Sometimes

Sometimes, being a Stage Manager is pretty shit.

There. I said it.

It seems to me that admitting this fact or saying it out loud is slightly frowned upon. It’s one of those thoughts which I have on a regular basis, but feel that vocalising it will cause those around me to look slightly awkward or instantly demand to know why I would say such a thing. Or just roll their eyes and mutter ‘Oh Jess.’ I have lots of these thoughts about all kinds of stuff, all the time, but experience and gut instinct tells me to keep quiet. Mostly.

Here are some examples.

·         I quite like One Direction

·         I don’t think I did enjoy your play.

·         I think your baby is ugly

These are things I keep to myself. But recently I have decided that, us stage managers, instead of sitting round in pubs and sharing our hilarious anecdotes and trying to outdo each other with stories of the best prop or the most complex scene change, we should talk about, how sometimes, our industry is actually sometimes tough and stage managers get a raw deal.

It’s the truth. A terrible and painful truth.

If I ever become a stage management tutor (which is unlikely), I think that would be the very first lecture that I would give, just so that all my students knew what they were getting themselves into.  Within the thick walls of whichever drama school had employed me (most likely one which was lenient on the old CRB checks), all the different departments would be working away; the lighting guys would be fiddling with gobo frames, the production management course would be perfecting the art of looking busy but not actually doing anything, the sound technicians would be learning how to be an expert on everybody else’s departments except their own and the actors would be learning how to lie with feeling.

But in my class, the SM students would be sat, staring morosely at a blackboard where I had, somewhat manically, scrawled the words

‘Sometimes, being a stage manager is pretty shit’.

Thirty grand well spent.

Although, to be honest, I doubt I am the first to uncover this revelation.

Over the past few years I have regularly heard friends say, ‘I am giving up stage management to have children’. But more and more recently I am hearing other statements such as;

‘I am giving up stage management to become a massage therapist.’ Or ‘I am giving up stage management to become a teacher.’ And even once,

‘I am giving up stage management as I have discovered that I have a rare gift which enables me to establish a telepathic communication with animals.’

I shit you not.

You may mock but out of all my friends who have left the profession of show, she is by far the most successful. Probably a lot more successful than my friends who have uttered the fateful words,

‘I am giving up stage management to become a photographer.’

Christ.

The photography industry has been flooded by embittered stage managers and struggling actors alike. It appears that if you have a Crumpler bag, a camera with a neck strap and an unhealthy habit of taking black and white snaps of graffiti in Hackney, you can become a freelance photographer.

Although I also blame Instagram for this phenomenon.

Fucking Instagram.

Can I just take this moment to say that for many years I was perfectly happy not knowing what my friends consumed for every single meal? If I wanted to know what they had indulged in during mealtimes, I would politely enquire. I do not need to constantly see dingy, scratched up, ‘ironic’, faux-seventies photos of fry-ups, fajitas, roast dinners or picnics on tartan rugs. With a smug little caption of how this is ‘Bliss.’

And please, please, stop referring to food as ‘nom-nom’s’. Unless you are of an age where you are being spoon-fed by an adult using the much-loved ‘aeroplane’ technique, using baby talk on social media is just not acceptable.

Is that another one of those thoughts I shouldn’t actually vocalise?

Oh.

Well anyway, I digress. I often press these ex-stage managers on their reasons for leaving the industry and get the usual answers; they want to settle, they don’t want to tour anymore, the hours don’t fit with having children, they’ve slept with so many actors that they are no longer able to enter a rehearsal room without a member of the company blushing a deep shade of ‘oh-god-we’ve-fucked’.  

 

But I know the real reason. I KNOW!

 

They are leaving because sometimes, being a Stage Manager, is a bit shit. They know this, I know this, but NOBODY IS SAYING IT!

I haven’t written this blog for a really long time because, a few months ago, I ended up doing one of those jobs which every stage manager has done at one point in their lives. One of those stage management jobs which just seems to drain you of all your personal resources until there really is nothing left. One of those jobs that, even when you are not in the theatre, you are still in the theatre. My head was constantly trying to deal with the issues and the frustrations and every time my Blackberry vibrated with an e mail, a text or a phone call, it took all my effort not to fling open the window of my boat and chuck my phone into the murky Thames water.

There was one morning when I was lying in bed, trying to muster up the energy to get myself up and showered and on the tube to go and deal with whatever tiresome rubbish was waiting for me at the venue, and I suddenly realised that this sensation was unsettlingly familiar. There had been a previous point in my life when I had felt that everything was futile, when I had felt this despondent, frustrated, exhausted and…. well…. crap.

And suddenly it struck me what this emotion was and why I had felt it before.

It was heartache.

Genuine, throbbing heartache. But my cracked core was not stinging because of a failed relationship. And I wasn’t grieving because it was no longer possible for me to wake up and bury my nose and cheek between the shoulder blades of the object of my misplaced affection. This breathtaking melancholy was being provoked by a play. Just a play. That was all.

In the interview I was told that I was basically a stage management team of one. But that was okay as the play was so ‘simple’ and ‘straightforward’. But it soon became apparent that this play was anything but. There were fights, blood, flying pieces, a finale scene which involved a meal set for six, a stage which got covered in filth and scuff marks yet had to be spotless and gleaming each night.

Each afternoon I would get to the theatre about three and hear the words ‘You’re in early!’ as I passed people from the office. It took all my energy not to stop, whirl on my heel and fiercely explain that to have the show up and running by seven thirty I HAD to be in at this time.

The props were extensive and fiddly with a lot of running stuff and food which constantly had to be bought and prepared. The stage needed to be swept and mopped but then to get rid of the scuff marks, I had to liberally throw Cif everywhere before getting on my hands and knees to perform a vigorous and repetitive move which is only really seen in hardcore pornographic films.

Then of course there was the rig check and the speaker check. And the costumes.

This venue was what they call ‘green’ and so did not believe in having a tumble dryer.

How nice for them.

I am all for saving the environment but question how I am meant to dry the costumes for a cast of eight without the practical means. Well, the answer is Mother Nature. But when you are in a damp, basement level venue, even Mother Nature is going to shrug her shoulders at you and look slightly perplexed. The only way I could really do it was to get them washed the night before and hang them around the venue. The washing machine would churn away while I boiled a kettle in order to do the large amount of washing up. Oh, did I mention the venue had no hot running water either?

And if the following day was a matinee there was no guarantee that the clothes would be dry in time for the show having received no air throughout the night. So I would power up the several gas fires and hang the garments in front of them, using god knows how much energy and occasionally scorching them in the process.

It must be said that the cast and director were unbelievably understanding and supportive. They were very aware of the problems within the venue and helped in any way they could. Although of course, they were dealing with their own problems; the dressing room conditions and the low audience figures. Both of which are understandably frustrating for people who have worked hard and trained for their craft.

