< Previous10 Sightline Summer 2024 Here the star system is one where celebrities are created through industry awards given to nominated individuals, which in turn when hired, underpin the high production values of the projects they work on. In the international and post-Brexit economical and legislative context, an award in the UK may also be a proactive way for industry to support its artists in achieving greater career ambitions beyond our borders. To have artists, designers and experts going overseas to work on productions with an industry recognised status, speaks as much about the individual’s talent, as it does about us as a community that celebrates and values diversity, innovation and excellence. Mutuality and Individuality From the beginning Caroline and I agreed on the importance of being equals with a wish to inspire reviews of the hierarchy we are so used to in industry. To make this explicit, we composed a pact of mutuality, a clear commitment to standing side by side in the way that we communicate and operate. This includes an agreement to grow and scale the ABTT AWARDS and related activities at the same pace and size and to empower each other to do so. For us to stand shoulder to shoulder and instil a culture of mutual support and respect in all that we do, and to promote each other’s discipline and interests whilst redefining and clarifying boundaries. Having analysed the landscapes of both communities, we knew that our needs for areas of development are different. For the CiTEA community the need for celebration of achievements by costume makers, supervisors and managers was clearly where shining a light on the talent and hard work of those who have often gone unnoticed, as costume design as a category is already widely recognised. Within WHAM we function on a very different structure, as usually our teams are taking on multiple roles throughout the production process such as makers, maintenance and show prep, supervisors and show running all at the same time. Our teams are not usually separated out in this way and despite our long-standing contribution to the design of shows still sees colleagues in the UK and USA lobbying for equality. For me it was very clear that awarding achievements in WHAM Design is our raison d’être and colleagues across the industry have been jubilant in knowing that the seeds of change have been sewn. Staging / Embodiment Having previously used the terminology or ‘hard & soft tech’, we always knew that this wasn’t a helpful way to define our areas in broad terms. Disciplines such as lighting, sound, automation and set building are the disciplines around the stage as the apparatus; whereas wigs, hair, make-up and costume are working with the performer’s body as their substate. We have now defined it as ‘staging & embodiment’ to describe what we do in broad terms, if indeed a division needs to be made at all. What is Design For WHAM (and many other craft/making disciplines) determining where the credits and recognition for design lies, is often the ultimate question, as historically we have been the interpreters of a costume of stage designer’s instructions and our instrumental contributions been left completely unmentioned. At present WHAM Design is not usually communicated and pitched through drawings submitted to the directors or producers in the black card meetings as part of the creative production process but is in general delivered by the costume designer (sometimes stage/scenic designer). On smaller productions this is of course practical and cost effective. Questions have been asked about how we present our designs and the validity of output fundamentally questioned because we practice our art differently. Given we have never been asked to submit design drawings, we have developed our creative process in a different way. This includes contextual research, material sampling and testing. We are by nature visual thinkers with a strong instinct to work with tactile materials and the performing body. For us, design can be a drawing on paper, a digital process or in some cases delivered as photographs of material workshopping and testing character designs on cast members. Robert Smith, a seasoned prosthetics artist and innovator states that he designs by sculpting on a performer’s face cast, thus creating and being inspired directly by the body as his canvas. We now have more productions being filmed or broadcast live, LED lighting has changed how we use materials, textures and colours, and producers and audiences are so much more sophisticated in their expectations. With stage productions of Disney animations being such lucrative commercial businesses, Sightline Summer 2024 11 the Lion King musical for example made in excess of $56B over 20 years. The production of ‘Harry Potter and the Cursed Child’ is currently being performed in multiple cities across several continents. Whilst WHAM’s work helps performers to inhabit their characters, it places the creative process between crafting the embodiment unique to each cast member and mass proliferation of the production and design. The number of these stagings is growing and proliferated in cities across the globe and casting choices are increasingly inclusive and representative; which requires agile design and craft skills that are discipline specific. WHAM Designers who bring to life these productions know too well that given the diversity of cast members, a design drawing does not automatically translate directly to another performer and could result in damaging cast relations. A breadth of adjustments including skin tones, hair textures, designs fit to each facial expressions and custom designed