technician meaning that I could also cover other
shows at a moment's notice. At Palace Green I
supported CDB PRODUCTION SOLUTIONS on the get
in and get out of of the event venue as well as
supporting and sometimes running shows so that
they could go to other areas as event leads.

CDB PRODUCTION
SOLUTIONS
Chris owns CDB Production Solutions he owns and runs the company
from Darlington and is self-made starting in broadcasting as a runner
Chris progressed eventually moving to opening his own company with
high standard professional equipment and a team of, Technical
Engineers and Operators, Production and Event Crew, Load In and Load
Out Crew, Follow Spot Operators and Specialist Installation Engineers. I
recently had the opportunity to work with and learn from Chris at
Durham Fringe Festival where I was taught how to load in and out and
how to operate lighting desks working with clients to offer them the
best possible service. Chris's dedication and passion for the business
truly inspired me to elevate my work to a higher standard in order to
provide the best quality of work for the client.

Macbeth
Macbeth was completely different to Mister
Shakespeare as not only was I reading cues from a
script I didn’t have a senior technician to support me.
This show was 2 and a half hours long and had
around 50 lighting cues and even though we had the
same lighting arrangement of 4 uplighters 4 jolts and
4 moving heads. The moving heads and uplighters
remained in one lighting state for the whole show,
and it was only the jolts I was controlling. For this
show I had a lot more of responsibility as there was
little to no props or set and the show relied on the
lights changing to show the audience a change
in location or emotion. For this
show I also had to go through
the script as it was being
performed to read my cues as
they were happening.

Mister Shakespeare
Mister Shakespeare was the first show I did lighting for at
Durham Fringe. The first step for this show though was I
helped move the set up onto stage where we secured it
with stage weights sandbags and due to the unsteadiness
of the set, we had to ratchet strap it to the front and back
of the stage by looping rachet straps around the set and
then attaching them to trusts. We then dressed the set to
attempt to disguise those straps. The show was mainly
driven sound however the lighting elements had to match
up perfectly. For this show there was no technical
rehearsal which meant that I had to live mix the lights
without seeing a script or the show so during the show I
had the director stood behind me telling me cues and
lighting preferences as the show was happening. For this
show we had 4 uplighters for ambiance in the tent as well
as 4 jolt that illuminated the back of the stage as well as 4
moving heads to illuminate the set and actor. This became
a challenge as all 3 were on different channels that I was
controlling simultaneously.

NCD: Class of 2023
For the New College Durham: Class of 2023 performance all of the students wore headset mics
which presented their own challenges as me and my colleague had 1 hour to check 20 mics
and do a technical rehearsal. For this show I was given full creative liberty as there was no set
lighting stages for different songs, I was allowed to decide based on my initiative this is where
my musical theatre knowledge came into play as I was able to successfully match the lighting
theme to the musicals the songs were from. Again, for this performance although we had the
same lighting arrangement of 4 uplighters 4 jolts and 4 moving heads the moving heads and
uplighters remained in the same lighting state where the jolts where manually changed by me
after and before every song.

Flotsam
and
Jetsam
Flotsam and Jetsam was an interactive children's show
that although didn’t require much technical
enhancements there was a lot of set and props that
needed to be put up on the stage and also removed.
The show did have some technical elements for example
there was a storm created only by lighting as well as the
actors both wearing headset microphones. As this was a
children's show the intensity of the light states were
brought down as well as doing safety checks with the
audience especially with the carers of a disabled child to
make sure that the show wouldn’t be overwhelming
and that the flashing lights would affect them so that
they could enjoy the show along with every other child.

(The Taming of) The Shrew
This show had one of the longest
technical rehearsals due to the
intricate lighting states as well as
the many costume and character
changes. We also used this time to
add a comedic death to the show
by using a ramp for them to slide
down and run up during the show.
For this show I was in charge of
manually changing the lighting
states of the uplighters as well as
making sure that the cast were safe
and were able to make their quick
changes efficiently.

The Extraordinary Time-Travelling Adventures of
Baron Munchausen
Another children's show on Palace Green was The Extraordinary Time-Travelling
Adventures of Baron Munchausen. This show used props and set over technical
elements to create the show and the lights remained in there set state (as seen
below) for the whole show. For the show I set the lights before the audience came in
whilst also helping with set pieces. Due to my experience with children, I was also
made safeguarding lead for the show ensuring all the children were safe happy and
enjoying the show as the show was in a public place.

Impromptu Shakespeare
Impromptu Shakespeare was a heavily
audience participation-based show where
the show was improvised on the spot
using words the audience selected. For the
show I pre-set the lighting state which
remained the same throughout the show
(which can be seen above) by discussing
with the actors their thoughts on what
would suit the show best.

Sherlock Holmes:
The Last Act
Sherlock Holmes: The Last Act was the most
challenging show I took on during Durham Fringe not
only was it in a different location, but I was using a
new sound and lighting desk for a very technically
heavy show. I was only told that I was doing the
show 1 hour before the start which meant that I had
no time to go through the script or
rehearse anything beforehand therefore I had to
rely on my intuition and quick response times to
do the show. With over 40 sound cues in an
hour show the actor was relying on me to play
the right sound effect at the right time by following
the script intently to keep the story moving as well
as mixing his microphone so the audience could hear
both the actor and sound effect at the same time.
The lighting for the show was minimal with only two
static par cans however on this desk I had to
mix colours live to get the right lighting state as well
as playing the sound simultaneously.