Now, don’t read this and think that I am moaning because I have only ever worked in large, well-funded venues. If you look back at my past blog posts, you can see that I have worked in similar venues and been perfectly happy. The venue above the pub for instance. Yes it was not ideal and yes it could be a lot of work. But there is a huge difference between ‘a lot of work’ and ‘too much work.’ Especially considering the meagre wage I was receiving.

My attempts to communicate with the-powers-that-be that coming in at three and leaving at midnight was not right were ignored. But like all bad jobs, I knew the contract was one day going to end and so thought that I could just get my head down and get on with it. Which was an okay coping strategy but I think it was the night of Literary Death Match when I lost all patience and positive thought.

Literary Death Match had booked in to perform on my stage after our performance had finished one Friday night. It was an event which was part of a larger festival taking place in the area. As soon as my show came down at about nine, I had to quickly sweep and mop the stage before the Literary Death Match people descended and took over the space for a couple of hours. As the washing machine was right next to the space, I would not be able to get it running straight after the show as it would 'disturb the literature'. I would have to wait until they had finished before starting the machine and then I would have to wait for the machine to complete two cycles so I could attempt to get the costumes and white linen tablecloth dry before the matinee the following day.

In order to be set-up and scuff-mark-free for the matinee I would need to be in at ten am. But with the Literary Death Match going on till half eleven and the washing machine cycles taking 45 minutes each, I would not be leaving the venue till one am.

And the icing on the cake?

It was my thirtieth birthday.

A bespectacled young man sporting red skinny jeans and a knitted jumper with two pugs on the front approached me, his lovely big brown eyes blinking at me through thick rimmed glasses. He sweetly asked me if I would like to come inside and watch Literary Death Match but I politely declined even though I was slightly intrigued. To this day I’m not really sure what happens during Literary Death Match but I like to think that all those East London types bludgeon each other around the head with hardback copies of Austen and Coelho until one of them finally falls to their knees with a caved in skull.

So I just sat outside with my bottle of red wine. I had heard whisperings from the company that they were planning to get me a cake, but fortunately they weren’t offended when I suggested I either took the cash or they got me booze.

Obviously I had planned birthday festivities on other nights but this night was my actual birthday. My actual thirtieth birthday. And I couldn’t help but question whether I even wanted to be in this industry anymore. The reason why I was feeling a dull heartache is because this job, this industry, was actually breaking my heart.

However, my thirtieth was back in May and we are now in September. My birthday celebrations were glorious and I managed to surround myself with wonderful people and perfect friends. Plus a lot has happened since then. I took a show to a theatre which was flooded with staff and whenever I went to touch something or re-set something, a staff member would come forward and tell me ‘that’s my job!’

What else has changed since I last posted? I don’t live on my boat anymore and have moved in to a little flat with a sky-blue door in Leytonstone. I’m sprawled out on the couch right now, finishing this blog. And once I am done I am going to finish packing my suitcase with my black stage management clothes and my favourite dresses and make sure that my passport is in my rucksack. Along with a bit of paper which says I am allowed to enter Australia on a work visa. And that I can go and stage manage a play at the Sydney Theatre.

Sometimes being a Stage Manager really is a bit shit.

Sometimes, it’s pretty fucking awesome too.

 

 

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Broken Compass

Unemployment.

I am currently unemployed.

Bad news for my bank balance, my mental health and my general demeanour. 

Good news for next year’s tax bill and my local off license.

It also seems to be a good thing for my diet. Last night, for the first time in several months I actually took the time to cook myself a proper, nutritional meal. I used my knives for something other than chipping ice cubes out of a tray and I used the oven for something other than an extra shoe cupboard.

Listen, I live on a boat. Storage is at a premium.

So, once I had cooked this flavoursome meal and used all my kitchen utensils (except that one from Joseph Joseph, I’m still not really sure what that one does), I sat down in front of a DVD to try and enjoy a night in. A rare, relaxed, solo Night In.

I poured wine, I munched on my homecooked food and I watched a scintillating DVD. But my mind kept wandering and I felt uneasy. Even Ryan Gosling in a crisp white shirt saying words from a well-written screenplay could not hold my attention. Although maybe that’s because the movie he was in had a slightly complex plot which required concentration and focus. I much preferred it when he was in ‘Drive’ and just murmured mono-syllabically whilst looking brooding and thoughtful and drove super fast, sexy cars with Christina Hendricks shrieking in the back. I found that film much easier to follow. Admittedly the ending was lost on me (is he dead? I don’t get it) but I still left the cinema feeling fulfilled and enlightened by Gosling and his washboard abs.

Anyway, I tried to just relax and enjoy the evening but I found it impossible. My mind and thoughts were racing with questions.  I mean, what would I do tomorrow? And the day after tomorrow? And the day after that? And why do I describe Ryan Gosling as having ‘washboard abs’? Should I ever actually have the opportunity to get up close and personal with Gosling and his belly-button, the last thing I would want to do is get out my hand-wash only delicates and scrub them up and down on his lovely tanned tummy whilst he clutched the Daz.

Anyway, let’s leave that mental image and get back to me. Sat on the sofa, no make-up, hair scraped back into a ponytail and experiencing an overwhelming  sensation of uncertainty.

What I was certain of, is that I was not enjoying unemployment.

I did the last show on Saturday and by Tuesday I knew that I was not handling the situation brilliantly. Instead of feeling gleeful about the fact I was free of my cast and company, I ended up feeling slightly sentimental and mourning the daily contact with these wonderful people.  Although this may also be due to something else.

I know that this is a theatrical blog but I am still a woman and other womanly things can sometimes effect me and how I deal with my work (or lack of work). The miracle of modern science means that I can prevent myself from getting pregnant, but they are yet to invent a pill which prevents me from becoming a slightly irrational, moody, oversensitive pain in the backside.

I know when my period is coming and obviously I know when it has come. Yet, each month my sudden mood swings take me completely by surprise.

This may be why at about five o’clock on a Tuesday afternoon I found myself in a subterranean wine bar drinking Beaujolais from a carafe.

With one of my cast. From the show which had ended on Saturday.

He had called me in the morning with a simple question and instead of just answering it I had yelped ‘Shall we meet for lunch?’ in a slightly desperate fashion.

Lunch had been a cheap two-course lunchtime deal in the ‘West End Kitchen’ (don’t have the mackerel) and had turned into booze at the Cork and Bottle wine bar (have absolutely anything) in town. Actor Friend, the lovely Mr B, commented on my short temper and negative, slightly malicious attitude. I nodded and admitted he was right but that there was good reason for it.

‘It’s just my time... it’s a woman thing.’

