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| − | Time Line
| + | This article lists the major milestones of an SLT production - it can be used as a checklist, with deadlines for each task. |
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| − | This lists the major milestones of an SLT production, and the main tasks that should be done in time for each one. Use it as a check list to make sure you haven't forgotten anything. If you treat these milestones as deadlines for the tasks you can avoid much stress and panic in the days before the show opens.
| + | Much of the information here is derived from the [http://www.southlondontheatre.co.uk/productionhandbook.htm SLT Production Handbook], but the content has now been extended and wikified for easier navigation. |
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| − | Before Auditions
| + | ==Preparation== |
| | + | ===Recruit production team=== |
| | + | ''Main article: [[Production Team]]'' |
| | | | |
| − | · Recruit production team
| + | ===Arrange pre-production meeting=== |
| | + | *Arrange show poster |
| | + | *Recruit and brief Poster Designer |
| | + | *Finalise poster design |
| | + | *Arrange audition publicity |
| | + | *Place audition notices in the bar and foyer |
| | + | *Send audition information to: |
| | + | *Backstage |
| | + | *SLT web site |
| | + | *SLT discussion board |
| | + | *Choose audition pieces and place several copies in the bar |
| | | | |
| − | · Production Assistant (PA)
| + | ===Hold Auditions=== |
| | + | *Cast the show and inform people who have not been cast |
| | + | *Send cast list to: Backstage, SLT web site, SLT discussion board, Notice board in the bar |
| | | | |
| − | · Stage Manager (SM)
| + | ===Set rehearsal schedule=== |
| | + | *Organise space for "out" rehearsals |
| | + | *Finalise set design (and audience seating plan if in Prompt Corner) |
| | | | |
| − | · Assistant Stage Manager(s) (ASM)
| + | ==Rehearsals== |
| | + | *Decide if you will be using a prompter and recruit one if needed |
| | + | *Books Down |
| | + | *Finalise costumes |
| | + | *Finalise props and furniture |
| | + | *Finalise make-up designs |
| | + | *Finalise programme details and arrange for printing |
| | + | *Finalise lighting design |
| | + | *Finalise sound design (Music and FX) |
| | + | *Arrange assistance for set building and painting |
| | + | *Arrange for black curtains to be hung |
| | + | *(For Prompt Corner Shows) Inform box office of number of seats available |
| | + | *Organise people to do: Front of house, Raffle, Show photography |
| | | | |
| − | · Set Designer
| + | ==Production== |
| | + | ===Get-In=== |
| | + | ===Technical Rehearsal=== |
| | + | ===Dress Rehearsal=== |
| | + | ===Performances=== |
| | | | |
| − | · Lighting Designer
| + | ==After the show== |
| | + | ===After-Show Party=== |
| | + | ''Main article: [[Parties in the SLT Bar]]'' |
| | | | |
| − | · Sound Designer
| + | ===Get-Out=== |
| | + | ===Debriefing Meeting=== |
| | | | |
| − | · Lighting Operator
| + | ==See Also== |
| | | | |
| − | · Sound Operator
| + | [[Category:Resources]] |
| − | | + | |
| − | · Costume Master/Mistress
| + | |
| − | | + | |
| − | · Make-up Artist
| + | |
| − | | + | |
| − | · Arrange pre-production meeting
| + | |
| − | | + | |
| − | · Arrange show poster
| + | |
| − | | + | |
| − | · Recruit and brief Poster Designer
| + | |
| − | | + | |
| − | · Finalise poster design
| + | |
| − | | + | |
| − | · Arrange audition publicity
| + | |
| − | | + | |
| − | · Place audition notices in the bar and foyer
| + | |
| − | | + | |
| − | · Send audition information to:
| + | |
| − | | + | |
| − | · Backstage
| + | |
| − | | + | |
| − | · SLT web site
| + | |
| − | | + | |
| − | · SLT discussion board
| + | |
| − | | + | |
| − | · Choose audition pieces and place several copies in the bar
| + | |
| − | | + | |
| − | Hold Auditions
| + | |
| − | | + | |
| − | · Cast the show and inform people who have not been cast
| + | |
| − | | + | |
| − | · Send cast list to:
| + | |
| − | | + | |
| − | · Backstage
| + | |
| − | | + | |
| − | · SLT web site
| + | |
| − | | + | |
| − | · SLT discussion board
| + | |
| − | | + | |
| − | · Notice board in the bar
| + | |
| − | | + | |
| − | · Set rehearsal schedule
| + | |
| − | | + | |
| − | · Organise space for "out" rehearsals
| + | |
| − | | + | |
| − | · Finalise set design (and audience seating plan if in Prompt Corner)
| + | |
| − | | + | |
| − | Rehearsal Period Begins
| + | |
| − | | + | |
| − | · Decide if you will be using a prompter and recruit one if needed
| + | |
| − | | + | |
| − | Books Down
| + | |
| − | | + | |
| − | · Finalise costumes
| + | |
| − | | + | |
| − | · Finalise props and furniture
| + | |
| − | | + | |
| − | · Finalise make-up designs
| + | |
| − | | + | |
| − | · Finalise programme details and arrange for printing
| + | |
| − | | + | |
| − | · Finalise lighting design
| + | |
| − | | + | |
| − | · Finalise sound design (Music and FX)
| + | |
| − | | + | |
| − | · Arrange assistance for set building and painting
| + | |
| − | | + | |
| − | · Arrange for blacks to be hung
| + | |
| − | | + | |
| − | · (For Prompt Corner Shows) Inform box office of number of seats available
| + | |
| − | | + | |
| − | · Organise people to do:
| + | |
| − | | + | |
| − | · Front of house
| + | |
| − | | + | |
| − | · Raffle
| + | |
| − | | + | |
| − | · Show photography
| + | |
| − | | + | |
| − | Get-In
| + | |
| − | | + | |
| − | Technical Rehearsal
| + | |
| − | | + | |
| − | Dress Rehearsal
| + | |
| − | | + | |
| − | Performances
| + | |
| − | | + | |
| − | After-Show Party
| + | |
| − | | + | |
| − | Get-Out
| + | |
| − | | + | |
| − | Debriefing Meeting
| + | |
| − | Introduction
| + | |
| − | | + | |
| − | This is a handbook for people involved in shows at the South London Theatre, both in the Bell Theatre and Prompt Corner. If there is something you don't know how to do, or are unsure about, we hope you will find the answer in here.
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| − | It is written in terms of advice to directors, but we hope much of the information will also be useful for stage managers, production assistants and others involved in the show.
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| − | Obviously this booklet will be of most use to people involved in shows for the first time, but we hope there will be helpful information in here for everyone. We have tried to bring together ideas and experience from people with long track records of putting on successful shows at SLT, and those with expertise in all aspects of the process.
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| − | | + | |
| − | As well as practical advice on the nuts and bolts of putting on a show, there are some ideas on the creative and artistic side of directing, from planning your vision of the production to getting the best out of your actors. They aren't meant to be prescriptive - some of the time they're outright contradictory - but we hope they give you something to think about. Some were submitted by SLT members, some were offered by professional directors of theatre and film. Have fun guessing which is which.
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| − | Putting on a show can be a daunting and complicated task but there are lots of people at SLT who have volunteered to help out in various ways. These include your Theatre and General Stage Management reps, Membership Director, Publicity Director etc. Their contact details are given in a separate sheet at the back of this booklet.
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| − | Planning Your Production
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| − | Directing a play isn't only about organisation. Developing a vision for the artistic content of a show is a vital part of the process and one that it is surprisingly easy to overlook or underdo.
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| − | Here are some ideas for the things you can begin thinking about before rehearsals start.
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| − | Let Your Imagination Play
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| − | As a director you should read and re-read your script and let your imagination play. How will this scene look? How will the characters move? What music will be playing? It might be helpful to read a script through several times, specifically focussing the imagination on a single issue each time such as lighting or sound or costume.
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| − | Have a Clear Vision
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| − | It seems to me that the best directors I have worked with have been those who had a clear vision of the piece beforehand. They have been the directors who have managed to get the best performances from the cast. This clarity of purpose has to exist in order for the director to achieve what I think is the fundamental aim - entertaining the audience.
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| − | And, as you say, be prepared. Do your homework. Before the rehearsals begin you should have studied and lived with this script for months. You should be able to see the shape of the words on the pages. Read everything you can get your hands on about the author and the play, search for reviews of past productions. Above all when you go into that rehearsal room know what you want to achieve.
