Autumn 2024 Sightline Journal of Theatre Technology and Design Introducing Liz Sillett – ABTT’s new CEO Richard Pilbrow’s A Sense of Theatre Inspired by the Theatre Green Book The Birth of Presetting Glyndebourne and Stage AutomationISG member 2024 SILVER ISG member 2024 BRONZE ISG member 2024 GOLD PLATINUM ISG member 2024 Orbital Sound 020 7501 6868 | orbitalsound.com | information@orbitalsound.com Ornate Plaster (London) Ltd 01252 718 669 | ornateplasterlondon.com | info@ornateplasterlondon.com Preevue 020 7078 8892 | preevue.com | info@preevue.com Production Resource Group UK Ltd 0345 470 6400 | prg.com/uk | ukinfo@prg.com Society of London Theatre 020 7557 6700 | solt.co.uk | enquiries@soltukt.co.uk Souvenir Scenic Studios 020 7237 7557 | souvenir.co.uk | info@souvenir.co.uk Steeldeck Industries Ltd 020 8692 9721 | steeldeckUK.com | sales@steeldeck.co.uk Theatreplan 020 7841 0440 | theatreplan.com | info@theatreplan.com Theatres Trust 020 7836 8591 | theatrestrust.org.uk | info@theatrestrust.org.uk Torpedo Factory Group 01706 849 469 | tfg.com | sales@tfg.com Triple E Ltd 01959 570 333 | triplee.ltd | info@triplee.ltd Tysers Entertainment & Sport (formerly Integro) 0203 9150 0342 | tysersentertainment.com | andy.rudge@tysers.com UK Theatre 020 7557 6700 | uktheatre.org | ukt@soltukt.co.uk Unusual Rigging Ltd 01604 830 083 | unusual.co.uk | info@unusual.co.uk West End Rigging Ltd 01223 901169 | howard.dandy@westendrigging.com White Light Ltd 020 8254 4800 | whitelight.ltd.uk | info@whitelight.ltd.uk Aluminium Access Products Ltd 01942 514 318 | tallescope.co.uk | info@tallescope.co.uk Audinate Ltd 01273 921695 | audinate.com | lisa.baldwin@audinate.com Ayrton Digital Lighting 01842 764 631 | ayrton.eu | aryton.eu/about-us/#contact Cameron Mackintosh Ltd 020 7637 8866 | cameronmackintosh.com | info@camack.co.uk Charcoalblue LLP 020 7298 0000 | charcoalblue.com | studio@charcoalblue.com Creative Spark 01342 457220 | creative-spark.co.uk | venuesupport@creative-spark.co.uk Delfont Mackintosh Theatres Ltd 0844 482 5138 | delfontmackintosh.co.uk Disney Cruise Line - TAEEL 0208 458 4212 | excellententertainment.biz | theagency@excellententertainment.biz Encore 01664 821 111 | encore-emea.com | info-uk@encoreglobal.com Ferco Seating Systems Ltd 01743 761244 | www.fercoseating.com | jane.shepherd@fercoseating.co.uk Flint Hire & Supply Ltd 020 7703 9786 | flints.co.uk | sales@flints.co.uk Harlequin Floors 01892 514 888 | harlequinfloors.com | enquiries@harlequinfloors.com J&C Joel Ltd 01422 833 835 | jcjoel.com | sales@jcjoel.com LW Theatres 020 7557 7300 | lwtheatres.co.uk | customer.relations@lwtheatres.co.uk National Theatre 020 7452 3333 | nationaltheatre.org.uk | Nimax Theatres Ltd 020 7395 0780 | nimaxtheatres.com | general@nimaxtheatres.com ORIGINAL PLATINUM ISG MEMBERS TAIT International 020 8208 6000 | taittowers.com | London@taittowers.com ATG Entertainment 0207 534 6100 | atgentertainment.com ETC Ltd 020 8896 1000 | etcconnect.com | uk@etcconnect.com GOLD ISG MEMBERS West End Rigging Ltd ORIGINAL Arup 020 7636 1531 | arup.com/venues | artsandculture@arup.com Bennetts Associates 020 7520 3300 | bennettsassociates.com | mail@bennettsassociates.com Carallon Limited 020 7471 9400 | www.carallon.com | info@carallon.com Centre Stage Engineering Ltd 0844 499 6250 | centre-stage.co.uk | info@centre-stage.co.uk Chauvet Europe Ltd 01773 511 115 | chauvetprofessional.eu | uksales@chauvetlighting.com City Theatrical Ltd 020 8949 5051 | citytheatrical.com | London@citytheatrical.com Clear-Com 001 510 337 6600 | clearcom.com | salessupportemea@clearcom.com Doughty Engineering Ltd 07811 392 270 | doughty-engineering.co.uk | sarah@sprandcomms.com Drapemakers 01332 371 710 | drapemakers.com | drapes@designservices.co.uk EM Acoustics 01483 266 520 | emacoustics.co.uk | info@emacoustics.co.uk Gerriets GB Ltd 020 7639 7704 | gerriets.co.uk | info@gerriets.co.uk igus (UK) Ltd 01604 677204 | www.igus.co.uk | hdurrant@igus.co.uk Kinesys 020 8481 9850 | kinesys.com | sales@kinesys.com Le Mark Group 01480 494 540 | lemark.co.uk | info@lemark.co.uk LSI Projects 01483 764 646 I lsiprojects.com | info@lsiprojects.com MGC Entertainment 01473 466300 | mgc-lighting.com | uksales@mgc-lighting.com Misto ART +358(0)50 56 46 924 | misto.art | office@misto.art NODA 01733 374 790 | noda.org.uk | info@noda.org.uk Push The Button Ltd 0117 370 2626 | PTB.co.uk | hello@PTB.co.uk Robolights Ltd 01392 823 040 | robolights.com | sales@robolights.com Sennheiser UK 01628 402 200 | sennheiser.com/mics | info@sennheiser.com Serapid Ltd 01359 233 335 | serapid.com | info-uk@serapid.com SES (Entertainment Services) Ltd 01753 585 050 | site-electrics.co.uk | sales@site-electrics.co.uk Shure UK 01992 703058 | shure.com/en-GB/support | info@shure.com Skelly & Couch Ltd 020 7424 7770 | skellyandcouch.com | admin@skellyandcouch.com Smartrad Creative Limited 07711 469787 | www.smartrad.org | smartradcreativeprojects@gmail.com Solutions on Stage 0117 244 8625 | solutionsonstage.co.uk | enquiries@solutionsonstage.co.uk Stage Right Theatre Consultants Ltd 01386 313 169 | srtcltd.co.uk | julia.redfern@srtcltd.co.uk Stage Sound Services Ltd 029 2061 3577 | stagesoundservices.co.uk | hires@stagesoundservices.co.uk Theatre Projects Consultants Ltd 020 7482 4224 | theatreprojects.com | uk@theatreprojects.com The Fire Surgery Ltd 020 7921 0220 | thefiresurgery.com | andrew.nicholson@thefiresurgery.com The Powerdrive Drum Co. Ltd 01525 370 292 | mypowerdrive.com | info@mypowerdrive.com The Stage 020 7403 1818 | thestage.co.uk | reception@thestage.co.uk Total Solutions Group 0121 772 5234 | trussing.com | info@trussing.com Trafalgar Entertainment Group 020 7321 5400 | trafalgarentertainment.com | trafalgarmanagement@trafalgarentertainment.com Voluntary Arts 02920 395 395 | voluntaryarts.org | info@voluntaryarts.org Wonder Works Limited 020 8819 9040 | wonder.co.uk | info@wonder.co.uk SILVER ISG MEMBERSArup 020 7636 1531 | arup.com/venues | artsandculture@arup.com Bennetts Associates 020 7520 3300 | bennettsassociates.com | mail@bennettsassociates.com Carallon Limited 020 7471 9400 | www.carallon.com | info@carallon.com Centre Stage Engineering Ltd 0844 499 6250 | centre-stage.co.uk | info@centre-stage.co.uk Chauvet Europe Ltd 01773 511 115 | chauvetprofessional.eu | uksales@chauvetlighting.com City Theatrical Ltd 020 8949 5051 | citytheatrical.com | London@citytheatrical.com Clear-Com 001 510 337 6600 | clearcom.com | salessupportemea@clearcom.com Doughty Engineering Ltd 07811 392 270 | doughty-engineering.co.uk | sarah@sprandcomms.com Drapemakers 01332 371 710 | drapemakers.com | drapes@designservices.co.uk EM Acoustics 01483 266 520 | emacoustics.co.uk | info@emacoustics.co.uk Gerriets GB Ltd 020 7639 7704 | gerriets.co.uk | info@gerriets.co.uk igus (UK) Ltd 01604 677204 | www.igus.co.uk | hdurrant@igus.co.uk Kinesys 020 8481 9850 | kinesys.com | sales@kinesys.com Le Mark Group 01480 494 540 | lemark.co.uk | info@lemark.co.uk LSI Projects 01483 764 646 I lsiprojects.com | info@lsiprojects.com MGC Entertainment 01473 466300 | mgc-lighting.com | uksales@mgc-lighting.com Misto ART +358(0)50 56 46 924 | misto.art | office@misto.art NODA 01733 374 790 | noda.org.uk | info@noda.org.uk Push The Button Ltd 0117 370 2626 | PTB.co.uk | hello@PTB.co.uk Robolights Ltd 01392 823 040 | robolights.com | sales@robolights.com Sennheiser UK 01628 402 200 | sennheiser.com/mics | info@sennheiser.com Serapid Ltd 01359 233 335 | serapid.com | info-uk@serapid.com SES (Entertainment Services) Ltd 01753 585 050 | site-electrics.co.uk | sales@site-electrics.co.uk Shure UK 01992 703058 | shure.com/en-GB/support | info@shure.com Skelly & Couch Ltd 020 7424 7770 | skellyandcouch.com | admin@skellyandcouch.com Smartrad Creative Limited 07711 469787 | www.smartrad.org | smartradcreativeprojects@gmail.com Solutions on Stage 0117 244 8625 | solutionsonstage.co.uk | enquiries@solutionsonstage.co.uk Stage Right Theatre Consultants Ltd 01386 313 169 | srtcltd.co.uk | julia.redfern@srtcltd.co.uk Stage Sound Services Ltd 029 2061 3577 | stagesoundservices.co.uk | hires@stagesoundservices.co.uk Theatre Projects Consultants Ltd 020 7482 4224 | theatreprojects.com | uk@theatreprojects.com The Fire Surgery Ltd 020 7921 0220 | thefiresurgery.com | andrew.nicholson@thefiresurgery.com The Powerdrive Drum Co. Ltd 01525 370 292 | mypowerdrive.com | info@mypowerdrive.com The Stage 020 7403 1818 | thestage.co.uk | reception@thestage.co.uk Total Solutions Group 0121 772 5234 | trussing.com | info@trussing.com Trafalgar Entertainment Group 020 7321 5400 | trafalgarentertainment.com | trafalgarmanagement@trafalgarentertainment.com Voluntary Arts 02920 395 395 | voluntaryarts.org | info@voluntaryarts.org Wonder Works Limited 020 8819 9040 | wonder.co.uk | info@wonder.co.uk SILVER ISG MEMBERSAssociation of British Theatre Technicians 22 Charing Cross Road, London WC2H 0QL Tel: 020 7242 9200 Email: office@abtt.org.uk Website: www.abtt.org.uk Registered Charity 282069 COUNCIL Mig Burgess Walsh Co-Chair Oliver Brown Vice Chair Joshua Burnside Co-opted Alexander Cann Mark Dakin Jack Davies Co-opted David Evans Co-Chair Gareth Evans Co-opted Paul Moore Co-opted Jessica Nicholls Co-opted Anette Ollerearnshaw Nikki Scott Co-opted Suzy Somerville Matthew Smethurst-Evans Ben Stephen Emma Wilson Anton Woodward EX OFFICIO MEMBERS OF COUNCIL Michael AndersonChair, Safety Committee Sebastian Barnes Chair, Training & Education Committee Jack Davies Chair, ABTT Apprenticeship Network Roger Fox Chair, Historical Research Committee Simon Harper Chair, Theatre Design Committee Robert Millington Chair, Stephen Joseph Committee Matthew Jones Honorary Secretary Rhian Jones Chair, ABTT Cymru Committee Danny Lennon Chair, Sustainability Committee Peter Maccoy Chair, OISTAT Committee Robert Millington Chair, Stephen Joseph Committee Paul MooreChair, Northnet Committee Anette Ollerearnshaw Chair, Wigs, Hair and Make-up Committee Nick Page Chair, Automation Committee Dan Shelley Chair, Reset Better Committee Ben Stephen Chair, Communications and Publications Committee Loretta Tomasi Honorary Treasurer Caroline TownsendChair, CITEA Committee CONSULTANT Louise Birchall ABTT Training Co-ordinator Sightline CONTENTS vol. 47 no. 3 Editorial 7 A new theatre at Brighton College 8 Inspired by the Theatre Green Book 12 A Sense of Theatre – And The Bonus Questions It Triggers! 16 Review: A Sense of Theatre 19 Glyndebourne and its stage automation upgrade project 21 ABTT Awards – report 24 The Birth of Presetting: The Strand ‘Electronic’ Dimmer 28 ABTT Events 33 Introducing Liz Sillett 34 Review: Vade Mecum 36 Remembering Jenny Straker 37 Young Associates 38 Technical Standards 39 Members News 42 Safety Matters 43 Editor Rebecca Morland PublisherET Press Ltd The Studio, High Green, Great Shelford Cambridge, Cambs CB22 5EG Tel: 01223 550805 Fax: 01223 550806 Advertising enquiries should be sent to editor@etnow.com Sightline is published in March, June, September and December. Copies are sent to ABTT members as a benefit of membership. Current and past copies are also available via the ABTT website www.abtt.org.uk/shop at a cost of £5.00 (ABTT members) or £10.00 (non-Members). Opinions expressed in Sightline are not necessarily those of the Publisher or the Association of British Theatre Technicians. All rights are reserved and reproduction of any part in whatever form is prohibited without the prior permission