How did you get to where you are today?

[JCC1996]

Hi,

 

I've got to the point where I am seriously considering a career in technical theatre, I'm not entirely sure what discipline yet, but I'm edging towards sound- although I like the electrical side of things too. Basically, I'm looking to find out how other people got to where they are now (anywhere in the industry: theatre, events, film, TV!)- I know there are plenty of ways in to the industry, but I'd love to see some examples. I'd appreciate it if some of you might take some time to answer these questions?

 

1) What is your job title now and what does it involve?

2) Have you been in the industry all your life or did you join it later?

3) What qualifications do you have?

4) How did you work your way up to where you are now? i.e. starting as ____, working up to _____

5) Do you like the job you do at the moment?

6) Do you intend to progress your career, or are you sticking where you are?

 

I'm really interested to read some replies and hopefully have my eyes opened to some opportunities and options I wasn't aware of!

 

Thanks

 

Joe

[sleah]

I can't really answer your questions, as I'm only on the fringe of the industry, as technical theatre is just a part of my job, as an AV tech in a private school. So I do a bit of everything!

 

However, I didn't get where I am today (sorry, REALLY coundn't resist :D ) without some qualifications and an aptitude.

 

I've always been technically inclined, pulling electrical things to bits when I was a child.... much to my parents' joy when I fail to put them back together again

Naturally I took Physics and Computer Studies at O Level as they are technical hands-on type subjects.

After geting a job as an AV technician, I did a BTEC certificate in Electronic & Electrical Engineering on day release from work (who also funded it).

 

That has been the single most useful qualification. Physics gives you the basics of how electricity works and how light/sound work, further study gives you a much more in-depth knowledge.

Well worth considering if you want to go deeper than just focusing lights, I'm not just capable, but 'qualified' to strip a lantern to it's component parts, repair and put back together again, skills that will be a real bonus when trying to get in to theatre.

 

Good Luck!

[JCC1996]

Thanks,

 

That is exactly the sort of thing I'm looking for.

 

Joe

[paulears]

Back in 1979 - a friend and I decided we wanted to become radio hams. Back then, CB radio, illegal as it happened, was leaking into the UK after Convoy and Smokey and the Bandit, and after a very quick dabble, we discovered snake oil by the bucket and a real lack of technical background. We discovered ham radio was the opposite, much more boring and dull people but they all knew electronics - most being employed in the electronic industry, and quite a lot of them were involved in interesting stuff in the War, 35 years before - the development of radar, clever gizmos and lots of listening, all of course in morse code. So - my friend, who was already working in electronics, and me - who knew virtually nothing decided we would do the city and guilds course, which was electronics and radio frequency understanding centred. I just about understood Ohm's law, and ended up doing resonance theory, and I can still remember the formulas! I didn't know what 'Q' was, and of course, it's now a knob on sound kit! It was two years of really heavy going. The local college was a washout, their teacher knew nothing about the course, so they agreed to sign us up, take our money and let us teach ourselves using their facilities with a few hands from the old ham brigade. In those days, you had a morse code test, and we went up to Humberside to the Post Office station there (Mablethorpe) and took our test - much more scary than a driving test!

 

My interest in using radio as a hobby lasted 5 years, but I discovered radio microphones and comms radio, and I started a small business renting kit out. It's still going, and while we rarely hire kit out on it's own - it's just a part of the whole package, we're still doing it!

 

I'm now in my fifties, and along the way collected a few 'normal' qualifications whenever they were needed, and apart from looking nice on the CV, the most useful learning I've ever done was the electronics needed to get a ham license. What I learned has been able to support almost everything I do in the business. Sadly, many of my other qualifications were simply door openers, and actually were somewhat pointless.

 

I'm not suggesting at all that you should even consider what I did, because the electronics content of the current radio exams is much more simple to give people easier access, then they can do another, but my view is things have changed.

 

Everything we do - sound, lights, electrics and even rigging is actually based on physics and maths - so if I was starting all over again, then that is where I'd be looking!

[kerry davies]

A note of caution. If you are only "seriously considering" a life in the entertainment business then don't do it. Joanna Lumley was asked if she would allow her daughter to tread the boards if she wanted to. Her reply? "Good God no. This is a terrible business with long hours, poor conditions and poorer wages. You only do this if you MUST do it."

 

That applies even more in time of recession since 20% of the self-employed in 2008 had gone from the sector by 2010 and the sector has the highest level of self-employment. There seems to be no shortage of students or volunteers to fill the few jobs and in the West Midlands alone there were 149,000 HE/FE students, 309,000 volunteers and only 136,500 "jobs" both employed and self-employed in the creative sector in 2012. And that is during the Olympics!