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| − | Try Researching Your Subject
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| − | | + | |
| − | If your script includes specific historical figures, events or times you can might find fresh ideas by researching what you can about them - histories, biographies, diaries, pictures, places and objects can all help you get a feel for the thing you'll be portraying. This is something that you can carry on with the cast too. While rehearsing "Terra Nova" about Scott's mission to the South Pole the whole cast read books by and about the subjects, studied photos of the characters and environments of the expedition and had a group visit to the National Maritime Museum where there was an exhibition on polar exploration that included real objects owned by the characters. The research process wasn't only a great source of ideas but it was great fun and helped the cast to really bond.
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| − | Even if your script isn't strictly historical you might find some research helpful. If you're setting your show in, for example, the 1960s or 1970s then contemporary films and magazines could help you get ideas for the right style of decoration, props, costumes, hair and speech.
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| − | Tell The Story
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| − | | + | |
| − | We are, first and foremost, trying to communicate the playwright's intent to the audience. In order to do so we must fully understand the meaning of the play and ensure that the cast do also. Right down to the level of individual words if necessary. We must also at every turn, after every new idea or change, ask ourselves "how will that work from the audience's point of view." "Does it help communicate the meaning of the play?" If it doesn't or if it serves to obscure or appears at all self-indulgent chuck it out. Tell the story.
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| − | As a director, you have to ask yourself whether the writer was trying to achieve a very specific effect by a descriptive piece of stage, scene or lighting direction, or just trying to demonstrate a missed vocation as a novelist.
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| − | I strongly think that the single most important thing when directing is to allow the script to speak for itself. This may be because so much of my experience is dealing with Shakespeare, where it is so difficult to know exactly what the author intended. At the end of the day, we have words on a page, and we have to find ways of making every one of those words count, while simultaneously removing contradictions. You cannot direct a successful production by going against the script. A reason must be found for why every character says every line. We've all seen disasters (and, indeed, pretty good shows) where a character is saying one thing and doing something completely different - it doesn't make any sense, and makes a mockery of a show.
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| − | Make It Interesting
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| − | | + | |
| − | A play is like a concerto. It has dark moments, light moments, fast moments, slow movements. Getting a feel for this is key. I like to see the piece as a whole and also as truly individual segments. An audience cannot sit through an hour of frenetic, fast moving, unrelenting action. They need a breather. Finding those breathing spaces is key.
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| − | | + | |
| − | I hear the play in my minds eye ... That makes no sense.. what I mean is I hear how each line will be said and then how it fits in jigsaw like to the other lines.
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| − | Make It Visual
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| − | | + | |
| − | A director is also a painter. I like to frame each scene - every movement tries to create a tableau that is interesting to the eye. Of course, where someone stands in relation to another has huge implications on the power structures of the relationships.
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| − | Lastly I see the staging and how the movement and the lines work together with the story to actually work as a piece of theatre, when I have visualised all of these components I try too imagine staging and a set that will tell the story the way I want to tell it.
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| − | | + | |
| − | It's great if you make a pleasing stage picture, but some of the most brilliant and exciting plays have seen have been with a few people sitting around talking - if the script, the direction and the acting are good, who cares what else they're doing? - The right audience for the show will appreciate it in the right way.
| + | |
| − | Your Theatre and GSM Reps
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| − | | + | |
| − | The process of directing a production at the SLT stage is quite unlike any other role in the theatre and at times the responsibility can seem overwhelming. For this reason all productions are appointed a representative who will be on hand to offer help and advice to directors if required. You will also have a representative from the General Stage Management (GSM) team who can advise you on technical issues. With up to eight shows in production at any time, your reps will work with you to ensure that you are making the best use of your time available and that every show respects and supports the others.
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| − | | + | |
| − | The role of your reps is to assist and advise you on the smooth running of your show. Obviously, some directors may need more assistance than others from their reps, but it is important to remember that a rep is not there to replace any of the essential members of your team.
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| − | Due to the variety of experience of directors, and different requirements of each show there are no hard and fast rules, but in general your rep will:
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| − | · Be present at the pre-production meeting to talk through the plans for the production, budget and any other matters that arise.
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| − | · Be available throughout the rehearsal period to provide any help or advice that may be required.
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| − | · Attend at least two rehearsals to offer any feedback and advice that may be appropriate
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| − | · One member of the TC team will be present at the get-in and get-out
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| − | Budget and Expenses
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| − | Prompt Corner shows have no allocated budget, although the theatre will cover the costs of the rights. If you feel that you will need some money to help cover expenses, please discuss this with your Rep. No spending will be reimbursed unless it has been agreed in advance.
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| − | The budget for each Bell show is decided by Theatre Committee prior to the approval of the production and is done so in discussion with the various directors with the view of providing a balanced season. Some shows, e.g. musicals, are considerably more expensive to stage than others and need to be balanced with productions which, while no less entertaining, require less expenditure by way of sets, costumes and royalties.
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| − | Your theatre rep will let you know the specific budget for your show.
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| − | To claim back money you have spent on the show, fill in an SLTC Limited petty cash voucher, which is available from behind the bar. The voucher should be signed by the director, countersigned by one of the three Theatre Reps and accompanied by the relevant receipts. The completed voucher should be left in the Treasurer’s pigeon-hole in the Box Office. No-one involved in the show should incur expenses of any sort on behalf of the production unless previously authorised by the director.
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| − | Do not feel that you must try to underspend – you are perfectly entitled to spend every penny of your budget, as it has been allocated to you to ensure that your show looks and is the best it could possibly be. However, do be aware that Theatre Committee cannot guarantee reimbursement for any unauthorised over-expenditure.
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| − | If you need to purchase any general items such as paint, brushes, timber, etc. speak to the General Stage Manager (GSM) or your Theatre Rep beforehand, it is possible that some of these items may be purchased from the GSM budget.
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| − | After the production it is important that any expense claims are submitted promptly in order to correctly calculate the figures for the season.
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| − | Your Production Team
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| − | Directing is a big, complicated job and you will need to have capable people to help out. This section is on two parts. The first lists the people you will need on your team and gives a brief outline of their roles. The second suggests some ways to go about recruiting your team.
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| − | We can't emphasise this enough - recruit your team as early as you can. Before you hold auditions for your cast, you should have recruited as many of the people you will need to help you with your production as possible. It is always harder to recruit people at the last minute, and the earlier the crew comes on board the better job they can do and the more ideas they can offer you.
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| − | It is up to you as a director whether to recruit experienced or inexperienced people. It will depend on your own level of experience and confidence, and how complex your show is in terms of organisation, set, sound and lighting. In general we would like to encourage directors to use at least some new members in every show, either on stage or behind the scenes. If you would like to recruit a new member into your crew and need help in training them for the job please let your theatre or GSM rep know and we will try to help.
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| − | Be aware that the equipment used for lighting and sound in SLT is valuable and complex. Your sound and lighting designers and operators must be approved by the GSM team as suitably qualified to use the equipment. Please let your theatre or GSM rep know as soon as you have appointed these roles, and whether the people chosen will need assistance or training. Reps can arrange for training, for example by having someone shadow a more experienced person on a prior show.
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| − | Recruiting Your Crew
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| − | Recruiting a backstage crew at SLT shouldn't be difficult, but it does require some organisation.
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| − | Our top tip - start early. Directors at SLT have plenty of notice of when their shows will be on. You can start recruiting a team as soon as you know you know the dates of your show, and ideally your full crew should be in place before auditions.
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| − | First of all, have your patter ready. When you made your submission to direct you described what your show is about and why you want to do it. Keep this to hand because you'll need it when you describe your show to people you want to join your team and when you put together written notices to recruit your crew.
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| − | There are lots of people willing to get involved in backstage work, you just need to find them and convince them that they want to work with you on your show. There are lots of ways to do this, some of which we have found achieve better results than others. Here are some ideas - if you use these you shouldn't have any problem at all.
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| − | · Use new members nights. New people who want to get involved join SLT every Wednesday, and once a month there is a special event in the bar to welcome new members and help them get involved. (Check Backstage for dates.) Go along, talk to the new members and sign them up.
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| − | · If you can't make it personally to new members' night, you can still take advantage of it. If you already have a PA or SM you could ask them to go on your behalf. You can leave a message for the person leading membership stating which posts you want to fill and describing the show - if you can't reach them personally leave a message for them at the bar.
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| − | · There is a red folder kept behind the bar with a sheet which lists the backstage crew for each show in the season. It is your job as director to keep this up to date and have your contact details on it. As your show nears the start of its rehearsal period your sheet will be moved to the notice board in the back room of the bar so that people taking new members nights and anyone wanting to get involved backstage can easily see what vacancies are available.
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| − | · If you specifically require an experienced person in a role your theatre or GSM rep can help by suggesting people you could approach.
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| − | · Contact members individually. Ask your rep or the membership director for a list of people who have expressed an interest in working backstage and call or email them. You may be able to use the telephone in box office to do this, if box office isn't open at the time.
