In my last post (“where to start” https://www.rmhodgson.co.uk/post/how-to-get-into-costume-for-theatre-the-blog-1 ) I suggest writing down what it is you love about costume, in order to narrow down where you should start looking for job opportunities.
In this post I will discuss the different areas of theatre in a bit more detail. Hopefully this will not only help show that the theatre world is broader than a lot of people think, but it will enable you to focus your research and create a list of organisations you’d like to contact within sectors you enjoy.
Although there are many websites and groups that advertise jobs and vacancies, I really recommend approaching organisations directly. I know first-hand this can lead to employment because that’s how I got my very first job. I had applied to so many jobs by this point and had heard nothing back from the vast majority of applications, so I decided to be more proactive and to contact some theatres myself. A few weeks later I got a phone call...... and the rest is history! Very often, if companies don't have vacancies at the time you approach them, they will keep your CV on file until they have an opening.
So what are some of the different sectors available to a budding costumier?
West End
Most people have heard of the West End so it seems like a great place to start. The West End in London is packed with successful musicals and plays. It's an incredibly exciting place to work with a great buzz and a huge amount of talent. West End productions can pay good salaries and as the West End has so much prestige and reputation surrounding it, it is extremely attractive on a CV. The hours can be long and unsociable. Most West End shows do at least 8 shows a week and obviously the hours tend to be afternoon through to the evening. There can also be extra hours around tech weeks, cast changes and understudy rehearsals. Contracts can vary in length depending on the show but there are lots of people who have made very long-lasting, successful careers working in this hugely exciting bubble of theatre.
Touring
Very often, a show that has had a successful stint in the West End or in a regional theatre may go on tour. This could be either a domestic or international tour. Although there are slight differences between the two; ultimately a production will have a scheduled tour that changes venues within a particular time frame. For example, a production of Macbeth could perform in Southampton for a week and the following week perform in Manchester. Larger productions might stay in the same venue for weeks or even months.
Touring can be an attractive proposition to some as there is a lot of travel (and potentially sightseeing involved). It is important to note however that it can be incredibly gruelling with very long hours (particularly during get-ins and get-outs) and long periods of time away from family and friends.
Regional
Regional Theatres are dotted across the country and are theatres that produce their own work –because of this they are extremely popular to work in from a costumier’s perspective as the vast majority of the productions are made in-house. Not only do regional theatres generate quality shows they are hubs of creativity and public engagement. Very often they are responsible for nurturing new talent both on and off stage as well as playing a vital role within the community, many have youth theatres, as well as clubs and activities for local people to attend. Unfortunately regional theatre has faced a lot of funding cuts in recent years and can struggle to compete financially alongside more "commercial" theatres. This means budgets are often tight and salaries are typically pitched towards the lower end of the market. There is also a decline in full term employment within these theatres and so job opportunities can be competitive. Full time employment can offer much job security and a better work life balance then some other theatre jobs.
Examples include: The Royal Shakespeare Company, Sheffield Crucible, Chichester Festival Theatre and Leeds Playhouse
Opera
We are very fortunate to have many reputable Opera companies in this country. Many who make large-scale productions. Although their work is primarily Opera that’s not to say that’s all they do. Many experiment with other genres even if Opera represents the majority of their portfolio. Because of their ambitious productions, opera can be an incredibly exciting area to work in for costume makers. There are lots of job opportunities in a variety of roles where there are a lot of exciting skills to be learnt. Traditionally Operas have a principle cast, supported by a chorus, accompanied by an orchestra. This very often means that they are large companies who need a lot of costumes!
Examples include: English National Opera, Glyndebourne, Opera North and Holland Park.
Ballet
Similar to Opera, there are a number of organisations focusing specifically on Ballet nationwide. These companies tend to produce ambitious works and are usually supported by a loyal fan base. Many ballets have teams of dancers creating a lot of work for costume teams. Obviously, this makes ballet attractive for finding costume work. A lot of ballet companies require their teams to tour as well which is worth researching before applying to any Ballet companies. Unfortunately there are only a handful of large Ballet companies in the UK.
Examples include: Northern Ballet, Birmingham Royal Ballet and English National Ballet.
Fringe
Fringe theatre is theatre that is produced out-side of the main theatre organisations. It is usually small scale with strict budgets. Fringe theatre allows creatives to experiment and push the boundaries of "traditional" theatre. Fringe theatre allows a lot of creatives to stage their work for the first time and therefore gives an opportunity to develop it. Some pieces gain recognition at festivals such as the Edinburgh fringe and then go on to be performed at more "commercial" institutions. A lot of Fringe Theatre relies on funding and financial support which does have an affect on salaries. However being involved in new and exciting work is always a privilege.
Cruise
Much like touring, working on cruise ships is appealing to many because of the travel perks but again it's worth noting that it can be incredibly long hours without seeing friends and family. As part of the ship’s crew you may need to have safety responsibilities, or other roles on top of any costume work. This isn’t for everyone. Most cruise ships will have a range of entertainment for their guests which means a variety of productions to work on. Contracts can vary in length depending on the locations travelled to. Although life on a ship isn't for everyone, it can offer the opportunity to learn and develop skills in a short space of time.
Community
Community theatre is theatre created for or including a social group. This includes collaborating with communities where their engagement with the arts may be low or their representation within the arts is low. This can range dramatically in scale from just one person to hundreds. Community theatre can be incredibly rewarding to be a part of with many individuals benefitting from being involved in this type of work. It is continually evolving and can offer a great variety of possibilities for a costume practitioner. There are lots of opportunities to get involved in community theatre all over the country and would look fantastic on any CV for people breaking into the Theatre.
Theatre in Education
Theatre in Education (TiE) is theatre that has been devised specifically for educational institutions. Many TiE companies create pieces of work about a particular topic that can they be easily toured around schools, universities and libraries. TiE is traditionally small-scale but will still require costume support at various stages of their production process. TiE work is usually created by small independent companies. Examples include Solomon Theatre, Kinetic Theatre Company and Actionwork Creative Arts.
Site specific
Site specific theatre uses its surroundings to help inspire and create its work. This pushes the boundaries of conventional theatre viewing and allows performances to be watched by many non-theatre goers as well. Because this work is not staged in a "traditonal" Theatre space it can be hugely educational for a costume practitioners career. There are constant challenges that require creative problem solving. Examples include Secret cinema, Punchdrunk and Rift Theatre.
I have tried to sum up the main sectors within Theatre for costume practitioners, but if you are interested in learning more about any of them specifically, seek out a professional in that field, approach them politely and they will be able to give you further insight and answer any questions you may have.
Comments