It seemed like a good idea to learn just a little more of what everyone does in order to perhaps understand a little more about directing / acting / technical / stage management for future projects.
AT THE SOUND DESK
Certainly no time to follow any script! And so the Sound Man watched, listened, and subtlely - instinctively - tweaked faders up and down at an incredible rate, brought in sub-masters, cued sound effects, Cancans, and balanced the music with tremendous ease, dexterity, concentration and passion. His knowledge of the show was superb and he even had time to sing along with the music - this being most impressive as it indicated an incredible, hypnotic care for what was happening on stage.
IN THE LIGHTING BOX
Had only intended to watch but ended up operating for the whole show! As the Deputy Stage Manager (DSM) cues the whole show, the operator's job is really just about listening for the 'standbys' and the 'go'. There is great, great drama in all of this over the headsets and so rewarding to be responding with 'standing by' - an acknowledgment that you know what you are doing and doing just that: standing by to make it work!
As your finger hovers over the 'go button', and spasms race up your arm after only a dozen cues (the tension you hold in your body is unbelievable), the excitement and adrenalin rush are just like actors' butterflies.
Challenges arise with multi-tasking, however, as house lights 'go' simultaneously alongside regular cues and 'spell flashes' come thick and fast when the Prince is transformed into the Beast, and Madame Gabrielle-Suzanne Barbot de Villeneuvre is set upon by Mademoiselle Jeanne-Marie Leprince de Beaumont. Of the 160 lighting cues, I missed one and improvised one - the latter of which, I think, the Lighting Designer was impressed.
My next job is to sit with the DSM for a couple of performances and understand, even better, the Prompt Copy and the unique - enviable - skills of the DSM.
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