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| − | · Network. Ask your friends and people you meet around the theatre. If they can't get involved themselves they might know people who can. Let as many people as possible know what positions you are looking to fill. If you still don't have a full crew by the time of auditions, ask the auditionees to indicate on their contact forms whether they would be interested in helping out backstage if they aren't cast.
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| − | · Place a notice in Backstage. The notice should be a very brief description of the show, the roles you want to recruit and your contact details. Email it to backstage@southlondontheatre.co.uk or place a written version behind the bar marked "FAO Backstage." The notice can go in as many issues as you want but remember to let the editors know when you have filled the positions.
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| − | · Use the notice boards around the theatre. Place notices on the boards in the foyer, outside the bar and in the bar.
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| − | · Place a notice on the SLT internet discussion board. Follow the link to "Discussion Board" from the SLT home page at www.southlondontheatre.co.uk.
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| − | If you still have problems filling any roles, speak to your Theatre or GSM rep who will try to help.
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| − | Finally. everyone recruited to your production in any capacity must be a fully paid-up members of SLT. If you are not sure please verify this with the Membership Director.
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| − | Who Do You Need in Your Crew?
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| − | This section deals with the different members that you might need on your team, and gives an outline of what their duties might be. Not every show will need all of these roles filled, but most will need most of them. There is more detail on the roles of some of the team members later in this booklet, but we hope these brief descriptions will help you understand who you need to recruit and will help you explain to the people you find what is required of them.
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| − | If you need any advice on the size and make-up of the crew required for your production, speak to your Theatre or GSM rep who will try to help.
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| − | Production Assistant (PA)
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| − | The Production Assistant is the director's right hand in all aspects of the production and typically comes to every rehearsal and is involved throughout the process.
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| − | For new directors it is wise to appoint an experienced PA. More experienced directors might consider taking on a new member in this role, or someone who is keen to direct in the future.
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| − | Some of the jobs a production assistant might take on include:
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| − | · Helping communicate with cast members outside of rehearsals
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| − | · Taking cast warm-ups
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| − | · Prompting in rehearsals
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| − | · Taking rehearsal when director can't attend
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| − | · Acting as a "second unit director"
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| − | · Making notes in rehearsal - blocking and acting decisions, things to do, props or costumes to find etc.
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| − | · Acting as sounding board and creative second opinion for the director
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| − | · Getting hold of hard-to-find props
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| − | · Helping with costume issues
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| − | · Helping rig lights
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| − | · Helping build and paint the set
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| − | · Just about anything else that needs doing
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| − | Stage Manager (SM) and Assistant Stage Manager(s) (ASM)
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| − | The Stage Manager and ASMs take over from the director during the run of the show, but also need to be involved in the planning of the show - especially in all decisions about set changes and props. Their responsibilities include:
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| − | Before rehearsals start:
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| − | · Helping plan the show, especially with regard to set designs, set changes and props. The SM should be invited to any meetings with the set designer to make sure that the ideas being considered are possible.
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| − | · You might want to ask your SM to recruit ASMs for the production. Make sure you agree who will recruit ASMs.
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| − | During the run:
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| − | · Making sure the cast and crew are on time and have everything they need to do their jobs.
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| − | · Carrying out set changes
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| − | · Cueing the show: using the radio cans to keep in touch with the technical team and give them cues for lighting, sound, flying, curtain changes etc.
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| − | · Managing props: making sure props are stored safely, available to the actors when they need them, and accounted for at the end of each performance and the end of the show's run.
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| − | · Bringing up the audience from bar: announcing 10 and 5 minutes to curtain-up for the start of the show and the start of the second half.
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| − | · Handling any problems during the show - if lights fail, if the curtains stick, if the auditorium floods - it's the stage manager's job to sort things out.
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| − | · ASMs will also usually manage front of house duties on show nights - taking audience tickets and handing out programmes.
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| − | Set Designer
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| − | The set is a vital element of any show and it plays a number of roles. Among other things, it is the practical space in which your actors move about, it tells the audience about the location and time of your story and it helps convey the mood and tone of the production.
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| − | You can't begin rehearsing with actors until you have an idea of the space you will be performing in. That's why you need to get your set design sorted out as early as possible. When briefing your set designer some of the things you need to think about and discuss include:
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| − | | + | |
| − | · What does the production require in terms of entrances and exits? Where do they need to be? How big do they need to be - do large items of set have to come on?
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| − | | + | |
| − | · Where does the action take place? Is it indoors or out? A single location or many?
| + | |
| − | | + | |
| − | · When does the action take place? Is it modern or period? If it is period, what details will be needed to indicate the time?
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| − | | + | |
| − | · How many set changes might be needed? Can a single set stand for many locations?
| + | |
| − | | + | |
| − | · Are there specific needs mentioned in the script? A view from a window? A balcony scene? A fountain?
| + | |
| − | | + | |
| − | · What is the artistic tone of the production? Is it a comedy or a tragedy? Is it boldly colourful or sombre? Is it realistic or stylised? If it's stylised, what is the style? Surreal? Cartoonish? Film noir?
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| − | | + | |
| − | · How will the set be lit? What colours will be used? Will light come from the side through doorways or windows?
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| − | | + | |
| − | Designing for Prompt Corner has its own unique challenges.
| + | |
| − | | + | |
| − | · Part of the strength of the space is the flexibility that it offers. Before you start rehearsals you should have a clear idea how you are going to stage your production.
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| − | | + | |
| − | · The staging you choose has a knock-on effect to how the audience will be seated, and the number of seats available. If you believe that you are going to be able to sell a show (for example a Shakespeare), and feel the need to maximise the number of audience, you should think about it now. It is much easier to plan and rehearse a show in a smaller space to begin with, than contract the space by putting in more seats during the run. It will also dictate the blocking of the piece, and for this reason alone you should have a fixed idea - there is no point blocking a show to be performed in the round if a week before performance you decide to stage it end-on.
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| − | | + | |
| − | · Let your imagination run riot, and do not feel that you must stage your play in a way that has been done before. The flexibility of the space should allow you to bring the most out of your production, and the interaction between actor and audience that the space allows.
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| − | | + | |
| − | The set designer is also responsible, along with the director, for making sure all materials used on the stage are fire-proofed. If flammable materials such as fabrics, paper or straw are to form part of the set these must be treated with flame-retardant. Please speak to your GSM rep if you will need this.
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| − | | + | |
| − | Set design involves two distinct sets of skills. One is constructing the set from flats, rostra, wood etc, and the other is decorating the set with paint and props. While there are many experienced set designers at SLT who combine both these sets of skills, you might want to consider using a team of two for your set design - one for construction and one for decoration.
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| − | | + | |
| − | Whatever you decide, the jobs of the set designer include:
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| − | | + | |
| − | · Reading the script and noting down initial ideas for the set.
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| − | | + | |
| − | · Meeting with the director, PA, SM and lighting designer as far in advance of the show as possible to discuss what is needed
| + | |
| − | | + | |
| − | · Designing a set that takes account of all the production's needs
| + | |
| − | | + | |
| − | · Attending some rehearsals to make sure the set design is right for the blocking being used and to generate ideas for detail
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| − | | + | |
| − | · Recruiting people to help construct and paint the set
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| − | | + | |
| − | · Leading the building and decoration of the set during get-in
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| − | | + | |
| − | Once you have agreed a set with your designer it is best to stick to it, but if during rehearsal you decide you want to make a change (for example to put in extra rostra or a new staircase), let your designer and SM know at once and discuss whether what you have in mind is possible.
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| − | Lighting Designer
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| − | | + | |
| − | Your lighting designer works with you and the set designer to agree a lighting plan for the show. Lighting design is about much more than making sure the actors can be seen. It can give the audience information about the place and time of the scene, and the mood and style of the piece. It can be unobtrusive or it can be astonishing. Designs can vary from the very simple (switch 'em on at the beginning, switch 'em off at the end) to the very complex (disco lights, glitter balls, dawn breaking at sea, magical green smoke etc.), but there are some questions you need to answer with your designer for every scene in every show.
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| − | | + | |
| − | · Where does the scene take place? Is it indoors or outdoors? What is the weather like? Is it on a sunny beach or a grey windswept moor? What time of day is it? Bright morning, golden afternoon or blue night? Is the light changing as dawn breaks or the sun sets? If it's indoors, is the lighting daylight from a window or artificial from a light bulb? Sometimes specific times, places and effects will be called for in a script. Other times you as director will have to make these decisions.