make-up palettes with materials that best translate the dramaturgy of their character in the story are required. Our work helps performers to communicate with audiences and the appreciation so often shown by cast members for our work reinstates this fact. A Slice of the Pie And here comes the kicker … getting design credits for WHAM on a West End production for example means the cake of royalties that a production pays to each creative mentioned in the programme, needs to be divided by one more. This means everyone else’s slice will become proportionately smaller. Over the years this has driven a lot of conflict and discontent, to the point where WHAM being subordinated, costume with its hierarchical dominance has a more powerful voice in controlling and influencing these decisions. Some have commented on it being a strange patriarchal world that is driven by profits and status instead of representation and inclusion. WHAM We have found that WHAM is often left unspoken about or consulted during the creative process by producers and planners until it gets to costumed rehearsals. We can be viewed as mysterious and yet our work is so central to all that you see on stage that some directors prefer to say ‘no wigs on my production’, because they have been so deeply disappointed in the quality of work in the past and the central effect it had on their vision and the integrity of the production. We know that if we want to engineer change from the bottom up, we must continue to engage with a host of thinkers and influencers. However, implemented change from the top down would create a short cut for this long overdue imbalance overnight. There is nothing standing in the way of change and if those who hold decision making roles such as producers, directors, designers, HoDs and production managers saw the value in doing so, making it happen would result in instant change. Some of this is already being actioned here and there, but credits and design positions are usually hard fought for and require significant strength and resilience. For stage productions coming from the US, WHAM colleagues have been given Designer titles by default, as this is usual practice on Broadway (although awards recognition is also lacking there). Another important element to remember is that WHAM is a Live Art! This is a key point that positions us closer to the performers than other technical teams. Our work is ‘live’ for every performance; and unlike costume or a props, our creative process does not end until the last performance of the production. CiTEA For CiTEA the awards are a mechanism to support the development of our communities, where all costume roles shall be brought to the forefront of the industry alongside other staging disciplines. We strive to showcase the value of all practitioners required to create the high standard of live productions across the UK. It is important that all areas of costume are rewarded and celebrated; making clear the differences between costume design, management (wardrobe) and construction. For CiTEA the emphasis is on foregrounding the many specialisms and skillsets within construction and show running disciplines. Most importantly we want to highlight the use of ‘costume management’ instead of ‘wardrobe’ as a way of modernising industry terminology. Stakeholder Engagement During the preparation and development of the nominations categories, we have spoken with a whole host of industry veterans and newcomers including stage and costume designers, executive producers, production managers, educators, heads of departments and of course WHAM designers and practitioners. 12 Sightline Summer 2024 Caroline and I have been humbled by the engagement and generosity of our peers and colleagues across industry and education, who have contributed their ideas, expertise and time to making these new awarding categories fit for purpose and meaningful. We have been able to connect with individuals from across the industry including staff from the English National Opera, National Theatre and Central School of Speech & Drama who will be with us at the Theatre Show giving talks, seminars and workshops. Earlier this year we were generously hosted by the QEII Centre in Westminster where we held our stakeholder engagement day, presenting our mission and vision to an in person and online audience. We were able to give an outline of what drove us to take action in this way, the role of the ABTT within this and how the introduction of such unprecedented awards might allow us to dream of developing a space for wider industry recognition and representation The Trophy Another piece of work we needed to do was to instigate and influence authorisation for a re-design of the trophy. Reflecting on the origin of the hook clamp trophy design, veteran of the ABTT, Roger Fox, reminisced about the way he invented it in 1976 with help from some friends. The clamp was a new piece of engineering that instantly became indispensable and recognisable. For many years the trophies were built by Roger himself and were originally mounted on a piece of wood made from Moss Empire Theatre stage flooring. In the early 2000s, when it became too much for Roger to continue do, Triple E’s Managing Director David Edelstein offered to help and the use of the pulley wheel as a base was born. The current trophy was a fitting design for recognition within staging technologies, however for our embodiment disciplines, we felt that we needed to have a version of the trophy that better represents our world of movement, materials and bodies. We knew that we wanted to engage a well- known and established theatre designer who would be inspired and