In Norwich, Julius Caesar has come to the Theatre Royal. Ben Pavey, Props and Stage Technician for the Royal Shakespeare Company, has pulled up the curtain revealing tips, tricks and the magic that goes on before the doors are opened to get a show up and running.
Putting together a show in one location has its challenges, but when on tour there’s an added layer of things to work out. One of these layers are the logistics of moving an entire set across the country. Whilst it ranges from show to show, this production of Julius Caesar takes three artic lorries, with one carrying scenery, one carrying tech such has lighting and sound equipment and one carrying wardrobe and other miscellaneous items.
Once arriving on location, on the Monday, the next element is getting in the door. The centre piece of Julius Cesear, a huge cube which dominates the stage, breaks down into several pieces, best described as “Ikea flatpack furniture” according to Ben. After the ton heavy lighting has been haltered into the air and the floor has been laid down, it is assembled.
When working on productions, there can be a range of technicians from as little as a one, going up into the 100s. When the RSC arrived at Norwich Theatre, they were joined by the in-house staff, as well as contractors, who come in and help to build the vision, directed by Ben. “When you’re on the road your reliant on your local people” he said. “The crew here are super experienced.”
One of the biggest challenges for Ben is the obvious – different stages and different locations. The dynamics of the room can make it challenging to fit bits together, one example being when the production was in Nottingham a couple of weeks ago, where a raked, or sloped, stage meant that gravity was against the build. Further from this, Ben explained how the real issue lies behind the stage in the wings, where there is such little space it’s hard to work. “It only takes one or two things to go wrong to be hours behind” he said, so it is important to always be aware of everything.
This level of high attentiveness and awareness goes throughout the week, as Ben monitors the show as it is happening, giving advice and helping when needed. However, it doesn’t stop there, as Ben organises the costumes. Whilst Julius Caesar has a lack of any props, it has several clothes. With around 200ml of black ‘blood’ used every show, the production gets through a lot of wardrobe. As well as this, the community chorus, which changes every location, means that there needs to be a multitude of sizes and designs.
Ben absolutely loves Norwich and thinks that it is “great”. He and the rest of the RSC team will be here until Saturday.
By Cameron Noble
