Charles Harrington
Other
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My Contact Number:
07415928480
Links
Credits
Year | Job Title Project Type |
Project Name Director / Company |
Location |
---|---|---|---|
2020 |
GET OUT
Music & Singing |
CINDERELLA CHARLES E. HARRINGTON |
ENO |
2020 |
GET OUT
Music & Singing |
CHERUBIN CHARLES E. HARRINGTON |
THE ROYAL ACADEMY OF MUSIC |
2020 |
REHEARSAL FIT UP
Theatre |
BABY REINDEER CHARLES E. HARRINGTON |
THE ARCOLA - DALSTON |
2020 |
GET OUT
Theatre |
THE HAYSTACK CHARLES E. HARRINGTON |
THE HAMPSTEAD THEATRE |
2020 |
GET OUT
Music & Singing |
COSSI FAN TUTE - MOZART CHARLES E. HARRINGTON |
THE HACKNEY EMPIRE |
2020 |
GET OUT
Event |
GLOBAL AWARDS CHARLES E. HARRINGTON |
THE HAMMERSMITH APOLLO |
2020 |
FIT UP
Event |
GLOBAL AWARDS CHARLES E. HARRINGTON |
THE HAMMERSMITH APOLLO |
2020 |
GET OUT
Theatre |
A TASTE OF HONEY CHARLES E. HARRINGTON |
TRAFALGAR STUDIOS -WESTMINSTER |
2020 |
FIT UP
Music & Singing |
COSSI FAN TUTE - MOZART CHARLES E. HARRINGTON |
THE HACKNEY EMPIRE |
2020 |
FIT UP - REHEARSALS
Theatre |
SATURDAY NIGHT FEVER CHARLES E. HARRINGTON |
PADDINGTON ARTS |
2020 |
GET OUT
Music & Singing |
ENGLISH TOURING OPERA CHARLES E. HARRINGTON |
TOYNBEE STUDIOS |
2020 |
GET OUT
Music & Singing |
BBC ORCHESTRA CHARLES E. HARRINGTON |
THE PALLADIUM - SOHO |
2020 |
GET OUT
Theatre |
GOD OF CARNAGE CHARLES E. HARRINGTON |
THE ROSE THEATRE - KINGSTON |
2020 |
GET OUT - SENIOR TECH AND CREW BOSS
Theatre |
DHM CHARLES E. HARRINGTON |
DHM STUDIOS |
2020 |
GET OUT
Television |
THE VOICE CHARLES E. HARRINGTON |
TANNER STREET STUDIOS |
2020 |
FIT UP
Theatre |
PINA BAUSCH BLUE BEARD CHARLES E. HARRINGTON |
SADELRS WELLS |
2020 |
GET OUT
Theatre |
A GIRL FROM THE NORTH COUNTRY CHARLES E. HARRINGTON |
THE GUILGUD THEATRE - SOHO |
2020 |
FIT UP
Theatre |
ENGLISH TOURING OPERA CHARLES E. HARRINGTON |
TOYNBEE STUDIOS |
2020 |
GET OUT - SENIOR TECH AND CREW BOSS
Theatre |
A CHRISTMAS CAROL CHARLES E. HARRINGTON |
THE OLD VIC - WATERLOO |
2020 |
FIT UP ACOUSTICS - 3 WEEKS
Theatre |
TRIPLE E CHARLES E. HARRINGTON |
FAIRFEILD CONCERT HALL - CROYDON |
2020 |
FIT UP
Theatre |
CHARLES E. HARRINGTON |
THE HAMMERSMITH APOLLO |
2020 |
FIT UP
Theatre |
REHEARSAL CHARLES E. HARRINGTON |
GLASS HILL STUDIOS - HACKNEY |
2020 |
GET OUT
Theatre |
NT- LIVE IAN MCKELLAN CHARLES E. HARRINGTON |
THE HAROLD PINTER - SOHO |
2020 |
FIT UP
Theatre |
NT- LIVE IAN MCKELLAN CHARLES E. HARRINGTON |
THE HAROLD PINTER - SOHO |
2020 |
GET OUT
Theatre |
NYE EVENT CHARLES E. HARRINGTON |
BRIXTON ACADEMY |
2019 |
GET OUT - SENIOR TECH AND CREW BOSS
Theatre |
THRILLER LIVE CHARLES E. HARRINGTON |
FLYING MUSIC REHEARSAL SPACE |
2019 |
FIT UP
Theatre |
WELKIN CHARLES E. HARRINGTON |
THE NATIONAL THEATRE |
2019 |
FIT UP
Theatre |
CIRCUS 1903 CHARLES E. HARRINGTON |
THE ROYAL FESTIVAL HALL |
2019 |
FIT UP
Theatre |
THRILLER LIVE CHARLES E. HARRINGTON |
FLYING MUSIC REHEARSAL SPACE |
2019 |
GET OUT
Event |
PIT DE RIG CHARLES E. HARRINGTON |
THE HAMMERSMITH APOLLO |
2019 |
FIT UP
Event |
FREE MASONS EVENT CHARLES E. HARRINGTON |
FREE MASONS HEAD QUARTERS - HOLBORN |
2019 |
GET OUT
Theatre |
A MAN IN THE WHITE SUIT CHARLES E. HARRINGTON |
WYNDAMS THEATRE - SOHO |
2019 |
FIT UP
Theatre |
A GIRL FROM THE NORTH COUNTRY CHARLES E. HARRINGTON |
THE GUILGUD THEATRE - SOHO |
2019 |
GET OUT
Event |
STEVE MCQUEEN CHARLES E. HARRINGTON |
THE SHOREDITCH TOWN HALL |
2019 |
FIT UP
Theatre |
A TASTE OF HONEY CHARLES E. HARRINGTON |
TRAFALGAR STUDIOS -WESTMINSTER |
2019 |
STAGE TECH