Mr B rolled his eyes before taking a sip of something crisp,white and fruity. ‘You bloody women. It happens at the same time every month yet you don’t ever actually think to yourself ‘Oh, it’s that time of the month. I’m feeling weird because it’s that time of the month. Maybe there is something I can do to prevent this odd, slightly psychotic behaviour.’’

I was tempted to smash the half full carafe over his head but he has a point. Plus he had taken me to a fabulous drinking spot. I let the subject go and mentioned the other reason I am functioning slightly differently.

‘I hate being unemployed.’ I sighed despondently.

Mr B is in the same situation and we spend the next two hours bemoaning our lack of employment.

Which is why by eight o’clock I am back home on the boat feeling drunk, emotional and hormonal. And why I wake up at eight the following morning feeling hungover, emotional and hormonal.

Without the show or knowing what my next project is, I can’t help but feel slightly lost.

Like my own personal compass is broken.

Believe me, I know that I am not the only theatrical who feels like this and that there are many other people who have to deal with their post-show blues and ‘whats my next job’ anxiety. I am aware that I am not special or unique in feeling this way.

I decided that I should enjoy the free time I have which is what led to the certain domestic, cooking spell. But after the joy of preparing the ingredients and the pleasure of actually eating the meal had worn off, I still felt odd. And knocking back a couple of Feminax was not going to solve it either.

I decided that the way to deal with the situation was to try and think of things that I enjoy doing but never get the chance to do because I have work. I rule out any more daytime drinking as that is neither going to get me a job or improve my state of mind.

The following day, Wednesday, I do productive things like job searching, laundry, sorting out receipts and hand-washing. As I scrubbed at my ‘good’ pants, I remembered a poster I had seen on the tube showing a man doing a headstand in the snow.

I have passed the poster of Scott doing a headstand in the snow a million times on the tube. It is advertising the exhibition at the Natural History Museum about Scott of the Antarctic.  Every time I have seen it I have been slightly harassed and on my way to work at 5.00pm, weaving my way through Evening Standards, Financial Times and Kindles, resenting the suits clutching Waitrose bags of goodies for dinner. Or I have seen the poster on my way home, a couple of glasses of Merlot heavier and slightly dirty from the floury and painty post show clean up, praying that I reached Westminster in time for the last Jubilee line tube home. And each time I saw the poster I thought,

‘I really should go and see that.’

And now I can. Without worrying about what time I have to leave or thinking ‘God, I wish I didn’t have to go to work now.’

So that is what I did today. I headed to the Natural History Museum with my friend Rose. I wanted to go to the exhibition because I wanted to find out what makes a group of men feel the need to travel to a part of the world which at that point nobody else had visited. I was curious to find out why intelligent men would put themselves through such unbelievably tough conditions and test themselves physically and mentally, simply to get to a point on earth that nobody else had ever visited, a point on earth which is described as being ‘a dangerous environment, where misjudgement and inexperience are fatal.’ I was intrigued by why we celebrate these men so much despite the fact they actually failed their mission and lost the race.

Rose wants to go because she has heard there are stuffed penguins.

The exhibition is compelling and thought-provoking. I know that these men failed and died in their mission, but what the artefacts, the diaries and the images show is a group of men who were undeterred by the problems they faced and who kept heading South with determination and tenacity.

These were men whose compasses were not broken.

I don’t think I could ever do something like head to the South Pole. For a start people do it all the time now, just for holidays and stuff. Also I don’t have the right shoes and I think the Wi-Fi signal would be crap. But maybe I should be using my spare time in between jobs actually achieving something or creating something. Just, you know, fix my compass a little.

Even if it is just doing some decent and complicated cooking for once.

Anyone know any recipes which include Feminax?

Artefacts

It is with great regret that I have decided to leave my little boat. In the early hours of New Years Day, I stood at a bus stop in Hackney and counted down the minutes until I could remove my heels.  As I peered down the road for the 277, I thought about the year which had just passed and the year ahead. I will turn thirty this year, and like most women about to hit that milestone birthday, I considered the things I wanted to achieve.

Some women who are about to hit this age may decide that they want certain things. A few realise that they want to get serious about their careers or they think that maybe now is the time to have a baby. Some chicks think that maybe it’s time to put an end to casual sex and that really they should be having a more adult approach to relationships instead of just hitting the Phoenix on a Saturday night with nothing but an Oyster card, a toothbrush and a spare pair of pants.  Or if they can afford it, there are ladies who decide that it is now appropriate to stop playing the renting game and get together a deposit and actually buy somewhere.

 I have decided I want a flushing toilet. And to not feel the need to go to bed wearing a life jacket during seventy mile per hour winds.

When I first moved on to the boat, I thought that any Future Gentleman Friends would find my way of life unusual, exotic and bohemian. But the reality is that there is nothing arousing or seductive  about explaining to a man that they need to go outside to the Facilities Block to use the toilet. And before you know it your Future Gentleman Friend is a Past Gentleman Friend who is seeing a six foot Brachiosaurus with tits like Eggs Benedict and an en suite.

Anyway, once I had made the decision to leave, I realised that this meant packing up all of my belongings. Again. So out came the heavy duty bin liners and I decided that I needed to be ruthless when it came to chucking stuff away.  It was time to lose some baggage.

At the bottom of my wardrobe were several storage boxes. One was full of belts and scarves, one was full of other accessories, and two were full of Press Night cards. I sat in the middle of my futon and got on with the task of lightening my load. I filled up the bin liners with polka dot headscarves and studded belts. Along with glow in the dark headbands which no longer glowed, a pair of sequinned gloves and some handcuffs.

After half a bottle of Merlot my two boxes of unnecessary tat eventually became just half a box of things which may come back into fashion one day. And after having second thoughts and a quick rummage in a bin liner I chucked the handcuffs back in there too. 

Benedict Tits might have legs like a gazelles and an en suite wet room but I have handcuffs and an open mind.

So then I started on the two boxes of cards, trinkets and signed programmes. Before I knew it an entire hour had passed and I was sat surrounded by half the stock of Paperchase and more ‘Thank You’s’ than an acceptance speech at the Oscar’s.

At the top of the first box there were cards I had received recently. I sipped my wine and grinned at the messages. There was a tiny miniature grand piano which I had only received last week, and a whole heap of other cards full of the usual ‘Thanks for all your work!!!’, ‘Here’s to a great run!!!’

But there are some other cards which are slightly more unusual. One is simply a photo of a child’s bouncy ball which immediately triggers a strong memory. This ball became the source of great pleasure during one rehearsal process as we, the entire company, started every day with a lengthy group game of Keepy-Uppy .  And to give the director credit, this did admittedly help us all bond and get our energy up at the start of a brand new rehearsal day. The morning games of Keep-Uppy would become slightly competitive and if you dropped the ball then you would be on the receiving end of some chummy abuse. I somehow gained the nickname ‘Tranny Hands’ which is weird as my hands are unusually small and I can only assume that this was part of the joke. But putting this game into our routine did help us all work together as a group and when I look at this photo of a ball with the message on the back (‘Jess, Thanks for all the hard work done with your massive hands’) it really makes me grin.

