OTYP Illuminate Toolkit by Outback Theatre for Young People

THEATRE MAKING TOOLKIT

ABOUT THIS TOOLKIT This toolkit has been created to be a resource for beginner and intermediate theatre makers of all ages. We make reference to the production being a new work, devised with the aims of being relevant, truthful and respectful. It has been created as part of Outback Theatre for Young People’s (OTYP) Illuminate Project that took place in the Wakool Shire, South West NSW in 2012 and 2013. Accompanying this toolkit is a documentary about the Illuminate project, A Town Called Mills Acre and the theatre making process. You can find it here http://www.youtube.com/watch?v=a3ixId5_K9o WHAT IS THEATRE? A collaborative art form that uses live performers to present to a live audience. It is a major form of human expression. It is both visual and aural and takes place in the present, and connects us to other times and places. We see people in action, what they do and why they do it and as a result, theatre can provide us with insight into our own behaviour and a deeper understanding of others. The power of theatre lies in human connection. The team including writers, directors, actors, designers, operators and stage managers work together to create a shared vision and the experience is uniting, energising and has often been described as ‘like family’. When creating and performing a piece of theatre, the performers share vulnerability that can connect them deeply. The connection is based on giving, receiving, expression and trust. An audience is taken on an emotional journey that is intimate, immediate and powerfully engaging. Theatre is a community, a culture and is part of a long and rich history from ancient corroborees around campfires in Australia to dramas performed thousands of years ago in ancient Greece. PURPOSE: WHY ARE YOU MAKING A THEATRE SHOW? Making theatre can take an enormous amount of time, emotional and physical energy, patience, faith and courage. With this in mind it is important to have your values, intentions and purpose clear from the beginning of the process. What is driving you? Are you motivated to: Tell an important story? Entertain an audience? Bring about understanding of an issue? Express a point of view? Motivate and inspire an audience to change their behavior? Empower people? Raise the self-esteem of the participants? Maintain culture? Give people a voice? Theatre has the power to do all this and more.

TABLE

CONTENTS

THE CREATIVE ENVIRONMENT

THEATRE STYLES P6 GETTING STARTED P7 CONSULTATION P8 ABORIGINAL CONTENT P8 RESEARCH P9 DEVISING P10 WORKING FROM AN EXISTING SCRIPT P11 SKILLS DEVELOPMENT EXERCISES P12 THEATRE SPORTS P16 FINDING A VENUE P19 FUNDING P20 THEATRE ROLES P21 RESPECT THE ROLES P22 THEATRE COMPANY ROLES P23 WRITING P31 DIRECTING P33 MUSICAL DIRECTING P34 ACTING P36 PRODUCTION MANAGEMENT P40 PRE PRODUCTION P40 PRODUCTION WEEK P42 POST PRODUCTION P42 STAGE MANAGEMENT P48 THEATRE DESIGN P56 ADMINISTRATION P65 MARKETING AND PUBLICITY P66 FRONT OF HOUSE P67 RESOURCES P69 LINKS AND RESOURCES P118 GLOSSARY P120 INDEX P125 4

RESOURCE

INDEX

ACTING RESOURCES ACT1 - CHARACTER BACKGROUND CHECK EXAMPLE ACT2 - CHARACTER BACKGROUND CHECK BLANK

P70 P71

PRODUCTION RESOURCES PROD1 - CONTACT LIST BLANK P72 PROD2 - SCHEDULE EXAMPLE - WBTC TOUR P73 PROD3 - SCHEDULE EXAMPLE - TIDDALIK P77 PROD4 - SCHEDLUE BLANK P78 PROD5 - PRODUCTION TIMELINE EXAMPLE P79 PROD6 - BUDGET BLANK P80 PROD7 - PETTY CASH EXPENDITURE P81 PROD8 - PRODUCTION MEETING AGENDA P82 PROD9 - PRODUCTION MEETING MINUTES EXAMPLE P83 PROD10 - RISK ASSESSMENT P84 PROD11 - INCIDENT ACCIDENT REPORT FORM P85 PROD12 - BUMP OUT CHECKLIST P86 PROD13 - VENUE INDUCTIONS P87 STAGE MANAGEMENT RESOURCES SM1 - RUNNING ORDER EXAMPLE P88 SM2 - SCENE BREAKDOWN EXAMPLE P89 SM3 - SCENE BREAKDOWN BLANK P90 SM4 - SCRIPT WITH CUES P91 SM5 - PROPS LIST EXAMPLE P92 SM6 - PROPS LIST BLANK P93 SM7 - COSTUME LIST EXAMPLE P94 SM8 - COSTUME LIST BLANK P95 SM9 - SHOW REPORT EXAMPLE P96 SM10 - SHOW REPORT BLANK P97 7 DESIGN RESOURCES DES1 - SET DRAWING - THE FLOOD P98 DES2 - VENUE SPECIFICATIONS EXAMPLE P99 DES3/DES4 - VENUE PLAN FORTYFIVEDOWNSTAIRS P100 DES5 - PROPS AND SET BREAKDOWN EXAMPLE P101 DES6 - PROPS AND SET BREAKDOWN BLANK P102 DES7 - PROPS LIST - THE FLOOD P103 DES8 - COSTUME BREAKDOWN EXAMPLE P104 DES9 - COSTUME MEASUREMENT SHEET P105 DES10 - CUE SYNOPSIS EXAMPLE P106 DES11 - LANTERN SCHEDULE EXAMPLE P107 DES12 - LANTERN SCHEDULE BLANK P108 DES13 - LIGHTING PLAN - THE FLOOD P109 DES14 - LIGHTING CUES EXAMPLE P110 DES15 - LIGHTING CUES BLANK P111 DES16 - SOUND CUES BLANK P113 DES17 - BASIC SOUND SETUP P113 DES18 - POSTER EXAMPLE P114 DES19 - POSTCARD EXAMPLE P115 FRONT OF HOUSE RESOURCES FOH1 - RECONCILIATION P116 FOH2 - USHERS DUTY LIST P117 5

THE CREATIVE ENVIRONMENT

A creative environment is one where we all feel safe to offer ideas, take risks, try something difficult, work hard and concentrate. It is only when we form this creative space together that we can create excellent quality art. From the beginning of the process these group agreements form a culture that is based on respect, openness and trust. They can be learned through exercises (see section Theatre Games / Skills Development / Workshops), gentle reminders and revision. Group Agreements: • Practice excellent listening • Be open-hearted • Be trustworthy • Be caring and kind • Not judging / not comparing • Do our best in everything we do in this space SOME COMMON THEATRE STYLES Drama A drama will usually have a clear narrative with characters who represent a protagonist (hero), and antagonists who represent the opposition (a villain or enemy). The audience follows the protagonist attempting to reach their goal while being tested by the antagonists or antagonising forces. Comedy Any humorous work generally intended to amuse and creating laughter. This style can include stand up comedy (spoken direct to audience), a farce (aims at entertaining the audience by means of unlikely, extravagant, and improbable situations), clowning (often characterised by exaggerated characters, costumes and slapstick). Claire to add links Musical Theatre This style combines songs, dialogue, acting, and dance. Musical theatre is often performed by large casts and has two or three acts.

Physical Theatre Uses the body as the primary means of performance. Body shape, position, facial expressions, movement, posture, gesture, pace and energy are used to communicate. Physical theatre is often distinguished from dance in that it tends to focus more on narrative, character and action. Opera A style where singers and musicians perform a dramatic work combining text and musical score, in a theatrical setting. Circus Performances by acrobats, clowns, object manipulation and stunt artists. Street Theatre Any performances presented in outdoor pubic setting, often without a specific paying audience. Dance A performance style that uses the movement of the body to express ideas. It is most often rhythmic to music and is a form of performance used all over the world across many cultures. Puppetry Is an ancient style where performers manipulate performing objects. It has many variations and forms. Cabaret / Variety Show A combination of acts including musical performance, comedy, circus, dance and is usually introduced by a compare, host or mater of ceremonies. Performance Art Performance art is a form that can be scripted or unscripted, random or carefully rehearsed. Sometimes there will be audience interaction, or other variations on the performer audience relationships. It can happen anywhere, anytime, and form any length of time. It is theatre outside the norm.

GETTING STARTED

CONSULTATION As theatre makers we are often driven to move our audience. We look to provide new ideas, new perspectives and to create relevant, truthful and respectful work. When creating a play about a people, culture, industry, place, etc. it is vital that the appropriate consultation takes place. For example the play A Town Called Mills Acre (OTYP 2013), was based on themes and ideas such as small town culture, farming, environmental changes, population decline, creativity and resilience, leadership and responsibility. It followed the story of the McCoy’s, a rice farming family living in a community in the southern Riverina of NSW. As part of the consultation process the artists spent time with young people, (primary and high school and post school aged) farmers, including three rice farmers, business owners, parents, teachers, council members and local artists. It paid off. The show was powerful, engaging and was of huge value to the communities because of it’s authenticity and truthfulness.

ABORIGINAL When making work that has any Aboriginal content, including characters, setting, themes or even references there are industry expectations regarding best practice. In 2013 at the Australia Theatre Forum in Canberra Australia’s leading Aboriginal theatre makers came together and discussed the best way to create Aboriginal theatre. The guidelines for best practice are summarised here, but it will be vital to make contact with local Aboriginal people and Aboriginal industry professionals for further advice. •

To not assume it’s ok to tell any story. Permission must be asked and not assumed.

•

Make contact with local Aboriginal people or Aboriginal people who the work depicts as well as industry professionals. A person without professional experience may not have a broad enough understanding about what is expected in the industry.

•

Collaboration must be meaningful and not tokenistic. If the work has significant Aboriginal content it should be made with Aboriginal people in key artistic leadership roles. Employment and training opportunities for Aboriginal people are highly encouraged.

Aboriginal and Torres Strait Islander theatre makers at the Australian Theatre Forum in 2013 recommendation for need to develop a Best Practice Model in the making of Aboriginal and Torres Strait Islander work.

CONTENT

“We believe we are at a critical moment in defining and shaping this country. As the foundation of the cultural landscape,we have a responsibility to establish the standards for the future. It was identified there is an urgent need to establish a Best Practice Model in the making and presentation of Aboriginal and Torres Strait Islander theatre work and work of Aboriginal and Torres Strait Islander content. Therefore, we request that the Australian Theatre Forum recommends the Australia Council support Aboriginal and Torres Strait Islander theatre makers to develop a Best Practice Model. In the spirit of this recommendation, this process must be driven by the Aboriginal and Torres Strait Islander sector itself.” But don’t let any of this put you off creating Aboriginal theatre. The Aboriginal theatre sector is made up of fantastic leaders, artists, production and administration staff who are keen to collaborate in a meaningful way. For more information please see the links towards the end of the book.

RESEARCH When researching to inform your show it can very important to make sure you are staying on track. Remember why you are researching • • •

To find out more facts about a subject To develop a deeper understanding of a subject To find out the varying points of view of the subject Some research techniques include:

• Observations • Visiting a location where your show is set • Interviews with people • Reports of meetings • Collecting information from questionnaires or surveys • Focus group activities • Online resources such as articles, statistics, journals, blocks, social media It can be really useful to file and record your research so you can easily retrieve it. You never know when

DEVISING If you are self devising rather than working from an existing script there are endless approaches you can use. You might start in the middle of the story, or at the end. You may start with an imagined ‘What would happen if…' Sometimes is written by a writer (a playwright). They create the world, the characters and the story, other times an ensemble of performers devise a show using improvisation, movement or written forms. You are free to start anywhere. There are no rules with the creative process. The Story Approach Thinking about stories, real stories or imagined stories are a common place to start. It can be done in a collaborative setting or on your own. What makes a story engaging? There are many varying ideas and of course, no foolproof model, but there are some universal principals that are useful to become familiar with. Interesting stories might include: • •

A time when the world changed, or a characters world changed. Events that force a character or characters to change.

The Character Approach An idea for a character may be the starting place. All characters are in the pursuit of a desire or desires. They might be looking for love, trying to escape from capture, trying to feed a family, or trying to complete a tax return. It is important to understand your characters desires and they will probably have more than one. If it is a character that driving the creation of content then the world the character lives in will come next, followed by the story.

Some general approaches that may be useful: • Have respect for your audience, consider them intelligent and sensitive • Creating art is about having integrity rather than second guessing the market • Be original rather than trying to change or improve someone else’s idea • It is important to have an environment where you are able to try something and have it not work • Commit and believe in the ideas, it is the only way to make something work Themes / Controlling Ideas You might like to start with a theme or a controlling idea. It is like starting with the stories root or central idea. Themes are more open and interpretable. Some examples of themes are: • Belonging • Hope • Globalisation • Love • Death • Betrayal The controlling idea must be able to be expressed in a single sentence. It will shape the choices made by the devisors. Everything created must relate to the controlling idea. It is expressed a description of how and why life undergoes change from one condition of existence to another. Some examples of some controlling ideas are: • •

In order to survive a farming community become more creative in the way they operate due to pressures of industry closure, population decline and water access. A school teacher/father is diagnosed with cancer and becomes a criminal in order to make millions for his family to have after his death.

WORKING FROM AN EXISTING SCRIPT If you decide to perform an existing script there are a few things to be aware of. A script remains the intellectual property of the writer and ‘rights’ must be paid to the writer if you perform their script. For published scripts, look in the first few pages of the script to find out who holds the rights or for local writers you can try contacting them directly. Cost of rights varies from a flat fee (often per performance) to a percentage of box office income and sometimes other arrangements can be made. Copyright lasts for 70 years after the death of the author, which is why plays by playwrights like Shakespeare are quite popular as they are free to perform. In the case of Musicals, the copyright to both the script and music must be paid for which is why they tend to be more expensive.

