Theatre Set Constructer

Henry Budd

Sydney Theatre Company head of set construction James McKay was typical of many youngsters in that he had no idea what he wanted to do when he was at school.

McKay started in the industry while travelling overseas, where he used his gift of the gab to talk his way into a set construction job while living in London and desperate for money.

What is involved in set construction?
Theatre scenery or set building is pretty unique – quite different to film and television. We interpret the designer’s design and build the sets to fit the parameters that the directors need. We have to make sure the sets are modular so they can be broken down and put into the venue in a very short time – we only have one day and one night to install and remove a set. Some have to be designed so they can be broken down and put in the back of a truck to go on tour. Sometimes we have to get an engineer’s certificate to approve our building methods. We do the construction and then scenic artists do the painting. In a smaller company people are more multi-skilled.

How long do you have to build each set?
We usually have about four to six weeks. Some are only a two-week build, it depends on the [size of the] venue.

How long have you been working at Sydney Theatre Company?
I’ve been here for nine years. Before that I freelanced for many years and I never thought I would take a full-time unionised position. When I was offered the job the GST and Fox Studios had just been introduced. I wanted to see what the impact would be on the film industry. As you know, there aren’t many films being made in Sydney at the moment, so it was probably a good career move.

How did you get into set construction?
I was in London and applying for all sorts of jobs. I went to a set construction company near where I was living. I was offered a job and spent quite a bit of time there as a trade assistant to the set constructors. I had worked as an assistant grip back home so I had seen a couple of sets and thought it looked fun and creative. So I said that I was a set builder from Australia and that I’d fallen in love with an English girl.

Was your lack of experience obvious?

Yes, they found out within a couple of days. But for about a year I worked in many different companies in the West End of London as a labourer or trade assistant, trying to absorb as much as I could.

What qualifications do you need as a theatre set constructer?
Generally it’s either a carpentry or a steel [boiler-making] vocation. I had gone from high school into arts school where I studied fine art and majored in painting, photography and printing. So I was always inclined to work in a creative or artistic endeavour. Through family connections I was offered a job as assistant grip on a television show called Willing and Able. When I was in London and pretty desperate for money, I was trying for any sort of opportunity. I was young and confident and able to say things that I couldn’t now I’m more mature. But it was the art course that led me to believe I could work with my hands and do set building.