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| − | | + | |
| − | · Which areas of the stage will the actors be in? Where will they be moving to?
| + | |
| − | | + | |
| − | · Are there special lighting effects required? A lighting storm? A full moon? Light through a stained glass window? A disco? Red and green flashing background lights? A police car outside the window?
| + | |
| − | | + | |
| − | · What will the changes between different states be like? Snap to black or slow fades?
| + | |
| − | | + | |
| − | · Are smoke effects required?
| + | |
| − | | + | |
| − | · If there is darkness between scenes, will actors or stage managers be moving about in it? If so you will need some low light (usually blue) for them to work by.
| + | |
| − | | + | |
| − | Once the design is agreed, the main work of the lighting designer takes place between get-in and opening night. Typically the role of the lighting designer will include:
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| − | | + | |
| − | · Reading the script and noting down ideas for times, effects, lighting changes etc.
| + | |
| − | | + | |
| − | · Discussing and agreeing the lighting brief with the director
| + | |
| − | | + | |
| − | · Attending run-through rehearsals to watch the show, imagine how it should be lit and note down further ideas
| + | |
| − | | + | |
| − | · Having a detailed lighting design ready in time for get-in
| + | |
| − | | + | |
| − | · Recruiting help to rig lights
| + | |
| − | | + | |
| − | · Around the time of get-in, rigging the lights that will be used in the show. Rigging includes hanging the lanterns on the lighting bars, plugging them in and patching them through to the computer control desk, attaching any coloured gels or gobos that are needed, pointing and focussing them.
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| − | | + | |
| − | · Programming lighting states and lighting cues into the computer.
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| − | | + | |
| − | · Attends tech rehearsal to agree
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| − | | + | |
| − | · Discussing running of lighting cues with the lighting operator.
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| − | | + | |
| − | · Attending dress rehearsals to make sure lighting plan is effective, and make any last-minute changes necessary.
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| − | | + | |
| − | There is more information about how to rig and programme lights later in this booklet.
| + | |
| − | Lighting Operator
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| − | | + | |
| − | The lighting operator runs the lighting during performances. Duties can include:
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| − | | + | |
| − | · Helping the lighting designer rig, focus and programme the lighting design.
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| − | | + | |
| − | · Attending tech rehearsal
| + | |
| − | | + | |
| − | · Marking up a script with the lighting cues
| + | |
| − | | + | |
| − | · Operating lights during final rehearsals and performances, including knowing where all the switches are to turn the system on at the start of the evening and off at the end.
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| − | Sound Designer
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| − | | + | |
| − | Music and sound effects are an integral part of the theatrical experience and if done well can add immeasurably to the success of a show. A sound designer can help you by:
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| − | | + | |
| − | · Reading through the script and noting any particular music or sound effects required
| + | |
| − | | + | |
| − | · Attending run-throughs to suggest where music or sound effects might be used
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| − | | + | |
| − | · Sourcing sounds. Music is normally found in the director or crew's private collections, some sound effects CDs are available in the theatre, sound effect files are also available on the internet.
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| − | | + | |
| − | · Recording sounds onto minidisc or CD for use during performance
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| − | | + | |
| − | · If necessary recording composite sounds (E.g. rain with dog barking, music with gunfire etc.)
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| − | | + | |
| − | · Understanding how to operate the sound systems in Bell and Prompt
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| − | | + | |
| − | · Rigging speakers at get-in
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| − | | + | |
| − | · Attending tech rehearsal to agree on sound cues and sound levels
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| − | | + | |
| − | · Liasing with the sound operator about the running of cues
| + | |
| − | Sound Operator
| + | |
| − | | + | |
| − | It is not uncommon for the same person to design and operate sound for a show. Sound operation is one of the more complicated jobs, with several things to keep track of. In a complicated show sound operation can be akin to playing a musical instrument in terms of the awareness, deftness and speed required. The sound operator's job includes:
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| − | | + | |
| − | · Marking up the sound script with the sound cues - typically each cue is marked with a) the source of the sound - minidisc 1, minidisc 2 etc and a track number, b) which speakers are active for the cue and c) how loud the sound is to be played. Some times a cue will include whether the sound should be manually faded in or out.
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| − | | + | |
| − | · Attending tech rehearsal to agree sound cues and levels
| + | |
| − | | + | |
| − | · Running the sound cues during dress rehearsals and performance
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| − | Wardrobe Liaison
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| − | | + | |
| − | SLT is blessed with one of the best wardrobe departments in amateur theatre, which is staffed voluntarily and open every Tuesday evening. You may wish to appoint someone specifically to take responsibility for costuming your show. Advice on dealing with costumes is given later in this booklet.
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| − | Make-up Artist / Hair Stylist / Wig Tamer
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| − | | + | |
| − | Consider at an early stage whether your production will need someone specifically to handle any special make-up effects, for example for characterisation, ageing, wounds and bruises etc. Will you need the services of a hair stylist or wig tamer?
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| − | Publicity Designer
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| − | | + | |
| − | As the director of the show, you know best why you want to put it on, what's good about it, and why an audience will want to see it. It is part of your role as director to publicise your show and make sure it gets as big an audience as possible. A publicity designer can help you translate your knowledge of the show into compelling images and words that will make people want to come and see it. The role might include:
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| − | | + | |
| − | · Taking a brief from the director - discussing and agreeing what is compelling about the show and how this can be translated into images and words. Questions to discuss might include: Are there compelling visual images in the show? What themes does the show explore? What is the mood of the show and how could this be expressed in colour or graphics? Is there a key line from the script that could be part of the poster?
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| − | | + | |
| − | · Producing artwork, and perhaps written copy, which can be used to sell the show. This mat be used in Backstage, on the SLT web site, for posters, to advertise in earlier shows' programmes and on flyers and email flyers.
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| − | Working With Your Crew
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| − | | + | |
| − | The detail of how you work with your team is very much up to you. Some directors will have everything worked out in advance and know exactly what they want. Some directors will be very flexible and allow their design and technical team to make all the decisions. In practice most shows are run somewhere between these two extremes, with the director open to ideas from the team but orchestrating everything towards an overall vision.
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| − | | + | |
| − | · Ideally you will be able to get your whole team together for a pre-production meeting before rehearsals begin.
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| − | | + | |
| − | · You can use this meeting to outline your ideas for the show and get comments from your team. It is also useful to make sure everyone knows what is expected on them. You might want to consider putting together a briefing document with a synopsis of the play and your current ideas for its tone, lighting design, sound design, set, costumes etc. as
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| − | | + | |
| − | · Get everybody's contact details - email can be especially useful if everyone on your team has it, allowing you to keep everyone up to date cheaply and quickly.
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| − | | + | |
| − | · Various members of your team will also need to attend various rehearsals (usually run throughs), so the meeting is a good time to go over the rehearsal schedule and people's availability to plan these attendances.
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| − | | + | |
| − | · Make sure every member of your team has a copy of the script. You will need to provide scripts for everybody in your cast and crew. In general you are encouraged to buy at least six original copies of the script for your show. If you need photocopying services you might be able to find someone able to make copies at work. Commercial photocopying varies in price from around 3p a sheet to 10p but can be claimed as a show expense.
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| − | Publicising Your Show
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| − | | + | |
| − | It is the director's job to make sure SLT shows get good audiences. Lots of help is available but you need to lead the effort to publicise your show.
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| − | Start thinking about your show publicity as soon as possible. The sooner the artwork is ready, the more publicity your show will receive. Unless you have strong feelings otherwise, it is probably best to decide on a single strong visual idea (and perhaps also a tag line) and use this for all your publicity.
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| − | | + | |
| − | If you have trouble recruiting a designer to produce your show artwork, please contact the Publicity Director, who will be able to help. Also if you need any help at all in wording any of your publicity material, the publicity director or theatre rep will be happy to help.
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| − | | + | |
| − | The main ways in which you can publicise your show are:
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| − | | + | |
| − | · Email and word of mouth
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| − | · SLT Web Site
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| − | · Poster
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| − | · Publicity in other show's programmes
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| − | · Backstage magazine
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| − | Email and Word of Mouth
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| − | This is probably the strongest way to publicise your show. Make sure your cast let their friends and families know when the show is on.
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| − | SLT Web Page
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| − | | + | |
| − | As soon as the season is announced, each show will have its own page on the SLT website. It is important for you to ensure that your page is updated with any relevant information (performance dates, audition dates, show synopsis, cast list when ready etc) in order that this page is kept up to date. If potential auditionees/audience members are browsing, it is in your own best interests that any relevant information regarding your show can be found here. As soon as any artwork (doesn’t have to be the finished poster) is ready, it’s also a good idea to put it up on your show web page.
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| − | | + | |
| − | Please email all imagery (in jpg format) and information to the publicity director. In addition, the home page of the SLT website will feature the poster and performance information for each Bell and Prompt show that is featuring that month. This page is updated as soon as the Prompt show of the preceding month is over, so please ensure that the publicity director has both an electronic copy of your finalised poster and the synopsis/performance information that you would like a potential audience to read.
