En Route to Xerxes A journey through opera from ASM to Designer
28-May-2009Sarah Bacon

Sarah Bacon began her life in opera as ASM in Opera Theatre Company. Here are her thoughts, as she once again works with the company, this time as Designer for Xerxes.

My appreciation for the nuts and bolts of opera began with Opera Theatre Company. And, as assistant stage manager (ASM) on numerous OTC shows, the induction was pretty thorough.

Opera Theatre Company: a company known to punch above its weight, bringing productions of the highest quality to cities, villages and towns the length and breadth of Ireland, and beyond.

As the 40-foot truck-full-of-set reverses up to the scene-dock door, the in-house theatre techs will sigh and say “OTC, Oh That Crowd” (if they’re polite), because That Crowd’s crew will have shown up again with another big, beautiful, heavy set to unload, construct and shoehorn impossibly into position. Much lugging, a bit of grunting, some cussing. Not glamorous. But afterwards there will be biscuits. And coffee. And music and singing, of course.

The role of the ASM in the OTC stable means being handy and/or enthusiastic, if not entirely competent, with a screw gun, a coffee machine, a sewing machine, a ratchet strap, an ironing board, a tail lift, a music stand, a starter pistol, a pin-hinge, a half-hitch, a 16 amp plug, 20 denier tights, a stubborn stain, an adjustable spanner, blood, smoke, Velcro, superglue, WD40, a whiskey chaser, a hotel breakfast, the ‘start’ button on the rented people-carrier... the list goes on, in no particular order.

I suppose touring is a University of Life, of sorts.

Knowing where to buy chips and knicker elastic from Belfast to Brno has its advantages.

A new production of any opera will often have its beginnings as a conversation between director and designer. How to pitch the piece? Where to locate it? Where lies the emotional weight? What aspects of the narrative are relevant or perhaps previously untapped? The artistic licence that may be taken with design for opera is generally far greater than that in theatre. But it is a line that must be carefully trod. ‘Concept’ can become a dirty word. The design should support the narrative and the direction, and complement the music, but not dominate the stage.

A set for a touring company like Opera Theatre Company, of course, will have other considerations, such as venue size, ease of construction and transport. These issues however should not dictate a design. It is, after all, the challenge of the Production Manager to “make it happen”!

I learnt a lot from working with designers such as Dick Bird, Neil Irish, Michael Vale, artist Dorothy Cross, or costume designer Caroline Hughes on many different Opera Theatre Company shows. Fabulous shows that judiciously struck that balance between style and substance.

It’s great to be back working with such a company, this time as a designer myself.

I will be a little sorry not to be going on the road myself, just a little… but if the crew are looking for the start button on the rental car, they know who to call.