Interviewer: Can you tell me briefly a little bit about your roles, you know, how do you go about managing a performance like that?
Jen: Well, depending on what your role is, in rehearsals, you would ideally be in rehearsals all the time, as much as possible being on the books, you' ve got the script in front of you and you just watch what their doing the whole time and you make detailed notes of a blocking and all movements, and you have detailed discussions with the directors about what cueing they want, lighting and sound wise, so you would know when to say go, to the lighting designers, when to press play and stop. And at the same time, the production as a whole, you have meetings with the designer, the lighting designer, so you have an intimate knowledge basically of what everything' s about, an intimate knowledge of what the set is made of, how you would move it from venue to venue, how to look after it, how to care for it. Same with the props, do you need to make lots of specific things for this prop, or is there something really valuable that you need to look after or is there something that you can' t touch, you just need to know every single thing about the show that you really should know.
You may not have thought of including a gift to a museum in your will, but the V&A is a charity and legacies form an important source of funding for our work. It is not just the great collectors and the wealthy who leave legacies to the V&A. Legacies of all sizes, large and small, make a real difference to what we can do and your support can help ensure that future generations enjoy the V&A as much as you have.