 

I wouldn't change my life for a euromillions win but I am, like Paul, a fanatic. Like Paul I never intended to work full-time in this business and drifted into it from "normal" industry. By the time I was your age I had been roadying with my schoolmates bands for a couple of years and with only brief periods have always had a semi-pro involvement with theatre, rock and just about everything except grand opera. I was head-hunted as a manager and safety trainer from regular work in 1994 by a TV company and have done all sorts since then even returning to stage building which I had done part-time since before Live Aid.

 

Just as a clue as to what is what, the latest creative sector research in Scotland repeats the constant moan by employers that everyone has degrees and no-one has experience while what they really need badly are managers, creative directors and marketing/sales people not technicians, which might explain the wages.

If you really want to do this then good for you and go for it, but it would be remiss of me to crow about working with Scissor Sisters and Steven Berkoff without warning you that it is a tough life.

[ramdram]

Joe, your profile says nothing about you working in amdram, just stuff at school. Granted you might be considered a tad young to be unleased on your own amongst amdram technician folk but there's nothing like getting involved, today if you google up local andram companies, and seeing what it is like backstage/control box/room. Future employers will want to know about your experience of theatre and being able to talk about amdram would at least qualify your early interest in all things dramatical/theatrical.

 

It may be that you find sound is pants...and lighting is more your thing...or set design/construction...or being a creative and painting the scenery perhaps. So instead of asking folk about their experience, which is their experience, get some of your own.

 

You could not live long enough to read a fraction of the theatrical info there is available on the internet but you could start by genning up on theatre glossary and find diagrams of an "actual" stage, whether it be a normal prosenium or thrust, say. You might encounter some companies who use the pro expressions or some who still call lamps "bulbs".

 

One word of warning tho' you will be watched like a hawk by the rest of the company, not just for your safety but theirs, so if you decide to do some "clever" stuff in order to win brownie points, like hanging a row of lanterns while everyone else is having "five minutes" then don't.

 

You might do/get away with that sort of thing at school but it will simply not wash with other folk.

 

It is sound you are set on...today...you might gen up on theatrical sound kit and why you might use a plate mic or rifle mic or radio mic or why you might need a swop list for rms...or why you might use a different type of mic for a female voice cf a male...or why you might need to consider using a DI box for musical kit onstage.

 

A really, really good source of general, not too in-depth info for the beginner is the National Theatre tech clips; should keep you entertained for days.

[Rax]

Hello Joe,

Firstly, in the UK broadcast industry we currently have a shortage of engineers. Mostly project engineers, some research and development, factory and sales, electronic maintenance, media management, automated playout, Satellite Uplink, Radio Cameras, Studio, Sound (including talkback systems), "Videotape" (including edit and slo-motion) and Outside Broadcast. Generally speaking, the nearer the end of that list you get, the more 'operational' the job is and the closer to programme production the role is. Give or take.

 

Briefly, I was good at physics at Secondary School and got roped in to do 'tech' (Sound and Lighting) on the School Stage during years 9-11. When I was 14 I passed the Radio Amateurs Exam. At sixth form college I studied Maths, Chemistry, Physics, Electronics. The college had a theatre and a two year non-exam theatre tech course. Whilst on this, I frequently worked as a stage casual with the local repertory theatre company (and got paid!). Started out with strikes and fit-ups then flys, sound, lighting etc. I passed the driving test at 17, had a van, and a sideline as a band roadie.

 

The two golden rules drummed into us at college were: Never work as a performer unless there is nothing else you can do. If you are going to work in the entertainment industry try and get in to the BBC.

 

I applied to the BBC for an engineering traineeship. I was initially selected for Transmitters because I had the Radio Amateurs Exam. At the final interview, the HR person decided I might be better in Outside Broadcasts because of my theatre experience. I had three job offers on the same day. Transmitters or Outside Broadcasts at the BBC and Stage Electrician with the local rep. I qualified as a BBC Engineer in Outside Broadcasts after two and a half years of training. It's been a fantastic job, although if you work with a good team anywhere in the entertainment industry, you enjoy it and actually look forward to going to work!

 

You can probably see in my tale that one opportunity led to another. This is how it goes. Seize opportunites with both hands! Also, getting relevent experience outside your course gives you a big advantage over those that don't (As an aging fart, I've recruited technical staff and know how it goes). TV pays more than Theatre, unless you can get into somewhere like the Opera House.

 

The Beeb isn't training at the moment, but it *might* do in the future. If you're looking at Broadcast Engineering courses at Uni or College search for Broadcast Media Technology. There are also courses for technical operators such as Soundies ,Videotape operators and Camera Operators (although there is an industry surplus of the latter!) Ravensbourne should have resurrected their Broadcast Operations and Production course from Sept 2013 onwards.

 

Hope this is useful.