of the ABTT and/ or the Publisher. Information is published in good faith but no responsibility can be attached to the Publisher or to the Association or to any of their members or employees for the accuracy or for any liability arising therefrom. ISSN: 0265-9808 Cover: The Richard Cairns Building, Brighton College Photo courtesy of krft ©Stijn Bollaert /GLP.German.Light.Products /GermanLightProducts glp.de Fantastic colours thanks to RGBL and iQ.Gamut technologySightline Autumn 2024 7 Editorial This edition of Sightline is covering a wide variety of topics, without much of a discernible theme running through them! As many of you will be aware, Richard Pilbrow died earlier this year. His last book – A Sense of Theatre – an account of his role in the foundation of the National Theatre – is reviewed in this edition by theatre architect Nicola Walls. Rob Halliday worked with Richard on the book and this resulted in him asking many questions, some of which are now unlikely to ever be answered. His article about this, together with Nicola’s review, make a compelling introduction to this very significant book, so I am delighted to be able to run them together. I’d also like to thank Rob for providing some wonderful images which accompany both – I only wish we’d had space for more. Another article which delves into theatre history is David Bertenshaw’s incredibly detailed piece on the introduction of the Strand ‘Electronic’ Dimmer – 75 years ago. I don’t have a technical background, but I really enjoyed some of the detail and the impressive amount of research which lies behind this piece. I’d like to think that those involved with the Strand Electronic Dimmer would be impressed by some of the technical innovations since then, not least in the field of automation, and in particular its impact on productions. TAIT, who are leaders in this field, have recently worked with Glyndebourne to upgrade its stage automation facilities, and Sam Woodword, from TAIT, explains more in an article which is illustrated with some truly impressive pieces of equipment! Richard York went to visit an exemplary school theatre which is part of Brighton College. It is visually striking, but also fitted out so that pupils can get involved in all aspects of putting on a production. In an ideal world, every school would have something similar! The ABTT Theatre Show was, as usual, a delight. One of its most important features is the ABTT Theatre Awards, which this year expanded to include Costume and WHAM (Wigs, Hair and Make Up). We’re celebrating all the winners in this edition! We’ve also included some photos from the Theatre Show – it really was an enjoyable and interesting event. For those of you who like to plan ahead, apparently bookings are already being taken for exhibitors! The Awards were presented by Liz Sillett, ABTT’s new CEO. It was a pleasure to talk to her earlier in the summer for this edition of Sightline and find out more about her background and ambitions for ABTT. One of these ambitions is for ABTT to continue to play a leading role in sustainability in the theatre industry. This has already led to ABTT’s role in the development of the Theatre Green Book. For this edition, we asked Danny Lennon, who is Chair of the ABTT’s Sustainabiity Committee to write on how the Theatre Green Book has inspired the work of his company – Footprint Scenery. I hope it inspires others to review their work practices accordingly. And finally, everyone at ABTT was sad to hear of the recent death of Jenny Straker (latterly Brett) who was ABTT’s Administrator at a time of great change for ABTT. I never met Jenny, but I have great admiration for anyone with strong organisational skills! Many thanks to both Roger Fox and Geoffrey Joyce for their memories. Rebecca Morland Editor sightline@abtt.org.uk8 