Sadly, the play only got two star reviews and was described as ‘hollow’, ‘formulaic’ and ‘predictable’.  But who gives a crap when you’re making friends and keeping a ball off the ground for a good twenty minutes?

There were other beautiful cards which made me very happy that I had made the decision to hoard these bits of paper. For instance, I unearthed a Get Well Soon card signed by Sir Derek Jacobi when I caught mumps. He wrote a sweet message about how he hoped I felt better soon and left his sweeping signature. Sadly another actor, who is now Actually Quite Famous, had also signed the card but had written a rather rude message about my swellings and how parts of his anatomy were also swollen. Not only did I find it rather vulgar but also quite surprising. If you have the opportunity to share a card with Sir Derek Jacobi, you would think you'd find something other than your cock to write about. But that’s actors for you.

Actually, the more cards I read, the more I noticed how many included innuendo and double meanings. Like one from when I did ‘The 39 Steps’ and cued the show from a box. Throughout the run I endured many salacious comments about my ‘box’ and one card reminded me of this.

‘Thanks Jess! How many steps are there to YOUR box!!! LOL!’

Several other cards also had ‘nudge, nudge, wink, wink’ double entendre type messages inside. But others were less subtle.

‘Dear Jess!! Will miss your big tits!!’

So I continued to rummage through that first box and found many cards and little keepsakes that reminded me of shows and actors from the past year or so. But when I opened the second box and started to rifle through the cards, I began to feel a sense of confusion. My memories felt muddied and I don’t think it was just the half bottle of wine.

Well, a whole bottle of wine.  

And a small Port.

There was one which had a picture of a pot-bellied pig on the front and inside was written the words,

 ‘Jess! Remind you of someone? HA HA HA!!! Love Charlotte x’

I looked at the picture on the front and realised that it didn’t remind me of anything. I couldn’t even remember Charlotte. Who the hell was she? And why would a pot-bellied pig make me laugh? Did we have a private (and probably quite size-ist) joke about another company member?  There was no date or play title written within the card and as I toyed with it in my fingers, my eyes rested on the bin liner.

Unable to shove the pig card in with the other unloved accessories and out of date Durex packs, I decided to just keep it to one side. I was struggling to bring myself to completely discard messages which had, at one point, probably meant something.

There was one card, however, in the depths of the second box, which I did remember. It was from someone called Dave (that’s not his real name). Inside the card was the name of the show, the date of the Press Night and his full name. Along with the message;

‘Jess, Hope you have a wonderful Press Night and looking forward to getting to know you on tour.’

Sadly, myself and Dave did got to know each other on tour. He learnt that I had no time for actors with a poisonous attitude and a punctuality issue. And I learnt that he was a cunt. I considered his card for a while. Despite the fact that I had (and still) despised him and his horrific behaviour, it was still intriguing to get a glimpse of a time when we had obviously made the effort  to purchase a card and write something sweet within it.

Even as I looked at the handwriting of a man I detested, I still wasn’t sure if I wanted to throw it away having hung on to it for so long. So I laid it on top of the Mysterious Charlotte’s card and continued digging through the rest of my theatrical artefacts, silently munching on some Love Hearts I had found buried under a party invite.

The Charlotte/Dave pile started to get bigger as I uncovered more and more messages containing references I didn’t remember from names which meant absolutely nothing. Most of them were just standard Press Night messages because, let’s be honest, nobody writes what they really think in Press Night cards. Otherwise mine would say stuff like,

‘Dear Paul.

You are very good in the play but still paraphrasing lots in Scene Two. Have a wonderful Press Night and here’s to the rest of the run.

J x

P.S. You have ‘borrowed’ a million pencils off me and I want them back please. I am a Stage Manager. Not a portable branch of Rymans.’

 As the minutes passed by and my feelings of sentimentality seeped away, I decided that the most obvious thing to do was to pour these scrawling into my bin liner. Keeping this crap was not going to improve my life, help me to remember these people or get me a flushing toilet.

However, right at the bottom, my nails brushed across a glittery card with the standard ‘Thank You’ emblazoned across the front in swirly writing. I pulled it out and saw that it was from somebody called Michael. Again, the card did not contain the name of the play or the date and for the life of me I could not remember a Michael. But I read his words anyway. And for a few moments afterwards I just sat in the gloom. My legs were crossed beneath me and my hands cradled the wine glass. I stayed like that for some time. Just taking in Michael’s words and thinking that it must have been one of the first cards I had ever saved. Over ten years ago I had taken the decision to not recycle it or throw it away and had instead kept it in a box where other cards would eventually pile on top of it. Entombing it and preserving it simultaneously.

I know that we all write Press Night messages that we don’t necessarily mean, but Michael wrote something so genuine and unaffected that, even all this time later, it still made me feel that somebody had really appreciated me. To type out what Michael had written would be slightly self-indulgent and incredibly wanky. So I’ll just keep his words to myself.

I took the decision to place all of my cards back in the boxes, despite the fact they take up space I don’t have. I may not remember the well-wishers but they are all people I have worked with at some point and if they have taken the trouble to think of me, then who am I to instantly disregard them.

So no cards went into my bin liner.

Except for Dave’s.

(He really was a cunt.)

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The Slipper and the Rose

Why did you get into theatre?

This is a question I have been asked many times and, if you work in theatre, you have probably been asked it too. By people interviewing you for a job perhaps. Or by friends who Don’t Work In Theatre. Or fucking annoying taxi drivers who have picked you up after a seven hour train journey and their only sodding task is to take you to the venue but have decided that they want to know every mundane detail of your career and whether you have met anyone ‘off the telly.’

I’m actually a bit reluctant to tell people why I got into theatre and sometimes  I lie about it. I lied about it several years ago when I had a big interview at a Reasonably Successful Company. About five people were seated around a large table and one lady in the middle leant forwards to me and asked,

“So, Jessica. Why did you get into theatre?”

I knew the real answer but was embarrassed to admit it to these wise and practised professionals, sporting their Reasonably Successful Company t-shirts. So I lied and said how I had once seen a production of ‘A Midsummer Night’s Dream’ at the Reasonably Successful Company when I was at school and how enchanted I had been.

They all smiled proudly before another interviewee, a man, made eye contact with me and proposed the next question,

“Jessica, what do you think you would bring to the Reasonably Successful Company?”

I grinned cheerfully and blurted out my answer.

“A bag!”

This comical and also incredibly truthful answer was not as well received as my previous lie. It was met with slightly puzzled looks and I swear I saw one of them quickly draw a little blunt cross on a bit of paper. Later that night I went for a Chinese meal with my Gentleman Friend of that period.

