In Conversation With... Garry Barnes
The countdown is on to the return of our much-loved Rock ‘n’ Roll Panto. Ahead of rehearsals starting next week, we spoke to Garry Barnes about his role as a Technician at Leeds Heritage Theatres and as Company Stage Manager for this year’s Aladdin.
Written by Garry Barnes. Edited by Kelly Scotney
Describe a day in the life of a Theatre Technician.
As a theatre technician, no two days are ever the same!
On a Monday morning, we might be welcoming a new show – unloading large articulated trucks, rigging the lighting and sound, and building the sets. This process can take anywhere from one to three days, depending on the size of the production. When the show finishes (usually on a Saturday night), all those lights, speakers, and set pieces need to be carefully packed back onto the trailers, ready to move on to the next theatre. Some shows stay with us for just a week, while larger productions can run for several weeks.
Another type of shift is a Duty Show Technician shift. During these, we work closely with the visiting company to ensure the show is prepared for its next performance, starts on time, and runs smoothly.
We also have Theatre Days, which provide opportunities to catch up on desk or administrative work, complete training, and perform maintenance on backstage theatre equipment that requires attention.
Garry Barnes dressed as Snow White in the wings at City Varieties.
How does your day-to-day role change during Panto season?
During panto season, my role changes from Technician to Company Stage Manager (CSM). A big change in my day-to-day is that I am working on just one production for 11 weeks. As CSM, my role is to oversee Technical, Wardrobe, Stage Management, and the cast – trying to ensure the show runs with the minimum of fuss and stays as close to the director’s vision as possible. All whilst looking after the complex needs of the company, from socks to batteries, and most importantly of all, BISCUITS.
What’s the biggest challenge in Company Stage Managing a pantomime compared to other types of theatre?
Everyone who works on a pantomime knows it’s hard work. We do 63 performances in a short space of time – we love it; we couldn’t do it if we didn’t. It’s important to try to keep the morale high; to keep the show running. We all try to look after each other on these types of shows, especially when the ‘Panto bug’ does its rounds!
Have you had to deal with any unexpected mishaps during a live performance? How did you handle it?
As with any live performance, the unexpected is just around the corner. It’s what makes it fun and real.
I remember last year when the sound desk crashed just as we started Act II. There’s not much we can do without sound, but with anything like this, it must be dealt with calmly and professionally. I had to clear the cast off the stage and make an announcement to the audience (with no microphone – we didn’t have sound!). Again, the key word is calm. I kept the company updated and waited for the sound department to let me know we could start again.
Garry Barnes and a furry friend.
What’s the funniest or most memorable moment you’ve experienced during a panto show?
One of my favourite stories is of Kenny Davies playing the ‘baddie’ a couple of years back. There was a scene where Simon (the Dame) kissed or licked Kenny’s head (all in good humour). Kenny was waiting in the wings to go on for his scene and kept insisting that I smell his head. I gave in and smelt it… He had covered it in hand sanitiser! “Wait ‘til he licks my head tonight, I’ll get him”. Simon did have a shock when the moment came, but it was Kenny who then ‘corpsed’ and couldn’t stop laughing and couldn’t get his words out for a few minutes. Panto is fun!
Quickfire questions
Favourite venue – The Grand, Varieties, Hyde Park? Why?
Rather embarrassingly, I haven’t visited Hyde Park Picture House; I plan to amend this soon! It’s hard for me to choose between The Grand and City Varieties; they both hold a place in my heart. I spend a lot of my time at City Varieties with the panto, which I do really enjoy. Then, because I’ve been in the industry for a ‘few years’, I have a lot of friends on the touring show circuit who turn up at The Grand. They are both incredibly beautiful venues and steeped in history. I am very honoured to work in both venues and call them my home theatres.
Favourite story about that venue?
My favourite stories about any theatres are the ghost stories. Both The Grand and City Varieties have their wonderful ghost stories. I won’t tell any here, but if you do see me, please ask. I love nothing better than sitting down with a cup of tea and telling them.
Favourite show/act/film you have seen at one of our venues? Why?
I would love to say any of the pantomimes I have been CSM on, but I never get the chance to see them! Recent productions at The Grand that have stood out to me, and I cannot choose between these two, are Peter Pan Goes Wrong and Come From Away. Peter Pan Goes Wrong was such an incredibly clever and funny show; it made me want to see more of the Mischief productions, which I luckily have. Come From Away has the most fantastic songs. It’s clever and brave to make a show out of that story, and it’s beautifully done.
Garry Barnes and Basil Brush at City Varieties.
Garry Barnes with the famous yellow Trotters van from Only Fools and Horses: The Musical.
Favourite thing to do on your day off?
During panto season, it must be sleep/rest. Away from panto season, it’s nice to spend time with my wife on days off, walking the dog, going out for meals, catching up on TV, going to see a show.
Favourite job – what would you be doing if not in your current role?
Cheesy answer, I am doing my favourite job! It’s the truth, look at where I work and what I get to do and see. I couldn’t do it if I didn’t love it.
And finally, why should people buy tickets for our panto?
Our panto is such a clever panto, with it being Rock ‘n’ Roll. The music and singing are always live and full of songs you know. We have an extremely talented cast on stage that brings the best out of a funny and well-written script. Plus, the army of people backstage you don’t see. We all get so much enjoyment out of hearing the audience having a great time; it’s why we do it.