Theatre |
THE TAMING OF THE SHREW CHARLES E. HARRINGTON |
THE BARBICAN - THE CITY |
2019 |
FIT UP
Television |
FRIENDS TV - COMEDY CENTRAL CHARLES E. HARRINGTON |
THE OLD TRUMAN BREWERY - SHOREDITCH |
2019 |
FIT UP
Event |
STEVE MCQUEEN CHARLES E. HARRINGTON |
THE SHOREDITCH TOWN HALL |
2019 |
GET OUT
Theatre |
WAR HORSE CHARLES E. HARRINGTON |
WEMBLEY PARK THEATRE |
2019 |
FIT UP
Theatre |
THE ROYAL VARIETY PERFORMANCE CHARLES E. HARRINGTON |
THE PALLADIUM - SOHO |
2019 |
FIT UP
Theatre |
BIG THE MUSICAL CHARLES E. HARRINGTON |
THE DOMINION THEATRE - TOTTENHAM COURT ROAD |
2019 |
GET OUT
Event |
LEAGUE OF LEGENDS CHARLES E. HARRINGTON |
MADRID (PALACIO VISTALERGE) |
2019 |
FIT UP & STAGE CREW
Theatre |
CHARLES E. HARRINGTON |
SADELRS WELLS |
2019 |
GET OUT
Theatre |
TWO LADIES CHARLES E. HARRINGTON |
THE BRIDGE THEATRE |
2019 |
FIT UP
Television |
TV COMMERCIAL CHARLES E. HARRINGTON |
ALVA STUDIOS |
2019 |
FIT UP
Music & Singing |
BBC ORCHESTRA CHARLES E. HARRINGTON |
THE COLISEUM - SOHO |
2019 |
STAGE TECH
Theatre |
CHARLES E. HARRINGTON |
SOUVENIR SCENIC STUDIOS |
2019 |
FIT UP
Theatre |
WAR HORSE CHARLES E. HARRINGTON |
WEMBLEY PARK THEATRE |
2019 |
GET OUT
Theatre |
THE KING OF HELLS PALACE CHARLES E. HARRINGTON |
THE HAMPSTEAD THEATRE |
2019 |
STAGE TECH
Theatre |
PETER PAN CHARLES E. HARRINGTON |
SUGAR STUDIOS |
2019 |
GET OUT
Theatre |
ROMEO & JULIET CHARLES E. HARRINGTON |
MOUNTVIEW - PECKHAM |
2019 |
FIT UP
Theatre |
LUNGS CHARLES E. HARRINGTON |
THE OLD VIC - WATERLOO |
2019 |
FIT UP
Theatre |
PRICILLA CHARLES E. HARRINGTON |
THE NEW WIMBLEDON THEATRE |
2019 |
FIT UP
Theatre |
A TASTE OF HONEY CHARLES E. HARRINGTON |
RICHMOND THEATRE |
2019 |
FIT UP
Theatre |
REHEARSAL CHARLES E. HARRINGTON |
PADDINGTON ARTS |
2019 |
STAGE TECH
Theatre |
ILLUSION DESIGN & CONSTRUCT CHARLES E. HARRINGTON |
ILLUSION DESIGN & CONSTRUCT |
2019 |
GET OUT
Event |
AWARD CEREMONY CHARLES E. HARRINGTON |
HAMMERSMITH APOLLO |
2019 |
GET OUT
Theatre |
THE NIGHT OF THE IGUANA CHARLES E. HARRINGTON |
THE NOEL COWARD THEATRE - SOHO |
2019 |
STAGE TECH
Event |
CHIHULY NIGHTS CHARLES E. HARRINGTON |
KEW GARDENS - KEW |
2019 |
GET OUT
Theatre |
ENGLISH TOURING OPERA CHARLES E. HARRINGTON |
THE COCHRANE THEATRE - HOLBORN |
2019 |
FIT UP
Event |
BURBERRY CHARLES E. HARRINGTON |
THE WHITE CITY THEATRE |
2019 |
FIT UP
Event |
THE VINYL FACTORY CHARLES E. HARRINGTON |
THE VINYL FACTORY |
2019 |
FIT UP
Theatre |
A MAN IN THE WHITE SUIT CHARLES E. HARRINGTON |
WYNDAMS THEATRE - SOHO |
2019 |
FIT UP
Television |
FRIENDS TV FESTIVAL - COMEDY CENTRAL CHARLES E. HARRINGTON |
KENNINGTON PARK |
2019 |
FIT UP
Event |
FRESHERS CHARLES E. HARRINGTON |
CENTRAL ST MARTINS - KINGS CROSS |
2019 |
FIT UP
Event |
LAPARDA ART FAIR CHARLES E. HARRINGTON |
LAPARDA - MAYFAIR |
2019 |
FIT UP
Event |
AWARD CEREMONY CHARLES E. HARRINGTON |
THE HAMMERSMITH APOLLO |
2019 |
FIT UP
Event |
OLYMPIA LONDON CHARLES E. HARRINGTON |
OLYMPIA LONDON - HAMMERSMITH |
2019 |
GET OUT
Theatre |
BRAINIAC LIVE CHARLES E. HARRINGTON |
THE GARRICK THEATRE - SOHO |
2019 |
FIT UP
Theatre |
TRIPLE E MODD TRUSS CHARLES E. HARRINGTON |
THE PLEASANCE THEATRE - ISLINGTON |
2019 |
GET OUT
Theatre |
ALLADIN CHARLES E. HARRINGTON |
THE PRINCE EDWARD - SOHO |
2019 |
STAGE TECH
Theatre |
RED SHOES CHARLES E. HARRINGTON |
STAGE SERVICES |
2019 |
FIT UP
Theatre |
THE SILVER LAKE CHARLES E. HARRINGTON |
THE CLAPHAM OMNIBUS |
2019 |
FIT UP
Theatre |
FALSETTOS CHARLES E. HARRINGTON |
THE OTHER PALACE THEATRE - GREEN PARK |
2019 |
FIT UP
Theatre |