If you decide to adapt an existing story that comes from a book or film then copyright may also apply, especially if you are using dialogue taken directly from the book/film. If in doubt contact the Arts Law Centre of Australia who will be able to help. www.artslaw.com.au Failure to comply with copyright law can end, not just in the closure of your show, but also in heavy fines. But don’t let any of this put you off using existing scripts. Copyright agencies want you to put on these plays so they are usually extremely helpful and do their best to make the process as simple as possible. Also there are lots of really wonderful plays out there and if you are short on rehearsal time, it can be a much faster way to make a performance.

SKILLS DEVELOPMENT EXERCISES Theatre games and exercises can be extremely useful in developing the skills and the relationships of the performers and sometimes other members of the team. These games and exercises have specific purposes. Some are to simply have a laugh. When we share laughter the dynamic becomes positive and relaxed, people become more confident and it aids in becoming ready to be creative together. These activites can be really good as practice to follow the Guidelines to a Creative Space, (explained in an earlier section in the Introduction section page?). They all will take practice to facilitate.

Tips: • Learn from your mistakes • Remember the vital instructions for participants to understand • Make the objectives of the game / exercise clear • Explain the purpose game / exercise • It is often useful for the facilitator to participate where possible

INTRODUCTORY EXERCISES Information Sharing Ritual It can be really useful for every meeting, workshop, and rehearsal to follow this ritual. Sitting in a circle. Each participant shares 2 pieces of information (or more, can be up to 4 or 5) about themselves. The content is directed by the facilitator. For example, your name, where you live and what you hope the project might achieve. Excellent listening is used as we go around the circle and hear from everyone. Content that has been tried and tested: • • • • • • • • •

Something you are thankful for Something you hope for Where you were born How you travelled here today If you could be an animal for one day what would it be and why? What you had for breakfast Your middle name The food you like / dislike the most What you love about where you live

Every time this exercise is facilitated differing content should be used. Names can be repeated until all names are learned. The content can be driven by the themes, settings, characters of the play, or even as research or content creation. Why: A ritual can be useful for helping to establish a sense of calmness and confidence, also useful for getting to know one another, establishing a space where everyone’s voice is valued and equal. Who: All ages can participate. Can be really great for people as young as 4. Young people and adults who have no experience in making theatre, or being collaborative. A maximum of about 30 people can participate in this activity, any more and it can become difficult to stay focussed. When: It is a great place to start the beginning of every gathering.

True or False Sitting in a circle. Each participant offers 5 pieces of information (or more, or less) about themselves. Some of them need to be true; some of them need to be false. For example ‘I love cats, I am 30 years old, I live in a house made from shipping containers’. The other participants then need to guess what which ones are true and which ones are false.

Who: A very accessible exercise for all ages. Perfect for young people and adults who have not had any experience in making theatre, or being collaborative. Can work for extremely large or small groups. When: It is a great place to start the beginning a process, or anytime at all.

Why: Useful for getting to know one another, establishing a space where everyone’s voice is valued, great way to have a laugh. Who: Participants above 12 years would be most appropriate. Perfect for young people and adults who have not had any experience in making theatre, or being collaborative. A maximum of about 30 people can participate in this activity, any more and it can become difficult to stay focused. When: It is a great place to start the beginning of a workshop and the beginning of a process. Knife, Fork and Spoon Participants begin by walking in the space, filling up empty spaces, without talking, using a normal walk that is neutral and energised. The facilitator calls out instruction ‘groups of three’. Participants make groups of three with those closest to them. The facilitator call out instruction ‘with your bodies I would like to you make a knife, a fork and a spoon’. This is clear one to start with to teach the concept of making objects with the body. Once the participants have made the object the facilitator counts down to a freeze ‘five, four, three, two, one, freeze’ and the image is held for a moment. The exercise continues, the facilitator instructs the participants to keep walking in the space and continues to call out numbers of groups. ‘Groups of…’ It can be any size groups including one, (by yourself) or even one big group. Some well-worked ideas for images include: • • • • • • • • •

Shoe and sock A bicycle A car A bus A bowl of cereal A book A speaker system A drum kit A whale (with big groups)

Memory to Movement Part 1 Each participant finds their own space standing in the room, eyes closed, engaged and listening to the facilitator. Participants are asked to think of a memory. The facilitator can choose if everyone uses a childhood memory, a time where they were scared, a time when everything changed for example. Participants are asked to remember it in detail, their own experience of that memory, their emotions, their posture, what they did. Participants are asked to bring their focus to the physical movement of the memory and begin to act it out, in their own space without interacting with each other. Exaggerate the movement including posture and facial expressions; repeat the scene again and again. The facilitator introduces music, something fairly repetitive without words. Turn the scene into 8 strong movements using the music to inform your intentions. Part 2 A number of different exercises can be facilitated from here. Participants can get into pairs or groups and share their movements their memory and their process. A new choreographed piece can be created incorporating all of everyone movements, or just one of the 8 movements. Encourage participants to experiment with variations in tempo, spacing, levels, emotions etc. Presentations of the work created are usually shared. Why: Useful for building physical confidence and expression. Who: Young people and adults who have some confidence in expressing themselves as well as working on their own and in groups. Can work for large or small groups. When: It is an exercise to be introduced after the group are relatively confident and comfortable with themselves and each other.

Why: Useful for getting to know one another, a great way to have a laugh and become more comfortable and creative and to build improvisation skills.

Groups of Images Participants begin by walking in the space, filling up empty spaces, without talking, using a normal walk that is neutral and energised. The facilitator calls out instruction ‘groups of four’ or any number. Participants make groups of four with those closest to them. The facilitator call out instruction ‘I would like you to make a frozen picture with your bodies of ‘at the river’, (for example). Once the participants have made the image the facilitator counts down to a freeze ‘five, four, three, two, one, freeze and the image is held for a moment. This exercise is different from Knife, Fork and Spoon because the actor uses their bodies only as bodies father than objects. The exercise continues, the facilitator instructs the participants to keep walking in the space and continues to call out numbers of groups. ‘Groups of…’ It can be any size groups including one, (by yourself) or even one big group. Encourage participants to: • Exaggerate facial expressions • Exaggerate body positions • Make and interesting and clear images • Use different levels and shapes • Make interesting character choices Some well-worked ideas for images include: • The car accident • At the beach • In the bust city street • The long road trip • At a wild party • At the butcher More abstract ideas could be: • The apology • Best friends • Monday morning • Friday night • Hope • The Beginning • The End Why: Useful for building physical confidence and skills in the face and the body. Who: Children, young people and adults beginners, intermediate or highly skilled. Can work for large or small groups. When: Can be used at anytime, can be a fantastic exercise to begin devising or even use for research into people lives.

Add to an Image Participants stand in a circle facing in. Engaged and neutral. The facilitator offers an idea for a setting or a scene (images idea from the Groups of Images are ideal). ‘The car accident’ (for example). One participant starts by creating a frozen picture in the middle of the circle. It could be the driver, a person making a phone call, or any part of the scene. One by one each participant joins the scene, becoming a different character, until the full scene is built. Encourage participants to: Add value to what is already happening • • Use facial expressions and the body to convey what is happening • Make interesting and clear images • Use different levels • Use interesting character choices Why: Useful for building skills in making what it already happening better and building physical skills using the face and the body. Who: Young people and adults beginners, intermediate or highly skilled. A maximum of about 30 people can participate in this activity. When: Can be used at anytime, can be a fantastic exercise to begin devising scenes.

WRITING EXERCISES Alphabet Story The alphabet it written up clearly in the room. Each participant writes a long sentence, or a number of sentences using each letter of the alphabet in chronological order. For example ‘Among bears, calling daffodils enter fine, gentle huts. In jungle kindness, lonely mammals never open portholes.’ Stories are presented to the group, or in smaller groups.

•

A place where everything changed, a turning point, when things were never the same; a birth, death, meeting someone for the first time.

Describe the place in detail using all senses, • Sight - what it looks like, everything that can be seen • Hearing – everything that can be heard, in the distance and up close • Touch – what everything feels like, surfaces, textures • Smells – faint smells, strong smells

Encourage participants to: • Let go of restraints and fears associated with writing! Don’t worry about spelling or the quality of handwriting. • Let go of all judgements and ‘good’ or ‘bad’ writing. • Attempt to made the story readable, understandable. • Try not to take too long.

Description can include memories, tangents and random thoughts. The idea it to have a stream of consciousness in the writing. Sentences take form quickly without judgement. Stories can be shared or kept to ones self. Encourage participants to only reveal what they want to, it is good to keep things to yourself.

Why: Useful for building confidence in writing, establishing a creative environment that is without judgements, creative restraints and fears Who: Young people and adults, beginners, intermediate or highly skilled.

Why: Useful for sharing ideas and memories of participants as well as building confidence in writing, establishing a creative environment that is without judgements, creative restraints and fears.

When: Can be used at anytime, a fantastic exercise to begin a writing process.

Who: Young people and adults, beginners, intermediate or highly skilled. When: Can be used at anytime, most useful in a writing based process.

Describe a Place Using all Your Senses Participants are to choose a place of significance. For example: A bedroom • A lounge room • A place visited in childhood • • A favourite place

THEATRE Theatre sports are improvisational games that build characters and scenes and on spontaneous, collaborative storytelling. At the start of a scene, anything is possible but as more offers are established, the reality of the scene becomes more clearly defined by the players. Theatre sports are a fantastic way to build confidence and improvisational skills of ensembles. The conventions used are useful across performance and theatre sports can be a fantastic way for performers to practice these skills until they are second nature.

SPORTS

Conventions • • • • • •

Make choices that add to the story rather than trying to be funny Have an awareness of leading and supporting rather than trying to shine above other players No blocking, instated use ‘Yes and……..’ Don’t tell the audience; show them! Action is more interesting than words. Use the downstage, centre area of the stage. No acting children by walking on knees; use your face, voice and body instead

ONE MINUTE GAMES Death in a minute The team is given a location. Players have 30 seconds to prepare the scene. In the scene, one character must die within the minute. Rules: -

No guns or other weapons.

Tips: - -

Creative death is best. Make it surprising! Use your location/environment. Make the death fit the environment.

TV Ad

I love you Team is given location, title or situation. Players have 30 seconds to prepare scene. The team plays a scene in which the words “I love you” must be spoken by one of the characters and their words justified. Tips: -

Tips: The more contrasting it is the better – the - more boring and mundane the slow motion action is and the more excited, enthusiastic and technical the commentators make it the better!

Be surprising! Make bold choices about the situation where ‘I love you’ is said (yelled, whispered, charaded etc). Slow motion commentary

Team is given situation or action. No preparation time. One or more players improvise an activity in mimed slow motion. The other players provide from offstage, a clear, fast paced sports-style commentary.

Team is given name of object. Players have 30 seconds to prepare. Team presents a one-minute TV ad for the given object. Tips: - - -

Be creative in your ad style. Doesn’t have to be people yelling. Try slogans and jingles. Try testimonials and before/after situations. 30-second scene

Team is given title. Players have 30 seconds to prepare. Team presents a 30 second scene matching given title. The scene is then replayed in 15 seconds, 7 seconds and 3 seconds. Tips: - Try not to be rushed in the initial scene. This will leave you with no room to go in the faster versions. - Try to have something actually happen in the initial scene, not talking about things, but real action. This will allow for comedy when the same actions have to be repeated in fast forward.

TWO MINUTE GAMES Alphabet Game

Helping Hands

Team is given a location, title or situation. No preparation time. Players improvise the scene beginning each new line of dialogue with the next consecutive letter of the alphabet. Alphabet will be listed on the wall.

Team is given a situation or characters. No preparation time. Two players provide the arms for the other players to create double figure characters. The scene can be played sitting, standing or as an interview.

Rules: - No names. - Only play to W. No X, Y, Z. Tips: - Think of the ordinary words that start with that letter rather than the nouns eg for M: many, maybe, much, more, my, make; these can be easier to fit in than meringue, mountain, marshmallow, macadamia

Tips: -

Really try and have each double figure working as a team. React to each other. Sometimes the hands will lead through movement; sometimes the dialogue will lead through direction. Try and have a balance.

First line/last line Team is given the first and last lines of a scene. Players have 30 seconds to prepare scene. Players begin the scene with the first line, set the location and develop the characters and story playing the scene to a conclusion ending with the last line given. Tips: -

Take the scene somewhere. Make sure something happens! Don’t just go for the easiest quickest way to connect first and last lines.

Subtitles or World Movie Team is given situation. Two players improvise a scene in gibberish, which is translated by offstage players into English.

Tips: - – - -

Actors/ Translators take turns at taking lead sometimes actors will take lead through movement, gesture, action and sometimes translators will take lead through dialogue. Actors should use a lot of expression – facial and vocal – to help their translators out. Translators should be bold and make creative, interesting translations from the gibberish. Touch to Talk

Team is given location. Players have 30 seconds to prepare scene. Team must present scene where talking is only allowed if the talkers are touching in some way. Tips: - -

Try and conceive creative ways to make contact to allow you to talk. Resting, leaning, poking, hugging, high fiving, holding hands Try and not repeat the same form of touching throughout the scene. Mix up your methods!!

THREE MINUTE GAMES Emotional Replay

Spacejump

Team is given location or title. Players have 30 seconds to prepare a one-minute neutral scene. The scene is replayed twice. Each time, a contrasting emotion is provided from the audience and the scene is replayed with each player adopting this emotion in the extreme.

First player is given situation. The first player improvises this situation for 20 seconds until “Space Jump” is called. They freeze and another player enters and begins a new scene based on the frozen position of the onstage player for 20 seconds until “Space Jump” is called again. This continues until all players are on stage. The whole team plays the new scene for 30 seconds before each player leaves in reverse order every 20 seconds. The scenes revert one by one until the first player is alone, playing the initial scene. All positions must be justified before they are ‘unfrozen.’