Sightline Autumn 2024 Just beyond the eastern edge of Brighton town centre, on a dual carriageway, lies the imposing neo-Gothic elevation of a Victorian institution. Since 1845 this has been Brighton College, a school founded for the education of the sons of gentlefolk and, since 1973, their daughters too. Behind the façade, designed by George Gilbert Scott (1811- 1878), grandfather of English Gothic revival architecture, lies a gracious quadrangle with all the icons of an Oxbridge college – chapel, great hall, boarding houses and classrooms, with extensive playing fields beyond. It is a fee-paying school with just under 1,100 day and boarding pupils in the age group 13-18. In the twenty-first century the school delivers a liberal and complete education and has placed much emphasis on creating facilities to enable this. The latest of these is the Richard Cairns Building (named for the current headmaster), containing primarily drama and dance facilities. The building has been designed by krft of Amsterdam with support from the UK practice Nicholas Hare Architects. The site for the theatre lies between the quadrangle and the playing field on land previously occupied by service buildings. It is constrained by existing buildings on three sides and, on the fourth, by a north/south pedestrian access to the playing field and other facilities. The brief called for a formal theatre holding an audience of 400 on two levels, a large-scale dance studio and a smaller ‘black box’ drama studio together with associated front-of-house and backstage spaces. In addition, there was a requirement to house teaching facilities for the School’s English, Music and Computer Departments and social and study rooms for the Sixth Form. During the development of the design, it became apparent that the site was not big enough to get everything in, particularly given the constraint of the height of the adjacent heritage buildings. Two major decisions evolved, the first was that the lowest floor should be partly underground and should extend to connect with the adjacent Music School. The second was that the various floors should shapeshift to expand or move their footprint to make best use of the floor area, proportions and volume thus created. This was achieved by corbelling and racking back the exterior walls. Corbelling is the technique of laying bricks where each course is set forward of the one below it. Racking back is the reverse technique, where each course is set back from the one below it. All four walls are subject to one technique or both, and gracious curves are achieved by using thin clay bricks, hand- made in Denmark and exquisitely laid and pointed. Chalk white, the exterior also includes random flints set in the brickwork, referencing both the geology of the nearby South Coast cliffs and the preponderance of flint used in the school’s original buildings. The mass of the building is relieved by generous windows and doors which serve to increase the building’s transparency and to bring daylight deep into the interior. The building has great dramatic impact when seen from any direction. On six floors, the building is built into the rise of the land to the north away from the heritage buildings. Access from the south is at ground level via an entrance foyer. The ground floor is divided into three, the central section, named Lester Square (after a previous Headmaster), comprises a flight of wide steps down creating an informal forum as well as access to the basement, and a narrower flight to the floors above. To the west is a café and bar with doors to outside seating, and to the east a large room designated as the Sixth Form’s social space. The basement, which extends under the landscaping and meets the adjacent Music School, houses a two-storey high Dance Studio, providing 