IT CHAPTER II CHARLES E. HARRINGTON |
THE VAULTS - WATERLOO |
2016 |
Head of Deparment - Scenic Construction
Theatre |
Sweet Charity Anthony Banks / The Royal Central School of Speech and Drama |
The Embassy Theatre |
2015 |
Head of Deparment - Scenic Construction
Theatre |
PUSH Catherine Alexander / The Royal Central School of Speech and Drama |
The Webber Douglas Studio / The New Diorama |
2015 |
Theatrical Scenery Maker
Theatre |
West Side Story Ed Hughes / The Royal Central School of Speech and Drama |
The Embassy Theatre |
2015 |
Head of Deparment - Scenic Construction
Theatre |
RED! The Wolf Slayer! A Dark And Disturbing Tail! Sherril Gow / The Royal Central School of Speech and Drama |
The Webber Douglas Studio |
2015 |
Theatrical Scenery Maker
Theatre |
Lady Windermeres Fan Tim Hardy / The Royal Central School of Speech and Drama |
The Embassy Theatre |
2015 |
Theatrical Scenery Maker
Theatre |
Citizen Puppet Mark Down / Blind Summit |
The New Diorama / London Fitzrovia |
2014 |
Theatrical Scenery Maker
Theatre |
Minack Under 5's The Royal Central School of Speech and Drama |
Minack Theatre |
2014 |
Theatrical Scenery Maker
Theatre |
The Twee Muskateers! A Rock And Roll Caper Sherril Gow / The Royal Central School of Speech and Drama |
The Webber Douglas Studio |
2014 |
Theatrical Scenery Maker
Theatre |
Love and Information Richard Beecham / The Royal Central School of Speech and Drama |
The Embassy Theatre |
2014 |
Head of Deparment - Scenic Construction
Theatre |
Man of Mode Phillip Franks / The Royal Central School of Speech and Drama |
The Webber Douglas Studio |
2014 |
Theatrical Scenery Maker
Theatre |
The Good Person Of Setzuan Nancy Meckler / The Royal Central School of Speech and Drama |
The Embassy Theatre |
2014 |
Theatrical Scenery Maker
Event |
London Walks : Kensington & Knightsbridge - Bachelor of Arts Collaboration The Royal Central School of Speech and Drama |
Performance Space 1 |
Education
Year | Qualification | Where |
---|---|---|
2016 | Scenic Construction | The Royal Central School of Speech and Drama |
2009 | Electrical Installation | Suffolk new College |
2009 | Carpentry & Joinery | Suffolk New College |
Equipment
My Equipment/Kit: All basic hand tools
I can use: All Basic Hand Tools
About me
Having worked mainly in London’s west end I have gained a substantial knowledge of working in backstage theatre. My area of expertise is stage fit ups and get outs. I have executed a host of these over the years and I feel that I am exceptionally well trained in this area. I have worked in almost all of the west end venues on a self employed / free lance basis and gained great insight, knowledge and confidence throughout.Over the years of my career I have worked on a huge variety of performances specifically theatre, opera, ballet, events. This has given me unique skills that few posses. The field that I most excel in is technical theatre and stage carpentry. Having trained and acquired a Bachelor of arts degree in Scenic Construction at one of the most prestigious drama schools in the country, The Royal Central School of Speech and Drama thereafter I have then perfected and honed my talents and speciality.
I specialise in offering a highly skilled freelance service in every aspect of theatre practice including Performance Stage Crew, Get In’s, Get Out’s. Technical Advise and Stage Carpentry.
Additional skills:
- Scenic Construction
- Prop Making
- Project management
- Budgeting
- Scheduling
- Technical Drawing
- Creative writing
- Research
