Cigarettes And Chocolate – How It Went!

Cigarettes And Chocolate – How It Went!

It went incredibly well!!

As you will know if you’ve been reading for a little while; I’ve been producing Cigarettes and Chocolate, directed by my close friend Emily Galvin for the past few couple of months. (If you haven’t been reading for a while, welcome, and that’s the main stuff you needed to know. If you want to catch up more you can do here, here and here.)

The rehearsal period went well, as did the planning process the Production team put in. There were a couple of small moments of problem solving, for example the sofa we got from the set store was not the one we were expecting, and we needed to add a throw to achieve the right style for the flat, but on the whole the production process went smoothly. The final few days before the show went up were, as we expected, very busy, but it was worth it. One of the ‘perks’ of student theatre is that everything is done within a short time frame and so it can get rather intense (I kid you not, the ADC has a rule that no one may spend more than 16 out of every 24 hours in the theatre, because otherwise people might!) and I definitely spent a lot of time at the theatre last week.

The reviews were very positive, which was encouraging (you can read them here or here) and everyone I spoke to about it at each performance enjoyed the play and found it interesting, which was wonderful: it’s always encouraging when you put time and energy (and blood, sweat and tears) into something and the result is what you wanted!

Ticket sales were also good, which was encouraging: 11pm on a Wednesday and Thursday night are not the easiest times to sell to people, but both performances had sizeable audiences and the sales were what was wanted in terms of the budget, which is always a relief when that’s your responsibility.

I’ll tell you a bit more about what I thought of the play itself in my review of theatre at the end of the month, so stay tuned for that, but this is the end of another successful project, which is great. I’m now planning to concentrate on my degree until I graduate in June, so I don’t have any new projects on the books, though that may change if I end up missing theatre too much!

I’ll keep writing about what I’m seeing/recommend, and I have a couple of other things in the pipeline to write about, so do stay tuned for those, and I will see you next week! Thanks as always for reading, please like the post if you enjoyed it, leave me a comment with anything you’d like me to write about in the coming weeks and follow the blog if you haven’t already!

Emily xxx

P.S. Here are some rehearsal pictures for those of you who were unable to make it to enjoy! Photo Credit: Johnny King




Cigarettes and Chocolate – Update

Cigarettes and Chocolate – Update

First things first – an apology: I completely forgot to write a post last week, for which I apologise. I have mitigating circumstances (recording a CD is a punishing schedule, and trying to finish one dissertation and draft another while so doing fills up a lot of time!) and it is the first time that has happened since I started blogging in May, but nonetheless, I’m sorry. It won’t happen again!

That said – on to this week’s post. I’m thrilled to let you all know that Cigarettes and Chocolate is going swimmingly!

The thing which was worrying me the most when I last updated, was that I had been unable to find out who was responsible for the rights to the play (Samuel French own the performance rights of all of Anthony Minghella’s other plays, and the rights to the text of Cigarettes and Chocolate, but not the performance rights, and google was getting me nowhere). I have now got these rights, which are licensed by Judy Daish Associates, who are the agents for Minghella’s literary estate. It took me a little longer than I’d expected, but it was the first time – for me – that googling “[name of play] licensing” hadn’t got me to the right place and I got there in the end: it’s a learning curve for us all!

So, learn from my experience: the next places to look for rights, if a simple google doesn’t get you to the right place are the agencies linked to playwright(s). With hindsight, it should have been obvious, but it wasn’t and if I missed it, I’m sure someone else will too in future: I hope this saves you the stress I went through!

Rehearsals have now started for the play, and the director, Emily Galvin, has told me that she is thrilled with their progress, despite the short time the cast have to work on the play.

My tasks now are to manage the progress; make sure the production team are happy with everything they have to do, and that everything gets done, to push publicity, so that we get the best audiences in, and to make sure everything runs smoothly from here on in until 1-2 February.