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| − | Poster
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| − | | + | |
| − | Completed poster to be submitted electronically to the publicity director approximately 2 weeks before your poster needs to go up - this will be the day after the final performance of the preceding show. Generally speaking, these files are too large to email, so please supply the publicity director with a copy on CD-rom. If you do have compression software however, please email as this saves time. The format needs to be A3 size with a resolution of 300 dpi (dots per inch), as either a jpg or photoshop file.
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| − | Your Publicity in Earlier Shows' Programmes
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| − | An image for your show plus a brief synopsis will be included in the programme(s) of preceding shows. The artwork does not need to be the finalised version although retaining consistency is always advisable. As images do not have to be so large, nor resolution so fine, these should be sent in jpg format by email to the publicity director, at the very latest 5 working days before the opening night of the show whose programme your show is to be publicised in. Generally speaking, your show will be publicised in the programmes of the 2 preceding shows, although as Prompt programmes are the responsibility of, and produced by, the directors themselves, this is not always a guarantee. Please ensure artwork is available in case it can be included.
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| − | Using "Backstage"
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| − | | + | |
| − | Backstage, the SLT magazine is a great way for directors to communicate with the whole membership. It is posted to, or collected by, every member, including audience members and therefore reaches the parts of SLT that the web site and notice boards cannot.
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| − | You can advertise for crew through Backstage, which can be repeated as many times as you need.
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| − | It is the director's responsibility is to provide audition copy. This is printed in the edition in which the auditions are held (four months prior to the show). Copy deadline is around the middle of the month before publication. This is your first opportunity to sell your show. Give a brief summary of the show, concentrating on particular selling points for potential cast and also provide a list of characters with one or two sentence summaries of their attributes. Audition copy should be around 350 words. Please also provide a photograph of yourself, which will help new members recognise you in the bar. If you don't have a suitable shot, please contact one of the editorial team and they will arrange for one to be taken.
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| − | | + | |
| − | Early in the month before the show a Backstage writer will contact you to hold a brief interview for the show preview. It will take the form of a discussion about the play, the reasons you chose it, how the rehearsals are going and anything interesting or quirky about the author, the play or the subjects it covers.
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| − | | + | |
| − | Around this time a photographer will take rehearsal shots. The idea is to show rehearsals in progress, so you might be included in some of the shots. It is best not to have pictures simply of a bunch of people holding scripts, so if the cast are not at book-down stage, it might be necessary to set up some shots - these can be used as part of a warm-up exercise.
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| − | The Backstage team will organise reviews of the show.
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| − | | + | |
| − | Contact details for the editorial team are given in the appendix to this booklet. Copy can be given to them, left behind the bar with their names clearly marked, left in the box-office pigeon hole, or sent to mailto:backstage@southlondontheatre.co.uk.
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| − | Holding Auditions and Casting Your Show
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| − | Publicising your Auditions
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| − | | + | |
| − | All productions at SLT are cast from audition readings which are open to all SLT members. The right cast will make your job as director relatively easier, and will make the final quality of the show better. To make sure you have the best choice possible of SLT's acting talent, you need to publicise your auditions and make sure people show up. The more people come to your audition, the better chance you have of finding ones who are right.
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| − | | + | |
| − | You will normally be assigned two audition dates in the theatre. It might be wise to have your contact details on any audition publicity and invite people who can't make those dates to audition at a more convenient time.
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| − | | + | |
| − | Here are some ways to publicise your audition:
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| − | | + | |
| − | · Prepare some text that really sells your play and makes actors want to be in it. As well as listing the characters and their ages you could think about mentioning what the play is about, what themes it deals it with, why you particularly want to direct it, what ideas you'll bring to it.
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| − | | + | |
| − | · Use Backstage: Notice of your audition readings, including the dates, places and times and your text, should be printed in that month’s issue of Backstage. The Backstage team will contact you to advise you of their copy deadline. If you wish you can even publicise your audition, as some directors have done, with small "teaser adverts" in earlier months.
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| − | | + | |
| − | · Put up posters around the theatre.
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| − | | + | |
| − | · Post a thread on the discussion board area of the website.
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| − | | + | |
| − | · If there are particular actors or types you need for specific roles ask them personally to audition.
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| − | | + | |
| − | · Make sure potential auditionees can get a flavour of the play ahead of time. Make at least three copies of your script or the appropriate audition pieces (more if possible) available in the bar prior to audition readings. Photocopies of the entire script are not acceptable.
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| − | Running Your Audition
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| − | | + | |
| − | There is no set way to run auditions as SLT. Auditions can be run in any way that you see fit, providing these three basic principles are applied:
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| − | | + | |
| − | · Give everyone attending the auditions a fair chance
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| − | | + | |
| − | · Get what you want from the auditions
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| − | | + | |
| − | · Be polite and considerate to those that you cannot cast - it is considered courteous to inform those auditionees whom you have been unable to cast of your decision.
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| − | | + | |
| − | It is usual to provide all auditionees with a form on which they can provide their contact details and an idea of which part/s they would like to audition for. Again, there is no set way to do this – a sample copy from a previous production is annexed to this booklet to assist.
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| − | | + | |
| − | It is recommended that you have some help to hand at auditions - ideally your PA can handle the housekeeping side of things - recording names, who wants to read for which parts, have they had their go etc., leaving you free to concentrate on the performances.
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| − | | + | |
| − | Some directors like to give actors direction in auditions. By giving an actor a brief note on a reading then asking them to do it again in a different way you can judge how well they respond to direction. You might want to prepare for this by making a few notes on what you think each character should be like.
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| − | | + | |
| − | If you need any advice about running the auditions, your Theatre Rep will be happy to help.
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| − | Casting Your Show
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| − | | + | |
| − | In the unlikely event that you are unable to cast your production from the auditions, you should consult with your Theatre Rep and encourage members to come to a further reading. It is occasionally necessary to phone round the membership, particularly when casting lesser-known plays.
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| − | | + | |
| − | While we encourage potential new members to audition, it must be made clear that nobody may take part in an SLT production without being a fully paid up (not audience) member of SLT. It is the responsibility of the director to make auditionees aware that if they are not currently a full member, that it will be compulsory to become one by the time of the first rehearsal. Should rehearsals commence without this rule being adhered to, the Membership Director is authorised to inform the Theatre Committee who may suspend the production until such a time as this has been rectified. Please submit a copy of your cast to the Membership Director for checking before rehearsals start.
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| − | Using Your Rehearsal Space
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| − | | + | |
| − | Details regarding you room allocation schedule will be supplied to you separately or are available on the internet from the SLT home page. Bell Shows have 6 to 7 weeks of rehearsal time allocated to them, with rehearsals 4 times a week. Prompt shows rehearse three times a week.
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| − | | + | |
| − | A well planned schedule, and rehearsals that start promptly and are run well, will ensure maximum productivity and relaxation time for all. While we all know that rehearsals can become fraught, tense and long towards the end of the production process – try to bear in mind that your company also needs time to relax and bond! A happier cast will usually mean a better show. By prior arrangement, your Theatre Rep will come and watch at least two of your rehearsals just to check things are running smoothly. If you have any concerns or queries during your rehearsal period do not hesitate to contact your Theatre Rep, who will be happy to help.
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| − | | + | |
| − | You are responsible for producing a detailed rehearsal schedule for every member of your cast and crew with a copy to your Theatre and GSM Reps. It is helpful for this to include extra details such as which scenes are to be rehearsed and which cast members are called.
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| − | | + | |
| − | With eight shows in production at any time, every room in the South London Theatre building is under great demand! Your production has been allocated rooms for auditions, rehearsals, get-ins etc on specific days and it is essential that you stick to them! One small change can affect another 7 shows.
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| − | Altering Your Room Allocation
| + | |
| − | | + | |
| − | If you wish to use a room within SLT at any other time you must check first with your Theatre Committee Rep. Whilst it is perfectly acceptable and indeed desirable for directors to come to mutual agreements to share and/or swap rehearsal space in order to maximise space usage, this should not be at the cost of disturbing any other show rehearsing for either stage. What seems to you like a simple swap may have large repercussions in ways that you hadn’t thought about! The room allocations for the whole building are displayed on the noticeboard in the bar on a month by month basis, and on the website – but please be sure that your Rep is consulted before changes are made .
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| − | ‘Out’ space
| + | |
| − | | + | |
| − | There will be a few times during your rehearsal period when you cannot be allocated space within the building and will need to make alternative arrangements. Your Theatre Rep will know the most up-to-date options for these. It should be noted however that any costs for hiring rooms will come out of your budget and therefore should be kept to a minimum. It can be easiest to plan rehearsals for these occasions which can easily take place in someone’s living room, a ‘line bash’ or a rehearsal with only a couple of characters.