“So,” he enquired, “how was the big interview with the Reasonably Successful Company?”

“Okay,” I nodded, “I was just myself.”

“Oh dear.”

I glared at him over my grilled dumplings and reached for the Merlot.

But actually, I hadn’t completely been myself. I hadn’t told them the real reason I had originally decided that I wanted to get into theatre.

It probably happened when I was a very little girl. About six or seven. Boys were still nasty, vile creatures that one wanted to keep a distance from and Merlot was still just ‘mummy’s special juice’. My parents encouraged my sisters and I to have outside hobbies and to not just sit staring at the TV or endlessly playing pacman on our little Spectrum. But they would also succumb to the simple pleasure of sometimes being able to plonk us infront of a VHS.

But even my video collection was slightly different to the kids I shared a play-do scented classroom with. While my peers were spending their rainy Sunday afternoons munching Findus crispy pancakes and watching ‘Honey I Shrunk the Kids’ or something involving the Care Bears, I was sat on the living room floor transfixed by Julie Andrews whirling around in front of some mountains in ‘The Sound of Music’. Or I would be singing all the lyrics to ‘As the World Falls Down’ whilst I watched David Bowie prance about in his painfully tight leggings during ‘Labyrinth’.

I just assumed that all my primary school chums were watching the same things and it would come as a shock to realise that they were more likely to know the theme tune to ‘Rainbow Bright’ or ‘The Gummi Bears’ than be able to sing the entire score of ‘The Music Man’.

 (I don’t think I was always in the right key but I knew all the words.)

Another favourite film of mine from a very early age was the feature length Beatles cartoon of ‘The Yellow Submarine’, despite it being made a full 14 years before I was even born. Of course when I watch it now and take in the psychedelic cartoon imagery and the fact that everyone keeps saying ‘It’s all in the mind, y’know’, I fully realise it’s completely about hallucinogenic drugs and is probably not appropriate viewing material for an eight year old. But that didn’t matter. I liked the bright colours and learning the lyrics to Beatles songs.

Although I have a theory that if you are born in Liverpool or the surrounding areas (as I was), you never learn Beatles lyrics. You’re just born already knowing them.

It’s a gift.

But one of my all time favourite films from this innocent era, was (and still is) ‘The Slipper and the Rose.’

A few years ago, previous to my disastrous interview with the Reasonably Successful Company, I realised that owning ‘The Slipper and the Rose’ on VHS was useless as I was without a video player. So I scoured the internet for it and discovered a woman on E Bay selling a DVD copy which had come free with the Daily Mail. I decided that as I would not be funding the vile publication directly, it was okay for me to purchase it.

And as I curled up under the duvet watching it, I remembered how as a little girl, these films had struck such a chord with me. Especially ‘The Slipper and the Rose.’

It is essentially the story of Cinderella but done as a rather lavish musical. It was made in 1976 and (little know fact) was produced by David Frost.

Gemma Craven plays Cinderella and is everything you would want your Cinderella to be. She has a cherub like face throughout, a luminescent beauty when she makes her grand entrance at the ball, and a cracking set of knockers.

When I grew up, I wanted to be Gemma Craven.

Tragically, when Gemma Craven grew up, something rather terrible happened to her and she ended up making the common, heart-rending mistake that many talented yet stupid actresses make.

She was in Hollyoaks.

In fact, it’s worse than that. She was actually in ‘Hollyoaks Later’ in 2008. Playing the mum of the irish bloke who was HIV positive.  Gemma is now married to a man who changed his name by deed poll from Gary Womack to ‘Lord Odin’.  And previous to being called ‘Lord Odin’ he was self-named ‘Mickey Mouse’.

They live in Blackpool.

I’ll stop talking about what happened to Gemma Craven because it genuinely breaks my heart. I like to remember her as my exquisite Cinderella, dancing about in a field holding her treasured, sparkly slipper aloft. And then being fiercely embraced by Richard Chamberlain, after he has dismounted from his massive white horse with his shirt unbuttoned down to the navel.

It’s all terribly romantic.

When I watch the film now I can see that it is not without its flaws. The design is magnificent and the costumes are opulent to say the least. But the consequence of this opulence teamed with the poor sound quality is that when all of the ladies are dancing at the ‘Bride Finding Ball’, the sound of the rustling taffeta is deafening. Plus the special effects are terrible. There is a sequence which features a mouse being transformed into a horse to pull the carriage. Basically there is a shot of a man wearing a mouse head, then the screen goes weird, then there is a shot of a horse.

But none of that matters.

When I was doing a Shakespeare piece recently,  the director told us something that a well known writer had told him. See, stage managers do listen to this stuff;

‘Always know where the hangman is hiding.’

Even in ‘A Midsummer Night’s Dream’ which appears light enough, there is always the lingering threat of Death. If Hermia does not agree to marry Demetrius, she might get killed or sent to live in exclusion for the rest of her life. And if Peter Quince and the Mechanicals put on a crap play, they may also face the hangman.

‘The Slipper and the Rose’ is no different. There is one scene which I always used to fast forward but as I watch it now, I appreciate that it is actually a phenomenal piece of script writing accompanied by some top acting. Cinderella and Prince Edward have been reunited after some nifty detective work involving the slipper (proof that a great pair of shoes can change your life) and are about to embark on a wondrous life together. But the country is under the threat of war. And the King has decided that the Prince needs to marry a proper Princess and Cinderella, radiant though she is, just does not fit the bill. So the King’s right hand man has to go and deliver the news to Cinderella and tell her that she will be exiled to somewhere that nobody can find her;

‘You see only love and happiness staring you in the face. I see only war and destruction unless a sacrifice is made.’

‘The hangman’ is the necessary element to making all of these ‘dated’ and ‘cheesy’ films so heartfelt and so timeless. ‘The Sound of Music’ isn’t just whiskers on kittens and dancing round in curtains. There is the constant and disturbing presence of the Nazis. And in ‘Labyrinth’, Jennifer Connelly might be making friends with adorable Ludo and a whole variety of fun Jim Henson characters but she is also trying to stop her baby brother being held hostage for all eternity by the Goblin King.

Despite being within a loving and close family, growing up between Birkenhead and Liverpool under Margaret Thatcher’s reign meant that romance was not exactly very present in my surroundings. But these films changed that. There is a tender moment in ‘The Slipper and the Rose’ after the Prince and Cinderella have met at the ball. Richard Chamberlain is trying to explain to Cinderella how he has been feeling trapped by his Royal duty. But how she has changed that and made him feel how anything could be possible.

‘Whatever happens afterwards, I shall always remember this moment. And you must take my present happiness to make you happier.’

