Tag Archives: Lizzy Hayes

Rehearsal Time Table- April/May 2014

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DATE STUDIO TIME PRODUCTION MEETING
Tuesday 22nd April Studio X 4-7 ACOUSTIC REHEARSAL 10-11 – Andy and Darren2-4 Tech stage time
Wednesday 23rd April UL110 4-7 10-12 UL111
Thursday 24th April UL110 5-8pm
Friday 25th April UL110 10-2
Saturday 26th April Studio 2 5-7
Sunday 27th April Studio X and 2 SX 12-2 S2 Acoustic 3-5
Tuesday 29th April Studio X 5-8
Wednesday 30th April Studio X 3-5
Thursday 1st May Studio X 10-1 Acoustic Run5-7 Acoustic Event 3-4:30 UL110
Monday 5th May Studio X 10-1
Tuesday 6th May Studio X 10-2 2-4 UL110
Wednesday 7th May Studio X 10-12
Friday 9th Studio X 10-1
Monday 12th May Studio X 10-2
Tuesday 13th May Studio X 10-2 2-3 Zing
Wednesday 14th May Studio X 10-2
Sunday 18th May STAGE TIME 7:30 – 10pm
Tuesday 20th May UL110 10-1 1-3 UL110
Wednesday 21st May TECH 2-6
Thursday 22nd May Studio X 10-2 
Friday 23rd May Studio X 1-4
Sunday 25th May Studio 2 11-1 1-3 UL110
Monday 26th May Studio 2 10-4
Tuesday 27th May Studio 2 12-6 10-12 UL110
Wednesday 28th Studio 2 10-12
Thursday 29th May Studio 2 9-127 30 PERFORMANCE Production meeting

 

Voice recordings: Structure

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Voice recordings were created to ensure that scene one of the performance could be musically enhanced. These recordings were used so that our director, Stephanie, could form all of this material together to produce more successful results. Upon hearing this recordings she was able to make decisions regarding the formula and structure of the first scene.

*Contains spoilers*

(Completed by Andrew Tinley, March 2014)

(Completed by Andrew Tinley, March 2014)

(Completed by Andrew Tinley, March 2014)

(Completed by Andrew Tinley, March 2014)

(Completed by Andrew Tinley, March 2014)

 

Market This

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It is my job to interact with every other sector of the company to ensure that everything is running smoothly, on schedule, and that each sector is running in compliance of the other sectors. This has meant that I have been organising and attending meetings with different areas of the company to both check their progress and discuss and set goals. While running the company and creating our piece is very much a collaborative process, many of the artistic decisions are being run by me to check before a final decision is made. This is particularly prominent in marketing.

The marketing process has been an exciting one. I am aware that many producers would not find having to “re-design” their logo only one week after its release date due to a consensus that the original was inappropriate for our company’s image would not be an exciting moment. However, I feel it gave us a chance to listen to the public’s feedback on our initial design and to merge their criticisms with our idea’s to create a logo that we are very proud of. This was a point where I was glad to have worked with the marketing team, as well as the director and the production manager to come up with the first design, as it meant that we were all in agreement that none of us had foreseen this image being an issue. Making the executive decision to release our first logo design may not have been the best decision, but I believe that the way the company dealt with the repercussions of perhaps “hurried” release made us think a lot longer and harder about what is going to be best for the company from then on in. In fact we soon turned this mistake into a marketing opportunity in itself, as a “new logo launch” gave us good publicity on our social media sites. Kirsty and Jess dealt with the re-launch very professionally and quickly got onto creating our next publicity tool, our teaser trailer, which has received a lot of positive attention on Facebook and Twitter.

New logo promo

Since then I have met with Kirsty and Jess twice to discuss the next steps for the company’s marketing campaign. This week we wrote and edited a press release for the LPAC brochure, as well as the press release for the public in general. These are being checked by the LPACs marketing team at a later point this week.

On top of this I have been on contact with the LPACs managing director, Craig Morrow, and Front of House Manager, Holly Cox, about putting on an acoustic night as part of our marketing campaign.

Email to Craig

Having received the all clear from Craig, I arranged a meeting with Holly to discuss logistics for the event and we are now waiting to hear the possible dates for our acoustic event.

 

Admin

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Having been producer of Hand Me Down Theatre for just over a month now, I thought it was time to share some of my experiences with the role so far.
The first, simple task that I have been dealing with is booking rehearsal space. While having the LPAC at our disposal has made this a significantly easier and cheaper feat than it would be if I were to be booking space in a separate venue, it is a task that has required a lot of coordination. This is because being a cast of 9 very busy people, we do not all run from the same time table. Finding a time that is suitable for us all was therefore the first “challenge” that I came across. However, until we break up for Easter, we managed to secure Wednesday 1-3pm as our rehearsal slot, though a lot of the rehearsals in this time have had to take place in the main admin building of the university.

Below is an image of the company’s rehearsal time table for after Easter. I hope to add more dates to this in the coming weeks to ensure that the company meets at least three times a week in the fortnight before the show. This timetable is no inclusive of production meetings, which do not normally require studio space.

Rehearsal Timetable #2

In order for this time table to work effectively, I have had to coordinate other members of the company to book sets times and spaces on my behalf. This is because under the LSPA studio bookings policy each individual is not allowed to book more than two hours in a studio per day. I have therefore employed the help of a number of company members to book studio space according to my planned timetable.

As well as booking space, our finance manager and I have been in discussion over our overall budget. Below is a representation of the allocated budget as it was originally forecast. However, following a meeting with Dominic and further discussions, this has now changed. The money we have allocated money to ‘copy right’, for example, has now been spread out over marketing and costume/props sectors, as we no longer foresee that we will need to buy any performance rights. This is because while our piece is made up of other people’s words, we are using so little of each speech, or changing it enough for it to be considered “fair use” under the copy right laws.

Budget Graph

Graph by Kayleigh Brewster

The reason behind the reallocation of certain areas of our budget is that realistically the initial budget covered all of the areas of the production that we thought might require money. Having reviewed our current production ideas we can now see that some of the areas will require far less money, if any at all. This reallocation of funds has benefited departments such as marketing significantly. This is beneficial to the company as a whole, as this is our first performance as a company, and we are aware that because we are not an established name on the theatre scene, and we do not have a dedicated following, that we will need to have a strong marketing campaign to get a good audience for out debut piece.