Tips: - Make sure the neutral scene is performed, as the audience would expect. Eg If the title is at the funeral, the audience would expect the players to be sad. If they are happy, then there is going to be no comedy once other contrasting emotions are given in the replayed versions. Genre Replay Team is given location or title. Players have 30 seconds to prepare a one-minute neutral scene. The scene is replayed twice. Each time, a new genre is provided from the audience and the scene is replayed with each player adopting the style of this genre. Tips: - Be bold. Be brave. Take chances. Embrace the genre!

FINDING A

VENUE

Finding a Venue

Outdoor vs. Indoor

You can perform anywhere. Street performers prove that every street corner is a potential performance space.

Outdoor performances can be amazing but come with a new set of issues and opportunities.

There are a number of things to think about when choosing a venue. • • • • •

What can you afford? Theatres sometime require a technician to be always present which can get expensive but can also provide some valuable technical assistance and make for a much safer space. Do you have access to equipment? i.e. Lighting and Sound. And therefore do you need to hire a space that can provide these things? Will you be performing during the day? If so do you need a space that can totally block out the daylight? Many spaces are designed to maximize the use of daylight in lighting a space to conserve energy, however this sometimes makes performing in these spaces difficult. How long do you need to set up? Is the space available to be used for the full time you need it or is it shared with other users? If so you will need to factor packing up into your schedule whenever you need to hand over the space. How many audience members do you expect to come? Make sure you can fit everyone it. It can also be quite depressing to perform to an almost empty house so make sure the venue isn’t too big for your needs. Sometimes if only a large venue is available you may want to think about sectioning off an area to make a more intimate space.

• They are usually less restricted to audience capacity as there is generally room for the audience to spill out. • Highly affected by weather – when performing outside, make sure equipment is protected from the weather (especially wind and rain) and that performers are also protected (especially from sun and cold). • It is vital to have some areas that are weather proof. • Power can be harder to get outdoors and usually more attention needs to be paid to power consumption. Security! Can equipment, sets etc, be left out • between performances or must everything be packed away. The other option may be to hire 24hr security to look after the performance space. Day or night? An outdoor daytime performance • may not need any artificial lighting at all, while a night-time outdoor performance may require additional lighting for performers, pack up and for patrons to make their way to and from the performance.

The hardest thing is to try to do a performance in a space (including outdoor) that it is not suited to. The most amazing thing is when the space just perfectly compliments your performance. Try to choose your venue with the show’s needs in mind or make your show with consideration for the opportunities and limitations that your venue provides.

FUNDING Funding For many small organisations, funding is an integral aspect in putting on a show. OTYP is funded at a local, state and federal level and spends lots of time finding other opportunities to raise money through local organisations, trusts, foundations and sponsorship. A few tips on funding: -

Look locally first. People in your own community often care about the story you want to tell and may support you either with a donation or in-kind support.

Do research on what the funder is looking for. Call them, chat to them about your project and ensure your project is the right fit. Don’t try to squash a square peg into a round hole or you will spend hours on grant applications that may not be appropriate for what you’re trying to achieve.

Always spell out your consultation process, creative process and evaluation techniques in grant applications.

Don’t underestimate the power of raising money through events. Basic BBQs, trivia nights or theatrical events can raise a few thousand dollars and fill the gaps in a budget f or a production. This also raises awareness of who you are and what you’re doing.

Be realistic in what you say you are going to achieve. Most grants require an acquittal at the conclusion of the project and you want to be able to deliver what you claimed you would.

Funding opportunities Arts NSW http://www.arts.nsw.gov.au/ Australia Council http://www.australiacouncil.gov.au/grants Regional Arts NSW http://regionalartsnsw.com.au/ Regional Arts Australia http://www.regionalarts.com.au/raa1/default.asp Philanthropy Australia http://www.philanthropy.org.au/ Creative Partnerships https://www.creativepartnershipsaustralia.org.au/ Our Community Cares http://www.ourcommunity.com.au/

THEATRE ROLES

RESPECT THE ROLES In theatre there are many roles with varying skills sets required. The team is made up of creative roles, technical roles and administrative roles that all work together like a beautiful machine. While these roles sometimes overlap and vary in every production it is of upmost importance that roles are well defined, each member of the team needs to be perfectly clear about what their duties and responsibilities are. It is equally important that roles respected and boundaries are set and maintained in regards to who does what. Some Common Mistakes: Other members of the team other than the Director, directing! This is a common mistake and can be • detrimental to the process. The creative process of the Director must not be tampered with. Any ideas on how to improve the work whether it be direction of performers or ideas on design elements must be offered to the Director in order for him/her to consider without it going to performers or technicians first. The team must respect the Director’s role. The Stage Manager is like the mastermind of the show. He/she will hold information that no one else • will. Because the Stage Manager has all the information, decisions regarding when the show is ready to start or what to do if something goes wrong for example must be the role of the Stage Manager. Information involving the Stage Management duties must be passed though the Stage Manager. Like the Director, the team must respect the Stage Manager’s role.

THEATRE COMPANY ROLES Title

Duties

Special Skills and Knowledge

Conceiving, developing and supporting the artistic vision of the company and the productions

Excellent communication and people skills

Hiring Staff (Creative) Artistic Director

Creating timelines for the program

Knowledge of the theatre sector

Manage conflict

Ability to work alone and as a team

Personnel Management Hiring Staff (Production and Administrative) Strategic Planning Legal issues

Excellent communication and people skills Leadership Vision

Financial tasks

Knowledge of the theatre sector

Works closely with: Funding Bodies, Company board, Artistic Director, Producer, Production Manager

Ability to work alone and as a team

Main focus is with financial issues

Excellent communication and people skills

Personnel management Strategic Planning Legal issues Producer

Vision

Writing funding applications

Works closely with: Funding Bodies, Company board, General Manager, Producer, Director (Artistic), Playwright

General Manager

Leadership

Financial management skills

Leadership Vision

Financial tasks

Knowledge of the theatre sector

Setting budget

Ability to work alone and as a team

Raising Funds (funding applications and Investors)

Financial skills

Works closely with: Funding Bodies, Company board, Artistic Director, General Manager, Production Manager

Theatre Company Roles Title

Duties Ensuring all tasks are done Keeping on budget Personnel management

Production Manager

OH&S risk management Scheduling Works closely with: Everyone, Director, General Manager, Producer, Designers, Marketing, Operators, Performers

Special Skills and Knowledge Excellent communication and people skills Leadership Excellent knowledge of Health and Safely regulations Knowledge of the theatre sector Ability to work alone and as a team Financial skills

Writing media releases

Marketing Manager/ Publicist

Communicate with Media to book interviews, reviews etc

Excellent communication, collaboration and people skills

Book advertising

Creativity in selling a production

Organise publicity material

Ability to work as a team

Works closely with: General Manager, Artistic Director, Writer, Production Manager, Graphic designer Conceiving, developing and supporting the artistic vision of the company and the productions Overseeing company finance Company Board Reviewing and giving feedback on company performance Representing the company within the industry Works closely with: Artistic Director, General Manager, Producer

Excellent communication and people skills Financial Skills Leadership Vision Industry Standing

Artistic Roles Title

Playwright

Duties

Special Skills and Knowledge

Conducting Research

Researching

Writing the play

Writing

Works closely with: Director, Artistic Director, Dramaturge

Creativity Ability to work alone and as a team Ability to take feedback

Developing skills and confidence of performers Directing actors Director

Bringing together lighting, sound, set and props Leading the creation of the artistic vision as a whole Works closely with: Artistic Director, Actors, Playwright, Dramaturge, Designers, Production Team Historical and cultural researching of the content of the play

Dramaturge

Works with the Playwright and the Director to add value to the work with a focus on continuity, story structure, character development, historical and cultural appropriateness Ensure that the Playwright and the Director are staying true to Playwrightâ&#x20AC;&#x2122;s intentions, the spirit of the play, the company vision

Excellent communication, collaboration and people skills Creativity using text, performers, lighting, sound, set and costumes Ability to work as a team Leadership Research Skills Writing Creativity Focus and Memory Ability to work alone and as a team Highly developed general knowledge

Works closely with: Playwright, Director Collaborate with the Director to create all Knowledge of theatre lighting states for the show lighting Draw up lighting plans install lighting Lighting Designer

Work with Director and Lighting Operator to establish cues Works closely with: Director and Lighting Operator, Set Designer

Excellent collaboration skills Creativity using light, colour and timing Problem Solving Fitness Ability to work alone and as a team

Artistic Roles Title

Duties Research characters and setting Develop understanding and connection to character/s Learn lines

Performers

Sound Designer

Learn blocking

Special Skills and Knowledge Excellent communication and people skills Excellent vocal and physical skills

Collaborate with Design Team

Skills in timing, spatial awareness, using lighting, sound, set and other design elements

Perform the show

Flexibility, reliability

Works closely with: Director and Stage Manager

Ability to work as a team

Realise the Directorâ&#x20AC;&#x2122;s vision

Collaborate with the Director to create all Knowledge of sound resound including effect and music for the sources and programs show Excellent collaboration Work with the Director and Sound Operaskills tor to establish cues and levels Creativity sounds, Works closely with: Director music, and timing Problem Solving Ability to work alone and as a team Collaborate with the Director to design and create and all set pieces a and back drops for the show

Set Designer

Knowledge of resources and materials

Draw up set plans

Excellent collaboration skills

Install set

Creativity using various materials, spatial skills

Work with Director and Stage Manager to ensure functionality of the design Works closely with: Director and Stage Manager, Lighting Designer

Mathematics Building Problem Solving Ability to work alone and as a team

Projectionist/ Video Artists

Collaborate with the Director to make and Knowledge of all video art and projection for the show equipments such as film making Install equipment equipment, projector, materials to projector Works closely with: Director Projection onto Operator, Lighting Operator and Lighting Designer Excellent collaboration skills Creativity using images and timing Problem Solving Story Telling Ability to work alone and as a team

Artistic Roles Title

Duties Collaborate with the Director to design, make, borrow, hire all costumes for the show

Costume Designer

Write up lists for each performer, including size and all items Works closely with: Director and Performers

Special Skills and Knowledge Knowledge of fashion, cultural and historical Excellent collaboration skills Creativity using fabric Problem Solving Sewing Ability to work alone and as a team

Collaborate with the Director and Stage Manager to design, make, borrow, hire all props for the show

Props Designer

Knowledge of fashion, cultural and historical

Write up lists for each performer

Excellent collaboration skills

Works closely with: Director and Stage Manager

Creativity using materials Problem Solving Building and craft skills Ability to work alone and as a team

Developing skills and confidence of dancers Choreographing all dance and working with dancers to learn all moves Choreographer

Works closely with: Director and Dancers

Excellent communication, collaboration and people skills Fitness Creativity using movement, music and timing Ability to work as a team Leadership

Production Roles Title

Stage Manager

Duties

Special Skills and Knowledge

Maintain Schedules

Leadership

Keep track of performers, their locations, health and well-being

Patience, calmness, even temper and tact

Prepare the Prompt Copy

Excellent communication and collaboration skills

Coordinate and bring together all on stage and backstage elements including props, costumes, set, lighting, sound and special effects. Call the cues in the performance Establishing operating procedures Communicate information to actors, Director, designers, Front of House team

Creativity, problem solving, quick thinking and the ability to improvise Organisation, discipline and attention to detail. Understanding of the story, direction and design elements.

Making notes in the prompt copy during Patience, calmness, rehearsals as directed by the Stage Manager even temper and tact Being ready to take over any Stage Manager duties at any time Coordinating back stage including, people, set, special effect of any other creative elements where necessary

Assistant Stage Running errands Manager

Finding ways to be useful to the Stage Manager, Director, Actors and Designers

Excellent communication and collaboration skills Creativity, problem solving, quick thinking and the ability to improvise Loyalty to the Stage Manager Organisation, discipline and attention to detail Understanding of the story, direction and design elements

Install lighting rig Maintain Lighting equipment during the performance run Lighting Program lighting desk Operator/Head Electrics Operate lighting during performance run Bump out lighting equipment Works closely with: Lighting Designer, Stage Manager, Sound operator, Performers

Excellent knowledge of lighting equipment Knowledge of health and safely regulations Ability to work in a team

Production Roles Title

Stage Manager

Duties

Special Skills and Knowledge

Maintain Schedules

Leadership

Keep track of performers, their locations, health and well-being

Patience, calmness, even temper and tact

Prepare the Prompt Copy

Excellent communication and collaboration skills

Creativity, problem solving, quick thinking and the ability to improvise Organisation, discipline and attention to detail. Understanding of the story, direction and design elements.