These films made me forget I was an eight year old with glasses and knotty hair and a lack of any understanding of the importance of PE. They showed me a world which I wanted to be part of. These films had drama and romance but they also had this slightly unreal edge with people suddenly bursting into song, accompanied by an unseen band. Or launching into complex yet clearly rehearsed dance routines, seemingly spontaneously.

I knew that in real life there was no such thing as fairy godmothers or mice which turned into horses, but I had been shown a place where these things could occur. My parents, noticing this trend in my favoured afternoon viewings and observing me hurling myself around the garden clutching my Clarks Princess shoe (the ones with the key in the sole), introduced me to the joys of youth amateur dramatics.

And the rest, as they say (whoever they are) is history. And the present. And hopefully the future if I can manage to stop cracking stupid gags in important interview situations.

After years perched in front of a tiny screen observing these theatrical masterpieces I now work within this industry which somehow manages to create ‘magic’ and romance in a pure, undiluted form. (I have hopes that if I play endless Ally MacBeal boxsets to my kids from a tender age they will grow up with an overwhelming desire to be a lawyer.)

So there you go. The reason I work in theatre.

Have I answered your question?



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The Shoe Report

I have done many daft things when I have been inebriated; agreed to run marathons, forgotten I’ve left my mobile in the ladies toilets of a pub, fallen asleep on the night bus and ended up in Essex, thrown up in my wardrobe...

But the stupidest things I do usually involve some form of technology. Like going on to E Bay after consuming the best part of a bottle of Merlot. Last year, when I was on a tour, I woke up in my digs with a fuzzy head and the vague memory of hitting ‘Commit to Buy’ on several occasions. Rolling over in bed I looked down to see that my laptop was still open and in ‘Stand by’ mode. It only took a couple of clicks for me to be informed that I had purchased some ‘Nautical wine glass charms’ and several pieces of costume jewellery with anchors on them. I had obviously been feeling rather homesick for the boat and had comforted myself by purchasing several maritime treats. According to the ‘History’ I had also viewed several rather beautiful vessels so I was fairly thankful that I hadn’t woken up to be the proud owner of a 60ft ‘project’ boat named Gemini Lady.

The other technology/alcohol related mistakes I have committed have obviously involved my Blackberry. There have been many mornings  when I have checked my Sent box with a heavy heart. Only to discover that I have texted an ex-boyfriend/someone I want to be my boyfriend/someone else’s boyfriend.

But my most recent blunder took place at the beginning of the tour that I have just completed. After a particularly boozy company meal which was then followed by more drinks in the pub and then a bottle of wine back at my Digs, I decided to write the Show Report. I was in exuberant spirits and went about the task in the way that I usually write a blog; slightly hammered and with the intention of entertaining.

The next morning I was woken by the throbbing in my head and the sunlight streaming painfully through the blinds. That distinctive heavy feeling was in my stomach and I could not shake the feeling that, once again, I had made a rather dreadful error. I checked my Blackberry but could find no trace of any indiscreet texts, only one to a cast member to say that I was home safe. It was timed at about 2am. But I knew I hadn’t gone straight to bed. I had done something else. I had.... written the Show Report. I lurched from under the covers and out into the little living room which I shared with another cast member.

On the table was my laptop. Still open and with the Stand By light flashing ominously. Standing guiltily next to it was a bottle of Merlot, devoid of any contents. A wine glass with my unmistakable pink lipgloss smeared round the rim was casually perched on the corner of the table. As I neared the scene of the crime, I shamefully noticed that my lipgloss was not only around the glass but the actual neck of the bottle. I disgust myself.

I audibly groaned and sank down into one of the chairs and hit a button on my laptop. My hotmail account flashed up before me, with the words.

‘Your message has been sent.’

Fuck.

Frantically, I brought up my Sent messages. At approximately 2.30am, I had sent an email to all of the creatives and the full technical team with the previous night’s Show Report attached. Although when typing I had evidently missed the ‘e’ key by a few millimetres. So it was actually entitled a ‘Shoe Report.’

I opened the attachment. As I scrolled down and read more and more of the document, I started to cringe. If I had ever managed to achieve the pretence that I was highly professional (which is admittedly very unlikely), I had probably managed to undo all of that with one single email.

The beginning of the Report started out normally enough. I said how many rounds there were, how many were in and all of the timings. But then I had ended the Report like this.

• Matthew Kelly was in attendance. The cast were very excited about this. They had stars in their eyes.
• There were big laughs for (insert several funny moments in the show here) Although the best laugh of the day actually came before the show when Mr Davies told us a story about the friends he is staying with. They have a young son and before his arrival, the mother told him that Mr Davies was an actor. The boy looked confused for a while but it later emerged that he thought Mr Davies was a tractor. Easy mistake.
• After the performance, the entire company visited Kayal, Leicester’s most popular Balti House. If you are ever in Leicester I would recommend it. (Have the lamb.)

Jesus Christ.

The people who read the Show Reports just want the information. They don’t want to hear me prattle on about other things which I have privately found amusing. I dragged myself back to my bed feeling rather ashamed of my improper and disreputable behaviour.

However, a couple of hours later, I was roused from my dreams (a vivid nightmare where I had got my boobs out at a Company Meal) by my Blackberry beeping with a couple of e mails from members of the Creative team. The general feeling was that they had enjoyed my Show Report and had been amused by it’s slightly comical content.

Had they just been sent to me? No. The people who had sent it had hit ‘Reply all’. Other people on the Show Report list will have been aware that, although maybe they had found my Show Report inappropriate, other people had found it acceptable. The knot in my stomach relaxed slightly and I felt marginally better about going into work.

Once there, I was greeted by other people who had enjoyed the Show Reports.

Since then, I have felt happier to approach my Show Reports with a slightly more relaxed attitude. Of course, whenever anything serious happens, I abandon all humorous comments and observations and concentrate solely on whatever incident has occurred. But if the show has passed like a Mike Leigh film (enjoyable enough but nothing has really happened), I see no harm in putting my own mark on them.

Plus, having spoken to friends of mine, making the Show Report an enjoyable read can actually be beneficial. Many directors, sound designers and lighting designers have several shows running at the same time and so their e mail accounts can get clogged up with many Show Reports which then may just get skimmed over. But if yours is welcome in somebody’s Inbox and if it may even raise a smile when they see it pop up, it’s instantly more likely to be read properly.

Another reason why I like doing the Show Reports is that it helps me deal with my Abandonment Issues.

No, seriously.

On each show I work on, I get struck with the most unbearable Post Press Night Blues. The better the show, the more crippling it is and I know exactly why. The show I worked on before this last tour was a total gem of a production. The Creative and Technical team were adorable and even though the Tech Week was not without it’s issues, we all bonded and supported each other. The LD made everybody tea in our breaks and the Composer teased me fondly about my constant hair twiddling. The Set Designer and I started and ended every single day with a bear hug and we all laughed uncontrollably when he managed to set his own head on fire. All the Press Night cards that were exchanged between us were filled with in-jokes and complimentary words and then we all went and got hammered together in an R and B club in Notting Hill where I told my DSM at regular intervals that she was pretty and that I loved her.