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| − | | + | |
| − | Of course, you are not limited to use only the times indicated on your rehearsal schedule. If you wish to rehearse ‘out’ at any other times this is up to you – though do be aware that there may be other shows who may require the popular ‘out’ rehearsal spaces as well.
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| − | Youth & children’s classes
| + | |
| − | | + | |
| − | Please remember that our Youth Groups and Children’s Classes have sole use of Prompt and Bell on Saturday from 10 am till 4pm. Both theatres should be left as clear and tidy as humanly possible for these occasions. Obviously this becomes more difficult during your run-up and performance weeks, and some flexibility may be possible if you discuss this with appropriate group leaders in advance. Your Rep will advise you about this.
| + | |
| − | Looking After Rehearsal Space
| + | |
| − | | + | |
| − | The SLT is a space shared by many people. Please make sure your cast and crew are aware of the following simple rules:
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| − | | + | |
| − | · Always make sure your rehearsal space is left clear, tidy and usable for others
| + | |
| − | | + | |
| − | · Put all rubbish in the bin. If the bin is full empty it and put the full bin bag in the wheely bin outside (a supply of bin bags can be found in the cupboard in the stage manager's room)
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| − | · Return all glasses to the bar before last orders
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| − | · Make sure any furniture or piece of set that you use in the rehearsal room is left so that the space is clear at the end or each rehearsal
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| − | | + | |
| − | · Though you will usually be the only show using your space stage for rehearsals following your get-in, the rules regarding tidiness still apply, the Bell stage, auditorium and Prompt Corner must be left in a tidy state
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| − | | + | |
| − | · Remember you are not the only show rehearsing at any one time, and leave the space as you would wish to find it.
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| − | Smoking
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| − | Smoking is not allowed in the SLT building except for in the bar and outside on the flat roof.
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| − | Health and Safety
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| − | Health and safety of everybody involved in the show is the director's responsibility.
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| − | | + | |
| − | · Make sure you know where the fire extinguishers and first aid kits are, and how to use them.
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| − | | + | |
| − | · Know where your fire exits are and make sure all fire exits are unlocked and have clear access at all times.
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| − | · If there is to be smoking on stage in your play, or if your set requires potentially flammable materials (for example a large pile of newspapers) please contact your GSM rep for advice. In general you will need a container of wet sand to put out cigarettes and to flameproof any flammable materials.
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| − | · If your show includes fighting or other dangerous activities make sure that you take advice from someone trained in these activities. Your theatre rep can give advice.
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| − | Security
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| − | You are responsible for the security of any theatre equipment used during rehearsal, set building and performances. Please ensure when vacating either theatre that the Prompt Corner fire exit doors are firmly closed and padlocked. On show week, this is part of the Stage Manager’s responsibility.
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| − | | + | |
| − | You should warn your company about the security of personal effects. The SLT building is not secure and there have been many instances of theft. Cash or valuables should not be left unattended in any part of the building. You may wish to appoint a member of your crew to look after valuables on behalf of the cast and crew. SLT will not accept responsibility for loss or damage to personal property.
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| − | | + | |
| − | If you wish to remain in the building after normal hours, you must make arrangements with the caretaker to do so. You will then be responsible for ensuring that the exit is securely locked on your departure and that all internal doors have been closed and lights extinguished.
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| − | Directing Actors in Rehearsal
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| − | Directing actors in rehearsal is the fun part of directing. Here are a few ideas about how to do it, taken from postings on the discussion board - don't feel you have to agree with all or any of them, but we hope you find one or two interesting or helpful.
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| − | Be Professional
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| − | Leave any woes about the production/producing side of things outside of the rehearsal. Convey a sense of calm that everything will be there on the night and concentrate upon the script.
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| − | Always, always, always be prepared. There is nothing so disconcerting for a performer when a director gets confused about where they are in the script/doesn't understand the script/is clearly blagging. And it happens....a lot! Spend time before each rehearsal planning what you are going to do, have back-up plans and don't just feel your way through it.
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| − | The rehearsal room is sacrosanct. Nobody watches rehearsals. Nobody interrupts them, only my assistant with coffee or tea.
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| − | | + | |
| − | Check your watch after each scene. It's part of convincing the actors that you've worked out a schedule and are going to take them through the material on time. Don't manipulate or dominate them. But you can show leadership, which is a different quality.
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| − | Sometimes, young actors want to tell each other how to do things: "Oh, man, that's really hopeless, try this." Never let them advise each other.
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| − | I do yoga every day. It's been one of my best tools because only when you're relaxed can you see what's really going on. And you may be the only relaxed person on the set. Then you can create an atmosphere where no one can make mistakes, and it's all play.
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| − | | + | |
| − | My favourite directors start rehearsals at 7.30 and always finish by 10. That way we get the job done and have time to get the beers in.
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| − | Warm Ups
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| − | Warm ups are a good thing. They help everyone to relax and focus. They don't have to be long and elaborate. Bring a great tune, start with some stretches, finish with running around and shouting. Three and a half minutes and you're ready to go. I can never remember the stretches so I get my PA to do it.
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| − | Communicate With Your Actors
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| − | How do I 'help the actors'? Firstly lots of discussion. I like to have several read-throughs where we can discuss the shape of each scene for as long as it takes to ensure that all of the cast are aware of its purpose. With good writing there is no wastage and every line will be there for a reason. If you all understand these reasons before blocking begins a lot of time will be saved later in rehearsals. I don't tend to have people asking about motivation during run-up week and would consider myself to have failed if I did. The rehearsal process is about helping the actors find ways of portraying that motivation, not about deciding what it is.
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| − | Pace is important to me. I like to give actors a feel for this - telling them why we're building something up, helping them find the energy to suddenly up the pace for a few pages, and then take it right down - enabling them to see WHY it is being played like that.
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| − | Don't rabbit on and on with your own ideas about how a scene should be. Get your point across concisely and quickly then let the actors try it.
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| − | Communication is a two way street. Make sure you stop everything at least a couple of times in each rehearsal and ask: "Has anyone got any other ideas? Hey, so-and-so, how do you think it's going?".
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| − | The 'difficult' actor...quite often directors see it as an affront on their authority if an actor questions their decisions, and insists on clearer explanation as to why they are doing a certain thing. In my opinion, a good director will have a very open book policy which will see questioning as a very positive thing and encourage argument in the sense of discussion rather than a threat all the time.
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| − | Spend as much time on the script and characterisation as possible. As an actor the best times I have had have been when we have nailed character/purpose/plot relevance before doing full runs.
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| − | Read the scene through, not for expression, just to understand the meaning. Then discuss it, but not for long, because this is a technique actors use to delay standing up and doing it. Read it again, put the script down and have them improvise the scene, making up new lines for themselves. It brings them into the characters' motives. Then do it with the actual words.
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| − | Sounds obvious, but don't direct with your head stuck in the script. If someone has to prompt or watch the script ask your PA to do that. Watch what your actors are doing. Is it right? Is it true? How could it be better?
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| − | I like to mix up the way I give notes. Sometimes I'll stop the actors on every other line and give them direction on the spot, other times I'll let them run with it and leave notes until the end.
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| − | Most directors give notes after a rehearsal - I prefer to write down what I want to say and say it to the actors the next time they do that scene before they start. That way its fresh and their minds and they don't forget it.
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| − | Record Your Decisions
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| − | Make a basic floor plan showing where the actors went and the props they needed. It can take forever to work out how to do this, but someone showed me once and now I'll show you. Mark each person as a circle, with a nose to show the direction of movement, and map their positions as A1, A2, etc. Just remember the little circles and little noses.
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| − | Don't spend countless rehearsals blocking. If you have cast well you will have an intelligent and suitable cast who will be easily able to remember where to come on and where to stand etc. There is nothing so dull from an actor's perspective as doing run after run from a very early stage.
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| − | Know Your Actors
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| − | | + | |
| − | Always remember you are a team. Get your cast to bond, in whatever way you can, and make them leave every rehearsal on a high note...excited about the project and looking forward to the next rehearsal.
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| − | Whether you discuss every line to explore possibilities or find ways of exploring through rehearsal with the actor, varies from director to show to character to actor.
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| − | One of the important qualities of a good director is the ability to work out quickly what is unique about each of his performers, and bring their own particular strengths to the fore. A lot of it is about not being too rigid about what you want from the actor. When you're working with very idiosyncratic performers, it pays to be very vigilant, and very open to possibilities -- ones you wouldn't have dreamed of seeing beforehand.