allied to our mission, and who would be able to re-envision the existing trophy as an object of desire that would sit proudly on any winner’s workstation or mantlepiece. We are grateful that Tom Piper agreed to take on the challenge of helping us form our new identity within the ABTT. Once we had received his initial design, we needed to find a multi-skilled maker who could play with materials in response to Tom’s ideas and work could within our practical parameters. I contacted industry colleague Lizzie Frankl from Propworks who wholeheartedly embraced this project and Tom and I are thrilled to have worked with her dynamic team of supervisors and makers in this process. Hook Clamp Drawing – image from Roger Fox Photo: Robin TownleySightline Summer 2024 13 Tom Piper explains ‘In designing the award I wanted to take the original trophy and remake it to reflect the more organic nature of working with cloth or hair, while thinking it should still look like it belongs in the ‘ABTT family’. So we have taken the same base and hook clamp, but then frayed it into a swirl of woven silver and golden threads.’ Stand B12 The ABTT has kindly given us a stand at the show where we can connect with our communities and represent our departments to the industry for the first time in the Theatre Show’s history. Awarding Categories 2024 The ‘ABTT Award for WHAM Design’, champions the interests of the WHAM community within the theatre and live events industry. This Award is open to nominations for seasoned professionals who have made significant strides in their respective fields, be it design, innovation, or artistry and are known for their collaboration with or leadership of teams of WHAM experts. The criteria for the WHAM Design award have been carefully considered and are: 1.They will have attained substantial successful professional experience of both practice and achievement in WHAM Design. 2.They will have predominantly worked in the presentation of live performance in places of entertainment: i.e. on theatre, dance, musical or opera productions in performing arts venues or on theatrical experiences in non-conventional spaces. 3.Their practice will have provided evidence of appropriate methodology in progressing ideas, research and development for the styles and narrative of the design(s). 4.Their practice will have provided evidence of collaborative contributions with other live entertainment creatives and performers to realise collective production concepts. This would usually be with the director and stage, costume and lighting designers. 5.They will have created and realised cast specific designs that helped the performers to fully embody their characters in response to analysis of a script or score. The ‘ABTT Award for Costume’ is designed to acknowledge those who’ve demonstrated unparalleled expertise in various disciplines of the costume sector. Conceived by seasoned experts from ABTT Costume In Theatre, Entertainment & Arts (CITEA) Committee, this award appreciates talents behind everything from grand theatre productions to intimate musicals and operas. The criteria for the Costume awards have been composed to give acknowledgement opportunities beyond costume design: 1.They will have attained consistent employment during at least 8 years in a costume management role such as costume supervisor, associate and/or costume manager (formerly known as head of wardrobe). 2.Their costume management experience will have been in the live performance sector: i.e. in theatre, dance, opera, theatrical experiences in non-conventional spaces, such as live music ceremonies, immersive theatre, and carnival. 3.They will have achieved a command of their chosen discipline. 4.They will have consistently delivered at a level of excellence throughou their career. 5.They will have sought to promote best practice and technical excellence amongst their team whilst contributing to the delivery of world class performance. Seminar and workshops Friends and colleagues from across industry and education will be running a series of hands-on workshop sessions in the Alexandra Suite. These are ranging from ‘Getting to know your pleats’ by Central School of Speech and Drama, ‘Creating Character: Theatrical Make-up and Hairstyling’ by the National Theatre, ‘The transformative Magic of Prosthetics’ by Wimbledon College of Arts and ‘Creating a Character: Wig Knotting and Hairstyling’ by the English National Opera. Photo by Tom Piper (2024)14 Sightline Summer 2024 TECHNÉ In Ancient Greek philosophy, techne refers to art, skill, craft; in Modern Greek it is a philosophical concept that refers to making or doing. Today, while the Ancient Greek definition of techne is similar to the modern definition and use of “practical knowledge”, it includes application of skills and knowledge in various fields. One of the definitions of techne led by Aristotle, for example, is “a state involving true reason concerned with production”. The philosopher believed that techne was virtuous because it uses natural materials “to create objects unknown in nature” and therefore it “completes nature”. He wrote that techne not only meant craft but also production. Like Plato’s beliefs about the importance of a practitioner being able to explain their craft, Aristotle believed that the practitioner with the knowledge of techne could teach their skill because they not only had the wisdom of the craft but also understood the outcome. Having spoken with professionals across industry, I think it might be time to launch a new industry event with emphasis on the celebration of the multiple disciplines that have been left out of our commercially funded awards ceremonies. I