Starting Work at the Fiesta

When the panto came to its end, I was told I could have a part-time job as follow-spot operator in the evenings. Needless to say I jumped at the chance!

My first memory of working the cabaret shift, was operating a follow-spot during a performance by Scott Walker (of the Walker Brothers). Unfortunately, I also remember making a bit of a cock-up by spotlighting the wrong person as they made an entrance. Oh well. We all have to learn!

The “Stage Crew” at that time consisted of:
Photo: Pete Tomlinson
Pete Tomlinson
Photo: Harry Etherington
Harry Etherington
Photo: Ron Annible
Ron Annible

I was still at school during this time, so my days were spent at school, and my evenings either doing homework or working at the Fiesta. It’s entirely possible my school-work may have suffered somewhat!

As part of the lighting crew, I learned to operate the “Lighting Desk” (for aficionados of such things: a Rank Strand JP30!). Ron usually operated for the Top-of-the-Bill and the rest of us would cycle round spot-operating, board operating and helping backstage (setting microphones, seats, music stands etc.).

One of the great bands I saw in those early days was “Blue Mink”. This would have been part of their final tour before disbanding.

Over the next few months, there were staff changes. Pete Tomlinson left, Ron Annible left . . . . . Other people came in, such as Roger Green, who was a sound engineer and had been part of the band “Stag”. Alan Frayn was another sound engineer, who was also a former band member (O'Hara's Playboys, I believe).

Other crew members joined and we all worked part-time, ensuring there was a full crew every night the club was open. Some of the names I remember are:

For a couple of months during this time, we had a supposed ‘stage manager’ who’s name I won’t write here (but I remember it well!). I will grant this person an alias of “R. Soul”. On one occasion, this person had his hand round my throat because I happened to disagree with him about something! Some of the resident band had to come to my rescue and I was left shocked (actually in tears) for the rest of the evening. On another occasion, I needed to test if power was getting to an on-stage socket, Mr R. Sole handed me a test-screwdriver which he informed me was safe. I got a big electric shock. It turned-out that the device he’d given me was for testing 12-volt car circuits! He found this hilarious. I really didn't!

Around this time, I had what I thought was a great idea - to make high quality recordings of the acts as they performed. These recordings could be used by the artistes themselves (as promotional items, for sending to record labels etc.) or by the club, as mementos to be sold to the club’s customers. Of course, this would involve adding additional microphones to the sound system and supplementing the mixing facilities. As it happened, the club already had much of this equipment, so the additional cost would have been fairly minimal. However, this idea was blocked (poo-poo’d, even) by “Mr R. Soul”! Fortunately, “R. Soul” did not stay long!

The teamwork was wonderful, and the sense of camaraderie was total. I can honestly say I’ve never since worked with a bunch of people who were so enthusiastic and great to work with (the one exception is obvious!).