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| − | Games and Tricks
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| − | I agree with the idea of getting your actors to swap parts. I have used this trick on occasion in the past. It is particularly useful in a comedy when you are all so used to hearing the same stuff every night that you just don't know if it is funny anymore. Get your cast to pick a character name out of a hat and read the play through with people playing different parts. You'll be surprised how many new ideas come out of it and how much people enjoy it. Many of these ideas can be incorporated when people start playing their own parts again.
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| − | Mess about, experiment, throw in odd things as much as possible. Keep your cast on their feet, make your rehearsals unpredictable but interesting, fun and relevant. I'm not an advocate of too much impro or pretending to be a tree-type stuff, but I think there is value in looking closely at sections of the script from a million points of view because you will undoubtedly find some spark or new viewpoint nobody knew existed.
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| − | Experimentation (in a kind of game-playing but not too "let's throw an invisible ball around" kind of a way) - it's the kind of thing that the whole cast have to do or it's pointless. I think it can be a great way of exploring a part, and help a cast to bond. However, we have, as always, to respect the fact that some people loath it - and it may put off some newer members.
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| − | Here's an example of the way game-playing can add something valuable to a production. This is from a workshop I did a few weeks ago. - The play: Measure for Measure. The scenario: Claudio has got his girlfriend up the duff, and so has been sentenced to death. However, the acting duke has promised to release Claudio, on the condition that he (the acting duke) can deflower Claudio's sister, Isabella. Isabella tells Claudio about the offer, and after a tense, nervous scene, Claudio begs Isabella to accept. - During the scene, each is trying very hard to read the other's mind, and anticipate their reactions. The pairs who were going to play the scene started off by playing a tai chi game. You may have seen the game. Each player stands with one foot forward and one hand behind their back. The players' wrists touch; the idea is for each to make the other lose their balance. It's a game of strategy and anticipation, rather than brute strength. Having played it for a few minutes, both players went on to do the Claudio/Isabella scene, trying to preserve the intense concentration that went into the game.
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| − | Get a Second Opinion
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| − | | + | |
| − | Get a trusted pair of eyes in when you feel comfortable to give you a frank opinion. Very often directors get too close to the piece and can no longer be objective. Understand that you may not be able to take that "step outside" and take counsel from your advisor(s).
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| − | If you have a choice, get advice from someone you know to be brutally honest rather than a close personal friend.
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| − | Props
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| − | Once you have worked out a detailed list of the props you will need for your show, approach the Properties Master with a detailed list of your requirements. He will advise you on their availability. Do not go out and start gathering props before you have done this – there are a large amount of props in store – and duplicating them has no benefit. It is not the responsibility of either the Props or Wardrobe (see below) departments to find or make anything that they do not have in stock.
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| − | Props should be acquired early to give your actors plenty of time to get used to working with them.
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| − | Any props or equipment purchased for a production and charged to SLT remain the property of SLT after the production.
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| − | Wardrobe
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| − | Staff
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| − | Wardrobe is staffed by Val Williams, Jenny Bennett and Jess Osorio. We are always available on a Tuesday evening (7.30-10.30 pm) since we open up the Wardrobe to hire out costumes to amateur, professional, fringe theatre and film companies, students and members of the public requiring fancy dress. We can get very busy on a Tuesday evening. Therefore we recommend you approach us well in advance of the show to allow for appropriate time to select your costumes. We can make alternative arrangements to open the wardrobe for you, as long as we get enough notice and this may also feature a visit to one of your rehearsals so we can get a really good handle on your requirements.
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| − | The Collection
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| − | Our costumes are stored in three rooms and on several rails in the rehearsal room. Shoes are kept in barrels and there is an index on the back of the office door. Hats are stored in boxes in the large room and boxes are labelled according to period. Costumes are either arranged on dress and scaffold rails or in boxes which are labelled and kept on shelves throughout the rooms. The collection has grown over the past 30+ years through a variety of donations, purchases for productions and costumes made specifically for shows. Staff will give you a guided tour and once we know your requirements can point your cast and crew in the right direction.
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| − | However we would like to emphasise the value of having one member of your crew dedicated to the selection and care of the costumes who can liaise with us about what you need. Problems can arise when there are too many people involved, all with keys, none of whom have a clear vision or sense of responsibility for the costumes.
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| − | Our costumes are an important asset - we generate a lot of money for the theatre by hiring them out. The collection must be treated with respect. The wardrobe staff is here to provide access to the collection and to help you put on the best production you can. We will advise you on the best costumes to suit the character and period, how to care for the costumes and make alterations if necessary.
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| − | Before you start
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| − | When considering the costumes for your play it is worth asking yourself the following questions since these are the things we will want to know in order to help you, and will also help your cast get a better feel for what their character would wear:
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| − | · What period is the play set?
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| − | · Where?
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| − | · What time of day?
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| − | · What time of year?
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| − | · Are the scenes outside or inside?
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| − | · Which characters require costume changes and how many?
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| − | · Is the character old or young?
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| − | · Is the character rich or poor?
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| − | · What class is the character?
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| − | · Would their fashion sense be dated or cutting edge?
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| − | · What context are the scenes set - glamorous and smart evening or day wear?
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| − | Bear in mind what personal accessories you may require, such as glasses, shoes, handbags, hats and wigs.
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| − | Assign a member of the crew as costume designer
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| − | You should appoint a costume rep to liase with the wardrobe department in order to costume your production. This can be someone specially appointed to the role, your PA or a member of your crew, but it is important that someone is responsible for choosing and caring for the production's costumes.
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| − | Ideally, you will assign one member of the crew, a specific costume designer, who will be exclusively responsible for the costumes throughout the rehearsal and show period. Their duties will include,
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| − | · selecting the costumes
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| − | · storing and looking after them during the run
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| − | · liaising with the set designer to ensure they work with the overall design
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| − | · taking responsibility for repair and alterations ( in consultation with and with permission of the wardrobe staff)
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| − | · cleaning and safe return of the costumes to their part of the wardrobe at the end of the run (see below also).
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| − | · organising dressers - particularly useful in shows with big casts, swift costume changes or complicated period outfits
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| − | Involvement in the production from the earliest opportunity will help so they have a good understanding of the set design, of the characters, of the cast sizes and of the plot and action of the play - all of which have implications for the costumes they select.
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| − | Selecting the costumes
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| − | Please contact the Wardrobe Staff to agree a suitable time to visit, rather than arrive unannounced.
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| − | We have source books with useful images of period costumes and we can also draw from our experience working backstage on shows.
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| − | We have a vast collection of costumes - whilst there is not an inventory, items are stored roughly according to themes or periods, and in a couple of cases, according to show. If you cannot find what you want, do ask. We often surprise ourselves by what we do find amongst the collection!
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| − | If in doubt, ask. It is frustrating to see a show with poorly selected costumes with the knowledge that we have the perfect outfit up in wardrobe which has not been used or to receive a donation from a show where the crew has spent money on an item we already have.
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| − | If you feel that you need to look beyond our own supplies, then you must check this first with both Wardrobe and your Theatre Rep. The Theatre Committee can consider having costumes made or buying them so that they become available for subsequent productions.
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| − | Any costumes made or purchased for a production and charged to SLT remain the property of SLT after the production.
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| − | To help select the costumes your costume designer will find it helpful to draw up a table featuring the names of the characters and cast; their sizes and costume changes. This table can then be used to keep account of what you have and what you still need to locate and at the end of the run, as a tick sheet.
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| − | Wardrobe Staff keep an account of what is out on hire by recording hire details in a duplicate book and we also have one for the internal shows to keep track of costumes' whereabouts.
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| − | We can put you in touch with Jay Michaels who looks after the wigs and can advise on styling them.
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| − | Care of the costumes
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| − | Any alterations must be agreed with one of the wardrobe staff.
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| − | Ask us if you need help with any sewing work. Do not attempt to make any changes if you do not have the skills.
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| − | Never cut any costumes- we have had some very valuable and unique items completely ruined by crew cutting off collars, using glue or safety pins to make repairs or alterations!
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| − | Do not use a sewing machine to make alterations or additions.
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| − | If in doubt ask.
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| − | Let us know if you plan to use stage blood or Fullers Earth or stage makeup since some items cannot be dry cleaned since they are very old, made up of a variety of fabrics or are made from material which cannot withstand such treatment.
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| − | Do not use wire coat hangers on the dress rail backstage because of the noise.
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| − | Access to wardrobe
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| − | Aside from the Tuesday openings, you can contact members of the Wardrobe staff on their home numbers and they give advice over the phone and can often make alternative arrangements to open wardrobe. On request one of the staff can attend a rehearsal to advise on costumes.
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| − | At the wardrobe staff's discretion a key may be loaned to your costume designer.
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| − | Your costume designer should approach wardrobe 3-4 weeks before dress rehearsal to discuss requirements.
