Ammonite Studios Ltd. recently hosted a free event for students and young designers focused on managing trends and careers in the live entertainment industry. Live Design shares some of the advice from panels and chatted with Rob Casey, creative director and technical producer at Ammonite Studios, at the Royal Academy of Dramatic Art in London.
According to Casey, the impetus for the first Ammonite event a couple of years ago came about because he wanted a product-based experience that was not shaped by a sponsor or company. He says, “In the past, when I’ve gone to events at trade shows and conferences where the education was sponsored, it didn’t feel genuine, it was toeing the party line. So, when a few designers came to us to ask about followspot tracking systems a couple of years ago and we couldn’t really advise them, I wrote to the National Theatre and asked if we test several systems in action with some actors and choreography and perhaps host a discussion with someone who had used that particular system.” Luckily the National agreed, and the niche event that Ammonite Studios thought would attract around 40 people ended up being attended by more than 300. “They loved that it was not organized by a manufacturer,” he says, “And it proved to be very helpful for a lot of shows that year.”
Highlights from the day.
The success of that event suggested that there was a need for further conferences so last year, Ammonite organized Soho Green Room. The three-day event hosted a large number of panels and panelists that aimed to look at both educational sessions and big picture questions. Although it was successful, the feedback suggested that it was too much for one event. This year Ammonite split it up into two events: The RADA event discussed topics suggested by drama schools to cover things they don’t teach and lighting students filled each session and took the opportunity to ask working designers critical career questions. In October there will be a big picture event modeled on the followspot comparison, but this time focusing on previz and questions around the changing technology and approaches. Four or five of the big software players will come together in the Dorfman at the National Theatre.
The RADA event answered a lot of questions for students, from clarifying the roles of associate lighting designer and assistant lighting designer, to discussions on pay and hours and the difference between working in the USA versus the UK, and for a small theatre company versus a large corporate entity. Panelists throughout the day included Zoe Spurr, Tim Lutkin, Rory Beaton, Adam King, Max Narula, Jamie Platt, and Paule Constable, in addition to Rob Casey as moderator.
Two of the main takeaways throughout the day were: focus on storytelling, rather than expertise with a particular type of technology, because tools change but the mission does not. And secondly, being a good person to collaborate with is the key to getting the work. In fact, after an extensive discussion on how to get hired, the panel decided that 70% of getting work in the industry came down to this piece of advice: “don’t be a knob.” You will have to work under tight deadlines at odd hours with a lot of pressure, knowing when to take the initiative, when to be silent, and when to go and make a cup of tea for the crew are all things that contribute to this. Taking the initiative may mean running through cues and checking the focus when the LD is out, making extensive notes, or seeing if alternate fixtures are available and within budget if the LD is struggling with the in-house rig. Being silent at the right time can be make or break for a project—a couple of designers had had to deal with unrealistic expectations from a client, after an associate made a suggestion which was just not workable under the circumstances. And sometimes only a beverage can get the crew through a particular crisis. Casey, who has had an extensive career in the West End, on Broadway, and on international tours, said, “I am never too proud to make a cup of tea.”
The trends being discussed at the event provided some good news for those entering the industry. More and more opportunities are opening up outside of traditional theatrical projects, and they all need skilled designers and technical professionals.
Casey says, “Ammonite’s bread and butter is theatre, but we are now finding ourselves doing projects at sporting events from the Super Bowl to Formula One, and then there are awards shows and a much broader array of events that we are working on. It was not a business strategy on our part, but we are finding that people in different industries want to work with us. For example, recently, we've had conversations with sporting bodies who want us to help tell the stories of their athletes.”
Another piece of good news, students who grew up in an age where gaming is everywhere will understand modern audiences looking for an elevated experience. Casey says, “Because of gaming, audience expectations are so much higher even than they were ten years ago. No one wants to pay £100 to watch a show behind a proscenium. We have to bring the magic!” Whether it is projections of snow generated on the fly to match the performers in Frozen or other dynamically changing other visuals with the realtime use of new technologies, young designers are bringing immersive engagement to live performances.