- Technical Drawing
- Basic Flying
- Administration
Referees:
Full referees available on request.
Additional information:
Whilst at The Royal Central School of Speech and Drama I worked as Head of Department on many productions. This included various genres of theatre not just traditional but also experimental, dance, and musicals. As HOD I was responsible for ensuring that everybody was on the same page regarding schedules, meetings, build times, budget estimations and general management of the process. In my capacity as HOD I communicated effectively on how to complete certain tasks and was able to give assistance throughout the whole show, from the model box meeting, build and then fit-up to the get-out. I consider myself to be a good negotiator, and able to work with large teams of specialists. Being able to communicate using the same language across departments is important and also having a general understanding of how long tasks would take. This helps everyone during a fit-up as we all had to comprise on times and slot each other in accordingly so that it was fair and equal across all departments.
I have a good knowledge of tools and carrying out any day to day maintenance on stage is an essential requirement. Its important that tools are used correctly to avoid injury and I am proficient in using most tools and machinery that one would have to use on stage. Whilst working on productions in the Embassy Theatre I had to be on call to help maintain pieces of scenery. There were also times that I had to come in on an interval to make sure that certain scenery and props were moving the way they should. Its also important that you take into consideration other departments when doing so, for example there cannot be any edges on the props or scenery as they could catch on actors and or costumes. Sight lines and shadows are important too, obviously things are constantly changing and moving on stage so one has to take this into consideration, for example seeing unwanted backstage or casting shadows. These are a constant maintenance jobs to ensure the show is as spectacular as possible.
Because of this Working on Pre-production set up is very much where I excel and perhaps even the part of the job that I enjoy most. The pre-production stage is often about hitting deadlines, organizing various elements and liaising across all departments. I have learned organizational skills to preempt the time that a task will take so that I can schedule accordingly. I understand the importance of implementing, editing and adjusting stage fit-up schedules. I also have a basic understanding of general back stage theatre, there-fore I can assist on a broad range of activities. I enjoy the creative process from pre-production right to the designers model box to the press night.
I have experience with band stages that needed to be erected using hired steel deck of various shapes and sizes. The first one was West side story, this particular band stage was quite challenging as it required quite a large orchestra that needed access from both sides of the stage wings. One for general access and the other for fire safety. We needed to build safe treads for both sides that complied with all health and safety regulations for example the height of the handrails etc. Working on outside hires is exciting because quite often there is a lot of research that needs to be done way before anything is actually hired. Just having general knowledge of what your are trying of achieve goes along way.