156 sqm of sprung floor with a ballet barre and acres of mirror, a Drama Studio at 106 sqm, changing rooms for both, a cluster of music practise rooms, classrooms and office accommodation for drama and dance staff. Most spaces have daylight from windows or skylights which may be excluded by blinds or curtains when necessary. There are many windows both external and internal which provide views of the work going on in the building to passersby – a deliberate ploy to excite interest in the building’s activities. Richard York A new Theatre at Brighton College The Richard Cairns Building Sightline Autumn 2024 9 On the first floor lies the theatre basement, under the stalls seating, which provides space for an orchestra pit/forestage lift, storage for the two rows of seats on wagons which are removed when the pit/forestage is required, a crossover for performers and technicians and general storage. The basement is in its own fire cell, within which are two further fire cells containing stairs which rise through the floors above, serving the stage, auditorium and technical floor. The first floor also houses a generous row of toilet cubicles, circulation space, electrical services and AV rack room, a suite of rooms for the School’s Computer Department, a drama classroom and the Sixth Form’s study. The second floor houses the theatre stage and stalls seating (their centreline on an east/ west axis), six classrooms which double as dressing rooms and support areas when the theatre is in production and the English Department’s administration. A store is provided for a concert grand piano, together with its route to the stage and, via the forestage lift, to the orchestra pit. The third floor houses the theatre balcony and the fourth the high- level technical installation. It will be evident from the above that the project achieved the college’s wish to accommodate more than a theatre. A single goods/passenger lift serves all floors and an alternative get-in/get-out is provided by a secondary entrance/escape to the playing fields on the north side of the building. If this seems a little cumbersome then it should be remembered that this is not a public building except when an audience is present, and an inexhaustible supply of free labour may be presumed. At a glance, the theatre itself looks like a simple and delightful small playhouse, its 400 seats focused on the stage, its walnut walls carefully carved for visual delight and acoustic effect. Closer examination suggests that there is more to it than that. The brief emphasised that the theatre was to be designed for operation primarily by the school’s pupils, whose ages range from 13 to 18 and it was axiomatic that there should be opportunities to participate for the widest variety of talents and interests. The auditorium and stage were required to provide for assembly, lectures, drama, music recitals, jazz and rock, dance and musical theatre, with or without orchestra pit. The space is also likely to be used for general teaching and, out of term-time, for community activity. Brighton College also has a preparatory school for 3 to13-year-olds on a nearby site who are also likely to enjoy access. The auditorium and stage are contained within a single rectangular fire cell. Within that cell, on the north and south flanks, are the two fire cells referred to above, each containing the stair providing access to and escape from all levels of the theatre. In the auditorium these structures define the width of the stage, acting like the sides of a proscenium arch and effectively masking the wings from the audience. Anne Minors of Sound Space Vision, which provided technical and acoustic consultancy to the project, says that the design team’s resolution of the fire stairs, with their complicated geometry, was “an early Next >