No more set painting - sorry! | theatre australia

No more set painting - sorry!

Tim Prosser | 23/05/2008 - 19:24

Over the past few years I've painted a hell of a lot of stage sets, far more than just those for productions I've also acted in. It's what I did for a living for many years until serious illness and bodily wear and tear obliged me to stop doing it and go onto a disability pension. That, I'm sure, will come as a surprise to many because I rarely, if ever, talk about the illness that still plagues me from time to time.

On the wear and tear side of things, I have four damaged vertebrae right at the top of my spine where it becomes my neck, which causes constant pain that radiates up into the base of my skull, across my shoulders and down both my arms. It hasn't been a lot of fun, but I've learned to live with it and, I think, I've managed rather well in spite of it.

Those who have seen me in action must surely have a pretty good idea of the physical exertion I subject myself to, from balancing like a ballet dancer on top of a rickety step-ladder, brush in one hand and tin of paint in the other, to reach hard-to-get-to parts of a set that are well above head-height, to crouching down and painting details at the bottom of flats or on the floor itself. Even just holding up a straight-edge so I can paint straight lines is physically demanding and, ultimately, excruciatingly painful.

Those who haven't seen what I do . . . haven't got the slightest clue.

I've never missed a deadline and I've never let anybody down . . . until recently. The last production I was involved with (The Trial of Wild Gil Hiccup) was extremely hard work, given the two and a half days we had in which to bump out the previous show's set ( thanks a million for THAT . . . Hal), build, paint and dress our own set AND fit in three full-run rehearsals. Playing the part of 'Hyatt Twerp' required a very high level of energy and it was just as well we had a three-day break halfway through the run because I may very well have not made it through to the end otherwise.

The upshot of it all is that I aggravated my spinal problem even further and, several weeks later, it is painfully apparent that it is NOT going to get any better. In fact, I have not been at all well since Wild Gil finished. I don't want it to be this way, but I now have little option other than to retire permanently from set painting and concentrate solely on my acting instead. I don't want to end up permanently crippled by doing something that I don't even get paid for.

So, to those two directors who I've disappointed in recent weeks, I offer my profound apologies. At least one of you knows me well enough to understand that I don't let people down unless there is a very good reason for it.

To those other directors who may be hoping to secure my services in the future - please don't ask me, because you all know how difficult it is for me to say 'no'. The sad truth is that I just cannot do it any more.

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A Well "Decorated" Man

Author: Taurean
Date: 24/05/2008 - 11:07

I am sure I speak for many Directors and Stage Managers around Perth when I say that your talents as a set painter will be sorely missed Tim. Take care of yourself my friend and I hope we shall see you decorating sets with your acting abillities rather than your paint brush soon.

Graeme

"Just because no-one complains, it does not mean all parachutes are perfect."

24/05/2008 - 22:31 He deserves our respect. (not verified) One of the real heros of community theatre

Well, thanks whoever you

Author: Tim Prosser
Date: 25/05/2008 - 00:41

Well, thanks whoever you are, ascribing hero status to me, but I'm not altogether sure that I deserve it. In truth there are many other 'heroes' - and 'heroines' (if I'm still allowed to refer to them as such) - out there in Perth's theatre community, who always seem to be there when there's work to be done. Always the same people too. Whether they be building a set, rigging lights, finding or making props, sewing costumes or designing programs and posters, I doubt that they want to be thought of as heroes. They do what they do because they love doing it and get a huge kick out of rolling up their sleeves and getting stuck right into the creative process of making something pretty special (hopefully) happen on that stage. It's hugely satisfying to see all of that group effort come together and create a spectacle that works, and works really well.

But then, the spectacle has only a fleeting existence, of course. In a couple of weeks when the show's over, it gets pulled apart and the process of turning it into something completely different starts all over again. And, you guessed it, those same people are there again. They can't help it . . . they love theatre!

We all do.

25/05/2008 - 03:04 Well done Tim (not verified) Don't be so modest.

Thanks Graeme, it was a

Author: Tim Prosser
Date: 24/05/2008 - 22:37

Thanks Graeme, it was a pleasure working with you (all that time ago now - that's scary!)

Having thought a bit more about this decision which, I hasten to add, has not been made lightly, perhaps I might suggest that I could still help out in an instructional capacity. I can certainly advise on the best way to go about painting a set, and I can show others a few techniques used to achieve a range of effects - after all, most set painting is only technique that can be learned.

If I can help out in any way that doesn't involve all that climbing up and down and prolonged bending, then I'd really rather not divorce myself completely from the set painting process. Let's face it, I love doing it and that's why I've kept on doing it all this time. Only thing is that now it just hurts too much, so maybe it's time to pass on some of my accumulated skills to someone else and take pleasure in watching them put those skills to good use.

It makes sense to me, so there it is. You can all still call me after all - just not all at the same time thanks!

Humble suggestion

Author: Rapunzel
Date: 25/05/2008 - 09:48

I don't live in Perth (unfortunately) but I have an interest in set painting and I can't be the only one. Why not run some workshops offering instruction on the various paint effects? You could maybe do a Saturday or Sunday in some company's building space, charge a small charge to cover their costs and yours.

If I lived there I'd go.

Sympathies on the spine problems. I have arthritis in the hands and it limits me but I can cope with the occasional painting job.

Or maybe an apprentice "you" will step forward??? Sounds like your skills are too valuable to lose entirely but you must look after yourself.

Happy acting!

"Life is too short to stuff a mushroom"

Thanks for the vote of

Author: Tim Prosser
Date: 26/05/2008 - 15:22

Thanks for the vote of confidence Rapunzel. I'd have to think about that for a bit. Very few theatres here in Perth have much at all in the way of 'work areas' and pretty much everything is done on the stage itself. The only place I know of that does have a really wonderful backstage workshop area is Marloo, and even if they were interested in allowing it to be used for set-painting classes, its a difficult place for me to get too as I don't drive any more (by choice as much as financial restraints).

However, your suggestion is a very good one and perhaps others may step forward with offers of help to make it happen. As far as I'm aware, there are no other scenic artists with professional experience anywhere in Perth's community theatre scene. This does not mean I think the general standard out there is woefully bad (although some undoubtedly is), but there are certainly 'tricks of the trade' that can be taught and effectively applied.

So yes, an idea worthy of consideration, I think. Anybody else got any suggestions for getting a 'workshop' up and running?

I'm back! Well . . . almost.

Author: Tim Prosser
Date: 23/08/2008 - 15:17

Well, it's been quite a while since I posted this sob story and I must say it's been very nice not to have to deal with the stress of painting sets AND performing large roles at the same time. So . . . thank you all for not inundating me with requests for help and allowing me to take a much needed rest. I do, however, miss the set painting and regret that I just can't do the big ones any more for the reasons given in the pathetic tale related at the start of this.

I've just consented to go and paint a bit of scenery for Pat Stroud down at Harbour next week - she assures me it isn't a big job (I've heard THAT before!), so I certainly hope it isn't! Seriously though, it's just a view through a window and should be a nice easy job without all the climbing, balancing, bending and unnatural bodily contortions that don't do my fifty-something-year-old body any good at all.

And the reason for making this post today? I don't want anybody seeing my name in the program and getting the idea that I've gone back on my word. It's just the big ones I can't do any more - small ones like this shouldn't be too much of a problem - and my offer of assistance in the form of instructional advice still stands.

So . . . please don't be afraid to ask. As I've said, I'm more than happy to come along and show others how to do things.

No more set painting - sorry!

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