Assistant Stage Running errands Manager

Finding ways to be useful to the Stage Manager, Director, Actors and Designers

Install lighting rig Maintain Lighting equipment during the performance run Lighting Program lighting desk Operator/Head Electrics Operate lighting during performance run

Excellent knowledge of lighting equipment Knowledge of health and safely regulations Ability to work in a team

Bump out lighting equipment Works closely with: Lighting Designer, Stage Manager, Sound operator, Performers

Production Roles Title

Duties

Special Skills and Knowledge

Install sound rig

Excellent knowledge of sound equipment

Maintain Sound equipment during the performance run Program sound cues Sound Operator

Operate sound during performance run

Knowledge of health and safely regulations Ability to work in a team

Bump out sound equipment Works closely with: Sound Designer, Stage Manager, Lighting Operator, Performers Manage front of house staff Oversee ticket sales Manage audience issues Front of House Manger

Box office nightly reconciliation Works closely with: Ushers, Stage Manger, Production Manager

Excellent communication and people skills Leadership Good financial skills Conflict resolution skills Multi tasking skills Understanding of Health and Safely regulations Ability to work alone and as a team

Collects tickets Manage audience issues Ushers

Seating audience Works closely with: Front of House Manager

Excellent communication and people skills Conflict resolution skills Multi tasking skills Understanding of Health and Safely regulations Ability to work alone and as a team

WRITING The Writer (often known as a playwright) is the person who writes the text of the play. The script will include anything said by the characters, known as dialogue, as well as stage directions, such a entrances and exits. Sometimes a play can also include moves onstage as well. Writing is often a solo task. Most often the playwright might collaborate with friends or other industry professionals to receive feedback. There are many different ways to write a script. Like writing a novel, a film or anything else different people will take different approaches. There are no hard and fast rules in the creative process. More information and resources on Playwriting can be found here: http://www.pwa.org.au/default/ http://www.freshink.com.au/ Research As a writer you are providing the content of the play. You may find it useful to research the topic you are writing about. Often it will take newly acquired knowledge for the characters setting, stories to spring to life. Research tips: • Remember it takes time and effort to acquire knowledge • Use your memory to research, what do I already know from my personal experience? Use your imagination; what would it be • like to be in this place at this time? What would it be like to live my characters life? • Research facts. No matter how a talented a writer is they cannot write if they do not understand. • Ask and ask until you understand. Compose the best questions that help you to find the ground truth about your topic. The Plot What is the story? What happens to whom? Interesting stories might include: • • • • •

A time when the world changed A time that a characters world changed Events that force a character or characters to change Events that teach us about being human about our virtues such as wisdom, courage, love or justice New information

Characters A writer sometimes will create characters form their own imagination or base them on real people. A writer needs to understand their characters deeply. All characters are in the pursuit of something. What do they want? It is when characters are forced to make difficult choices that the audience connects to them. Characters fall into two categories: • •

A protagonist, a hero, someone we want to win and we usually follow through out the story. An antagonist, someone who represents the opposition. They are a villain or enemy.

Thing to consider about characters: • • •

What do you want the audience to think, feel and believe about the character? How will you convince them of this? What is the controlling idea? How does this character drive the story? What are the personal details of the characters, name, age, place of birth, family of origin, childhood, spiritual beliefs, hopes, fears, job, health history, current health, etc. Story Structure

While there are not definitive rules in writing there is such thing as a basic story structure that has been created over thousands of years of story telling. The audience follows the protagonist attempting to reach their goal while being tested by the antagonists or antagonising forces. This classic story structure is used across film and television, plays and novels. Genres including drama, comedy, musical, classics, thrillers, adventures etc. The Set Up: The audience gets to know the character/s, the protagonist particularly as well as the setting, and the time. We understand the world the story is set in. It often consists of exposition and necessary information. The Tilt: The world we have just come to understand changes. A piece of information comes to the audience perhaps in the form of an event or a new character changes the world and has an effect on the protagonist often putting pressure on our hero. There is now a challenge for the protagonist to overcome.

Challenge 1: Our protagonist tries to overcome this new challenge. They do not change in order to achieve their goal. Often there is more pressure placed upon the protagonist by someone, the antagonist, or something, an antagonising force. The protagonist does not overcome the challenge. Challenge 2: Our protagonist tries again to overcome the challenge. They try a new tactic, but still the protagonist does not overcome the challenge. Challenge 3: Our protagonist tries again to overcome the challenge and they have made a fundamental change on order to achieve their goal. The challenge is over come, or a new unexpected outcome has been reached. Resolution: The result of overcoming the challenge becomes clear. A resolution is not always positive (a happy ending) but the story some how resolves itself in some way. This basic structure is a guide that can be altered in many different ways. Examples of how to use basic story structure while modifying particular elements: • There might be more than one tilt, the world might change a number of times • There could be 2 challenges or there could be 10 • The resolution might leave you with a question The protagonist might bend the rules • of being a protagonist, their behavior might become morally questionable and the audience might have to question if we want them to win.

The Controlling Idea The controlling idea is the central idea and must be able to be expressed in a single sentence. All the events, character journeys will be connected to the controlling idea. It’s a description of how and why life undergoes change from one reality to another. Some examples of some controlling ideas are: •

Two young teenagers are having fun and playing pranks until they accidentally kill a driver and are on trial for murder.

•

A young excitable photo-journalist begins working in war torn Bosnia and becomes traumatised and apathetic.

DIRECTING The Director is the leader of the creation of the artistic vision as a whole. They also have a huge impact on the environment of which with work is created. The Directors energy, communication style, intentions and creative vision set the tone for the way in which people collaborate. It is the Director's artistic vision that the entire team is working towards. It a role that has an enormous amount of responsibility.

Developing Skills and Confidence of Performers

Working with a Playwright

The Director is partly responsible for the performers’ development during the rehearsal period. The aim is to build an ensemble of performers that work together to • Complement each others timing, actions and intentions • React believably in response to one another • Trust each other • Take risks with each other

A Director will collaborate with the Playwright in the initial stages of a production and sometimes in an on going way as well. The relationship and working style between the Director and the Playwright will vary. The Director will often meet with the Playwright a number of times to reach an understanding of the writer’s intentions and aspiration of the work. The playwright will then hand over the script and let go in order for the Director to be fully enabled to bring the play to life.

The other part of this is to build the performers strengths individually. The aim is for performers to • Believe and understand whole heartedly in the story and characters • Be open and honest in their process and in their performance • Feel safe to take risks and try difficult things • Be able to hear and respond to direction and feedback

Working with a Dramaturge The Dramaturge will support the Director with continuity, story structure, character development, as well as historical and cultural content. The dramaturge will also be someone who the Director can collaborate with regarding ideas for direction, script edits, design elements. As the Director sets the tone and remains confident, calm and positive in the rehearsal process, the dramaturge is often the person the Director can share their confusion, doubts and vulnerability with in order to gain confidence and clarity on the plays direction. Casting A Director will often cast the show. There are many variations in how to do this such as auditions, looking at show reels, choosing performers already known to the direction is common also. When casting, it is important to consider these areas: • • • •

Skills, what is required for the particular project? Strong voice skills, strong physical skills, working with text or movement, playing multiple characters, devising? Dynamic, how do the performers work together, their energy, skills, physicality, vocal ability? Will they have a positive working relationship with the other actors? Relationship with the Director, are they someone you can communicate with effectively, do you as the Director connect with them in a positive and energised way? Is the project right for the performer? Are the available, committed and enthusiastic?

There are many different ways to develop the skills and confidence of performers. Theatre games / exercises / workshops can be of huge benefit, as can following the group agreements to establish a creative environment, (also see earlier section). Positive feedback is vital. The most powerful feedback is when it is specific “The way you used your outward breath to convey the pressure your character is facing really worked because I could connect with how you character is feeling. I loved it” Directing Actors The process of working with actors will vary but will usually follow this kind of process First reading – each actor sits together, reads their parts while the Stage Manager reads the stage direction Discussion of Reading – talking about the characters, settings, story, intentions etc. Character Development – support the actors to connect with their characters, the choices they make and why, their history, their goals etc. Working on the Floor – confidently and gently work with the performers to get into the bodies of their characters, their voices, gestures, posture, the way they walk, sit, run, stand etc. .

Rehearse Scenes – work with the actors to develop the scenes. This is collaboration with your actors. The kinds and amount of collaboration will vary from Director to Director. When working with actors to build scenes some things to consider are: •

Where is the scene? How do the actors tell this to the audience? Is it hot? Or Cold? Indoors or outdoors? How are all theses things conveyed to the audience? They way they walk, breathe, their eye line will all inform the audience.

•

What do they say? Everything in the script will give you information on the characters, the environment and the story. Work with your actors to explore what is written, talk about it, try different things

•

Presentation of the character. Support actors to make strong choices and deliveries that take the audience to a deeper understanding of what is going on. Look at facial expressions, tone, pitch, volume, and patterns of voice, posture and movement.

•

Understand the characters. How are they feeling? What do they want? What is in their way?

•

Blocking. Where are the actors? Think through your choices of every position the actor takes and every time they move. Actors need reasons to move and those reason need to be clear to the audience. Space between actors in scenes makes it easier for the audience to connect to their interactions. It also gives power and drama to the scene. Work in diagonals rather than straight lines, it is better for sight lines and is more interesting to watch.

•

Timing. When are the words said? When is the movement and action? Use variations in timing and make strong and clear choices.

Running Sequences/Running the Show - once the scenes have been rehearsed, often the Director works on running a number of scenes together and then running the entire show. The actors use this time to remember their performance, try new things and take on direction.

MUSICAL A Musical Director or MD is in charge of musical elements of a production. • Bringing a band or Orchestra together and leading their rehearsals • Teaching songs to the cast and leading rehearsals • Running vocal warms ups (or designating 34

Bringing Together Lighting, Sound, Set and Props A Director will collaborate with the Lighting Designer, sound designer, and set and props designer to create the design for the show. While the overall vision of the performance is the Directors, either the designer or Director can lead this creative process. The Director makes the final choices and is responsible in bringing all the design elements together. Working with the Production Team It is vital that the Director has an extensive understand of all of the theatre roles so he/she knows how to collaborate with each of them. The Production Manager will make sure everything gets done somebody. They will support the production by things like: Managing the budget • • Scheduling • Organising and running meetings • Liaising with the venue • Running bump in and bump out • Managing the safety of the team The Stage Manager will take care of the stage elements and support the Director closely though the rehearsal and performance season. They will support the production by things like: Maintaining schedules throughout the rehearsal • and performance season • Keep track of performers • Keep notes about directions, design, actor and venue details etc in the prompt copy. • Coordinate and bring together all on stage and backstage elements • Call the cues in the performance • Work with you to communicate information to actors, Director, designers, front of house team. The technicians on the show can include the lighting, sound, special effects operators, backstage crew and many other roles depending on the scale of the production. The Director will collaborate with them during the production week, the show plot, technical and dress rehearsals and the show season. Through their operations they will bring the Director’s vision of the design elements to life.

DIRECTING someone else to run them) • The MD works closely with the Artistic Director to incorporate all musical elements into a production this may include cast playing musical instruments, singing or other live sound effects.

ACTING In this toolkit we have used the terms of both ‘actors’ and ‘performers’. The work of an actor (or actress) refers to the playing of characters usually speaking or singing. The word ‘actress’ is still used in the industry but is often seen as old-fashioned. These days an actor refers to both male and female. A title performer encompasses other styles including music, dance, circus, clowning, physical theatre as well as acting. This section refers to the actor, they playing of a character/s in a live theatre context. Qualities of a Great Actor • Researches characters and settings • Develops an understanding and connection to character/s • Works hard to learn lines and blocking Can relate to, imagine and realise diverse • characters • Aims to realise the Director’s vision Collaborates well with and understands the • roles of the entire team including fellow actors, the Director, designers, production and administration teams • Is loyal to the Director • Has excellent communication and people skills Has excellent vocal and physical skills • • Has excellent skills in timing and spatial awareness • Has chemistry and energetic connections to other characters • Aims to make others shine rather than themselves • Excellent listening ability • Is flexible and reliable • Is physically fit and healthy • A willingness to explore difficult emotions • Is calm under pressure • Is trusting and courageous • Never stops learning The practice of acting dates back thousands of years across countries and cultures. Acting takes skills, practice, collaboration and courage. The success of an actor is judged by their audience who are looking for: • • •

A believable character A believable world – the setting An intriguing and engaging character

When the audience sees an actor not as themselves but an entirely new character that is interesting and engaging and the world they belong to becomes a real place and actor has done their job. The skills required to connect and convince an audience can be broken down into: • Voice • Body • Face These elements can be looked at separately and then together in order to strengthen a performance. Voice What kind of voice does your character have? Why? How does their personality, history, and genetics shaped what they say, how they say it and when they say it? Look at how you can use the elements of your voice to engage and convince your audience: •

Speed. Does the character speak fast or slow? Why? When to they speak fast? When do they speak slowly?

•

Volume. Does the character speak loud or quietly? Why? When to they speak loud? When do they speak softly?

•

Pitch. Do they speak in a high or low pitch? Why? Does this change? Why?

•

Accent. Where are they from? What country? What region? Even Australians from different regions have variations in the way they speak.

•

Habits. What are their characteristics in the way they speak? Everyone does. How do they laugh? Do the say ‘ummm….’ before they speak? Or ‘aye’ at the end of some sentences? Do they smack their lips? Why what does it convey to the audience? Body

What kind of body does your character have? Fit? Thin? Large? Short? Tall? An actor’s own body can portray any of the physicalities regardless of their own shape. How do they move? Why? How has their personality, history, and genetics shaped how they move and when they move? Look at how you can use your body to engage and convince your audience. •

Posture. How does the character position their body while standing or sitting? Why? Do they have a hunch or are they strong with good posture?

•

Gestures. There are endless gestures an actor can use. They can tell the audience a lot about a character including the age, demographic, cultural background. Gesture can be broken down into:

1. Behavioral – sniffing, scratching, waving, etc. 2. Expressive – high five, clapping, holding your head, etc 3. Culturally Specific - saluting, peace sign, European double kisses etc •

Energy. Is the character energetic or lethargic? Why? Does this vary? When? Why? What energy does the character have toward each of the other actors? It is useful to make choice and express it. Is the character attracted to another, or repulsed? How does the environment impact on the characters energy?

•

Movement. How does the character move? What happens that makes the characters move? Why? How do these choices inform and connect the audience to the character? Face

An actors face is one of their most powerful tools. There are thousands of things you can do with your face to convey a character’s thought and emotions. Like with the body the face has gestures as well: 1. 2. 3.

