‘Don’t panic. Everyone is learning. And you must learn too. Take copious notes. Notes about everything’ (Caird, 2010,246)

Show day proved to be successful and our Day Schedule was followed by all members of Hand Me Down Theatre and the Lincoln School of Performing Arts technical crew. Slight amendments had to be made throughout the day, however it was ensured by the production manager that this schedule had been contingency planned to cater for this.

Technical cue to cue:

Our technical cue to cue was completed with all actors and the decision was made by our Stage Manager to ensure that all costumes and props were worn and all set elements and transitions were completed during this cue to cue. This made the cue to cue run for about 45 minutes but ensured that all members of the company were aware of their locations on stage and where each prop/costume/set element is being pre set/post set . Our Pre Show Check List was created so that our DSM, Libby Soper could be responsible of ensuring that they are pre set in the correct positions before each run. John Caird states that ‘you [PM/SM] must be careful that you keep control of it [technical rehearsal]’ (2010, 730). We felt like it would be easier for our company, as this show is promenade, for our Stage Manger (who would be calling the show, not DSM who would traditionally) would call the cue to cue from the stage. This ensured that all members of the production team were happy with the lighting choices, areas and fade times. The decision for our SM to be involved on stage during the technical cue to cue ensured that they could communicate well with all actors and use radio cans to communicate to the LSPA technical crew who were operating.

Your biggest problem is communication. Poor communication wastes a lot of time and causes frustration in all departments. Good communication saves time and keeps tempers, your own included, on an even keel. (Caird, 2010, 730)

(Photography by Phil Crow, May 2014)

Dress Rehearsal: 

Our dress rehearsal ran at 14.30, half an hour after planned but this was due to a technical error beyond our company’s control. There were limited notes taken but notes that required a half an hour period with our technical crew afterwards. See Show Report Dress here for  full notes. It was ensured that all members of Hand Me Down Theatre were aware of director notes alongside technical notes. All technical notes/errors were fixed by 16.00.  ‘Don’t take too many actors’ notes at a dress rehearsal. A lot of the mistakes the actors make they will know they are making and will never make again’ (Caird, 2010, 246). The only technical note that was given to the actors after the dress run was to ensure that all members knew when they were ‘in’ their light so that they could be seen by all audience members. Our audience number for this run was 6.

(Photography by Phil Crow, May 2014)

Final Run: 

The final show run began at 19.34 and ran for 55 minutes. See Show Report Show Run here for full technical and administrative information regarding this performance on 29th May 2014. Our audience number for this run was 99.

(Photography by Phil Crow, May 2014)

Get out: 

Hand Me Down Theatre company were responsible for returning the theatre space back to proscenium arch staging and ensuring that all elements of set, costume, props and technical equipment were returned. Our Production Manager ensured that all members had specified jobs to do during this get out. See Get Out Check List here. This took us 28 minutes.

Work Cited:

Caird, J. (2010) Theatre Craft: A Director’s practical companion from A to Z. London: Faber and Faber limited.

‘Stage management should try to stay one step ahead of the needs of the director and acting company by planning, preparing and organising in advance’ (Hawkins and Menear, 2011).

Working to schedules and deadlines ensures that all members of the theatre company are aware of when sections of the performance need to be completed and gives everyone a time frame to work within. Draft deadlines have been included within the Production Plan (see here) so that documents are ready within a contingency period. This gives us time as a team to rectify any problems before the final version of documents are published. As Hawkins and Meyer have stated above I have attempted at being ‘a step ahead’.

One technique which saved the production team time, was that documents were given an electronic template as early as possible and then filled in accordingly as our company progressed through our devising process. A Production and Stage Mangers job involve a substantial amount of negotiation and communication between all members of the company, creative team and the venue stage manager. Deadlines were set in negotiation with the venue stage manager at the Lincoln Performing Arts Centre and it was ensured that this information was communicated and filtered through the production team and actors (if necessary) effectively.

