Raising the curtain on an alternative career in woodworking.
When you think of wood working jobs using wood machines, what do you think of? Carpenter, furniture maker, bench joiner? How about a props maker or set creator for a theatre?
That’s exactly what our apprentice, Sarah Dodson, is doing – completing a Level 2 Furniture Making Operative apprenticeship in the props department at the National Theatre in London.
Arriving at National Theatre to meet Sarah in her place of work was a bit of a pinch me moment – certainly one of the more unique company visits! The building is huge, and once inside it was a rabbit warren – being guided through corridors and up stairs, with lots of corners and doors, I wonder how much of the apprenticeship was learning exactly how to get in and out of the building…
When we get to the props department, it is a hive of activity – giant chandeliers, an eight-foot-tall ornate wardrobe, giant set pieces being assembled and painted, along with intricate detailed pieces being carefully crafted.
Even the office is a feast for the eyes with interesting items everywhere. Sitting on a sofa made by a previous WEBS Training upholstery apprentice at the theatre, we finally get to chat.
“I always wanted a creative job – I would fall asleep in an office!” says Sarah. “I saw this course on the government website for apprenticeships and really wanted the role. I was working on the production and decoration of motorbike helmets at the time.”
The theatre had a rigorous recruitment process for this apprenticeship role, with skills tests and group projects, where workshop manager, and Sarah’s supervisor, Michelle says:
“Sarah just really took to all the tasks she was given. She has been a great member of the team from the start of her course.”
Surprisingly, Sarah is not actually a theatre enthusiast, but I asked if she had managed to see her own work.
“I have been to see a show to see the pieces I have made onstage – it’s pretty cool to see!”
No day at work will ever be the same – essentially the props team needs to be able to handle whatever the show throws at them.
As Sarah shows us around the workshop, on the bench next to us someone is working on a prototype of a chair being built to collapse as it gets thrown across the stage. Between each show it needs to be re-built, so quite often multiple pieces of this type are made.
To the front of the workshop is a giant sculpture of a horse’s head being detailed to the highest level, to become a ghostly figure.
But it’s not just creating new items, it’s restoration too.
“We are a carbon neutral company so we have to try and re-use and repair as much as we can” Sarah explains. One of these projects sits right beside us – an adjustable piano stool with a broken mechanism.
Sarah’s apprenticeship has allowed her to train and become confident on the wood machinery in the props department – so she is prepared for whatever new project comes her way.
Sarah trains at WEBS on block release, meaning she gets a full week at the training centre to learn new skills before going back to the workplace.
“I have found the apprenticeship really helpful in helping me get up to speed with all the tools and machines I need. The theatre has been really supportive too in giving me time to practice.”
An example of this is a beautiful curved drawer set, veneered with additional inlays of contrasting decorative veneer, which Sarah made at work to practice what she has learnt. Using a specially made jig, the curve effect was created with several layers, glued and cramped in place. She also beaded the drawer edges, and routed the top and bottom for additional detailing.
Training officer Craig says “From the start of her course Sarah has always been eager to learn and try new things. She has a keen eye for detail which will absolutely help her in her role at National Theatre.”
As we finish the tour by looking at the impressive carpentry department for set builds, and a backdrop curtain being hand painted by teams of two across three scissor lifts, it’s hard imagining who wouldn’t want to work here – but that isn’t actually the case.
“We’re crying out for carpenters – I just don’t think it is a visible as a career” explains Michelle. “We definitely want to raise the awareness of woodworking in the theatre industry as it is such a key part of the production, and we’re struggling to find new people.”
“There are challenges, of course, with competing with film and TV, but we would love to see apprenticeships as a way to open up theatre design as a career path for woodworkers as an alternative to the typical jobs.”
Hopefully success stories like Sarah’s will help raise the profile for woodworking jobs in the theatre, so that they are not on the sidelines but taking centre stage.
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