Behavioral – squinting, blinking, biting a lip Expressive – smiling, frowning Culturally Specific – clicking mouth, blowing a kiss

The audience, even without knowing it will spend most of their time drawing information about the character from their facial expressions. Unlike the voice and the body, an actor cannot see their face (unless you are working in front of a mirror) so your may need to collaborate more with other actors in this area. Take notice of how you can read facial expressions in your daily life. You could watch the TV without the sound and see what you can understand without the words. Every emotion can be expressed just by using your face. Exaggeration Acting for a live context rather than for film requires exaggeration of everything that is done is bigger and stronger than in real life. This is because of the distance between the audience and the actor. The further away from the audience the actor is the more exaggerated the performance needs to be.

Playing Multiple Characters When you are playing multiple characters in a show a trick is to ‘turn up the volume’ on everything you do with all three elements; voice, body and face. Even if you have costumes that will help the audience know who the character is it will still be useful to exaggerate even more. It might be useful for each character to have a ‘tag’ something they say or do so the audience is able to recognize them easily. Some ideas for characters tags: Chewing chewing-gum (not real but mimed) • • Scratching head • Limp • Stutter • Sniffing • Folded arms • Nasal voice Adding Value An actor’s responsibilities are connected to their own performance and presentation of the play as a whole. As an actor your job is to make what is already happening on stage better. It is not helpful to try and shine above others. The magic happens when the actor adds value to the other performances. You can do this by: • • •

Having strong, clear, believable responses to the action of the other actors (using the voice, body, face or all three) Complementing the actors, physically and verbally, let them influence your character Using the design elements to the fullest, lighting, sound, set. Imagine the purpose of the piece was to give the best presentation of the sound design in order to win a sound design award. As an actor you would connect to the sound, use the timing and be influenced by it. You can image this with all the design elements. Make what is already happening excellent. Acting is Reacting

This means that the actor reacts to everything that happens on stage. Everything that is said, whether it is directed to your character or not, every sound and light change must create a reaction. It is important show the audience how you feel about everything. Observe others in real life. It is very unusual to have no response to what other people are saying or doing, it might be subtle but it is always there.

Getting to Know Your Character Many actors find it useful to imagine the personal details of their characters including age, family, and history, etc. One way to do this a an activity called a hot seat. An actor sits in a chair, in character, and is asked numerous question about themselves, their background, their beliefs etc. Another way to expand your understanding of your character is to complete the Character Background Check. It call be filled out for each scene. See Resource ACT1 Character Background Check – Example ACT2 Character Background Check - Blank Warming Up When preparing to act, whether it be an audition, a rehearsal or a show and an actors voice, body and mind must be prepared. It is way get the blood flowing throughout the body in order to give the best performance possible. Warming up can also prevent and actor from damaging their bodies and voice. Voice Warm up An actor uses their whole body to project their voice. This takes practice and voice warm up can be very useful. The aim is to be controlled, using the diaphragm, and clear, powerful and expressive. An actors voice is a sacred tool, the vocal chords are fragile so take good care of them. Ideas for voice warm ups: Humming. This is the perfect way to start. Gently, starting humming with your mouth closed using the letter ‘m’ in your mid rage and then go up and down the scale. Ideally this is done on stage walking in the space so you can work with the acoustics. Humming the vowels. Continue in the same way and use the vowels ‘Ahhhh’ ‘Iiiiiiii’ ‘Eehhh’ ‘Ooohhhh’ “Ooooooo’ Gently place you hand on your jaw, throat, nose, forehead and feel the vibrations. Following this place you hand on you diaphragm, and try and get your vibration into your chest. Warming up the mouth. The sounds made when you speak or sing are made by many different parts of the mouth.

• Tongue • Soft pallet (soft part of the roof of your mouth) • Hard pallet (hard part of the roof of your mouth) • Lips • Teeth Actors can go through continents and vowels in order to warm up and engage the different parts of the mouth. Try to feel the vibration throughout your head and diaphragm Ma ma ma ma / ma ma ma ma / ma ma ma ma ma ma ma ma ma ma Engages the lips Da da da da / Da da da da / da da da da da da da da da da Engages hard pallet, and tip of the tounge Ka ka ka ka / ka ka ka / ka ka ka ka ka ka ka ka ka ka Engages soft pallet Projection. You want to use the power you have created through the humming and vibrations, and the clarity you have achieved through working through the vowels to project throughout the auditorium. Half of the actors go to the back of the seating and stand facing the stage and the rest of the actors stay DSC facing the auditorium. Call to each other to practice projection. Body Warm Up When performing the body need to be engaged. As an actor you will need an awareness of your muscles, they are your tools for expression. Ideas for warming up the body: Stretching. Stretch each area of the body; neck, shoulders, arms, back, stomach, buttocks, thighs, calves, ankles and feet. Isolations. Move areas of the body in isolation, keeping other parts of the body still. Head, shoulders, elbows, wrists, hips (forward, side back other side, then around, the figure of 8), legs from the hip joints, knees and ankles. Body roll. Stand in with your head on top of you body, shoulders relaxed, stomach muscles engaged, butt and hips tucked in, knees slightly bent and feet directly in line with your shoulders. Let your head drop in front, followed by your arms, and slowly roll down vertebrae by vertebrae, bending your knees as you get low. Come up slowly vertebrae by vertebrae with your head coming up last. This will loosen your spine and help you find strong posture.

The Headshot An actor’s headshot is used to attract work, in programs, on websites and social media and in foyers displays. Black and white, sepia or colour are all acceptable. The idea is to show yourself as you are, with energy, positivity and confidence. Tips on the headshot ACT3 Annie Stewart Headshot • • • •

Be very careful not to overdo the make up Relaxed and positive expression Make sure it is flattering It is true to what you look like

ACT1 Character Background Check – Example ACT2 Character Background Check - Blank

PRODUCTION MANAGEMENT Production management is basically about making sure everything gets done by someone, not necessarily the Production Manager (PM) themselves, but particularly on small productions, this often means that the Production Manager does all the jobs that other people don’t get around to. Production management jobs vary at different stages in a production.

PRE

PRODUCTION

• Lots of paperwork • Contact List • Creating a list of contact details for all members of the production • In most cases, name, role, phone number and email address will be enough • Sometimes it is also important to have home addresses – usually this would be for touring productions where people may be picked up from their homes or if information is likely to need to be posted. • For large productions it may be important to make separate lists for performers and crew as not everyone needs to have everyone’s contact details When catering is part of a production it can • also be useful to have food allergies listed on a contact sheet. Where such personal information is listed it is important to have different contact lists so that privacy is maintained and only relevant people have access to private information • A contact list of emergency contacts is also a good idea. • Contact lists for performers are usually done by the Stage Manager (SM) Scheduling • • • 40

Different schedules are created for different groups. Including too much information on a schedule can lead to people disregarding information if they think it’s not about them. Timeline – a basic timeline (often presented like a calendar) can be very helpful to show the broad details of a production. Rehearsals start, . opening, closing etc. Performers schedule – usually the stage sanager

will take care of the cast’s schedule for rehearsal and performances. However it is up to the PM to provide the SM with much of the information. • Detailed schedules should include information like: • Date • Start/finish times • Activity • Location • Personnel required Try to overestimate the amount of time it will • take to do things. It’s harder to make up time than to move things a bit earlier. Make sure you include breaks. Again allow a • bit longer. Schedule an hour for meals even if you think half and hour would do, that way if you run over you still get to eat. Keeping to Budget • • • • • •

While the PM doesn’t always set the budget, it is their job to keep an eye on all spending and make sure you don’t go over. Have a separate production wallet with petty cash or company credit card. This way all receipts go straight into the wallet and are less likely to be lost. Have a contingency. Keep about 10% of your budget in reserve in case something goes wrong right at the end Divide your budget up into areas. Let designers know how much their area can spend to make sure that it is clear what amount of the budget each person is responsible for. Update expenditure regularly. Ask for regular updates from designers. This will give you a good idea if things are running over and need to be rethought. If petty cash is given to designers, make sure

you record dates and details of how much has been given to ensure you get back receipts to match. • Do estimates. List all the items/services that you know you will need. Get tentative quotes or make estimates based on previous experience to see if what you are planning is achievable. Organising and Running Meetings • Regular meetings are vital to a smooth production • Write an agenda of all the topics that you need to discuss. Email it to everyone before the meeting or simply show it to everyone at the start of the meeting to see if there is anything they want to add. This helps to keep meetings on track and stop them from running for hours. • Discuss each section of production – as the head of each area to give a small report on progress Rehearsals – Director • Stage Management • • Set • Costume • Lighting • Sound • Projection • Publicity • If members of the team can’t be at a meeting you may ask them to give a short written update on progress • Take minutes (basic notes about what is said). These can be basic dot points on subjects covered. Type these up and circulate to members of the company as a reminder of decisions. These can also form the basis of an action list – things that need to be done and by what date. • The job of taking minutes is often given to Stage management as it can be tricky to run an meeting and take detailed notes. • Schedule longer meetings at the beginning of the rehearsal period and just before bump in. In between meetings should be able to be shorter. The more frequently you meet, the shorter the meetings can be.

• •

design something that doesn’t fit on the stage or cant even get in the door. Visit the venue to check any additional information that may not be on the specifications. Ensure dates and scheduling are correct with venue booking.

• •

Check venue regulations – each venue has different rules about screwing into the floor, or where you can use gaffa tape so it is good to check if any of these things affect your production. In some cases using smoke machines requires a fire warden to be present for isolating smoke alarms and can incur additional costs.

Occupational Health and Safety (OH&S)

• • •

The Production Manager’s role in OH&S starts with a safety plan during preproduction Look at what is planned for potential hazards and look at ways to minimise risk. The aim of OH&S is to prevent incidents from happening rather than having ways to deal with them when they happen (though that is important too)

Other Things that May Need Organising

Transport of equipment to the venue – either • booking vehicles or freight services. • Booking of accommodation and personnel transport • Booking crew • Arranging catering • Arranging insurance • Licensing of copyright materials • Most preproduction tasks continue throughout the production

Liaising with the Venue • It is usually best if communication with the venue goes just through one person to avoid different people asking the same questions and getting the venue off side before you arrive. • Get the venue specifications as early as possible. You don’t want the set designer to 41

PRODUCTION • • •

Running Bump In – see section on Bump in/out Keeping to schedule can be one of the hardest parts of bump in for the PM. The earlier you see a problem coming the easier it is to fix. Keep an eye on how long single tasks are taking to know if you have enough time. For example if it takes 1 hour to rig a speaker, there are 4 speakers to rig and you have allowed 2 hours for all the rigging, you might need to look at what is taking so long or adjust the schedule to allow extra time.

Taking Breaks • It is easy to get caught up in making a show at loose track of time. • The PM needs to be checking the time regularly and making sure people stop to eat and keep fluids up. • Bump in can be a very tense time and tempers flare more quickly when we are hungry. • Monitoring Safety • The PM should be the outside eye on all activities and check that all is been done safely. • This also relates to ensuring everyone takes breaks as most accidents occur when people are tired, hungry or distracted because they haven’t taken a break in too long. • While it is important to keep to schedule it is even more important to make sure no one is taking short cuts on safety in order to get jobs done faster. • Enforcing safety often requires making unpopular decisions. Occasionally Production Managers have to make choices that compromise the art of a piece over the safety of participants that can lead to some uncomfortable conversations. * Try to offer alternatives rather than just say no and give the reasons for your choices.

POST

Returns • Ensuring that all hired/borrowed items are returned to their owners • Ensuring that all company equipment is safely stored.

• •

Common situations are… Safety handling issues – Dry Ice is a great effect but must be handled by experienced personnel. An alternative is to use a low fog machine, which produces a similar effect but can be operated by anyone. Artists wanting to work extremely late into the night – We are not always at our most rational when tired. Reminding them that we work more slowly when we are tired and 1 hour of work in the morning will be better than an extra 2 hours when overtired.

•

Helping Where Needed Identify which areas are most in need of extra assistance and focus your energy there.

•

Managing the Team During bump in the Production Manager continues to be responsible for making sure that all tasks get done and much of that is in making sure that everyone is communicating and has what they need to do the best possible job.

During the Season • This time varies greatly from show to show. In most cases the Stage Manager takes • care of the running of the season while the Production Manager continues to monitor safety issues and budget while also planning forward to the end of the show. •

Bump out The Production Manager is in charge of running the bump out – See Bump in/out section

PRODUCTION

• There is still quite a bit to do after the show is over

• •

WEEK

Wrapping Up the Budget Collecting all receipts from designers Arranging for reimbursement of out of pocket

expenses • Collating budget information to check there is no overspending • Entering box office takings into the budget

Debriefing

• •

Many productions will have a debrief session at the end of the season to consider how the production went. This may include looking at what was most successful about the show as well as considering

•

what could have been done better. Arranging a time to debrief is often a responsibility shared between the Artistic Director – who usually focuses on Artistic feedback, and the Production Manager – who focuses on logistically feedback.

•

Debriefs may happen individually with members of the team or in a group meeting depending on the aim of the session.

Archiving • It can be important to archive information carefully if further seasons of the show are likely • Archives can also be important for the history

• Tips •

of a company and for funding reasons Collect all relevant data on the show in a single location – prompt copy, contact list, design plans etc. Virtual storage like Dropbox and Google Docs are heaven for Production Managers. It allows you to make sure that everyone always has access to the latest versions of schedules, contact lists etc. It can take a bit of getting used to if people are both working on the same document but saves lots of trees.

OCCUPATIONAL HEALTH AND SAFETY While this is an area far too large to cover comprehensively in this toolkit there are a few basic places to start.

