If you saw One for the Pot and remember how they stomped on the floor and a hidden compartment opened, that was actually
controlled by our lighting board.<\/p>\n\n\n\n
Nana\u2019s Naughty Knickers has some similar surprises but I will not include them here so as to not spoil the surprise.<\/p>\n\n\n\n
But if you wondered how that is done, the picture on the next page shows the tech behind it.<\/p>\n\n\n\n
What I can share is that behind some of these clever technical moments is one of our dedicated volunteers, Pete Learoyd, who
has been helping bring a bit of theatre magic to life.<\/p>\n\n\n\n
Pete has been part of our technical team for about a year and a half now, helping bring some of these behind-the-scenes moments to life. Like many of our volunteers, he came to the theatre from a very different day-to-day world.<\/p>\n\n\n\n
Pete Learoyd is our feature In the Spotlight.<\/p>\n\n\n\n
Glen<\/strong>: So Pete\u2014what drew you into volunteering here, and what keeps you coming back?<\/p>\n\n\n\n Pete<\/strong>: For me, it\u2019s a really different kind of outlet compared to my day job. I spend a lot of time working at a computer and dealing with fairly structured, sometimes high-pressure work.<\/p>\n\n\n\n Being involved in theatre lets me use a completely different part of my brain\u2014it\u2019s more hands-on, creative, and a bit experimental. You get to build things, try ideas, and see them come to life in front of an audience.<\/p>\n\n\n\n That contrast is what really hooked me. It\u2019s creative in a way that feels fun and collaborative, and you\u2019re working toward something tangible that people get to experience.<\/p>\n\n\n\n Gl<\/strong>en: For anyone reading who might not be familiar, \u201ctechnical theatre\u201d is really everything behind the scenes that makes a Pete, where have you found yourself fitting into that world so far?<\/p>\n\n\n\n Pete<\/strong>: I\u2019ve always enjoyed carpentry and construction, so naturally I was interested in the set side of things\u2014but we\u2019ve got a great So, I started spending more time around the lighting side, and that\u2019s where things got interesting for me. Modern lighting boards use digital signals to tell lights exactly how to respond \u2014timing, intensity, movement\u2014and I realized those same signals can be used to trigger other things too.<\/p>\n\n\n\n That led me toward the more interactive elements\u2014especially what we call \u201cpracticals,\u201d which are set elements that can be triggered or controlled electronically, often from the booth. So now I find myself somewhere in between lighting and set, trying to connect the two.<\/p>\n\n\n\n At the end of the day, it\u2019s really the actors who bring the show to life\u2014but the technical side helps support that and, hopefully, adds those extra moments that make the experience more immersive for the audience.<\/p>\n\n\n\n That\u2019s where it gets fun\u2014figuring out how to make something happen at just the right moment so it enhances what\u2019s happening on stage. If it makes the audience pause and think \u201chow did that happen?\u201d, then we\u2019ve probably done it right.<\/p>\n\n\n\n Glen<\/strong>: So while everyone else is building the set\u2026 you\u2019re figuring out how to make it do things it probably shouldn\u2019t?<\/p>\n\n\n\n Pete<\/strong>: Exactly\u2014just in a controlled and hopefully intentional way.<\/p>\n\n\n\n I actually noticed that about myself recently when I was at an escape room with my family. Everyone else was focused on solving the puzzles, and I was more interested in how everything worked\u2014the hidden triggers, the electronics, how things were revealed.<\/p>\n\n\n\n It\u2019s very similar to theatre. You\u2019re creating an experience, and a lot of the magic comes from what the audience doesn\u2019t see. That\u2019s the part I really enjoy\u2014figuring out how to build those little moments of surprise into a production.<\/p>\n\n\n\n Glen<\/strong>: It sounds like a lot of what you\u2019re doing involves creative problem-solving\u2014figuring out how to make something look a certain way on stage, even if it\u2019s not built the way it normally would be in the \u201creal world.\u201d<\/p>\n\n\n\n Have you had any moments where that really clicked for you?<\/p>\n\n\n\n Pete<\/strong>: Yeah, that was actually one of the early realizations for me. Coming from a more traditional construction or carpentry mindset, you\u2019re used to building things properly\u2014level, square, and functioning the way they\u2019re \u201csupposed\u201d to.<\/p>\n\n\n\n But in theatre, you\u2019re not always building for real-world use\u2014you\u2019re building for effect.<\/p>\n\n\n\n I remember working on a piece where we needed a drawer to slide open on cue. My first instinct was to make sure everything was perfectly aligned and smooth, but then I realized it actually worked better if it wasn\u2019t perfectly level. By adjusting it slightly, gravity could do part of the work and help the drawer open reliably when triggered.<\/p>\n\n\n\n That was a bit of a mindset shift for me. You\u2019re not always trying to build something perfectly\u2014you\u2019re trying to build the illusion of something happening at the right moment.<\/p>\n\n\n\n And that\u2019s what I find really interesting\u2014it\u2019s that combination of practical building, a bit of creativity, and sometimes bending the \u201crules\u201d just enough to make the effect work.<\/p>\n\n\n\n Glen<\/strong>: So all those years of being told to build things level\u2026 and now you\u2019re undoing it?<\/p>\n\n\n\n Pete<\/strong>: Pretty much\u2014just selectively and with a good reason this time.<\/p>\n\n\n\n Glen<\/strong>: It sounds like you\u2019ve already picked up quite a bit in a relatively short time. What\u2019s been one of the most interesting\u2014or maybe unexpected\u2014things you\u2019ve learned so far?<\/p>\n\n\n\n Pete:<\/strong> One of the biggest things for me has been realizing just how much coordination happens behind the scenes. From lighting cues to sound to set movement, everything has to line up at exactly the right moment.<\/p>\n\n\n\n You start to appreciate how many moving parts there are\u2014and how important it is that everything works together reliably, especially during a live performance. There\u2019s not a lot of room for improvising when a technical cue is supposed to happen.<\/p>\n\n\n\n It\u2019s also been a great environment for learning by doing. There\u2019s always someone with more experience willing to share what they know, and you pick things up pretty quickly just by being involved.<\/p>\n\n\n\n Glen:<\/strong> Is there anything in particular you\u2019re excited to learn more about or explore further?<\/p>\n\n\n\n Pete:<\/strong> I\u2019d definitely like to keep building on the lighting side, especially understanding more about how the lighting board works and what else can be integrated into it.<\/p>\n\n\n\n There\u2019s a lot of potential there\u2014not just for lighting effects, but for connecting different elements of the show in a more coordinated way.<\/p>\n\n\n\n And beyond that, just continuing to experiment with practical effects\u2014finding new ways to create those small moments that There\u2019s always another idea to try\u2014it\u2019s just a matter of figuring out how to make it work safely and on cue.<\/p>\n\n\n\n
production come together\u2014sets, lighting, sound, props, costumes, and all the moving parts that support what\u2019s happening on stage. <\/p>\n\n\n\n
group of volunteers who are very good at getting the sets built and on stage.<\/p>\n\n\n\n
add something extra to the audience experience.<\/p>\n\n\n\n