Tech Rehearsal Schedule    Production Week Check list     Pre Show Check List    Get Out Check List

(above are some examples of the sheets that have been created to ensure that our company constantly remained organised)

Stage Management Birmingham REP/National Theatre

Andy Beardmore, one of the Stage Mangers for Birmingham Rep discusses the skills and experiences needed. He mentions organisation and communication skills. Hand Me Down Theatre’s production have had weekly meetings to ensure that each member understands the visual aesthetic for the show and ensures that every technical and material element fits the main objective of the performance.

Mary O’Hanlon describes her experience during a show that has heavy technical elements across a multi platform performance. Similarly in Take Me By The Tongue, actors are used as visible stage hands in order to move material elements of the show, as well as set and live feed camera.

Work Cited: 

Hawkins, T and Pauline Menear. (2011) Stage Management and Theatre Administration. London: Phaidon Press limited.

The stage management team is the channel of communication between all the people and departments contributing to a production.

(Hawkins and Menear, 2011)

Our piece, Take Me By The Tongue, is a devised piece and so the development of a definite props and costume list advanced as the company progressed through the process. During rehearsals I noted down any props that were discussed on my rehearsal note sheet (see Rehearsal Notes Template here Tinley, A, 2014), which I then transferred over in to a table (see below for current examples of rehearsal notes). Discussions were had with the director, producer and also our set designer to ensure that all the creative team were on the same page regarding the visual aesthetic for the show.  ‘It is very important to get a feel for the period, and an understanding of the visual style of the production’ (Pallin, G. 2010 p.52). Our production covers many settings and time periods as we focus more on the language of the text and how we can change its original context. Weekly meetings have been set up so that all members of the creative team are fully aware of this particular performance’s ‘visual style’ as it progresses.

(Rehearsal notes completed and picture taken by Andrew Tinley, May 2014) 

The collection of props and costume is crucial in ensuring that the actors have time to familiarise themselves with their own props and know where they will be set on stage before the actual performance. Deadlines were set in order for the company to achieve this.

Due to our artistic style we have found that some of the props needed for the performance can be borrowed from the company. This has its advantages and disadvantages. We need to ensure, as a company, that the props, if borrowed, are of a professional standard and don’t seem unfit for the stage. Borrow forms have been created to ensure that the props that are borrowed from company members are returned in the state they were collected. Dates and times will be recorded and creative team members will supervise these to ensure this happens effectively.  ‘It is vital to any company, no matter how small, to have well presented borrow forms’ (Pallin, G. 2010 p.55)  – (see Props Borrow Form here, see Costume Borrow Form here Tinley, A, 2014).

(Prop borrow form completed and picture taken by Andrew Tinley, 2014)  

(Show Movement Schedule form completed and picture taken by Andrew Tinley, 2014) 

During our show all props are on view to all audience members. This artistic decision was made and so we need to ensure that this table is clearly labelled during the performance to make it easy for actors to find their props without distracting audience members from the scenes occurring simultaneously (see Props Table Template 1 and Props Table Template 2 Tinley, A. 2014).  A props table template has been made so that on the performance day delegated members of the creative team can assist with the get in of the performance and refer to a template. Similarly a template for all stations will be created to ensure that the morning of the performance can be completed as efficiently as possible, templates also help with the resetting of props for several runs throughout the day. Delegated members of the company have been given certain props to pre set and move in designated stations throughout the show, (see Show Movement Schedule here, Tinley, A. 2014).

A show movement schedule has been completed so that the creative team is aware of where all cast members, props, costume and set material are being set, moved and struck throughout the show. This sheet has been given out to the cast members so they are aware and have a sheet to refer back to in rehearsals. All of these sheets provide cast, crew and company members with information that will aid the efficiency, quality and professional level of the performance.

Work Cited:

Pallin. G (2010) Stage Management The Essential Handbook. New Edition. Great Britain: Ashford Colour Press.

Hawkins. T and Menear. P (2011) Stage Management and Theatre Administration. London: Phaidon Press Limited.

These past weeks have included decisions regarding the general aesthetic for the piece, now named Take Me By The Tongue.