If you live in or near Cambridge, and would like to come see Cigarettes and Chocolate at the ADC Theatre, you can book tickets here.

That’s all for this week, thank you as always for reading! Please like the post if you enjoyed it, leave a comment with your thoughts and follow the blog if you haven’t already, so you’re kept updated when I post (every Friday at 5pm GMT). And book a ticket for Cigarettes and Chocolate if you can and haven’t yet done so! Apologies again for the lack of post last week; I’ll be back next Friday with my thoughts on the theatre I’ve seen this month, and the following Friday with recommendations for February!

Emily xxx

P.S. As always, if there is anything you’d like me to write a post about please let me know, either in a comment, or through the contact section of the website!

Cigarettes and Chocolate – Update and Glenda Jackson as King Lear – Review

Cigarettes and Chocolate – Update and Glenda Jackson as King Lear – Review

As you know if you’re a regular reader, I am now working on a new project: Cigarettes and Chocolate, on next term at the ADC theatre on the 1st and 2nd of February. 

Progress for this is going quite well: I have all but one members of my production team all signed up, which is great! (If you’re a student publicity designer and you’d like to join us hit me up!!) I’ve also designed my budget and sent of several funding applications, and I’m all set to send of the next few funding applications in the next few days. I’m having a few issues with rights, mostly that I’m struggling to find the right (pun intended) place to apply for them (if you are that person/place, please let me know!!) but that will hopefully be sorted out this week or possibly the following week. 

The show is also fully cast (though that is the director’s responsibility, and not mine) which is great, so we will be able to hit the ground running for both rehearsals and production meetings from the start of next term.

I also wanted to mention the play I saw a the weekend before last: King Lear at the Old Vic, with Glenda Jackson in the title role. Regular readers will probably guess that this is another play I wanted to see for my dissertation (for those of you who are new, firstly welcome, and the context here is that I am writing a dissertation on the use of female actors in contemporary performance of Shakespeare). It was a very good production, with a lot of interesting things for me to draw on for my dissertation: both in Jackson’s Lear, and in the presentation of gender in the three sisters.

I thought Jackson’s Lear had nothing particularly feminine about him, but he was a more petulant than violently angry Lear, as ones I’ve seen previously have been. It is an interpretation I think works very well, but I did wonder if it was easier in a known-to-be-played-by-a-female-actor Lear. If you saw it, what did you think? I’d love to hear different opinions about this in the comments!

The run at the Old Vic is finished, so despite wanting to, I can’t recommend it to you there, but I’ve heard rumours of a UK tour, so keep your eyes and ears peeled, and if it does happen, and comes somewhere near you, I really recommend it! And, as I said a few weeks ago, I also really recommend the Donmar Warehouse’s Shakespeare Trilogy which is still on in London for a few performances, and will be going to New York in the new year: if you can get there, you should go!!

That’s all for this week, thank you as always for reading, please like the post if you enjoyed it, follow the blog for more and leave your thoughts and questions in the comments! I’d be particularly interested in hearing any theatre recommendations you may have! I look forward to seeing you here next week for an exciting post I’ve wanted to write for a long time!

Emily xxx

The Marlowe Showcase – How it Went; Cigarettes and Chocolate – Where We’re At, and The Shakespeare Trilogy – Review

The Marlowe Showcase – How it Went; Cigarettes and Chocolate – Where We’re At, and The Shakespeare Trilogy – Review

The biggest problem I’m having with only writing one blog post a week is there are lots of things I want to write about, and it’s really hard to pick only one, because I feel like I will miss out important things I want to share! That said, I have too much university work at the moment (to clarifty, a minimum of two essays a week plus a dissertation to finish and another one to start [7000 words each, excluding footnotes], lots of meetings and classes and lectures and yeah… I’m enjoying it, but it’s a lot to do.) to be able to commit to more than one post a week. So I’m going to try and cover several things I want to write about in each post. You might get a little bit less detail for each of these than you did in my first four months of blogging, but I hope that way there is still a breadth of material, and I can update on the wide variety of theatre-related things I’m doing, as well as give advice.