ASSEMBLY
ROOMS
THEATRE
The Assembly Rooms Theatre is the
theatre owned by Durham University
which for the last day of shows I was
asked to operate the lighting. Again, this
was a different lighting desk to palace
green meaning I needed to learn how to
operate this desk very quickly as I only
had 15 minutes before the first technical
rehearsal. I was taught the basics of the
lighting desk and for the next 15 minutes
I worked on memorising the codes to
input into the lighting desk and practicing
the basic maneuvers and changes I would
have to use in the shows.

Cartoon Food
Cartoon Food was the first show I operated the
lighting desk for in the Assembly Rooms Theatre.
They were a small band that I helped rig there
instruments along with mic testing and audio
mixing. For the lighting on the show, I had no pre-
set states, no preferences or specifics requested by
the band and although this may seem intimidating
it actually allowed me to be able to have free reign
on exploring not only the different lighting states
but the maneuvers the moving heads were capable
of, and the impact of a smoke machine enhanced
by lighting. I thoroughly enjoyed working on this
show s I was granted full creative freedom and was
able to do whatever I wanted after the show I had
a few audience members come up to me and
praise me on the lighting as well as the band who
were very grateful for me stepping in last minute.

Durham Scratch Choir
Contrastingly the next show was quite the opposite and didn’t
require any change to lighting states or any audio
enhancement therefore for this show my main responsibilities
were setting the lighting state to a warm white and using
comms to get clearance from front of house and tell the
stagehand to open the curtains to start the show whilst
bringing down the house lights and again at the end of the
show bringing up the house lights and telling the stagehand to
close the curtains. Throughout the performance even though I
did not have any responsibilities on the lighting desk I had the
responsibility of watching the show to make sure everyone
was okay and happy throughout the show this was not only
for the singers on stage but the audience as well as I was one
of the first aiders in the theatre. Comms headset

Triple Bill of Dance
Triple bill of dance was a show comprised
of three different dance pieces. For this
show again I was on comms directing the
stagehand when to open and shut the
curtains for the show. For the show the
lighting states where pre-programmed
this meant that although I didn’t need to
programme the lights myself I needed to
keep a close eye on the show as the cues
where movement cues the dancers
performed therefore I needed t remain
alert to know when to press go on the
different lighting states.

Rehearsals
One and a half weeks
The rehearsal process was one and a half weeks
long in this time the cast and crew first read
through the script whilst the crew made lists of
props sound effects and lighting states that
would be needed for the show. For the next few
days, we made a multitude of props including a
5ft puppet, a magic staff, a spell book, dog
puppets and repairs on swords just to name a
few. We also dressed the set with net from
Sunderland maritime museum and painted the
set to look like shipping boxes to link back to the
theme of the show. One of my main
responsibilities was finding sound effects and
lighting states as well as editing them so that
they would be ready for the technical rehearsal
we also worked closely with the costumer and
stage manager liaising and helping each other
out.

Show days
On show days it was the crew's
responsibility to set up the stage and set
for the show. In one hour, we had to
open up Roker Pods get the set and
costumes out of the pods set up the
boxes(a main part of the set) make sure
they were steady for the actors and drill
them into place. Whilst assisting with
other responsibilities my main job was
to set up the lighting trusts (which can
be seen on the left) do maintenance
checks on all of the lights and wiring as
well as setting up the tech tent and
desks. During the show I operated the
lighting desk for an over 50 cue show
that had intricate lighting design. After
the show I did another maintenance
check on the lights whilst de-rigging
them and placing them in their bags
along with de-rigging the trusts, lighting
desks, tech tent and set. Whilst also
helping to pack things away into the
pods safely ready for the next get in the
next day.

The Fire Station-Bridesmaids
of Britain-Get Out
This was my first trial shift at the Fire Station Sunderland .The
original get out was 9pm-1am however due to cast illness I needed
to be flexible and arrive at the Fire Station at 7pm I helped putting
the lighting costume props riggs and set away into fly cases and then
helped the shows team load and strap up the cases and set to be
safely moved to their next location on tour. Once the show had been
taken out and packed up, we cleaned the stage fully before dropping
the seats and packing them away to start transforming the venue we
then started to bolt together the railings for the music concert the
following night we then dropped the stage so the railings were in
place before checking the lighting rigs and their condition we then
cleaned the stage again prepared for the following day and tested all
the different lighting states that would be used the next day for the
music show.

A Street Like This-
Unfolding Theatre
For the rehearsal process of A Street Like This I came
in for one day at POP RECS Sunderland. In this
rehearsal I was shadowing stage management and
taking notes as well as being the sound operator on
QLAB for the multiple sound cues used in the show.
I also assisted the stage manager with props and
music. On the 7th October we had a two-show day
at seventeen nineteen. During the get in I helped
put up and secure the set as well as repairing props
for the show and cleaning/repairing costumes. I also
helped with light focusing and positioning as well as
setting costumes and props and stress testing the
set. For the show I was there as an assist in case
anything didn’t go right, repairs needed to be made
and just generally looking out for the safety of the
actor's crew and audience in between shows I was
responsible for resetting props costumes and set
and then repeated my responsibilities for show
2.After the show I assisted with the get out
including removing the top layer of set packing away
props and sound equipment as well as
disassembling the set completely and loading it into
the moving truck.
POP RECS LTD 17 NINETEEN

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work experience.pptx