The next day at work I came in, feeling undoubtedly hungover and intensely lonely. Everybody had left me and now I was by myself. No more camaraderie around the kettle or chummy banter. And if one of the cast set their head on fire I would be expected to do something about it and not just laugh and point.

When one of my actors arrived he found me slumped at my desk surrounded by empty champagne bottles and discarded false eyelash containers.

‘What’s up babe?’ he enquired.

I peered over my sunglasses and explained my mourning for the creative team and how every Press Night I was forced to deal with my Abandonment Issues.

‘Oh but this is the bit I love best!’ he exclaimed. ‘I love it when everyone leaves and then it’s just us. Just the actors. And you.’

I tried hard not to burst into tears at this terrifying prospect. And throughout the rest of the performance I nursed my feelings of loss. But once the show was over, I realised that I could still have daily contact with all of these people by using the Show Report. This actually cheered me up immensely and my sense of loneliness eased.

But back to my last tour. Once I was safe in the knowledge that my audience did not think my chirpy Show Reports  inappropriate, I started to take real pleasure from entertaining those who read it. As I was too busy to write or blog, it was a joy to have a genuine and professional reason to write daily. It should also be noted that the creatives and the producer, as well as being unbelievably talented and exceptionally professional, also had a fabulous sense of humour. Plus the production itself was jovial and the tone of my Show Reports slotted in with the show. I sometimes ventured off the topic of the performance and gave my opinion on the theatre itself and the venues that we were touring to. Sometimes I passed comment on the activities that the cast had partaken in during the day and what my digs were like.

So then I started asking other Stage Managers how they approached their Show Reports and was delighted by some of the responses I got. It turns out that the best way to write these all-important documents is to use honesty, humour and Spell-check. Apparently one Show Report mentioned a ‘full standing ovulation’ at the end of one performance. And I also got sent a Show Report which talked about how a cast member had been feeling poorly because they had been bitten by some kind of insect.

The Show Report itself stated that ‘Ms Davidson was feeling under the weather due to an incest bite.’

I got sent a Show Report written by a CSM who had simply had enough of a well-known actress who was very high maintenance. Let’s refer to her as Ms Jenkins. The Report went something like this.

·         The Stage Left truck has a downstage wheel sticking and needs attention.

·         The cuff on Mr Andrews’ right hand sleeve has started to unravel and needs attention.

·         Ms Jenkins, as a rule, just constantly needs attention.

The other fabulous thing about live theatre is that sometimes stuff happens and you don’t even need to try and make the report funny. It just is. Like when during a Shakespearean piece somebody says ‘upgrade her’ instead of ‘upbraid her’. Putting that in a Show Report is sure to make someone smirk.

The other great use that Show Reports have is that the actors actually get slightly terrified of them.

‘Am I in the Show Report?!’ they quiz you, accusingly. I find that no answer is required. Just a smile.

There is no question that I will work on some productions where doing my style of Show Reports is not acceptable (I doubt that if I worked for Nicholas Hytner he would want to hear about a jolly company surfing trip) and I will certainly sometimes demonstrate some self-censorship. But while I work for companies who embrace the fun and sheer joy of theatre as much as I do, then I will continue to write my Reports with those elements in mind.

There have been many requests for me to make my Show Reports public but actually, as I read through them now, there are many things which, out of context, don’t actually make much sense to someone not involved in the show. Plus out of respect to the company, who have been so wonderful to me, it may not be appropriate to publish private documents.

And of course I am still dreaming of the day when my semi-autobiographical novel (!) gets published and makes me my fortune. So maybe I will just save them all for that. This is the novel which of course then gets turned into a hit comedy/drama series with Sheridan Smith playing myself and Benedict Cumberbatch playing my hot actor love interest. (I can dream, can’t I?)

Last Saturday I sent my last Show Report to the team and was delighted by the responses I got. I like to think that in a few years, not only will these reports tell me the running times and audience figures, but also trigger memories of the time we spent together and the incidents that made me laugh. I am also keeping a record of all the things which have been sent to me and have relished the intriguing insights into other companies productions.

After a long, hard show when all you want to do is get home/get to the pub, it can be hard to muster up the energy and the brain-power to then compose your Report and it can be all too easy to poke at the keys and come up with standard sentences such as ‘clean show’ and ‘attentive audience.’ Believe me. I have done it.

But I love the feeling that by throwing in something vaguely funny, I may have made someone smile after a long day. I have even gone and purchased a Thesaurus so that, in future, I can chuck in some clever long words. So now, if there is an accident and one of my cast starts bleeding, I can write in the Show Report that they were suffering from haematogenesis.

Get me.

I’ll just always remember to Spell Check.

Playing Teacher to the Taliban

Like a lot of people, I’m not really a fan of the Taliban.

They do rather nasty things, don’t they? Like banning chess and kite flying and other fun things. And randomly slitting people’s throats, publicly flogging women and cutting off their fingers as a punishment for wearing nail varnish.

Plus they have a very annoying habit of losing their socks on a regular basis.

‘Jeeeeeeeeess!!’ one whined at me. ‘I’m missing my socks!’

I exhaled deeply and blew my fringe up into the air.

‘Did you put it in the laundry last night?’

He pulled at his beard ‘I.... think so.’

‘Right. Okay. Let me go check the basket and I’ll be back in a bit.’

As I hurried out of the room, I passed another one fiddling with an AK47. He looked up at me, his big brown eyes just visible beneath the swathe of his turban. ‘I think this is broken,’ he mumbled forlornly.

‘Yes,’ I snapped, grabbing it from his hand. ‘It will be because you all keep playing with them. They’re not bloody toys, you know!’

I marched onwards, now brandishing the AK47 which was definitely looking a bit shoddy. I would have to attack it with some super glue on my next break. In the laundry room I hunted high and low for the thick grey socks but to no avail. I grabbed some spares in the hope that they would fit. If not, he would just have to go and terrorise innocent Afghans sporting just his sandals. I managed to locate him with his feet up, reading the Guardian. Upon his feet were the aforementioned grey socks.

‘Where were they?!’ I demanded.

‘I found them under a hijab.’

‘Jesus...’ I mumbled under my breath.

Back in my office, I flung a bunch of poppies off my chair and slumped down heavily. My DSM looked up from her paper. ‘Alright, love?’

I sighed before uttering a sentence I never thought I’d say.

‘The Taliban are really getting on my tits today.’

