Shane Grant is the acting Venue Technical Manager for Melbourne’s La Mama Theatre in Australia, and has years of experience as a lighting designer. He has been acknowledged as an ‘absolute genius’ (Theatre People, 30 July 2016) for his lighting design of Sarah Kane’s 4:48 Psychosis, and earned a Bachelor of Arts (Performing Arts) from the Victorian College of the Arts, University of Melbourne some time ago.
Grant is also an artistic director with Metanoia Theatre and has toured the world, operated venues and technically managed venues, written shows, performed shows, stage managed shows, sold tickets to shows, produced shows, sold drinks in the foyer at shows, built props, built sets, built theatres and given the St Crispin’s Day speech that gets everyone over the line on opening night – sometimes all with the same production.
This is what he had to share on this diverse, internationally interchangeable, job.
How would you describe your job to friends and family?
My friends understand because they mostly also work in theatre or have been to the theatre enough by now. Family, however, is a different matter. They tend to think that I am an IT manager or some kind of caretaker who turns on the lights. When I was tech manager at Gasworks (Australia) back in the day my grandmother was telling her friends that I was the head of the gas company. I don’t like to let reality spoil their illusions.
What sort of training is available for people wishing to enter your field?
There is all sorts of training, from the formal to the informal. I formally trained as a lighting designer and picked up the venue stuff along the way. The main thing about working in the theatre though is you really have to enjoy it; it’s too hard otherwise.
And what about career progression: are there clear career pathways for people in your field?
Career progression is not really something that I think about. My old mate John Romeril said, when he was picking up his lifetime achievement award, “Theatre is a community not an industry,” which resonates with me. If you conduct yourself in a trustworthy and reliable manner in the community, word gets around and people ask you to collaborate with them. Then there is also making opportunities for yourself and putting yourself in positions where opportunities are going to present themselves.
What’s an average day or week like for you?
My current average week is:
- Sunday: Front of house matinee shift followed by venue inductions for new shows and supervising seating bank moves.
- Monday morning: Emails, checking what the week holds, being available to bump in shows, provide keys and access.
- Monday afternoon: Painting sign boards for the incoming shows.
- Tuesday: A full admin day.
- Wednesday: Afternoon to show opening time: being available for last minute trouble-shooting.
- Thursday: Time off unless something has come up.
- Friday: Production managing the theatre’s festivals and events.
Of course, I could also be doing a lighting design in either venue at the same time.
If you were interviewing someone to take over your job, what skills and qualities would you look for?
Good broad range of technical skills, being calm under pressure, listening, creative problem solving, empathy and understanding the processes of other theatre makers.
What is the most memorable thing that’s ever happened to you in your career to date?
Falling off a ladder and grabbing the lighting bar as I fell past, then calmly asking the high school students I was working with to put the ladder up again so I could get down. That was another time that I failed to quit smoking.
And finally, what’s the most challenging technical request an artist has ever come to you with?
This wasn’t asked of me, but it’s my favourite request. ‘A pink cloud appears above the audience. It slowly moves toward the stage then descends to the floor where it splits and disappears into either wing.’
I once got a cloud to hover over the stage at the climax of a Greek tragedy; it took a lot of trial and error and control of the atmosphere (heating and cooling) in the theatre.
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