This is an update post, and a lot has happened in the last three weeks, since my last update-about-my-creative work post, in which I told you about where The Marlowe Showcase was at, with 12 days to go. I also mentioned last week that my next project, Cigarettes and Chocolate, has been announced. Last week I also trialled writing about some theatre I’d seen (almost a month before) and that got quite a positive response, so I thought I’d also tell you about my experience of the Donmar Warehouse’s Shakespeare Triology, which I saw on the Trilogy day on the 19th December, with a Young+Free ticket.(The Donmar have teamed up with Delta Airlines so that 25% of their tickets are free to under 25s. I am not sponsored by them, but I think it’s an amazing scheme to enable young people to go see theatre they might not otherwise be able to see.) I had already seen the Tempest earlier in the run, but seeing the Trilogy in one go was something special. More on that later!

The Marlowe Showcase – How it Went

I’m going to start with my final update on the Marlowe Showcase, which went very well. The first performance, in the Corpus Playroom in Cambridge was very well received, and attended by a few agents and the actors’ friends and families, who were able to provide them with a very very supportive audience for a first run, before the almost-exclusively agency audience the following day. We were delighted to welcome almost 40 agents and casting directors to Jermyn Street on Thursday 17th, along with a few actors’ friends living in London.

This was the biggest achievement for me (alongside the whole thing going smoothly and with no hiccups, something which has never happened to me in the past, and will probably never happen to me again). Previous showcases hadn’t always been able to get many people along to see the showcase, and, however smoothly everything happens, the aim of art is to share it, particularly with a showcase, where the actors are hoping to be noticed and be able to go on to more work in future. I’m planning on writing a post of advice about writing invitations to events in the near future (possibly even next week) so keep your eyes peeled for that!

The showcase was very well received, and the actors’ performances were all, in my not-entirely-unbiased, but still fair, I hope, opinion, excellent. The whole-company musical introductory opening and closing numbers, written and choreographed by Toby Marlow, were also excellent.

Overall, the whole experience was a great one, and I’m really pleased and grateful to have had the opportunity to work with so many great people, including Nicholas Barter, the director, Zak, my co-producer and one of the actors performing in the showcase, as well as the President of the Marlowe society, and the fantastic company.

Cigarettes and Chocolate – Where We’re At So Far

As you heard last week if you’re a regular reader (and if not – welcome! I hope you join us, and enjoy what I write), I am producing Anthony Minghella’s radio play, Cigarettes and Chocolate, for a stage performance at the ADC Theatre, in Cambridge, on the 1st and 2nd of February of next year. The project is being directed by Emily Galvin, a close friend of mine (and yes, we are having to go by “Emily the producer” and “Emily the director”, but what can you do?) and I am in the process of getting a production team together.

Currently, as well as getting the production team together, my to-do list involves sorting out issues of rights and funding, all of which I hope to have completed within a week or two (when the Cambridge term ends). After that, I will be creating a show budget (obviously, in order to apply for funding, I have an idea of what I’m expecting the budget to look like, but I won’t be able to set it up finally [ish] until the funding is sorted out). Then I will be managing the production process, along with a hopefully great team (so far, so good – we’ve got some really fantastic people to work with) and getting the show on stage with a minimum of difficulties.

When I first started producing student theatre, I found that it was really difficult to get an idea of how the process worked; what I was expected to do, and by when, so, if you’re a student producing theatre, I hope this helps you get an idea of how the process works and what kinds of things we do (and of course, feel free to look over past projects to see how I’ve done those, as well as the advice I’ve written for student producers!).