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| − | Return of Costumes
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| − | The costume designer should sort out costumes on the Saturday night after curtain in order to take any cotton items such as shirts away for cleaning; identify other cleaning and repair jobs to be done.
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| − | Costumes should then be returned to Wardrobe on the Sunday during get out. This means returning items to their proper places - not left in a heap outside Wardrobe, in Prompt Corner or in the Rehearsal Room.
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| − | NB Wire coat hangers are used for costumes stored on scaffold poles, do not use other ones, they get jammed or broken.
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| − | The costume designer should then report to Wardrobe Staff on Tuesday evening to tick off items from the list in the duplicate book and return outstanding items and to flag up any repair or cleaning jobs. Any cleaning or repairs arising from unreasonable treatment of costumes will be claimed from the show's budget.
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| − | Getting in to the Theatre
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| − | Your TC or GSM rep will let you know when your get-in is.
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| − | In general for shows in Bell the stage will be yours from midday on the Sunday after the previous Prompt production. The previous Prompt production may be continuing their get-out next door and sensitivity and co-operation will be needed. Your Theatre and GSM Reps, as well as the Prompt show’s Rep and GSM Rep will be on hand to aid the smooth running of this hand-over.
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| − | For Prompt shows, your get-in date will be negotiated with your Rep. We strongly encourage Prompt Corner shows to do their technical rehearsal on the Friday before the show.
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| − | Your Stage Manager, Set Designer and Set Construction staff should all be present to begin the task of building your set. Your lighting designer and riggers may also begin work now.
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| − | Set Building Times
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| − | As Bell shows tend to have larger and more complex sets that in Prompt, it is probable that you will not be able to complete the building of your set on the day of the get-in – though of course you should aim to complete as much as possible. Be aware, that with agreement with the Prompt show before you, you can start building your set as soon as the Bell show before yours is finished. Do have a clear plan of how you intend to finish the set in plenty of time for the final rehearsals. There is usually ‘unallocated’ time available during the day at weekends which should allow plenty of time to complete the build. Do check times with your rep – there may be some times which are unavailable to you due to training classes etc.
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| − | Security While Occupying the Theatre Space
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| − | The area between Bell and Prompt which includes the tech room and the lighting and sound boxes contains valuable equipment and so is kept locked.
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| − | At your get-in you need nominate a key holder for your production (this can be yourself as director, or your stage manager or PA). Your GSM rep will tell you the code for the "safe" (a small black box on the wall in the SM's room) containing the ‘show keys’ which you need to access this area.
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| − | The key holder has specific responsibilities while your production is in the theatre. These are:
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| − | · Making sure all members of the cast and crew are aware of their personal health & safety issues in the theatre. This is mainly common sense but for specific advice on health and safety contact your GSM rep.
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| − | · Making sure that only authorised persons - those approved by the GSM team as qualified to use the equipment - enter the sound or lighting boxes. No other member of the cast or crew should have access to these areas.
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| − | · Caring for all equipment in the theatre space and in the stage manager's and tech room and making sure it is used properly.
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| − | · Making sure that all tools are returned to the toolbox and locked away at the end of every building session, and that any loss or damage is reported to the GSM rep as soon as possible.
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| − | The Lighting System
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| − | Your GSM rep or lighting designer will be able to show you where the appropriate switches are and the procedures involved during shows and rehearsals.
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| − | The Sound System
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| − | It is important that you know how to use the sound system before you attempt to use it. Ask your Theatre or GSM Rep who the best person is to talk to before you need this system.
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| − | Box Office and Front of House
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| − | Cast and backstage teams can have difficulty due to their rehearsal schedule in purchasing/booking tickets for performances. Box office is now open every Wednesday and at 7pm on show nights, to enable everyone to book the tickets that they require.
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| − | Complementary tickets can only be allocated with the agreement of your Theatre Rep who will advise the Box Office Manager accordingly.
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| − | Please advise the Box Office Manager and the bar staff of your expected running times including the time of the interval. Please also publish an A4 sheet with the running times of each Act, for display in the foyer. It is expected that your production will be finished by 10.30pm – anything past this time must be agreed with your Theatre Rep.
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| − | The standard run of a Bell show is Tuesday to Saturday – it may be possible, if you wish, to deviate from this, but you must discuss this with your rep at the earliest opportunity in order that the appropriate arrangements are made with the Rights Officer and the Box Office.
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| − | If your show is in Prompt don't forget to inform the Box Office manager as soon as possible how many seats will be available for sale.
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| − | Photography
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| − | | + | |
| − | Every show at SLT should be photographed to provide a display in the foyer during the show which later goes into the company archive. You need to make sure that your show is photographed.
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| − | There are currently several photographers who work on SLT shows - their contact details are given at the end of this booklet. Choose a photographer and contact them as soon as you know the dates of your dress rehearsal. It would be wise to reconfirm with them two or three days before the date too.
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| − | If there are several dress rehearsals it is best to do the pictures as early as possible to give the photographer time to turn the prints round and get them up in the foyer for the first night.
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| − | Warn your cast so they can make sure they are in full costume, made-up properly etc. Photographers like to walk about sometimes quite close to the actors to get a variety of angles, which can be off putting. Occasionally flash is also necessary.
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| − | Let the cast know that copies of the pics are available afterwards by arrangement with the photographer.
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| − | You do not need to worry about paying the photographer - he will be able to claim his expenses (a standard amount agreed with the theatre) from the bar.
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| − | Programme
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| − | Programmes for Bell shows are produced by the publicity team. Make sure that the publicity director has the artwork, the cast and crew list, an introductory piece written by the director, and any other relevant information that you would like included in the programme. The publicity team will ensure that all relevant show publicity for upcoming shows is included in your programme. Although we appreciate that some information might change up to the last minute, please make sure you provide the bulk of the information that needed in plenty of time. Any last minute changes should be discussed with the publicity director to ascertain what can be incorporated. Generally speaking, the programme details should be finalised one week before your opening night.
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| − | At present, directors of Prompt Corner shows are responsible for producing their own programmes, although help can be obtained from the Publicity team.
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| − | During The Run of The Show
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| − | The director's job should be more or less over by opening night. It is traditional at SLT that the director does not give notes to actors during a run - however this is your choice.
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| − | After Show Party
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| − | The Members Club will consider applications to use the bar for large cast parties – such applications must be made at least two weeks (preferably more) prior to the proposed date. Applications should be made to the Members Club Chairman. It should be noted that all clearing up is the production’s responsibility.
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| − | Get Out
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| − | Get out for both Bell and Prompt shows takes place on the Sunday morning after the last performance.
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| − | In order to assist the incoming shows, all get-outs, in both spaces, must begin at 10am. This is in order that the incoming show may commence their get-in at 12 noon. You must ensure that Prompt Corner is clear, clean and tidy for them at 12 noon. As the focal point of a production, it is compulsory that the director attends a get-out from beginning to end. All cast and crew are expected to attend the get-out, and it is your responsibility to inform them of this.
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| − | At get-out, it is your responsibility as director to lead the work and to make sure:
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| − | · The set is carefully struck with all flats free of nails/masking tape and returned to their correct position in the flat bay, leaving the stage clear of nails and other debris;
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| − | · Anything constructed especially for the production is disassembled and reusable items retained and stored appropriately;
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| − | · The Bell stage, wings, auditorium, SM’s room and Prompt Corner are left clean and tidy for the next show;
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| − | · All costumes that are the property of SLT should be taken upstairs and left outside the wardrobe department. All props that are the property of SLT should be left neatly outside the props cupboard, unless any other arrangement has been made with the Props Master.
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| − | · The tech room (which is sometimes used for entrances and/or to store props) is left
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| − | tidy, with all items used for your show removed. This includes the sound box.
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| − | If getting out of Prompt Corner please also make sure:
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| − | · The seats are neatly stacked
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| − | · The rostra are all broken down and neatly stacked
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| − | · Tabs (other than those around the edge of prompt) must be struck, folded and stored;
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| − | · Everything that has been moved out of Prompt (including the piano) and has been
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| − | stored either on stage, or in the auditorium is returned to Prompt Corner.
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| − | A sloppy get-out will not go unnoticed and could affect future opportunities for you to direct. Your Theatre and GSM Reps will be there to assist, and your show is not over until the get-out is completed and you and your company have returned the building to a condition that the GSM is happy with.
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| − | Post-Production Meeting
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| − | We would like to ensure that, following every production, we discuss the whole process. This will give both you and us a chance to discuss successes and failings so that we can all hopefully improve the process in the future. Your reps will contact you to agree a suitable date and time for the meeting. Your Theatre and GSM Reps will be there – and it may be useful to have your Designers and PA and any other key production crew you feel would be helpful.
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This article lists the major milestones of an SLT production - it can be used as a checklist, with deadlines for each task.
