The revolving door spins no more.

Hello everybody!!

It’s been over two months since our last post and now at last, all the shows are up, the academic year is drawing to its close and we’ve got a massive blog to let you know what we’ve been up to.

Since you last heard from us we have built an amazing cast concrete effect set for the Opera double bill; we’ve curated, installed and hosted our annual 3rd Year Graduate Exhibition; slipped in a couple of paint calls, prop makes and fit ups for Opera scenes and Napoli Milionara in the Milton Court Studio Theatre.  Finally, with a massive push we managed to the fit up the phenomenal build for the end of year musical ‘Grand Hotel’. Just a bit busy then!

It’s been a real who’s who of materials and techniques this term right across our Construction, Painting and Props departments.

Construction have had the volume turned up to 11 this term working on the set for Grand Hotel; we’ve seen welding on an industrial scale to construct fully operational revolving doors and two huge frames to support the mirrored and glazed frontage of the Grand Hotel as viewed from the inside.

First thing out were the two metal frames for the frontage and interior of the hotel; box steel welded and then clad in timber and MDF. Once the frames had been constructed it was through to the Paint Shop for black gloss on the cladding and gold leaf on the fret work and window frame details.

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The Gold leaf we use is in fact brass leaf, it is applied directly from the roll onto surfaces coated with an adhesive called Gilding Size. The size is applied over a layer of yellow paint which hides any small holes in the leaf. Once the leaf is on and the size has dried, we brush off the excess leaf and apply two layers of french enamel varnish to seal it, and to achieve the antiqued effect the designer was looking for.

We’ve also been applying more black gloss effect to all the cladding, flats, panels, treads and handrails; you name it – we glossed it!

Before we could get anything fitted up in the Silk Street Theatre, we had to paint an intricate geometric floor design on the stage.

Our friends in the Technical Theatre department helped us out by rigging a projector on to a flying bar so we could project the design on to the stage and trace out the geometric pattern. The whole ellipse was first marbled in white before we marked on the lines for the masking. Thirty five rolls of masking tape later and we began to paint and marble the black tiles. Off with the masking tape the next day and finish the surface with a lovely glaze to create a beautiful marbled floor on to which the set could be installed.

Here’s the beautiful finished floor with a layer of Bona Mega gloss glaze over the marble painting. Amazing!

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We’ve seen the construction of a rotating concierge reception desk made from bendi-ply, a glorious curved and fanned Grand staircase, and seemingly never ending fret work to create art deco inspired hand rails for the various balconies and decorative elements which adorn the glazing and carefully disguised steel deck.

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All the glazing has also been dirtied down by spraying with a matt glaze with a bit of white paint mix in, adding to the slightly defunct look specified by the designer.

Props made three Belfast sinks on wheels complete with dressing room mirror lights.  We had some decorative brackets for the sinks laser cut by a CADCAM company in south London; CutLaserCut have a selection of industrial size laser cutters so we emailed over our design and they were put to work cutting 9mm MDF to make Art Deco style brackets…Laser Power!

End result is an absolutely epic set, I couldn’t wait to see the actors and musicians apply their magic and it certainly didn’t disappoint, it was a great show and a brilliant demonstration of the collaborative production process here at the Guildhall School of Music and Drama.

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So there you have it, many weeks of hard work was certainly worth it looking at the amazing result. If you want to see a fascinating time lapse video of the set being taken to pieces you’re in luck! It’s quite a cathartic process destructing a set, the thing I find hardest to comprehend is that all those weeks of hard labour can be undone such a short time, about 12 hours. But that’s the way it goes I suppose. See the video courtesy of  the Technical Theatre department either on their blog or by clicking here.

We’re checking out of The Grand Hotel now;

The Props Department have realised a host of interesting and challenging creations this term. We’ve seen the creation of a prosthetic body parts including the frighteningly realistic torso of St. John the Baptist in its unfortunate de-limbed, decapitated and disembolwled state – so goes the brutal end for St. John in the Stradella opera. Our props students have also served an apprenticeship of sorts in coopering, deconstructing Scottish whisky barrels and recreating a fake barrel mid construction which allowed the opera singers to simulate the construction of the barrel during the performance of Arne’s The Cooper. Sound complicated? It is! See Pat’s Blog for a full run down.

Any finally, to round up this academic years activity, our annual first year Puppet Project!

Our first years have just presented their end of year project. The theme for this years project was the Grim tale of Hansel & Gretel set in an urban landscape, conceived as: HSNL + GRTL

The project kicked off with a crash course in puppetry with puppetry guru Steve Tiplady who gave a half day crash course in making and operating puppets.

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The first years then spent a week creating their puppets and taking crash courses in lighting and video editing from our lighting and video lecturers, then it was into the studio, out on location and finally many hours in the editing suite to create their fantastic version of the folk story, great work guys.

That’s it from us until September so enjoy your summer and we’ll see you on the other side.

I’ll leave you with the video of the first years puppet project HSNL + GRTL, enjoy!

 

 

 

 

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