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“PURE MAGIC” Libby Purves
“A delightful backstage comedy” The Times
“It doesn’t get much more iconic than this” What’s On Stage
“Enormously entertaining with powerhouse performances” Stage Review
“Alice Hamilton’s superbly directed production” West End Frame
“Irresistibly sexy” Scatter of Opinion
“A behemoth of brilliance. A rich and breathtaking comedy of grit and bite”
Grumpy Gay Critic
“Magnificent in every way” Bargain Theatre
1960. Backstage at London’s Royal Court Theatre.
Hollywood giants Orson Welles and Laurence Olivier have been persuaded to work together for the first time – the inspired idea of legendary theatre critic, Kenneth Tynan.
Welles has agreed to direct Olivier and Joan Plowright in a production of Eugène Ionesco’s masterpiece Rhinoceros. But with Olivier’s eccentric wife Vivien Leigh added to the volatile mix, legendary egos collide both on stage and off.
Based on true events, Orson’s Shadow, by Austin Pendleton, is a critically acclaimed comedy that is a sharp-witted yet tender-hearted exposé of the thin skins, hot tempers, and rampaging egos that exist when two titans of the stage and screen come together.
Nominated for Outstanding Play of the Year in the Lortel Awards on its New York debut.
“Beguiling, full of wit, intelligence and salacious interest” Chicago Tribune
“A deliciously funny, delightful backstage comedy” Charles Isherwood, The New York Times
Please note that this show contains smoking.
| Creative Team
Director Set and Costume Designer Lighting Designer Sound Designer Production Manager Casting Director Costume Supervisor Assistant Director Producers |
Cast
Vivien Leigh Kenneth Tynan Joan Plowright Orson Welles Laurence Olivier Sean |
Photography by Simon Annand
Photography by Simon Annand
A Day in the Life of an ASM
Ottilie Kark
Posted 17/06/2015
My typical day whilst in rehearsal mode always starts off with a decent cup of tea in the quiet, and somewhat eerie, rehearsal room before all the madness starts and we continue with where we left off the previous evening. My main role within the rehearsal space is to make it workable, clean and filled with ready and accessible props where needed – and most importantly coffee, tea and chocolate biscuits. It is vital to have some sugar at the ready for all when in long rehearsal days and where normally there is little to no natural daylight or fresh air!
As an ASM (Assistant Stage Manager) on this production my main responsibilities are to find props for the play and further props for dressing of the set. I enjoy the challenge of finding these things, mainly because there are normally a fair few to get and they usually have to fit within certain guidelines such as time period, budget, the designer’s and director’s taste and whether or not I have to make the prop. Any one of those elements can at times be a great challenge; for example, in Orson’s Shadow we are set in the 1960s and our set is one that allows the audience to interact with it. Therefore, we need a few props that will dress the area that can be time specific but also can hint towards certain parts of the play’s storyline. This requires me to search among prop stores, charity shops and my own attic.
I’ve recently had one of those days where I am on the hunt for a few different props, which requires me to travel what feels like the entirety of London! Sometimes you can be laden with many items – some bulky, some small – and you are squashed amongst fellow commuters trying not to be too awkward and in the way. Thankfully some days are just for browsing and taking photos for our designer and production manager and trying to do some research into the different items we could potentially borrow or hire. I was also on the look out for steaks! One character in this production has to devour four steaks within the show and as steaks are not exactly cheap as chips (!) I need to find a cost efficient solution and also one that will stop the actor developing a rapid distaste to red meat. A tip to all fellow ASM/prop maker: do make sure you check what your actor’s dietary requirements are before using the company budget to ply them with food or drink. This can end rather badly if not checked!
Once all my research has been done I tend to head back to the rehearsal room to have a production meeting with the rest of the team and update them on what I have found. I like these meetings as it allows you the chance to see where everyone is at and also gives you the opportunity to ask questions to the relevant people who can help in your own tasks. It is also time for all the creative team to talk about the progress of rehearsals and how we predict the following week may go. This projection isn’t usually correct, but at least we all understand this!
For me, rehearsal days are pretty much like this every day until we get closer to the get-in and tech/dress rehearsal period. Those moments are rather stressful and eventful, or not, depending on how many cues you have to tech. This, however, is for next time!