At that moment a loud rumble of raucous laughter echoed in the corridor outside our room. I calculated that it could probably be heard onstage during a quiet scene so stuck my head out with a finger pressed to my lips. They all recoiled immediately but just as I was about to close the door behind me, I heard one of them casually comment,

‘Jess is so like a disapproving teacher when she does that.’

This wasn’t the first time I have heard that comparison.  And as I have done several shows since, it also hasn’t been the last.

That’s one of the occupational hazards of being a stage manager. It can sometimes feel as if you are stopping everyone from having fun. You have a group of actors being slightly giddy about the opportunity to run around, sporting very realistic false weapons. Yet you are having to explain, at regular intervals, the danger of running with bayonets and the importance of spending a good twenty minutes a day on cleaning your false beard with acetone.

Remember the moment when the final school bell would ring and you would chuck your  Zig and Zag pencil case into your United Colours of Benetton bag, eager to get home to watch an episode of ‘The Biz’ ?(just me?) Only to have the teacher stand there with their hands on the waist, loudly proclaiming,

‘Sit back down. That bell is for ME, not you!’

The equivalent for these actors, was chucking their socks and white robes  into the laundry baskets, eager to get to the pub, only to be stopped in the doorway by myself, brandishing a toothbrush and demanding to check everyone’s fake facial hair.

Many times during that show I felt like a teacher. And not like Michelle Pfeiffer in ‘Dangerous Minds’ or Jack Black in ‘School of Rock’. More like the teacher you had who was at the forefront of the anti-Marbles campaign and who confiscated your Mizz magazine, leaving you unable to read the Paul Nicholls interview or discover which member of Eternal you were most like.

Sometimes, an element of being a stage manager just means being a bit of a killjoy. Which sometimes people confuse with your actual personality. In normal life, I don’t consider myself a killjoy at all. Quite the opposite. On a night out I am generally the person encouraging everyone to stay for  ‘just one more’ and am usually held responsible for any social activities which end up with people getting the first tube home at 6am because I have dragged them to ‘Heaven’ for dancing and then Balans to indulge in 4.30am Eggs Benedict swiftly followed by vodka martinis.

But in a theatre? Forget it. I’m Miss Trunchbull with a stopwatch. Which is someone I don’t always want to be.

Of course, this kind of behaviour is usually borne out of some dreadful situation that you have had to deal with because of someone ‘breaking’ a rule.  For example, take the ‘no liquids other than water onstage’ rule. There’s nothing like having someone spill a cup of tea on a stage which you have just swept and mopped to put you in a bad mood. But then this of course means that you have to scold every single actor who ventures onstage with a cup of tea. It’s hardly the crime of the century. But with a cast who insist on bringing drinks onstage, you can become a real nag. Which can instantly make you pretty unpopular. Especially when you are dealing with a hungover actor on a matinee day when he has just made himself a coffee.

And then there are the more extreme situations. Most people think that I am being overly sensitive about actors leaving the building after the half hour call. And admittedly I used to be pretty casual about it. But that was until I had to deal with the totally unfunny and very unpleasant situation of witnessing one of my cast being arrested at the five minute call.

In full costume.

Okay, so maybe it was a little bit funny. But only about six months later when I was telling the story to a rapt audience in Joe Allen’s.

But anyway, as ‘fun’ as I am, there are times when I have to do things like Put My Foot Down. I have a different voice for it and everything. My father used to be a science teacher at a secondary school in Liverpool and would sometimes amuse my sisters and I with horror stories of when he had to tell the kids off.

‘And then....’ he would say, leaning in, ‘I used my ‘Teacher Voice.’ We would widen our eyes at the severity of the situation as we had all, at some point, experienced my dad’s ‘Teacher Voice’. My sister was on the receiving end of it when she dropped me as a baby. I got it when I set the living room carpet on fire and almost burnt down the house.

After a particularly bad day with the Taliban, during which I had used my Teacher Voice, I called up an older Stage Manager friend of mine, Deb, and relayed to her my worries about turning into some dreadful Teacher figure.

‘Of course we’re like Teacher’s,’ she casually replied. ‘Just without the teaching bit.’

‘Go on,’ I encouraged.

‘Well, we’re there to monitor punctuality. Get them back in after their fifteen minute playtime. Make sure they’re doing their homework.....’

‘Homework?’ I interrupted.

‘Learning lines,’ she explained.

I held the phone between my chin and my shoulder as I poured myself a large glass of Merlot.

‘Jesus, you’re right. It’s a pity we can’t phone up their parents when their work isn’t good enough.’

‘Well, no. So we phone up the next best thing,’

‘Whose that?’

‘Their agents.’

Even though it was funny, I struggled to laugh at Deb’s wit. ‘Oh, Deb. I don’t want to be a boring teacher. I didn’t get into this so I could constantly tell actors off.’

‘Being a teacher isn’t a bad thing,’ she consoled. ‘Didn’t you have really cool teachers at school? You know, the ones who you wanted to do really good work for. Or the ones who randomly brought in sweets for everyone. Or the really funny ones.’

‘Okay.’ I started to cheer up slightly. ‘What kind of ‘teacher’ do you think I could be?’

She paused slightly before replying.

‘The sort who gets into trouble for sleeping with her students.’

The conversation was terminated by myself not long after that comment. But the idea of being a teacher stayed with me for a while after and I found myself remembering the teachers I had experienced when growing up.

Was I like the rather overbearing Mrs Kinnear who made me weep with despair because my six year old handwriting was not up to her rather impossible standard? Or was I like the rather wet Miss..... I forget her name... who stood there with tears rolling down her cheeks as the entire class, as one, toasted the frogs that we were supposed to be dissecting on our Bunsen Burners.

For the rest of the run, this feeling nagged at my sub conscious. Right up until the final day.

In between the matinee and the evening show, I got told that I needed to go to the mens dressing room immediately. I found every single one of my Taliban, plus the rest of the company, brandishing a large envelope with my name on it. Inside was a couple of hundred pounds worth of Sanctuary vouchers which was easily enough for myself and a friend to go and spend a day in the famous Spa itself. Very few moments in my life have left me completely speechless but this was definitely one of them.  

It can be genuinely tough sometimes to enforce the ‘boring’ rules of theatre upon your actors. But like many teachers, you aren’t doing it to be dull. In fact, the more I care about a project and a company, the stricter I become as all I want is for the show and the actors to achieve their full potential.

And now, as I think about the struggles I had with Mrs Kinnear and Miss Wetwipe, I realise that it is Mrs Kinnear who actually sticks in my mind, whose name I can actually remember. And who, on the last day of the year, probably ended up with a half decent present.

I admittedly may have nagged, reprimanded, exasperated and tutted over that cast. But the memory I hold dearest about them is that moment in their dressing room and feeling like a teacher on the last day of term; proud to have worked with every single one of them.

And despite whatever had happened, slightly heartbroken to have to let them go.

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