[indyld]

Bearing in mind that I completely agree with Kerry's comment on only working in this business if you absolutely HAVE to, here goes:

 

1) What is your job title now and what does it involve?

 

Lecturer in Technical Theatre Production. It involves designing and delivering learning at HE level for theatre production students and related courses.

 

2) Have you been in the industry all your life or did you join it later?

 

Always been doing something, even aged 5 in amateur theatre. Never had any other job. No paper rounds etc. Theatre casual as soon as I was old enough. Freelancer after drama school. Over 20 years since first paid gig.

 

3) What qualifications do you have?

 

Drama School, specfically HND Stage Management and Tecnnical Theatre from BOVTS in the days when they'd only just started giving out any form of conventional qualification. Previously, the graduates got a pat on the back and a certificate. Graduates now get a BA (Hons) and the course is now three years.

 

I have previously held certificates for all the usual training programmes required of a freelance technician, MEWPs, FA, PASMA, Safety Passport, Plant operators etc.

 

As an educator I now have a PG Cert in Professional Learning in Higher Education and fellowship of the Higher Education Academy.

4) How did you work your way up to where you are now? i.e. starting Youth Theatre / Casual, working up to Lighting Designer, Programmer and also PM.

 

5) Do you like the job you do at the moment?

Yes, a lot. Show business is only so interesting when you've been doing it a while and my new job challenges me in ways that putting on shows wasn't anymore.

 

I believe strongly in the importance of professionally trained and qualified people shaping our industry but also the great potential that theatre production has as a subject in higher education. It is not only relevant and promotes employability, the subjects also demand the development of high level transferable skills that we should be looking for in graduates whatever they study.

 

6) Do you intend to progress your career, or are you sticking where you are?

 

Yes, you should always plan to progress. I have no plans to re-enter the sharp end full time I.e go backwards into making a living from design and programming or even continue as a PM. As much as I might miss putting on shows myself, I've kinda done enough in my career. However, I plan to develop the worldwide educator profile and do whatever with it along with engaging in specialist research in our field. Possible PHD if I get time.

 

Hope that is useful. My peers that have made the move from a life in industry into education often have a similar story, so it's not an untrodden path.

 

.. but it would be remiss of me to crow about working with Scissor Sisters and Steven Berkoff ..

 

What an interesting billing!!!

[JCC1996]

Sorry, I've been meaning to add a reply for a while now but haven't quite got round to it! So here goes:

 

Paul: My plan is to get the highest level of formal qualification as I possibly can- leaving as many options open to me as possible. And I plan to get this somewhere in the electrical/electronics field.

 

Kerry: I say 'seriously considering' because I'm not entirely sure where in the industry I want to go, but I do want to work somewhere in the sector, in fact I REALLY want to!! I'm prepared for the tough life in order to get the rewards.

 

Ramdram: I have just this year turned 16, which is the minimum age for all the local amdrams round here, so I plan to get involved with them in the near future. I have already shadowed one group, who although I couldn't get hands on until I was 16, were happy for me to hang around and learn by osmosis. I have enquired to one amdram group (probably the largest round here) and was told 'Do not come here expecting to learn things, this isn't what we are for. These people do this as a hobby- they don't want to be hassled by kids' so I think I shall be looking elsewhere for my experience! And out of interest, try as I might I can't work out what a 'swop list for rms' is! Would you care to enlighten me?

 

Rax: Broadcast is certainly an area I would love to work in. I've visited Panalux and learned a bit about the lighting and power side of it, and I make short films as a hobby- so it's definitely something I'm considering.

 

Indyld: I have to admit that education is something I hadn't really thought of before, and I suppose it must be a very interesting and rewarding career for someone who has worked their way through the ranks and has the hands on experience. Thanks for sharing.

 

Thank you everyone who has taken the time to reply, it has been a really interesting read and certainly given me some ideas.

 

Joe

[indyld]

I have enquired to one amdram group (probably the largest round here) and was told 'Do not come here expecting to learn things, this isn't what we are for. These people do this as a hobby- they don't want to be hassled by kids' so I think I shall be looking elsewhere for my experience!

 

Nice. What a short sighted attitude. Wonder where their future members that are interested in the technical side are going to come from?

 

When I've run courses for Am Dram groups (where they actually encourage learning for their members. And pay for it) they are keen on the young guy/girl that has just signed up and shown an interesting in working backstage. Presumably because they realise that their poncing about on stage has to be supported by someone and the poor old guy that has been doing it for years is looking to retire.

 

I would definitely look elsewhere but do keep looking. I didn't spend very long in Am Dram, opting for a very good youth theatre from about aged 10. Dunno what your options are there but if you find a good one you could be learning with professionals as I was lucky enough to be.