Arriving in Birmingham I was looking forward to the next couple of weeks at base. Not only would I get to witness a week in the eyes of all the departments I hadn’t had much interaction with yet (Learning, PR, Hippodrome Front of House, Orchestra, Notators etc.) but I would also get to watch the much anticipated Triple Bill. Including the award winning production funded by the Director’s Appeal, E=mc². Then in contrast, the classical  ballet Tombeaux. Finishing with a show I am particularly familiar with (even more so now!) after studying this work for my A-level Dance course, the “unforgettable” (The Sunday Times) Penguin Café.

Monday morning began with the setting up of my office, judging how I was going to use my space as well as noting in my diary ‘to-do’s’ for later in the week. This was when my office phone rang for the first time, it was also the moment I realised just how northern my accent sounded in the Midlands – working within such a prestigious company maybe I needed to brush up on my Queen’s English.

Later there was a Full Call rehearsal, including children.  I met Eva and Arabella who were to play the Rainforest Child in Now Nothing during Penguin Café. I also got to meet the famous chaperone Barbara who I had heard plenty of good things about as well as carry out duties such as provide her with the girls upcoming schedules.

The sound of my lecturer’s voice filled Tuesday morning. A late start in the office gave me the opportunity to further clue myself up on the Organisational Analysis Module, in particular performance measurement analysis. Once inside the realms of Birmingham Royal Ballet I had a quick catch up with Paul Grist. His morning post had consisted of more contracts for the Sleeping Beauty Actors which meant I had less to chase (less practice of my Queens English on the phone!). As well as the Actors I gathered more information from the Nutcracker children, collating more shoe sizes. I would soon be able to send a completed spreadsheet to Shoe Supervisor, Michael Clifford.

The day continued with exciting technical meetings about future projects and concluded with the Piano Rehearsal. I was granted the privilege of observing the rehearsal and the many masters at work, Artistic and Technical Staff. Sitting behind the production desk in the Circle of the Hippodrome combined with my recent viewing experience from the wings of The Lowry Lyric stage, provided evidence of the expert craft, time, effort and talent that produces artistic excellence such as this Triple Bill.

The satisfaction provided from crossing things off a list was part of my Wednesday morning as I sent a completed Shoe Size spreadsheet for Nutcracker 2013 to Michael. The satisfaction continued in the form of organisation when paperwork for the Nutcracker Children was filed to prepare for their application of licenses and information regarding the Actor’s was gathered ready to go in the touring flight case safe for London, Sunderland and Plymouth. Liaison with Richard Cross, Sadler’s Wells Programming Coordinator, continued as all the logistics were confirmed (Risk Assessments, Dressing Rooms lists, Sign In Sheets, Running Times etc.).

Wednesday closed with the Director’s Appeal Audience observing the Orchestra Rehearsal. I had an interesting conversation with Paul Grace, Technical Director and Kaisa Kraus, Community and Schools Engagement Officer (maternity cover). We discussed the definition of a performances “success”, can it be judged on ticket sales or would this be the “success” of the Marketing and Press departments? Is the artistic excellence of the performance its “success”? If the performance had an impact on the audience e.g. applause, standing ovation, emotion, was it a “success”? All of which was reflecting my research for my Organisational Analysis assignment regarding the measurement of performance in Not for Profit Organisations. Artistic Director, David Bintley, made a speech to the Director’s Appeal audience about the upcoming Prince of the Pagodas performance, a production he originally revived with the National Ballet of Japan.

Thursday began with a personal triumph as I used Social Media, extensive Facebook ‘groups’ and contacts developed through attending a Performing Arts Institute to find an actor for Sleeping Beauty in London. I also added all the necessary Crew Calls to the Nutcracker Technical Schedules, discovering the wonders of disobedient formatting on excel and liaising with Vanda Hewston, Deputy Head of Wardrobe, on how many dressers were needed.

Tonight was opening night of the Triple Bill providing us with a Cast Sheet to be double checked against the Casting Bible, an exercise that accidentally taught me the use of ‘STET’ – “let it stand” used as an instruction on a printed proof to indicate that a correction or alteration should be ignored – I copied the markings of the red pen perfectly from the casting bible thinking “STET” was the latest addition to the company! As there was a show tonight it meant another night of suiting up. The 1/4 hour call arrived, Paul and myself made an appearance at Front of House before the 5 minute call where we waited by the side of the stage. As the curtain went up we made our way back to FOH in the case of any latecomers.

Friday began with emails, exciting conversations, phone calls, more Actor contracts and Nutcracker children paperwork, cast sheet checking and printing and preparation for the arrival of the Nutcracker children for their costume and shoe fitting and first rehearsal.

As the matinee performance began so did the usual procedure. Paul kept his radio close by but changed out of the suit to go and meet the Nutcracker children and parents. I collected more paperwork and Birth Certificates and filed them appropriately before returning them back to the parents, along with the children. During the Company Manager’s duties for that evening the cast sheets were surprisingly popular and 300 more were printed and delivered to FOH ready for the next interval.

During Saturday’s administrative tasks I familiarised myself further with the BRB building, visiting the Publications Office to edit the cast sheets and mobile friendly file with Paul and then find Diana’s (Senior Stage Manager) office to present her with two amended printed cast sheets before flying solo (near enough) for the Matinee Performance. I suited and booted and hoped for the best as I made my way to FOH for the 1/4 hour call.

About these ads