GARETH TUDOR-PRICE, artistic director (Ink Pellet 71, November 2009): It can be a dramatic drive [into work] under the Humber Bridge, with lots of sky…Every day is different. Some are admin days where I spend my days doing the programme for the theatre.
HANNAH GUNSBERGER, Wardrobe manager (Ink Pellet 51, June 2006): We have two wardrobe assistants working on each production and the three of us begin our day by sorting the laundry from the previous night’s performance or rehearsals… With Titus Andronicus there are a lot of ‘blood’ moments, which is quite alarming when you have to look after the costumes. We use two types of blood in the production: a chemical blood and an edible blood, made of glycerine, food dye and golden syrup that the actors can, if necessary, hold in their mouths.
SHIRLEY BRODY, freelance make-up artist (Ink Pellet 61, February 2008): Once the curtain goes up we are rushing around the stage, making up in the dark in the wings. You have to work in tandem with the dressers and cooperate so we don’t get in each other’s way…I am always amazed how quickly some artists whip off their costume and wigs. Some wigs can get rather sweaty and I need to put them on a block (false head) to dry either in the air or in a special drying oven I have.
TONY GARDNER, actor (Ink Pellet 67, March 2009): [I wake up] far too early and go over my lines from the play in my head. Then I shower and tend to my new moustache which I have had to grow for the play.
DR JOHN SENTAMU, Archbishop of York (Ink Pellet 63, July 2008): I try to send an individual response to every person that writes to me directly, so on longer journeys I sometimes have 12 books or so of letters to sign. It’s important for people to know that I have read their letters and they’re not just getting an automated response.
HEATHER HOLDEN-BROWN, literary agent (Ink Pellet 52, October 2006): At some stage during the day I will tackle the growing slush pile. Every publisher and agent has a slush pile – the term used within publishing for all the unsolicited scripts that we receive. It’s just me and my assistant in the office and we receive about 30 new manuscripts a week from hopeful authors…It’s my job to know a book inside out, not least because I have to work out if the book is not just good but marketable.
TRACY-ANN OBERMAN, actress, (Ink Pellet 82, September 2011): Once I’ve dropped off my daughter, I race off to the rehearsal rooms mouthing my lines as I go. I learn my lines at the strangest of times. I have the script handy everywhere: shopping, in the car, on the bus, the hairdressers, EVERYWHERE.