CREATIVE TEAM INTERVIEWS
Assistant Lighting Designer
TAMYKHA PATTERSON
Tamykha joined Tina directly from working on a variety of different productions at the National Theatre’s Olivier Theatre. Having also worked at the Wimbledon Theatre, London, and at the National Theatre’s Lyttleton Theatre, Tamykha has worked on productions such as Small Island, Pinocchio and The Red Barn.
I worked with Bruno Poet (Lighting Designer), plus Max (Programmer) and Warren (Associate Lighting Designer) and a substantial part of my role is working with them to ensure that Bruno’s vision comes alive on stage. Bruno’s job is to light the show, and help tell the story through light, and we help make that happen.
My main role on Tina was working with the four follow spot operators, and calling their cues. There are four follow spots on the show: two in the slips (on the sides in the circle) and two front of house. The job of an Assistant Lighting Designer is different on each show, depending on how many other people are working on the show, and the nature of that production.
The technical rehearsal process of Tina took three weeks. We (the lighting designers and programmer) came in before the performers so that we could get ahead and speed up the process of teaching so that the performers didn’t have to stop for us. When they have a break, we often work through and use that opportunity to get ahead again. After the technical rehearsals come the previews, the period when the show is being performed but changes can, and often are, made. During the previews I would be responding to notes that have been given by one of the creative team when they watched the show, by making slight adjustments as needed, updating cue sheets etc. Sometimes I would even stand in for a performer whilst one of the other members of the lighting team made tweaks!
One of the most challenging aspects of working on the follow spots in particular, is that different performers playing the same role might not always do the same things (particularly early on in a run)! For example, we have a ‘cover’ Tina, who may play the role on some nights, and we also have children in the cast and so I, along with the follow spot operators, need to be ready to respond to any slight changes or deviations from what we are expecting!
I think my favourite moment in the show in terms of all of the design elements coming together is the ‘Megamix’ – the concert section at the end of the show. It’s when you are suddenly shown so much more (no plot spoilers though!) and it leaves the entire audience on such a high. I can look at the show and I know that, through my role, I have done my bit in making this show happen. This makes me feel incredibly proud.
The people who work on this show are rightly proud of what we have achieved on Tina. It feels great to have created the musical in London, as many musicals often come from overseas (including the United States, particularly Broadway). It’s also amazing to be working in a cast that is made up of so many people of colour – this feels really important. A love and admiration for Tina Turner herself is also something that binds and inspires us. Hers is such an important story, with lots of individual aspects that an audience member could relate to, particularly her sense of strength.