The Making of ASSEMBLY

‘We were attempting something not really done before’

ASSEMBLY, our first Donmar Local Production, mixes live performance, animation and sound, to look at the impact of humans on nature and what we might build together for a better future.

ASSEMBLY was livestreamed via our YouTube channel on Saturday 20 March 2021 and a recording of the original broadcast is available to watch for free for a limited time at youtube.com/donmarwarehouse.

Before you watch the recording, read on to discover more about the process of creating this innovative digital production.

ASSEMBLY was rehearsed online and presented in line with all Government guidelines.

The ASSEMBLY set was designed by Frankie Bradshaw with lighting design by Sam House. The set was constructed at Donmar Dryden Street and transformed live throughout the performance.

First up, Video Designer and Director of Photography Andrzej Goulding tells us about the inspiration behind the video design for ASSEMBLY and the challenges behind creating a live theatre production for a digital audience.

Video Designer and Director of Photography Andzrej Goulding during technical rehearsals with the Donmar Local Company who performed live from 16 locations across the country.

ASSEMBLY was created using multiple camera streams, including a body-camera worn by Donmar Local Company Member Josiah Phoenix.

Were there any particular inspirations behind the video design for ASSEMBLY?

As the show was about the environment and the impact of humanity, as a team we embraced a cardboard aesthetic early on as a reference to its recyclability and natural look and feel. While Frankie (Set and Costume Designer) was working on the model and the costumes, I was working on the design elements for the video and we had to make sure that we conferred constantly in order to make sure it all felt like one world. I’d see something in the model (like drawn marker lines) and then add that back into the video design.

The other major part of the video design was the use of some pre-recorded sections. This was for a multitude of reasons - some were technical and due to the availability of cast but also aesthetically because we wanted to give some scenes a change of look from others. The main thing though was making sure every cast member got as good an opportunity to perform in the show, whether fully live or as part of a pre-made sequence.

Video Designer and Director of Photography Andrzej Goulding worked closely with Set and Costume Designer Frankie Bradshaw to merge the video design and set and costume designs to create a cohesive world for ASSEMBLY.

How does being a Director of Photography for a live digital production compare to working in-person with the cast and creative team?

For me, there have been some similarities to working on a live show. For example, in a live show I’d be collaborating with a lighting designer to ensure that the shots are lit for camera and then working with the director on shot choice and angles.

For ASSEMBLY, the camera work was split into three sections. First, the seventeen live feeds coming from the actors homes. To ensure that everything looked consistent, we sent them backdrops, lights and in some cases, laptops. Second, we had a more professional camera at the Donmar Warehouse itself which was used for capturing the model set and a couple of the live moments. Third, there were some pre-filmed sections done mostly on a green screen which we then added into the broadcast with live performers.

Here are some of the Donmar Local Company, preparing to perform live from their homes. For some of the company, ASSEMBLY was their first time using the Internet.

What is the biggest technical challenge that you faced during the process? How did you and the team overcome it?

OMG there were so many! We were attempting something not really done before. There’s been lots of Zoom plays over the last year and some livestreamed shows, but this was a mixture of the two. We had seventeen live performers being beamed in from different places across the country, all funnelled through our streaming HQ in Cardiff; we had a room at the Donmar with a huge model set that had multiple set changes between scenes. We arranged several green screen shoots done remotely too.

Whilst ASSEMBLY was originally due to be performed on the Donmar stage, the Donmar Local company have shown enthusiasm and resilience throughout the digital production process.

There were so many moving parts that actually getting it together onto one screen was a huge challenge not only in design but also logistics. For example, the universe section, we had four actors (that I’ve still never met in person!) shoot their scenes completely separately where they had to ‘guess’ the length of the other actor’s responses. Then, me and my animator Raf had to try and piece these together, retiming each section and tweaking the design to make sure it all fit together. Then, we created, photographed and animated the cardboard element that you saw on screen.

ASSEMBLY combined original sound, live performance and animation, all of which was filmed, created and streamed remotely.

Another challenge was simply trying to get used to and understanding a new way of working. This is not like making a live theatre show at all so there was so much learning involved to even do what would be considered simple tasks in ‘normal’ circumstances. We managed to predict some of them, but most were just things that happened along the way that we just had to deal with as quickly as possible. The process of working with the delays of what we see and hear was a big challenge for everyone.

On stage you just open your eyes and ears and it’s right there and you can also feel a show through an audience during previews where a lot of work is refined. In this process, we had none of that, so we were much more reliant on the amazing team at the Donmar to always be watching what we were doing as an audience in order to help that process.

ASSEMBLY was livestreamed from 17 locations and funnelled through streaming HQ in Cardiff using V-Mix technology.

Next, members of the Donmar Local Company tell us why they applied to be part of the ASSEMBLY company and what it’s been like to create this show over the past twelve months.

The Donmar Local Company only had three in-person rehearsals before the pandemic began. All other rehearsals have taken place remotely in accordance with Government guidelines.

Why did you apply to be part of ASSEMBLY?

Angie: I applied to be part of ASSEMBLY because I wanted to learn more about theatre, expand on my acting skills and meet like minded, fun and energetic people!

Ubah: As a Muslim woman of colour and a mother, when I was younger I wanted to be an actor but opportunities were limited. However, in the past few years as my children have grown up, I realised that the best lesson to give them is for them to see me follow my passions.

What has working on ASSEMBLY over this past year been like?

Stephen: It has been such a privilege to be involved in ASSEMBLY — from auditions, through to performance via (three?) lockdowns, a change of format and multiple re-writes! I have loved getting to know everyone and the character/scene work has been superb.

‘The fact that I have been able to have this light since the start of the pandemic has kept my spirits high.’ — Donmar Local Company member.

Angie: With the lockdown in place, ASSEMBLY changed from being an on-stage performance to a new form of performing art — blending digital streaming with live-performance at home. It was strange at first but we were resilient and have adapted — granting us the ability to perform and take part in this wonderful production.

Throughout the performance, the cast were in constant communication with the Stage Management and creative team for their cues.

ASSEMBLY was created by writer Nina Segal, director Joseph Hancock and the Donmar Local Company — people who live and work in the Donmar’s home boroughs of Camden and Westminster.

ASSEMBLY was a live digital performance created in collaboration with video designer and director of photography Andrzej Goulding, set and costume designer Frankie Bradshaw, composer and sound designer Max Pappenheim and lighting designer Sam House.

A recording of the original broadcast is available to watch for a limited time at youtube.com/donmarwarehouse.

Photos: Richard Davenport/The Other Richard | theotherrichard.com