The Shakespeare Trilogy, Donmar Warehouse – Trilogy Day 19th November

Last, but not least, I want to tell you about my experience of seeing the first Trilogy Day of the Donmar Warehouse’s Shakespeare Trilogy last Saturday. If you’ve been reading for a while you are probably aware that I am writing one of my dissertations this year on the use of female actors in contemporary performances of Shakespeare. I have a lot to say and think about this, although I thought the performances also considered other, hugely important topics as well, but inevitably, my focus on these performances is on the choice to use female actors. (Incidentally, I’m going to see Glenda Jackson as King Lear tomorrow, and I am beyond excited!)

The Shakespeare Trilogy is three plays by Shakespeare: Julius CaesarHenry IV (both parts condensed into one 2 hour play) and The Tempest, all performed by the same all-female company, directed by Phyllida Lloyd, and linked by the framing of an all-female prison, in which the inmates are performing the plays, and linking them to their own experiences. Each actor has a prison-character, three of whom introduce themselves at the start of one play, and the whole company worked with Clean Break, a company who work with women in the criminal justice system in the UK, and with women in prison such as Judy Clark, whose stories inspired the prison characters’ stories and the evolution of the Trilogy. Julius Caesar was first produced in 2012, and Henry IV in 2014. The two have been remounted alongside the new production of The Tempest, and are being performed on alternative nights, and in Trilogy days, where all three plays are performed in one day: Julius Caesar  at 11am, Henry IV at 3.30pm, and The Tempest at 8pm. I first saw The Tempest in September, and then again in the Trilogy day I attended on Saturday.

I should start by saying that I think these three performances are stupendous, and if you live in or near London and have any way of getting tickets to one or all of them, I cannot recommend enough that you do so!

The whole company burst with energy through the whole three plays (no mean feat – three Shakespeare plays in one day is a huge task!) and the questions considered about the criminal justice system, and the effects of imprisonment, were fascinating. I really appreciated that, actually, very little was made of the fact that all the actors were female, and, at least for me, that simply wasn’t the point of the plays. (Obviously, that is a point in an of itself, but I think it’s a good one to aim for nonetheless!) The prison uniform was androgynous, and use of costume was not always gendered (with the exception of Harriet Walter in “drag”, if you’ve seen it, you’ll know what I mean).

As I said though, gender was simply less of a focus, at least to me, other than as a casting decision. Other casting decisions were also pointedly political in the same way as choosing to use an all-female cast; the cast were ethnically diverse, and used a wide variety of accents (I assume their own, although I don’t know that), rather than the more traditional choice of imposing RP. Carolina Valdés’s prison character and characters in the Shakespeare plays often slipped into Spanish (again, I assume, her native language, although I don’t know that either). The Trilogy is pointedly diverse in as many ways as possible, as a prison environment would be, and as England is, despite some politicians attempts to make it otherwise, and I think this is as important, if not more, to these plays than simply the gender of the actors cast.

I think the most important thing for these plays is what they say about the criminal justice system, and the portrayal they give of the experiences of a wide variety of people who might end up in prison; from educated middle class women who have committed political crimes; the story of Harriet Walter’s prison character, Hanna, to young women who have been addicted to drugs of some form or other, such as the prison character playing Hal, played by Clare Dunne, or victims of domestic violence, such as the prison character playing Mark Antony, played by Jade Anouka. It is both a fascinating insight for those who know very little about it (like me, until I first saw the Tempest over the summer) and a deeply insightful way to raise some very difficult questions. I could not have enjoyed the day more if I’d tried, and was so pleased to be able to come away with many thoughts about performance, it’s possibilities, the different things one can take from a Shakespeare play, gender, the performance of gender and the criminal justice system.

The performances by all the members of the company were absolutely phenomenal, and showed a huge amount of versatility across the three plays (on the subject of versatility, Jackie Clune deserves a special mention for her Caesar and Stefano: the contrast in the space of a few hours was impressive…). I was particularly struck by Anouka (playing Mark Antony, Hotspur and Ariel) and, perhaps unsurprisingly, Walter (Brutus, Henry IV and Prospero), but every single member of the company (and production team!) deserves a commendation for these outstanding plays.