Discussions and meetings have been arranged to ensure that all members of the creative seem were aware of the overall vision and aesthetic of the show.  Our creative team is as follows:

• Producer: Lizzy Hayes
• Director: Stephanie Alcock
• Production Manager/Lighting Designer: Andrew Tinley
• DSM/Set Designer: Libby Soper

John Caird in Theatre Craft states that the aesthetic elements of a show such as costume, props, lighting and set need to create a ‘unified world’, ‘if you oblige the costume designer to work in a void, the costumes will always look more like costumes and less like clothes’ (Caird, 2010). He continues ‘similarly with the lighting designer. Share your design ideas as soon as you can so [they] can start designing a rig that will complement the set, technically and artistically’ (Caird, 2010). These creative components have had supervision and will continue to be assessed to ensure that this ‘unified’ world is created. The set and set properties were confirmed this week and so enabled the lighting design process to begin.

Set Design

(Pictures of set design from top (l) basic LX FREE set design (c) LX FREE set design with labels (r) (Completed by Andrew Tinley and Libby Soper) – Picture taken by Andrew Tinley, March 2014) – Far right image was completed and taken by Libby Soper. 

This promenade staging will consist of two platforms and various stations outlined above. These will be incorporated within the performance and perhaps be performed on simultaneously so that various immersive atmospheres can be created throughout the show. Several sheets of this design have been printed so that during the rehearsal process the stage management team can outline prop, costume and blocking movements between actors and scenes throughout the show. Once this is completed a ‘properties movement’ document will be created in order to ensure that props and costumes (seeing as though they are on visible when not in use) are correctly placed and pre set in order for the show run smoothly.

(Picture of card mock up Set Design (Completed by Andrew Tinley) – Picture taken by Andrew Tinley, March 2014) 

Card and electronic prototypes were created to ensure that the set was could be visualised by all members of the creative team and once confirmed, the actors. Having a visualisation of the set is crucial in ensuring that all team members understand how the production elements of the show are coming together and how they are going to become a part of the final piece.

(Electronic set prototypes made on SketchUp3D (completed by Andrew Tinley) – Picture taken by Andrew Tinley, March 2014)

Set Management (this is document created to ensure that all aspects of the set were managed in terms of their budget and location)

Lighting Design

The piece consists of various different locations. These have been written down in order for the lighting design plot to begin. Once the set was confirmed this week, more confirmed ideas and research in to specific lighting design began. Due to this performance being promenade, lights will have to be rigged carefully in order for actors to be seen from all angles, as audience movement could be unpredictable. Our director, Stephanie, will ensure that the spectators travel on a journey through the space during the performance and so discussions with her will be scheduled to ensure that the lights are correctly planned. These uncertainties will be assessed throughout the process (and limited to a certain extent) to ensure that the correct aesthetic is created.

(LPAC LX plan (l), LPAC LX PLAN and Hand Me Down set design in prep for lighting plan (r) (Completed by Andrew Tinley) – Picture taken by Andrew Tinley, March 2014) 

The left image is the LX plan for the Lincoln Performing Arts Centre so that the lighting plan can be made effectively using the resources available. The right image was created through a programme called LX FREE, which is used to create a lighting plan. Set diagrams have been inserted and labelled (above) before the lighting can be designed so that the sheet is clear and can be understood by all creative team members and technicians on the day . This sheet will be used later on in the process to ensure that our technical rehearsals are run as efficiently and effectively as possible.

Keep up to date with my posts to see the lighting and set process as they become more specific….check back soon!

While you’re waiting….feel free to watch this clip about Neil Austin’s experience at the national theatre!

HAND ME DOWN THEATRE FINAL LIGHTING DESIGNS AND CUE SHEETS 

Lighting Magic Sheet    Lighting Focus Sheet    Lighting Ground Plan    Lighting Description Sheet   LX Set Diagram

Above are the lighting design documents for Hand Me Down Theatre’s production of Take Me By The Tongue. (feel free to have a sneak preview of our company’s vision!)

Work Cited

Craid, J. Theatre Craft (2010)

National Theatre Discover (2011) Becoming a Lighting Designer, [online] Available from: http:// www.youtube.com/watch?v=y_pTBfYyTuc. [Accessed April 2014].