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From desk to stage - Gillian Langley
Posted by: Gillian Langley on 10 November 2008
On a cold Sunday morning in November I leave London's Barbican station to wait for a bus to Sadler's Wells. From my job as Rambert's Web Manager, which is mostly online and requiring very few, if any props, I'm to experience the very different world of technical staff on tour.
I'm already late for what I was told was a strict 9am start, so when I finally stroll up to the two enormous lorries and a crowd of far more people than I'd imagined, I'm grateful when Malcolm Glanville, Rambert's Technical Director, breaks into a friendly and warm despite-the-cold smile.
I don't know most people here, although I recognise a couple of faces, so I just observe, standing well back, as the remaining crates are unloaded from the second lorry. Malcolm directs where each is to go: straight through the side doors of the building onto the stage, which from the outside I thought was a holding area. Stepping inside I immediately see the familiar red, grey and silver of the auditorium, where I've sat many times. It feels a little nostalgic, and slightly magical to be up on the stage.
"HEADS UP!" is shouted, the first of many times, to warn the crew, and me, to look upwards and, of course move aside if a bar is lowering from directly above. Everybody seems on the ball, knowing what to do without instruction, and exactly when to do it. They flit from one lowered bar to another, untying drapes (or borders), velcro-ing cables and attaching lights. I join in occasionally, when it seems I'm not getting in the way. I've already learnt to start tying from the middle of a bar so as to avoid ripples... and that my camera uses up batteries very quickly.
Numbers are called out in a list, to which Malcolm responds. I don't know what this is about but I'm continually impressed by the calm and productive flow that appears to be getting the job done. There are two grand pianos on stage amongst the crates (of which some I hear being called coffins!) and I wonder where they'll go before Tuesday.
All 24 of the Swarovski crystal crosses are carefully secured to wires, while I sit watching from an otherwise empty auditorium. More cables are connected, more lighting is put in place on stage and around the front of the first circle, bars go up and down, the dance floor is laid and taped precisely with a broom aiding the smoothness, and behind me Tomás (O'Connor), our sound technician, is silently setting up equipment that'll fill every corner of the theatre this week.
Armistice Day, this Tuesday, is the London première of Eternal Light, as well as my daughter's 15th birthday, so sadly I won't be here to see the magnificent and extremely heavy moon rise during the tenth movement. I will be back on Thursday however, but sitting in the pit behind London Musici and the choirs during Eternal Light and then venturing backstage whilst Infinity, the piece that made me wake up and notice contemporary dance for the first time, is performed. I'm looking forward to discovering, from the wings, how the rose petals in Infinity miraculously fall onto the dancers.
Just before I leave today, I watch with belated realisation as those pianos lower, with the entire front of the stage, into the orchestra pit which I hadn't noticed was missing from view!
Comments
By: Cherie Thompson
Saturday, 15 November 2008 09:04:05
Well it sounded like you had a very busy but enjoyable day, Like you I love infinity and on thursday I really enjoyed the eternal light too! Look forward to you posting another blog soon, this one was great!!!