That’s all for this week (and it seems like plenty really!), thank you as always for reading, especially if you’ve read all three sections! I really appreciate your support and interest in my experiences! Please like the post if you enjoyed it, follow the blog if you’re interested in reading more from me, and leave a comment with your thoughts or questions if you have time to. I’d be especially interested to hear your thoughts on The Shakespeare Trilogy if you’ve seen it, and anything you’d like to see me write about in future.

See you next week!

Emily xxx

The Marlowe Showcase – 12 Days to Go Update!

The Marlowe Showcase – 12 Days to Go Update!

As I mentioned two weeks ago, my current project (well, other than my degree, singing in a choir four times a week, maintaining this blog…) is The Marlowe Showcase. And as you can see from the title of this post, it is getting quite close! Everything is going well so far, which is wonderful. You can see profile of the actors on the showcase website here (and mine, if you’re interested, under ‘Creatives’, although most of the information there is available on this blog!).

The showcase will consist of an opening musical number, composed by Cambridge student Toby Marlow (no relation to Christopher!) and the fourteen actors performing a series of classical and contemporary monologues and duologues (which they are in the process of choosing in their rehearsals). The rehearsals, with both Nicholas Barter, the Director, and with the Assistant Directors, Maria and Isaac are going well, and the actors are also taking Alexander Technique classes.

In terms of what I’ve done while the rehearsals go on – the first thing, was sending out invitations, which I’m thrilled to say has gone well – we’ve had enough of a response to think that Jermyn St might be entirely full of agents and casting directors, and the Cambridge performance is sold out! Unfortunately, this has meant that we’ve had to say to the actors that we won’t be able to accommodate their families, in order to be able to welcome as many agents/casting directors as possible, but this is in their interests too, so they haven’t complained too much! We will be following up with a couple more people just to make sure we have as many people in as possible (and, of course, as I said two weeks ago, if you are an agent or casting director and would be interested in coming to the showcase, you would be more than welcome: please get in touch with me here!) but so far this has gone very very well!

The last few things I mentioned I needed to finish off two weeks ago are all done; sorting out transport and budgeting has gone well, and of course, given that I’ve told you that the Cambridge performance is sold out, that tells you that we’ve finalised venue arrangements in Cambridge – the preview will take place at the Corpus Playroom. So my plans for the next few weeks are finish off following up with agents/casting directors, and hopefully fill Jermyn St with people who will want to represent our (really very good) actors, and fix any problems which come up. Hopefully there won’t be too many of those, but if there are, I’m sure I’ll get them solved.

In other news, this is/has been an exciting week for seeing theatre: on Wednesday I went to see E x i l e, a new piece of student writing by  Rute Costa, at the Corpus Playroom, which was really interesting and thought provoking, and thoroughly enjoying. I’m going to see Little Shop of Horrors tonight, and then seeing Jonathan Glew’s John Lennon “In his own write” at the V&A tomorrow afternoon! I’ve also been offered the position of part-time Duty Manager at Corpus Playroom, starting next month, which I’m excited about – it’s a great opportunity to learn more about how the operational/management side of theatres works.

That’s all for this week, thank you as always for reading! Feel free to like the post if you enjoyed it, please do leave a comment with your thoughts and/or questions, and follow the blog if you haven’t already and you’re interested in hearing more from me. Next week I’m writing about time management and the juggling act, and the following week I’ll tell you a bit about The Greek Play I saw a few weeks ago, and how I’m finding studying for the Tragedy Paper, which is mostly theatre, from a literary perspective!