Use Common Sense

If you think something might be dangerous it • probably is so check with someone more experienced and get some advice. • If you are uncomfortable doing something then don’t do it. Regardless if those around you say that it is safe or are willing to do it themselves, don’t do anything you feel uncomfortable doing. If you are not sure, then ask. • • Often just stopping to think about something before you rush in to do it will help. • It is better to avoid accidents rather than just being ready to deal with them if they happen. • Look around to identify hazards before something happens. Use Incident Report Forms • • •

By writing down the details when something happens we are better covered if an accident leads to medical claims and the like. Write down the information as soon as it happens so you can be accurate. Near misses are also worth noting as they indicate things that are dangerous and need attention before an accident really happens. Have the Right Equipment

• • • •

•

Make sure you have an accessible and well stocked first aid kit Ensure that there is always someone around with at least level 2 first aid. Use personal protection equipment (PPE) where appropriate – gloves, dust masks, eye protection etc Always wear closed toe shoes during bump in.

Consider what particular equipment is required for your show. I.e. outdoor shows in summer require lots of sunscreen and extra water. Test and Tag Electrical Appliances

• • • •

Australian law requires that all portable electrical appliances are tested and tagged. This involves a licensed person checking equipment with a PAT tester and giving it a dated tag to certify that it complies with the safety standards. Anything that plugs into a power point needs to be tested. Battery powered devices do not, however if they have a power lead for charging them, that lead needs to be tested. Most equipment needs to be tested annual but this does vary in some cases. Theatrical Hazards

• • • •

Slip/trip hazards – some of the most common injuries are the little ones. Tripping over power cords, slipping on spilt liquid. Fix these before they are a problem rather than leaving them for later. Low light – backstage injuries are particularly common because of the low light. Use glow tape and directional lamps to highlight hazards. Also give everyone a good induction to the space with all the lights turned on so they know what to look out for. Working at heights – even a fall from a small ladder can break bones. Make sure everyone working with ladders or elevated work platforms is fully inducted to their use. Medical emergencies – It is important for the Stage Manager to know about medical conditions of everyone involved. Someone having a heart attack or epileptic seizure cant always explain what is happening to them, but if we know about pre existing conditions, it is easier to administer proper aid. 43

•

Electrocution – Theatres use lots of power. Only crew who have been properly trained should be touching equipment – this includes lighting, sound and other tools. Risk Assessment

It is common practice to complete a risk assessment form for productions. While this form seems intimidating at first it is really quite simple. • Look at all areas of your production for things that might be a hazard – something that may cause injury. • Consider what the risk is. Will it cause injury, damage to equipment, cancellation of the show. • Rate the risk – how likely is it to happen and how bad would the results be. A hazard that is almost certain to occur even if the result is minor, is something you need to pay more attention to avoiding than a hazard that is incredibly unlikely to occur even though the results would be catastrophic. • Look at your control measures – what can you do to avoid this happening and how would you deal with it if it did happen. • Assign responsibility for monitoring this hazard to an individual or a group of people. • Remember that things change during every show and so you should keep coming back to your risk assessment document and update it as things change. Budget Looking after the budget may be the responsibility of one person on a small production (most likely the Production Manager, or possibly several people on a larger one (Producer, bookkeeper, Production Manager, treasurer, company manager etc). This all depends on your company structure. Money matters are often an awkward topic that everyone avoids talking about, but often the best way is to lay responsibilities out clearly at the beginning and then get on with making a show. Budget Managers • • •

The producer raises the money The Production Manager oversees the expenditure of the budget A treasurer or bookkeeper may then be the one to hand over payments.

How you raise the funds has quite a bit of impact on your accountability • Community companies may be a bit more flexible as they are only accountable to members of the group and as long as use of the funds is agreed upon by the group, it’s ok to be 44

•

a bit less detailed in your accounts. If you have raised funds through government or philanthropic grants it is important to be very detailed in all your finances as you will need to hand in an acquittal of the grant, that is a detailed account of all income and expenditure. Managing the Money

• • • • • • • •

Usually the most important part is making sure you don’t spend too much Look at the overall amount you have and estimate how much each area needs. Estimate the costs of known items to see what is left. Have a contingency – about 10% is ideal. Either for the overall budget or in each area. This will cover all those last minute surprise things. Enter information into a spreadsheet as you go so you know how much is left. Waiting to do the paperwork at the end can lead to nasty surprises. Be realistic and overestimate Be clear what is people’s own responsibility and what is the shows cost. Transport, clothing and make up are all areas that often get a little unclear as to who is paying the bill. Spend some time setting up formulas in documents like Excel can save you hours, but check things over occasionally to make sure your formulas are correct.

Bump In/Bump Out In Australia we refer to the time spent setting up in the theatre as the Bump in and the pack up time as the Bump out. Other countries refer to it as the Get in/out or the load in/out (which can just be the delivery of equipment). Whatever you call it, there is a usual sequence of events… Rig/Build • • • • •

During this time the set is built and the lighting, projection and sound rigged. Each production sets its own schedule for the order of these Sometimes the lighting must be rigged before a set can be put in. Sometimes the set must be built to provide places for the lighting to be rigged. The Production Manager is in charge overall of running this stage of the bump in, however each designer is in charge of managing their own crews. In some cases the Production Manager may take charge of an area to allow the designer to work on other tasks.

Lighting Focus / Sound Equalizing / Set Dress etc • Again the order of these tasks is determined by the needs of the production. • The Production Manager remains in charge overall with designers running their crews • Lighting focus is run by the Lighting Designer – this is when all the lights are pointed to the right place on the stage, shaped as required and coloured. This must be done with most lights off and therefore all other crews need to be out of the space at this time. • Sound Equalizing and Mic checking needs to be done in almost complete quiet and therefore all other crews need to be out of the space at this time. While ‘EQing’ the sound crew adjust the frequencies of the system to avoid feedback and usually in this process create quite a bit feedback which can be quite unpleasant and therefore best to have as few people in the space as possible. • Set dressing involves putting the last touches on the set. Adding table cloths to tables, cushions to couches, fine painting details to the set and so on. Occasionally some tasks can be done in semi darkness during lighting focus or very quietly during sound checks. • Projectors need to be focused at this point. Adjusted for size and sharpness. Also in the dark. Costumes are usually ‘bumped in’ to the • dressing room during this (and the last) phase of bump in.

Plot • • • • • • • • • •

Usually each element is plotted separately. However depending on the needs of the production this can change. Working separately is usually quicker as each session has a single focus but sometimes elements (such as lighting and projection) are so dependent on one another that they must be plotted together. A good indication of how long a plot will take is around 5 mins for every cue to be plotted. Lighting cues are programmed into the lighting desk by the lighting operator under the instruction of the Lighting Designer in consultation with the Director, and the Stage Manager takes notes about cue points in the prompt copy. Essentially the Lighting Designer runs this session. Lighting plot involves working out which lights are on at what time and at what level. Decisions are made about fade times and exactly when the cue goes. Levels for sound cues are set by the Sound operator under the instruction of the Sound designer in consultation with the Director, and the Stage Manager takes notes about cue points in the prompt copy. Essentially the Sound Designer runs this session. Sound plot involves working out which tracks are played at what time and at what level. Decisions are made about fade times and exactly when the cue goes. When using a cueing program, the programming has ideally been done during rehearsal, however it may be done now. Cue points for projection cues are set by the AV operator under the instruction of the Projection designer in consultation with the Director, and the Stage Manager takes notes about cue points in the prompt copy. Essentially the Projection Designer runs this session. Projection plot involves working out which images are played at what time, possibly also on which surface from which projector. Decisions are made about fade times and exactly when the cue goes. When using a cueing program, the programming has ideally been done during rehearsal, however it may be done now.

Technical Rehearsal

Opening Night

• At the technical rehearsal the Stage Manager takes over running the space. • Performers, Crew, Designers and the Director all take part in this rehearsal. • Working very slowly from the beginning of the show to the end, the Stage Manager runs everyone through the show. • Performers step through the show delivering some of their performance (as requested by the Stage Manager) while crew play through the cues. Each cue may be done several times until everyone is satisfied that they know what to do and the timing is correct. • Difficult stage action is also rehearsed at this time. Particularly quick costume changes and anything that requires particular timing. • Particular attention should be given during tech run to making everything safe. • Director and Designers are all present, making adjustments to cues and placement as the run goes. • A tech rehearsal will usually take at least twice the time that the show will eventually run. Really big technical shows can spend over a week at this stage.

• When hopefully everything is ready and everyone knows their lines and their cues. • The Stage Manager runs the Opening night and all subsequent performances. • Director and Designers are present. Taking notes on anything that goes wrong. Changes are often still made after opening but hopefully only minor ones. • This is the night to invite industry people and start inviting reviewers.

Dress Rehearsal • • • • •

Ideally a dress rehearsal runs exactly like a performance but without an audience. Usually a dress run only stops for issues of safety or if something does terribly wrong. The Stage Manager runs the dress rehearsal. Director and Designers are present. Taking notes on anything that needs to be changed AFTER the dress run. Just a little more time than the performance run time is allowed for dress run.

Preview • A preview is a performance with audience. • By calling it a preview it indicates to the audience knows that the show is still being developed and may have to stop if something goes wrong. • Major changes may still be made at the preview stage. • The Stage Manager runs the Preview • Director and Designers are present. Taking notes on anything that needs to be changed after the Preview.

Closing Night • •

The final performance A special night where there is often an after party, sometimes speeches and gifts.

Bump Out • Pack up and removal of everything from the theatre. • Lights de-rigged • Sound system de-rigged • Projectors de-rigged • Set dismantled • Costumes washed and packed away • Venue painted ‘back to black’ if required • Dressing rooms cleaned • Hired equipment returned • The Production Manager runs the bump out with Designers in charge of their own crews. • In Main Stage theatre the performers are not expected to help with bump out, and often designers are also not present, however in smaller productions, usually everyone lends a hand. • Depending on the hire of the space this may happen straight after the last show or in the days following. Additional Schedule Events Costume Parade • • • •

Each cast member puts on each costume they wear in the order of the scene For each scene, all the cast stand on stage together in costume so the designer can check that the costumes look right together. Ideally this is done on stage and under theatre light so that all designers can see that their designs are working together. The costume designer runs the costume parade.

Stitzprobe • The first sing through of a musical with the band/orchestra and the cast. • This is usually done with everyone seated so that the focus is only on the singing and there are no distractions with remembering blocking • The Musical Director runs the Stitzprobe. • More commonly just called ‘the stitz’ Fix Up Time • Extremely important time to schedule between each plot session and runs. • This is the time to work on anything that was a problem in a run. • Lights may be refocussed, cues replotted, blocking rehearsed. • The Production Manger co-ordinates fix up time according to the needs of each area. Production Management Resources The templates in the toolkit are intended as a resource for you to use and adapt as needed. Many are examples from existing shows, or examples of the kind of information you may wish to include. Change and adapt each spreadsheet according to the specific needs of your production. PROD1 Contact List Blank PROD2 Schedule Example - WBTC Tour PROD3 Schedule Example – Tiddalik PROD4 Schedule Blank PROD5 Production Timeline Example PROD6 Budget PROD7 Petty Cash Expenditure Blank PROD8 Production Meeting Agenda PROD9 Production Meeting Minutes Example The Bacchae PROD10 Risk Assessment PROD11 Incident Accident Report Form PROD12 Bump Out Checklist PROD13 Venue Induction

STAGE

MANAGEMENT

Introduction

Prompt Copy

Stage management is a thrilling role in theatre production. A Stage Manager (SM) is the person who is like a mastermind of all aspects of the show. While the role is to work with each of the creative and design team members a good Stage Manager will remain quietly in the background and have the awareness of when to lead and when to support or simply document.

This book contains a conclusive record of the production. It is the SM’s responsibility to create and maintain the prompt copy and provide the information to the team. It needs to have all the information necessary for a new SM to step into the role if something was to happen to the SM. It can be important to have both and paper and electronic of the prompt copy. It will contain such an enormous amount of information, some if which will only be relevant to certain people at certain times. It is the SM’s job to work out when need the information collected, who requires it and when. All notes must be legible.

Qualities of a SM are • Patience, calmness, even temper and tact. • Creativity, problem solving, quick thinking and the ability to improvise. • Organisation, discipline and attention to detail. Communication skills with the entire team • involved in the production. • The giving of full support and loyalty to the Director at all times. • Understanding of the story, direction and design elements. Responsibilities • • • • • • •

Maintain schedules Keep track of performers, their locations, health and well-being. Prepare the prompt copy. Coordinate and bring together all on stage and backstage elements including props, costumes, set, lighting, sound and special effects. Call the cues in the performance Establishing operating procedures Communicate information to actors, Director, designers, front of house team.

Assistant Stage Manager - ASM Depending on the scale of the production sometimes the SM works with and an ASM. The specific duties of an ASM will always vary but are likely to include: Making notes in the prompt copy during • rehearsals as directed by the SM. • Being ready to take over any SM duties at any time • Coordinating back stage including, people, set, special effects of any other creative elements where necessary. Running errands. • Finding ways to be useful to the Stage • Manager, Director, actors and designers.