Maintaining show budgets is imperative and all productions need to be run smoothly and efficiently. While acting as HOD for the Production of sweet charity we had meetings with the production managers, directors and designers from the get-go so that we all had the same vision. Then heads of department would propose a costings spreadsheet that their department would need to abide by. Following this one has to research new methods, ideas, materials while still keeping the show to the designers, and directors concepts and this is the part that I find most thrilling. I had to research different material weights and strengths and put them to the test, I also had to research different steel merchants delivery costs etc. Keeping a production on budget consists of a lot of research and bartering and I feel that this is something that I can do very well along with keeping up to date spreadsheets for costings. Setting budgets is something comes natural to me.
Its important to keep documentation throughout a production. This ensures everything can be referenced from the beginning. Its also important for me and others to have details on all aspects of the show so that I can orchestrate a decision correctly. I recognize that maintaining health and safety files is paramount. I know exactly what people are specifically trained to do and can do so in a safe manner. It is also fundamental that all production and stage crew have a basic understanding of the health and safety regulations and adhere to them properly to protect themselves and others. Knowing this I prefer to digitalize everything and make it possible that everyone involved has access to these files at anytime.
I had to supervise peers on how to complete tasks properly and safely and communicate this professionally throughout the duration of pre-production and post-production. I also had to give advice and demonstrate to my peers on how to use certain tools and equipment safely and provide risk assessment and method statements. I felt that I could do this after actively seeking senior theatre technicians suggestions and guidance.
I believe that maintaining props, furniture and scenery is huge part of a smooth production and I have learned to do this in many ways. I think the that the most important thing to take into consideration is the storage of these items. Storing pieces of scenery and props is an art form that should not get taken lightly. I have worked on productions like Sweet Charity where there were a very large number of steel flats and interactive pieces of scenery. Storing these types of things is similar to completing a gigantic jigsaw puzzle. Mostly I got around this problem by flying scenery in and out by attaching them to fly bars and had fly-man operate them from the wing. I did this by attaching various different flying irons, grommets and shackles to all of the scenery that needed to out of sight during various scenes.
To ensure that production designs are archived within budgetary and technical parameters is extremely important to me. The show needs to be as close to the designers vision as physically possible. I always find it thrilling taking a look back at the original model box photographs and appreciating that it looks exactly the same as what the designer wanted and also knowing that we did it in our productions remit.
I always find it necessary and terribly useful to liaise with all the relevant departments and performers prior to the show and post to get information on how it went directly. I find this is the best way to speak to everyone as any ideas that someone might have are still fresh. I also like to keep a diary with me at all times so that I can take notes everyday so that nothing gets missed. This also keeps me completely organized so that nothing gets forgotten or looked over and this also means that any issues or concerns get rectified either that evening or the following day.
It is absolutely pivotal to attend such meetings as production and technical. I like to be involved even if its not completely relevant to me and I find that vital and useful information is divulged. I enjoy taking minutes, I find that this is the best way to get an complete overview of a production meeting and I have even been known to record them too. I have learned that having daily team briefings and technical meetings literally makes a show successful.
Working change overs is dreadfully exciting for me. I literally get a rush knowing that I only have a very small snippet of time to reset the set. I find this part of technical theatre just as exciting as building the set. I very much like that fact that everybody's synergy is rehearsed in perfect harmony.
I have a strong appreciation and understanding of ‘Health and Safety While Working On Stage’. Having been trained by some of the best theatre technicians and dramaturgs in the whole of London. I know how to create risk assessments and method statements. I am very familiar with the HSE’s documents regarding ‘The Safe Design An Build of Production Sets Used for Film, Television and Media Productions’ forms and also Working at Height and Manual Handling procedures advised by the HSE. I am also familiar with the CDM 2015 and the Industry Regulations and Procedures Specifically for the Theatre, Performing arts and Live Events Industry. I also have a copy of the ABTT’s Essentials for Health and Safety which is a very useful document for all young aspiring theatre technicians.
Working on a new stage will be an exciting endeavour for me, every stage is different and its an exciting challenge. I enjoy looking over theatre ground plans and I find it similar to a puzzle trying to get everything to fit perfectly onto it.
License & Passport
Driver's License: | Yes |
Skills
Secondary Job Title | Head of Construction |
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Job Titles | Production Assistant (PA), Prop Maker, Set Builder, Constructions, Theatre Technician |
Years in industry | 6+ years |