Emily xxx

The Marlowe Showcase – Update

The Marlowe Showcase – Update

My current project in theatre, alongside my degree, is producing the Marlowe Showcase, a performance of monologues and duologues by 12-14 graduating actors (by the time this goes up, on Friday, auditions will have happened, but we may not have finalised the cast or announced it publicly, so you’ll have to wait for my next update for the cast. Past actors have included Emma Thompson, Kenneth Branagh, and more recently Tom Hiddleston, Tom Hollander…). It is directed by Nicholas Barter (ex president of RADA, and ) and two assistant directors, who will be working with the actors on their monologues and duologues in the next four weeks, before the showcase. There will be two performances, one on Wednesday 16th November, in Cambridge (exact time and venue still in negotiation, we have a couple of options but haven’t fully finalised everything), and at Jermain St Theatre, London, at 12pm (noon). 

I have several things to do for this, of course, from organising the travel to London, to planning the budget (partly done, and, by the time you read this, much easier, because I’ll know exactly how many actors are involved) to getting all the creative team on board (mostly done!) to finalising the venue arrangements… My biggest task though, is inviting agents and casting directors, so that these wonderfully talented actors, who will be working incredibly hard in the next few weeks, get seen by as many people as possible.

This involves writing personalised emails to several hundred agents, casting directors and agencies. We’ve sent out Save the Dates, and there will then be follow up invitations with the details of the cast and more details about the performances, and after that last minute reminders. I’m hugely grateful to Zac, the President of the Marlowe Society (who fund the Showcase) who has been helping me with this, as it is a mammoth task, but I’m enjoying it a lot. I think it’s hugely important that the emails be addressed to people individually, or at least to the agencies individually, so that both we and they know that we think this is something that would be of genuine interest to them, and we aren’t just adding them to a spam email sent out to every email address we can find… The main body of the email is obviously similar, as it contains the main information anyone considering attending the Showcase would need – dates, times and what is happening. I’m considering writing an advice post on how to write invitation and follow up to invitation e-mails, would this be something you would like to read? Let me know in the comments!

I’m really excited to be working on this project, and I’m excited to see it come together more visibly now that Assistant Director interviews and cast auditions have happened.

That’s all for this week’s update on the Marlowe Showcase, I hope you enjoyed this insight into what I’ve been up to, and do let me know in the comments below if you have any questions about the Showcase or the process of creating it! (Or contact me either in the comments or via the contact me link here or on the left of the screen if you’re an agent or casting director interested in attending the Showcase!).

I just want to briefly mention something I attended on Monday night, which was a huge privilege. Clod Ensemble have been doing research and development of a piece called On The High Road (inspired by Chekhov) and I was incredibly lucky to be invited to the sharing of the work in progress, which was an extract of the piece after the R&D process. It was wonderful: I thought the movement and the music were both hugely impressive and I look forward to seeing how the work evolves! When it becomes more public I hugely recommend it, and in the meantime, if any work from Clod Ensemble comes anywhere near you (I believe they have work coming to The Lowry, Salford and Wales Millennium Centre, Cardiff quite soon!) go check it out, because I think their work is hugely exciting.

Thank you as always for reading, feel free to like this post if you enjoyed it, let me know your thoughts/questions in the comments (I’m particularly interested to know if you’d be interested in advice on writing invitation emails!) and follow the blog to hear more about the development of the Marlowe Showcase in my next update, which should be in two weeks time, following an advice post next week on how to make the most of an internship.

Emily xxx

Fuel Internship – Week 12

Fuel Internship – Week 12

It’s officially over, and by the time you read this, I will have left Fuel a week ago. I spent 12 weeks there, 36 wonderful days of work which you can read about in all my past posts, and I’m really quite sad about it being over: I’ve had a wonderful summer and I didn’t want it to end, but I’m looking forwards to an exciting final year of university including all sorts of theatre related projects that you’ll hear about here in due course (next up is The Marlowe Showcase, in just under a month, which I will catch you up on the progress of next week, and other projects include both my dissertations, going to see lots of theatre and more…).