Prompt Copy Contents Title Page, Name of the company, name of the production, name of the SM and the Director, rehearsal venue address, performance venue address. It should also have a clear ‘If found please call (State Managers phone number) or return to (Address where it can be returned to). Cast and Crew Contact List PROD1 Contact List Blank A Schedule PROD2 Schedule - Example WBTC Tour PROD3 Schedule Example - Tiddalik PROD4 Schedule Blank A Running Order See SM1 Running Order Example Scene Break Down SM2 Scene Breakdown Example SM3 Scene Breakdown Blank Script Including information such as blocking, text changes, stand by cues, cues. SM4 Script with Cues Props List SM5 Props List Example SM6 Props List Blank

Costume list SM8 Costume List Example SM8 Costume List Blank Located in the Stage Management section Floor Plan DES1 Set Drawing - The Flood Located in the Design section List of Consumables These are things that are only to be used once in a show For example: • A newspaper that get torn up • A cake that gets eaten • A balloon that gets popped Safety Details Risk Assessment PROD10 Risk Assessment Emergency plans including number and address of nearest hospital. Technical Details Other documents related to set, lighting, sound, projection, costume like lighting plans, cues sheets etc. Please see these resources DES1 Set Drawing - The Flood DES2 Set Drawings - Muckheap DES3 Venue Plan – fortyfivedownstairs DES4 Venue Specifications – fortyfivedownstairs DES5 Props and set Breakdown - A Little Princess DES6 Props and Set Breakdown Blank DES7 Props List - The Flood DES8 Costume breakdown Example DES9 Costume Measurement Sheet DES12 Lantern Schedule Blank DES13 Lighting Plan - The Flood DES14 Lighting Cues Example DES15 Lighting Cues Blank DES16 Sound Cues Blank DES17 Basic Sound Setup

BEFORE REHEARSALS BEGIN It would be often be a good idea to check with the production or project manager before completing many of these tasks. Depending on the production an SM may have extensive or very few task prior to rehearsals. Some task would include. Begin to prepare the prompt copy with all the • information that you get. • Source rehearsal props if needed • Purchase stationary and consumables for the rehearsal including pens, pencils and erasers, staplers, tapes including gaffa tape, masking tape and a variety of colors of electrical. • Visit rehearsal venue and make sure there are all things required for rehearsals including, chairs, tables, functioning toilets, power outlets, fire extinguishers, keys to all necessary areas, appropriate heating / cooling. • Measure the rehearsal area and make a note of it. Mark the dimensions of the performance space • so the Director, designers and performers know what they are working with. • Prepare a tea and coffee kit to have in rehearsals. Check the closest eating venues, café, • restaurant or pub

Rehearsals In the • • • • • • •

rehearsal period the SM needs to Arrive early and make sure everything is in order such as stationary, chairs, tables, functioning toilets, drinking water, appropriate heating / cooling, tea and coffee kit, props, costumes, light and sound elements. 5 minutes before the rehearsals begin check that all the team have arrived, if there is anyone missing attempt to contact him / her. Give out information where appropriate including schedules, scene breakdowns etc. Sit with the Director and make notes in the prompt copy regarding text changes, blocking, set, costumes, props, lighting and sound. Work with the Director to create the culture of the space and ensure all the entire team remains empowered, positive and creative. Mark up the stage as necessary. At the end of every day ensure that the production and creative team know when their next call time is. Production Week

A Stage Manager with work with the Production Manager to coordinate production week. The Stage Manager with work with the Director, Production Manager to plan and coordinate: Bump In • • Technical Plot Technical Rehearsals • Dress rehearsals • For more information on this section please see Production Management.

AREAS OF THE STAGE In theatre there are specific names for areas of the stage. It is important to use them and learn them by heart. USOP – Up Stage Opposite Prompt USC – Up Stage Centre USP – Up Stage Prompt COP – Centre Opposite Prompt C- Centre CP – Centre Prompt DSOP – Down Stage Opposite Prompt DSC – Down Stage Centre DSP – Down Stage Prompt The curtains are also called legs and are often drawn as Areas of the Stage

UOP

COP

DCOP

USC

USP

DSC DSP

It can be useful for each page of the script to have notes on all movements of performers and set. These movements and positions are called blocking.

Drawing Blocking

Drawing Set Pieces

Writing Blocking Stage Managers need to drawn and write the blocking details. Some standard short hand includes: EX - Exit ENT – Enter X – Cross (the stage) XTO – Cross To // - Pause SD – Stand St – Sit TN – Turns Any other short hand is acceptable as long as it readable, consistent and has a key. Each of the characters can have a short hand such as initials. Examples of blocking notes K TN XTO DSC (Kiarra turns, crosses to down stage centre) Kiarra

Hey Peter, what’s happenin’?

Annie-Bloke

Hey Kiarra! Check out what I’ve done on minecraft. I’ve got 7 skyscrapers made out of obsidian, there’s lava flowing from the tops, it’s the best death trap! And there is a dungeon in the bottom of each tower with creepers, zombies, skeletons and heaps, heaps heaps of spiders! You wanna build a house together?

Kiarra

No thanks, I’m not really into games

Annie – Bloke

What? You’re not into games? (Picks up phone) Hey Tony, you’ll never guess, You know Kiarra the netball queen? She hates games! I know, how weird is that, I know! I know! I know!! I know…

Writing Cues During the technical rehearsal, or sometimes earlier the details of when, how long for and in what way are with lighting and sound elements used. The SM will make notes on how the elements are brought together. The method is using a ‘cue’ - an the action that sets in motion another action. The SM will write the stand by cues in the prompt copy thought the script. Each cue will be listed as: LX Lighting SFX – Sound Each cue will be numbered in order in the show: LX25 would be the 25th lighting cue, the 25th time the lighting changed. SFX4 would be the 4th sound cue the 4th time the sound changed. A ’stand by’ cue will be notated a few moments before the ‘go’. The SM will prompt the lighting and sound operators to get ready for the cue. SEE SM4 - SCRIPT WITH CUES

AB TN XTO UPC TN XTO USP EXT Annie Bloke turns, crosses to upstage centre, turns crosses to upstage prompt, exits

Calling the Show The SM is often responsible for what is called ‘Calling the Show’. Often the SM is sitting in the prompt corner using an intercom or are to communicate with the operators or sometimes they are sitting with them instead. The intercom is a headset and microphone and are sometimes called headsets, coms or cans. They allow the operators, SM and ASM (and sometimes the FOH team) to all communicate to each other.

The Prompt Corner This is often a table or area off stage, down stage that the SM position themselves to call the show and be available to be of assistance to the team during both the performances. The location of the prompt corner will vary depending on the needs of the show and the style of the performance space. It will contact a lamp often with a blue gel, the prompt copy, and sometimes with switches and gear related to the technical operations.

The communication is often lead by the SM. The SM uses and firm and relaxed voice (no matter what!) and makes sure they cannot be heard by the audience. The communication is limited to essential messages to deliver the show.

Marking Up The Stage When there are set pieces that move on stage it is the SM’s responsibility to mark the floor using electrical tape, different colors for different scenes. The tape must be small and neat and sit on the outside corners of the set pieces.

Before the show starts an ‘hour call’, ‘half hour call’, ‘15 minute call’ and a ‘10 minute call’ and a ‘beginners’ is made. ‘Beginners’ means 5 minutes before the show starts. Each pre-show call is made to the beginners time so the hour call is actual and hour and 5 minutes, the half hour is actually 35 minutes and so on. The pre-show call are often made using the coms and also on foot to the dressing rooms of anywhere else the team may be. Everyone involved need to be given the pre-show calls by the SM. An example of the communication on coms to the operators is as follows. SM – Stage Manager SFX OP – Sound Operator LX OP – Lighting Operator ASM – Assistant Stage Manager SM: “Coms Check”

(before the house is open coms are checked to ensure they are working and everyone who needs to be connected is)

LX OP: “Lighting here” SFX OP: “Yep Sound here” ASM: “ASM here and ready” SM: “Ok, we’ve got FOH clearance stand by sound cue one, stand by lighting cue one”

Backstage All areas and elements back stage are the responsibility of the Stage Manager. Everything is to be clean, neat and extremely organised. It can be useful to pin up running orders in dressing rooms and just stage at entrance and exit points. Props and costumes are place where needed at the beginning of the show, this is called a pre-set and will be notated in the prompt copy. Make sure there is access to water and toilets. Show Report After each show the SM is required to write a show report. This will include information on the running time, actor performance, technical problems. It is often the case that they are to be emailed to the Production Manager, Director on the same day as the show depending on the structure of the production and company. SM9 Show Report Example SM10 Show Report Blank Located in the Stage Management section Post Production After the performance season the SM will work with the Production Manager to make sure all loans and hires are returned. Files, both paper and electronic including the prompt book are handed over to the company.

SM1 Running Order Example SM2 Scene Break Down Example SM3 Scene Break Down Blank LX OP: “LX standing by” SM5 Props List Example SM6 Props List Blan SFX OP: “Sound standing by” SM7 Costume List Blank (the first cues will be the first SM8 Costume List Blank lighting and sound changes SM9 Show Report Example when the audience are seared SM10 Show Report Blank and ready) SM: “Lighting Cue one…….. Go” SM: “Sound Cue one

THEATRE

DESIGN

What is Theatre Design? There’s a lot more to making a show that just performers in front of an audience. It’s important to think about the space (set), what the performers wear (costume), what they hold (props), how they can be seen (lighting) plus other sounds and images (projection) that can be part of the show. While you can make a show without most of these elements, there is an argument to say that even deciding, for example, to just wear street clothes instead of a costume, you are actually making a design decision and street clothes becomes the design. On large productions, each area would have a separate designer.

SET DESIGN A Set Designer works with the Director and other designers to come up with the look of the space. Assess the Needs First a designer must decide what the show needs, this may include; • Do scenes require furniture – table, chairs, bed etc • Does the show require different height levels – a balcony, a pit etc • How many different locations does the show happen in – a beach, a living room, etc. • A lot of this may need to be done before rehearsals start but it’s important to visit rehearsals to make sure that what you have designed is working for the play. • Read the script, talk to the Director/ choreographer/creators and see what they • Where to place the audience (this may already be decided by the shape of the venue) • Colours – of floor, walls, furniture etc • What furniture/objects are in the space • The style/era of objects – art deco, abstract, naturalistic, minimalistic etc Assess the Resources After this a designer needs to look at the resources/ skills available to help decide on the scale of the design; • What is the budget? • What are your building skills? • What materials do you have access to? • Is there enough money to pay someone to build things? • What are your painting skills? • Does the venue have a fly tower? This means that set pieces can be lowered in from the roof, it also usually requires another dedicated crew member to operate it. • How much time do you have? This includes time outside the venue and time in the venue. • What access to transport do you have? Don’t build objects that are too big/heavy to transport. Also check that the doors of the venue are big enough.

Inspiration It can come from many places; • Other shows you have seen. • Movies, TV, Books, paintings, photos etc • Nature • Internet image search – particularly helpful for researching historical times. • Making a blog on websites like Tumbr/ Pinterest can be really helpful for collecting and sharing ideas and inspiration. • Make sure you talk to the other designers – both for ideas and to make sure your designs work together. Sometimes they may have ways to solve your problems. Create the design The more ways you can find to show the team what you are planning the better. • Lots of sketches • Collect colour swatches of paint • Fabric samples • Scale drawings – floor plan, side/front elevations, detailed drawings of set pieces. Make your design • Do as much as possible as early as possible. It’s great to be able to rehearse with set items and it saves lots of time in bump in. • Think about what order things need to be installed in. Painting needs to be done with time to dry before people can walk on/touch the set. Set Design Tips Websites like Gumtree and Freecycle are • great resources for cheap materials. You may want to design the show based on what is available. • Talk to others in the team about items you need. It can be amazing what is in people’s back sheds.

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Loads of theatre companies are willing to • Hot glue guns, cable ties, safety pins and share resources for little or no cost– The staple guns are your best friends. Remember Melbourne Theatre Company offers free prop a set doesn’t have to last forever or look good hire to anyone who makes an appointment. from behind. It is just for the audience. Many other companies are the same. Please see the Set design resources Op shops are the best – objects are already DES1 Set Drawing - The Flood used and aged so they look great onstage and DES2 Set Drawings - Muckheap save time having to ‘break down’ (paint/ DES3 Venue Plan - fortyfivedownstairs texture to look used) items. DES4 Venue Specifications - fortyfivedownstairs Think a little about the end of the show at the beginning. Your budget may also need to allow for the cost of getting rid of the set at the end. PROP DESIGN

Props (or properties) are the objects that actors hold or use or move. They are usually the combined responsibility of the set designer and stage management. The set designer will design the look of certain props and might make some of the more particular props, while the stage management team looks after sourcing props. Stage management might need to find ‘rehearsal props’. These are props that stand in for the real prop until the real prop is found/made. The earlier props are used in rehearsals the better. The process of prop design is much the same as the set design process. • A list needs to be made of what props are needed – usually by stage management with some input from set designer. This list is likely

to grow and shrink as the rehearsals go on. • The style of props – abstract, naturalistic etc. • Sourcing/making of props – greatly dependant on the skills of those involved in the production. • Adapting props – many bought objects may need to be adapted to suit exactly what the show needs, ‘breaking them down’, strengthening weak items to last a full season etc. Please see the Props resources DES5 Props and set Breakdown - A Little Princess DES7 Props List - The Flood SM5 Props List Example SM6 Props List Blank

LIGHTING DESIGN A Lighting Designer works with the Director and other designers to determine how the performance is lit. Assess the Needs Like the other designers they must look at what the show needs and look at the impact of other design elements… How many scenes/different looks are needed? • • Where is the show set? • What time of day is it is each scene? • What does the set look like? • Reading the script or watching rehearsals is usually the easiest way to gather all this information. • Talk to the Director and other designers to see if they have specific things in mind.

What is the feel of the show? • Naturalistic, sculptural etc. • Do you need Front light (important for seeing faces clearly), Side light (good for creating a more sculpted look), Backlight (aids in pulling performers out from the background and providing a more 3dimensional look), Floorlight (great for dramatic moments, evokes and old world theatrical feel) • What types of lights to you need? More detail below. What needs highlights? • • How does the space need to be divided by light?

