This is probably my most dubious claim to fame yet, in this series of tenuous links to celebrity, owing to the fact that I have nearly no memory of it and am relying on documentary evidence to know that it happened.
I have recently been clearing out old paperwork, a task long overdue, as became obvious when I uncovered my first ever (and now twenty-year-old) P45. Most of my degree coursework has also headed into the recycling bin, but I have kept a few pieces relating to my current interests, and a handful of souvenirs. One of these is a small collection of theatrical programes listing me in the production credits – I started backstage in amateur dramatics at the age of thirteen, began paid work at seventeen, and studied the subject for three years in my early twenties.
I have looked through this paperwork several times in the past few years, never quite committing to ridding myself of it, partly out of nostalgia and partly because the coursework might yet prove useful for reference. One of the programmes is for a student performance of Liz Lochhead’s version of Medea, a small and low-budget version undertaken at the Royal Scottish Academy of Music and Drama, my alma mater. While shows for the main stage and the studio theatre were allocated funds and staff to realise lavish set designs, shows in the AGOS (Alexander Gibson Opera Suite) were necessarily minimal in scope. Primarily a venue for recitals, the highly polished wooden floor and complete absence of space backstage meant that scenery could not be used, and it was relatively rare for drama to be staged there.
My role was sound designer and operator, although I also focused lights for the senior student who oversaw that element. We had meetings with the director – and I was sad to learn of his passing, when he died in 2014 – at whose behest, and to help achieve his vision, I recorded the lead actress unleashing primal screams for playback during the show. I might also have recorded the lead actor too, but that is gone from memory now. I still have the minidisc which once contained the finished result, but since replaced it with a different noise, the musical output of my one-time solo electronic project – aptly named AudioTwat.
Above: Still bearing the number of my college pigeonhole, this short-lived but useful media format now contains my electro compositions – which, if you feel particularly masochistic or curious, you can find on Soundcloud.
Reading the programme the other day, the list of names takes me back – although on two separate courses, the technicians and actors were constantly moving in the same circles, with a combined intake of only 50 or 60 people per year. We knew each other at least by sight, usually by name, spent a lot of time together or in the same vicinity, and – in at least one instance – two of my peers who met on the respective courses married and had a child.
I knew a few of the actors to chat to, was acquainted with others, but some were unknown to me – as has become obvious on my re-reading of this programme. One name stuck out this time, a lead played by Alison Brie, whose name I recognised from Twitter in its sharing of her response to the Me Too hashtag and allegations against her brother-in-law, James Franco. Was this the same person? A quick internet search revealed that, yes, it is.
I am largely unfamiliar with her body of work – of it all, I have seen just The Lego Movie, in which only her voice appeared, although Community is a favourite with friends and has long been on my list of things to watch (when the DVD boxset is available for less than £70. I buy DVDs, rarely download things, and never stream them.) Her face seems distantly familiar to me, clouded with time, and igniting a vague recollection of an American called Alison in the Medea cast. It was one of the few shows I did where there was a wider gap between cast and crew.
As sound designer and op, I had no requirement to attend rehearsals and only scheduled to meet with the actors I needed to record. Although I was present at both tech and dress rehearsals, and all public performances, I was located front-of-house – in a soundproof box, high above the seating bank and behind a thick window and a bank of equipment. I know I passed through the cast a few times, and would have said a courteous hello as I went, but – even if there had been wing-space to congregate in, I would have had no reason to be there mingling. In short, maybe I spoke to Alison Brie and maybe I did not, but we definitely shared the same air for a while.
Above: My name is on the same line as Alison Brie’s, by coincidence rather than by design, and that is as close as we have ever been. You can tell I didn’t write this, my middle initials have been omitted – a lifelong bone of contention.
Until this came to light, my chief recollection of that period is that it was the first time in my life that I ever worked alongside another Jordan – “Actor Jordan” as my technician friends knew him – and the new and resultant name confusion made me appreciate how lucky I had been to last so long without a duplicate in the room – unlike the Daves, Andys, Chris’s and Jims of this world.
As regards Ms. Brie, I remember having a few communal discussions over which acting peers we thought would break out and make it big – following alumni such as David Tennant, James McAvoy, Alan Cumming – and the talent of some of my contemporaries impressed me. It is either the unpredictability of these things, or a complete lack of good judgement, that led me to overlook one of the most successful to emerge from that era. I am going to rest my defence on our apparent collaboration occupying just five days of a three-year degree.
Finally, given all of the above, and as my professional worth is dependent on remaining inconspicuous and unnoticed (to which end, I suspect I am probably undermining myself by publishing these blogs, despite my efforts to separate public and private), I sincerely doubt that Ms. Brie has any memory of me. The article below indicates that she does, however, fondly remember the show.
Above: Medea namechecked in an interview published by The Scotsman newspaper last year.