I want to extend the hugest of thanks to the whole team at Fuel for your kindness, generosity and overwhelming willingness to help me: I’ve learned so much from you all this summer, and I really hope we’ll get an opportunity to work together again in future.

To the rest of my readers – if you see work by Fuel coming near you (this will be mostly people living in the UK, but not only you!) I urge you to go see it – all the work that I have seen by them is fantastic, and I’m really excited by some of the work which is coming up, I can’t wait to see it, and I want you all get to enjoy it too!

Now that’s all said, here’s what I got up to in my last week with Fuel…

Day 34:

On Wednesday the highlight was going to a rehearsed reading of Lady Percy by Queynte Ladies in the afternoon, but before that I did a few more normal work things. These included sorting out the recycling of printer cartidges, going through some application notes and audience feedback…. Then, just after lunch we went up to the the other side of Covent Garden, to the Seven Dials Club, (just next to the Donmar Warehouse). We were expecting a verse play, and we weren’t disappointed: the reading turned out to be a full length (75 minute first half,15 minute interval, 50 minute second half) verse play, in the style of an early modern (Shakespeare/Marlowe…) history play, but focused on Lady Percy, the wife of Henry Hotspur, Earl of Northumberland, and with themes treating gender in a more 21st century way. There were obviously still wrinkles to be ironed out (it was after all, a rehearsed reading of a work in development, and not a final product!) such as, in my opinion, it being a little too long, but it was a wonderful piece, which was brilliantly written and which I look forward to seeing in its more final form in future. If you see it, or Quenyte Ladies’ other piece, Marge and Jules, on near you, I wholeheartedly recommend them! When I got back to the office I got on with what I’d been up to earlier with applications, but there were only 45 minutes of my day left…

Day 35:

On Thursday I got in, and finished off the admin from the previous day, and then started on something new – editing a video extract for an application. We wanted a clip from a previous performance with an opening overview and an endscreen, and no-one in the office had an experience of video editing, so I had a play around until I got something together that we were happy with. This took me longer than it probably would have taken someone with a lot of experience with editing videos, but I was proud of my achievement, and am hoping to improve my video editing skills over this year, to have an extra tool in my bag when I get to applying for jobs.  I then had some more upkeep things to do; some editing of the Fuel website, and some booking of trains for various people, both performers and members of the Fuel team, for a variety of events in the next few weeks. I also got to attend the first production meeting for a project in the future, which I can’t tell you very much about, but the meeting experience was fascinating, and the different options and methods and things which could (and then of those which should) be prioritised was an exciting discussion to attend and hear people’s opinions of (and give my own…)

Day 36:

My last day at Fuel was a relatively quiet one, I went through the online statistics of our various websites for the month of September and inputted them into the comparison document, and I planned out some tweets for the coming weeks, but it was a great opportunity to ask any final questions to the members of the team about any advice they could give me. The most insightful was Tom’s suggestion that another thing I should check out/try to get experience of within theatre production/administration is how it works within a venue, rather than a production company, just so I have the experience of different environments and the requirements/particular skills or roles involved in each of those. Hopefully I will get a little of that this year, while at university, but if not, I agree that it would be a good step to take! We left the office a little early and Robyn, Kate and Tom took me out for a leaving drink, which was incredibly kind of them, and I appreciated it.

So that’s it guys… My time with Fuel is over, I am back at university for my final year, and I am so grateful for the wonderful opportunity I was given and the exciting time I had this summer. I really, really hope I’ll get to work with Fuel again, because they are a wonderful company, who produce incredible work, and they are all really great people, which is a lovely thing in a work environment. Thank you all as always for reading, I hope you’ll continue to enjoy my journey, and follow it along with me as it evolves, and I will see you next Friday, to tell you all about the Marlowe Showcase.

Emily xxx

P.S. I’m so sorry that when this went up at 5 o’clock, some of the text was missing. Not sure what happened, but I’ve fixed it now!