introduce to you my idea for TECHNÉ – an industry event that showcases all backstage and onstage disciplines with an emphasis on design, realisation and dynamic collaborations that we are part of on a daily basis. It should represent the wealth of knowledge and skills at the intersection of staging and embodiment disciplines. With human achievements and performance at the core of its purpose; it would be an insight and coming together for colleagues and peers and those who we wish to inspire with our love for the magic of performance. #recognizeWHAM This brings me full circle to the important and unique role within a production that can only be filled by a WHAM Designer. Being able to apply unique musical, movement and dramaturgically driven design ideas and concepts to each cast member and character requires product and technical knowledge within a complex set of needs and opportunities. I have documented some of the lobbying for the recognition in achievements within our discipline that has been taking place across industry in a pervious article and was re-energised when I saw more of our peers speaking up in recent months. Suzanna Peretz, Victoria Fenton and @recognisewham have been actively raising petitions and lobbying to instigate inclusion in established celebrations such as WhatsOnStage and the Olivier Awards. The Olivier Awards earlier this year in April West End performer Hannah Waddingham, the ceremonies’ host, acknowledged her support for change by celebrating our contributions stating ‘…I don’t know how I could have played umpteen witches in any show without them. We see you, we thank you and I personally hope for change’ thus advocating for a WHAM category to be introduced in her opening speech. In April our WHAM colleagues working on New York’s Broadway have started lobbying for inclusion in the Tony Awards. We have connected with them in the knowledge that our communities whilst different in their structures, in the US the unions hold a very clear divide between wigs & hair and make-up & prosthetics, we are lobbying because our communities have outgrown their historical position. The voices are growing and established and emerging artists are joining forces to speak up. It is truly astounding that we still find ourselves having to request change and recognition of status. It’s humbling to be able to contribute to change so directly and providing a platform for recognition with the ABTT as a vehicle; I am proud to be launching this pioneering awards category in the UK. It signifies an unprecedented recognition for the advances we have made in education, technology and creativity on and behind the stage over the last two decades. In Closing By the time this article is published we will be at the Theatre Show setting up, running workshops and seminars, engaging with our communities and most importantly awarding and showcasing excellence through our newly developed platform. Thank you to all who believed in us, those who contributed, those who cheered us on and even our critics, who gave us a sounding board to making our efforts mature, legitimate, professional, proportionate and respectful. If you would like to be involved in our work, please reach out to office@abtt.org.uk who will put you in touch with us. 16 Sightline Summer 2024 One of the London theatre highlights of recent years has been the production of Cabaret which has been running since November 2021. It has survived many cast changes and continues to attract “star” performers to its key roles. One of the reasons for its longevity has undoubtedly been the transformation of the Playhouse Theatre into the Kit Kat Club. Audiences are now encouraged to arrive at specific times to not only to take advantage of food and drink offers, but also to explore “the nooks and crannies of the Club”, whilst nine professional dancers and musicians perform “The Prologue” throughout the building. The building has, itself, therefore become an important part of the event! The original brief, set by theatre owner Ambassador Theatre Group (ATG), was to improve the existing building’s condition, offering a refreshed interior strategy coupled with an exciting and unique theatre experience, ensuring operational resilience for this historic theatre building in the particularly challenging post-pandemic period. Working in collaboration, leading theatre consultancy Charcoalblue and architects Carmody Groarke have realised a unique intervention that has converted a classical proscenium arch Grade II listed theatre into an immersive in-the-round arrangement reminiscent of Weimar-era cabaret society. Joining the stage and auditorium for the first time brings actors and audience to share a single space, offering a highly intimate experience. The Grade II Listed Playhouse Theatre is a modest, unique building, located roughly between Trafalgar Square and the Thames. Originally designed by architect F. H. Fowler in 1885 in the French Renaissance style, it was built as a speculative theatre, initially called the Royal Avenue Theatre. The theatre was rebuilt in 1907 and reopened as The Playhouse Theatre, where it has played host to a long series of successful shows under the association of various custodians, hosting live recordings for the likes of Jimi Hendrix, The Beatles, Led Zeppelin and the Rolling Stones. However, its position outside the main West End, has always mitigated against its success. Within the auditorium, the new in-the- round stage spans the line of the proscenium arch. The stalls have been levelled with cabaret seating with tables surrounding the performance area. Existing balconies have been re-raked to ensure excellent sightlines, and a new audience gallery built on the stage and wrap around those in the auditorium. New rigging points in the ceiling and enhanced lighting, acoustic and audio- visual infrastructure have been designed to support an intimate and immersive audience experience. Intimacy has been achieved by From Playhouse Theatre to Kit Kat Club Seating © Philip Vile The Gold Bar © Philip VileSightline Summer 2024 17 reducing capacity from over 800 to 595 seats. An exciting vision for the production-specific space set within the existing theatre balances a highly creative approach with the need for theatrical functionality. Extensive refurbishment of the remainder of the theatre has significantly increased the front-of-house spaces with a series of new characterful bar areas and a new centralised kitchen. Careful opening up of an historic doorway has created step-free access to the building and new back of house spaces have been provided to accommodate the cast and crew, wardrobe and office areas. Each careful intervention has extended the active life of the listed Playhouse, encouraging new audiences and welcoming a world class production of Cabaret to one of London’s iconic and historically significant theatres. In more detail, the changes are as follows: Stage: removal of stalls seating and building up the orchestra pit to provide an elliptical stage with additional stalls and raked gallery seating at the back of the stage. All interventions retain the existing theatre floor and stage and build up from them. Interventions are reversible. Dress Circle: removal of seats on the upper levels and building out from the Dress Circle Bar to expand the bar area and create a new experience space. Re-raking of the seats to provide sightlines to the new stage. Upper Circle: removal of seats on the upper levels and building out from the Upper Circle Bar to create new dressing rooms and other back-of-house space. Re-raking of the seats to provide sightlines to the new stage. Foyer: creation of a permanent ramped access in the location of a previous opening; alterations to provide internal access to ramped access; replacement of the existing modern bar; and installation of performance platforms within the foyer. Basement: conversion of some existing dressing rooms to provide a more generous hospitality area; creation of wall openings; and installation of new service kitchen. Auditorium © Philip Vile18 Sightline Summer 2024 Additionally, for the duration of the production run, there has been re-decoration throughout, to comprise painting and other aesthetic treatments. The existing colour scheme was introduced as part of the 1980s restoration and the redecoration is planned to be reversed at the end of the run. The Circle level murals have not been overpainted. The project’s ambitious schedule presented a significant challenge to the design team, with the renovation delivered within nine months from appointment to opening night, including obtaining Planning and Listed Building Consent. This challenge was exacerbated by issues presented by Covid-19, including supply chain problems, material shortages and a fuel crisis. These challenges were overcome through close collaboration with the design team and the client, Ambassador Theatre Group, and Producers ATG Productions and Underbelly, Gary Beestone Associates and the flexible approach adopted by the contractor, GF Holding. Gavin Green, Senior Partner at Charcoalblue said: “To adapt a West End theatre in such a radical way is a once in a lifetime opportunity. Through an amazing collaboration with the design team, producers, client, and creative teams we’ve crafted a brand new unique theatrical space inside the old auditorium – the Kit Kat Club has taken over the Playhouse. All 600-seats feel within reach of the new in-the- round stage – it’s an incredibly focused and dynamic feeling, and the whole thing comes utterly alive when the band starts up!’ Lukas Barry, Associate Director at Carmody Groarke said: “It has been a privilege for us to help breathe new life into this classic theatre. The challenge of this project was to radically transform the Playhouse without erasing its character and to deliver it in a remarkably quick programme. We achieved this through a truly collaborative effort with an extraordinary client and design team; carefully revealing the many layers of the theatre’s history. Through a series of extensive interventions, we were able to subtly subvert the expectation of this classic theatre, expand hospitality spaces and improve accessibility. The result is an immersive experience that feels like an extension of the performance space as soon as visitors enter the building.” Plant Room IT Sub Stage AV Dressing Room Dressing Room Bar Kitchen Store Store Store Oce Oce Dressing Room Dressing Room Dressing Room Dressing Room Dressing Room StageStallsFoyer Box Oce Upper: Plans 00 Original and after works completed Lower: Plans 01 Original and after works completedSightline Summer 2024 19 Project Team Client: ATG and Underbelly Design Team Lead and Theatre Consultant: Charcoalblue Architect: Carmody Groarke Structural Engineer: Atelier One MEP Engineers: Skelly & Couch QS & Contract Manager: Elliot Consulting Planning Consultant: Gerald Eve Fire Engineer: The Fire Surgery H&S Advisors: PFB Construction Management Services Architectural Lighting: 18 Degrees Theatre Heritage Consultant: Mark Price Building Control: Approved Inspector Services Main Contractor: GF Holding Dress CircleBar Upper CircleFlytower Bar Upper: Plans 02 Original and after works completed Lower: Plans 03 Original and after works completed All plans courtesy of Carmody GroarkeNext >