Decisions What colours of light are needed? • • Do set pieces need light? Inside or out? • What will compliment the set and costumes? 57

Asses the Equipment For Lighting Designers, a lot is determined by the venue and what equipment is available, this is often the major resource they have but the skills of the crew are also a factor. • How many lights in the venue? • Are there bars to rig lights off? • How to safely access rigging? • How much power do you have access to? Dimmer racks require 3 phase power, whereas LEDs all run off regular 240v outlets and consume very little power. • How long do you have in the venue to bump in? • How long do you have to plot? • What is your budget? • How many crew can you afford for rigging and are there enough ladders etc for them to work from? Inspiration It can come from all the same places as other design, particular things you might want to look at are… • The way levels of light make you feel? • Brighter generally feels happier. • Darker light creates a more sombre mood. • What colours happen naturally in light? • Daylight is actually just slightly blue. • Indoor lighting tends to be a bit yellow. Planning the Lighting Design • Start with a list of states/scenes that you want. Some of them may involve returning several times to the same state. • Create a cue synopsis. List each time the lighting needs to change and a brief description of what each state should look like. You may also add information like what colour the cyclorama might be etc. • Make a list of what lights you need to light each scene. Start with what you really want and work backwards towards the equipment you have available. • Draw up a lighting plan. Start with the basic set elements and rigging positions, then add in all the lights you need. Create a lantern schedule, number the lights • according to where you want them in the lighting desk. Remember logical numbering will make it easier to remember. IE start with the front wash, then sidelights, then back lights etc. Numbering specials (effect lights for particular • moments) according to the order that they are used in the show can be helpful.

Creating the Design Details of these steps listed below, for now just the order of things Once in the venue you first need to rig the lights • on the lighting bars or floor stands • Patch the lights – run power from the light back to the dimmer rack (like a large power board that the lighting desk talks to). • Flash – through all the lights to determine that they are all working. It is usually easiest to do this before starting to focus. • Focus the lights – pointing the lights in the right direction and shaping them where possible. • Plot – programming each lighting state into the lighting desk and determining what the cue point for each scene is. • Then follows, tech runs, dress runs and performances – as detailed in Production week section. • Make sure there is room for fix up time in the schedule – you might still keep making changes up to, and even beyond, opening night. Lighting Tips Remember that lighting uses lots of power and • often involves working at heights. These elements can be dangerous and great care should be taken at all times. If you are not sure about something, don’t attempt it until you seek advice from someone more experienced. The information in this toolkit is intended as a guide and is not a substitute for hands on experience under professional guidance. • Light just from the front tends to make performers look a bit one dimensional, the more angles, the more solid a person or object looks. • Faces are best lit at a 45degree angle from the front, this avoids big shadows under the eyebrow. • Sharper angles and big shadows are more dramatic. • When choosing colour, look at the gel with light behind it to get a good idea of the colour. Or even better, hold the gel up to a lamp and see the colour it projects. It is often quite different to how the gel itself looks. • Mixing colours of light is not like mixing paint or pigments. Where all colours eventually make black with paint, adding all colours of light will make white.

Types of lights Fresnels – have a fresnel lens that can be recognized by the concentric circles that can be seen on the front of the lens. The beam is soft edged, brighter in the centre and is best used over a short throw. Size can be adjusted by moving the lamp in relation to the reflector. Barn doors can be attached to shape the beam and reduce spill. Fresnels are good for colour washes, sidelight and front light in small auditoriums.

Pebble-Convex – have a lens that is convex on the front and have a pebbly surface on the inside. The beam edge is slightly harder than a fresnel, the light more even across the beam and more useful for longer throws. In all other ways PC’s behave the same as fresnels: the size is adjusted by moving the lamp in relation to the reflector and barn doors can be used to shape the beam. Also useful for colour washes, sidelight and front light in small auditoriums.

Profiles – have a plano-convex lens (convex on one side and flat on the other). There are simple profile spots with one lens and zoom spots with two lenses. The lenses allow more variation in size and a soft or hard edge. Different lenses allow profiles to have wider or narrower beam angles; this information is usually displayed on the lamp, describing the light as having a particular range e.g. 22/44. Shutters, gobos or irises can be used to shape the light with straight edges or patterns. Focusing is done by moving the lenses in relation to the lamp and the beam can be brightened in the centre or flattened by moving the lamp in relation to the reflector. Profiles are good for washes over a long throw or as specials. Flood Lights – have a globe and a reflector (and no lens) and can only be focused by pointing them in the right direction. They have a relatively soft edge, wide beam angle and even light across the beam. They are great for lighting large areas from a short throw, but are also useful for large areas. Most common uses are for lighting cycloramas, outdoor events, footlights etc.

Par Cans – have a parabolic lens, similar to a car headlight, which contains the lamp, reflector and lens in one unit. These come in wide, medium and narrow, all with a soft edge. The limit of their focus is to point the light in the right direction, and, in the case of wide and medium lamps, the beam is oval shaped and can be rotated in the desired direction. They are cheap and efficient lights when precision is not required, they provide good, punchy light over a long throw and are therefore frequently used in rock concerts, circus and arena performances. Different size (wattage) parcans are given different names i.e. par 64(1K), par 56(300w), par 38(150w), par 16(15-100w).

Moving lights – at one point called intelligent lights, moving lights have moving mirrors , or rotating bases and moving yolks to allow the light to move. There is a huge variety of moving lights with different capabilities. Movers come in wash or profile versions. Features they may contain are changing colours, gobos, glass gobos, rotating gobos, shutters, adjustable size and sharpness. Unlike conventional lights, movers are plugged into a regular 240v power outlet and the functions are controlled via DMX signal. LEDs – The future of theatre lighting lies in LEDs due to their low power consumption and ability to change colour. LED refers to the light source of Light Emitting Diodes, rather than the shape of light or type of lens. Most fixtures are now available in LED versions. Basic LED lights are usually tri colour RGB (Red, Green, Blue) colour mixing, but some are Quad colour RGBW (Red, Green, Blue, White) and some go to five colours with additional Amber LEDs. Like Movers they are plugged into a regular 240v power supply and the intensity and colour is controlled via DMX signal.

Rigging a Light • Check the light – first make sure the light has all its accessories (shutters, safety chain, barn doors etc) then check that it is electrically safe (check for test tag but also for new damage) and working (easiest to check with a continuity tester), that it is clean optically (ie lenses and reflectors are not covered in dust) and mechanically in working order (shutters are moving freely, all knobs move freely and lock off tightly, and the bolt to the hook clamp is complete with nuts and washers). • Hook the clamp over the bar and tighten. Point the light in roughly the direction it is required. • Ensure that the light is the right way up – the power lead will usually come out of the bottom of the light, gel frame holders will usually be open at the top and writing on lights will usually be orientated to be read with the light up the right way. • Safety chain the light to the bar. • Open barn doors and shutters • Plug the power lead into the most convenient patch point and note the number. Or run an extension lead to the dimmer rack. • Tidy up the lead and if necessary secure it to the bar with electrical tape. Ensure that there is enough slack on the lead to allow for focus. Do not tape the plug in such a way that you cannot access it. Focusing a Light • Focusing varies greatly between lights • First warm up the light, a few minutes at a low level gets the filament warm and less likely to blow. Remember that theatre globes are much more expensive than regular light bulbs and should be treated with care. • The best place is to start with pointing the light in the right direction. • Centering it on the required area • Adjusting the size – usually a knob on the bottom that moves forward and backward. • In the case of profiles, adjust the sharpness. Again usually knobs on the bottom that move forward and backward. If using a gobo, add the gobo at this point. • While it is easiest to see the light without gel in it, dark gels will make the lit area seem smaller and are therefore crucial to the focusing process. Up to you whether the gel goes in first or last in the focus process. The gel goes in a frame at the front of the light. • Tighten all the knobs to ensure the light doesn’t slip out of focus. • Always ensure that the ladder is in the best possible place for you to be safest and most comfortable while focusing, remembering that you will often be working overhead for long periods.

When ‘calling’ the focus to someone else it is • useful to look at your shadow to see where the light falls rather than looking forward into the light. • Always be gentle with lights. If something is not moving properly, it is most likely that forcing it will only result in damage to the light. Please see Lighting Resources DES11 Lantern Schedule - AAOL DES12 Lantern Schedule Blank DES13 Lighting Plan - The Flood DES14 Lighting Cues Example DES15 Lighting Cues Blank

Special Effects There are many theatrical tricks and special effects that can be used to give your show an extra lift. Most of the effects listed below are traditionally part of the Lighting Designers bag of tricks but can be suggested by any member of the creative team and are often written into the script from the very beginning. •

Smoke Machine – basic smoke machines are the type you might associate with a nightclub. Smoke comes out in a big puffy white stream and floats upward

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Hazer – a thin fog is distributed slowly from the machine and is designed to ‘hang’ in the air. Most commonly used where there is a desire to see the beams of light in the air.

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Dry Ice – frozen carbon dioxide that melts into a heavy white fog. The kind that swirls around grave stones in bad horror films. Dry ice requires careful handling as it is so cold that it can burn your hands

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Low Fog – A similar effect to dry ice, Low fog machines pump regular smoke through a basket of regular ice which cools it and makes it ‘heavier’ and therefore stays low like dry ice but eventually warms and floats up as it disperses. Not quite as effective as dry ice but much safer and doesn’t require a regular supply of dry ice pellets.Use of smoke effects requires an audience warning. While theoretically all smoke fluids are hypo allergenic and not supposed to cause coughing, there is no doubt that the do cause people to cough and can cause anxiety to those with respiratory issues.

SOUND DESIGN A Sound Designer works with the Director and other designers to determine the soundscape of a performance Assess the Need Like the other designers they must look at what the show needs and look at the impact of other design elements: • What specific sound effects does the show require? • How can the settings of scenes be assisted with a soundscape? • Is there a need for vocal reinforcement through microphones? • Reading the script or watching rehearsals is usually the easiest way to gather all this information. • Talk to the Director and other designers to see if they have specific things in mind. • Are there live musicians Decisions And then make choices about And what microphones are most appropriate? • Hand held, radio mics, lapel mics. • What is the feel of the show? Naturalistic, abstract etc. • What music might add to the telling of the story? What sounds might add to the meaning/ • atmosphere of scenes? • What types of speakers to you need? Different Sound designers come from different backgrounds. Some are more composition based, others prefer to use recorded sounds that they manipulate and many combine a variety of techniques. So each designer’s skill base determines the type of design, as does the equipment at your disposal. Budget always determines what • people of other skills (such as musicians) can be hired to create required sounds/music. • What kind of sound system do you have/need? Surround sound, base speakers etc. • What equipment is required for live recording? What computer software/hardware is • required for manipulating the sounds? • Today anyone with a smart phone that has a recording app and a computer with programs like Garage Band can make sound effects quite easily. However you may want to test the

quality of these recordings through a large sound system to check if it is good enough for performance. Remember that tracks sound very different played through a theatre sound system than they do through computer speakers. • Do you need the ability to play sounds in stereo? Are there effects that need to come from a particular part of the stage? Inspiration It can come from all the same places as other design, particular things you might want to look at are… • What sounds do you associate with different moods? • How can music help to set the historic period of a play? • Sometimes ‘faked’ sounds can sound as good or better than the real thing? Recording two pieces of wood tapped together may be better than a ticking clock. Planning the Sound Design • Start with a list of effects and soundscapes that you want. You might use some sounds several times. • Create a cue synopsis. List each sound effect and a brief description of the sound. List as much information as you can, like how long scenes are and therefore how long the track must be. • Draw up a plan of your sound system. Where do the speakers need to go? • Write up a mic plot if you are using body mics? Which mics need to be on in which scenes? You may not have enough mics for every actor so they might need to swap during the show. This may be better for the stage management team to do but it is worth talking to them to make sure they are doing it. • Decide on your playback source. Older styles of playback like tape cassettes, reel to real and DAT machines are rarely used but there are still a few options. Cd’s can be the cheapest option and are good for being able to have multiple back up copies of the show. The most popular form of playback now is a • cueing program. QLab and Cricket are both popular ones. Most of these programs offer the ability to play many sounds over the top of each other and create complex automatic cues that designers to create incredibly layered

designs. Online tutorials are offered by most programs and are often the best way to learn the programs. But make sure you allow plenty of time to learn the programs as they can be confusing.

Creating the Design • Make your cues. Compose, record, manipulate. • Program cues into cueing program or burn tracks to CD • Once in the venue, rig speakers in appropriate positions. • Run cabling back to the sound desk • Set up Sound desk, Amplifier, EQ (if applicable) • Plug in your source (CD, Laptop etc) • Power up everything – speakers last! • Test sound – Remember to start with everything low and work upward to look after the speakers and everyone’s ears. • Plot – Go through each cue and notate when it happens, adjust levels, fade in/out time, follow on time etc. • Tech run, Dress run, Previews, opening etc – as detailed in Production Management section Allow time for fix ups, changing of fade times, • levels etc after each run. Sound • • • • • • • • • • 62

Design Tips Lots of CD players have issues with burnt CDs. Always burn at the slowest burn speed for the best chance that it will work on various players. Make back ups and keep them at the venue. It is important what order you turn on sound equipment. Speakers need to be turned on last to avoid damage to the delicate parts of the speaker that vibrate and make the sound. When using a computer as your sound source make sure you set the computer’s sound output at it’s highest level to give the best quality sound feed to the sound desk. Cueing programs look after the volume of cues so in addition to setting the computer sound high, you will also want to set the mixing desk level fairly high and notate the setting so you can check before each run that those levels are the same. If using a laptop, it is generally also best to run the show with the power cable attached to avoid risking the computer shutting down during the show Turn off as many other programs as possible to dedicate your entire computer’s processing power to running the show. Turn off and audio alerts on your computer such as the sounds for when you change volume etc. Save back up copies of sound files. Remember that audiences soak up sound so levels are likely to need to be higher with an audience than without. Look after everyone’s ears – loud sound can

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seem really cool but sustained exposure to excessive noise can damage hearing so be wary. QLab is free to download for the basic sound version and then can be upgraded through paid licences for video and pro sound versions. Licences can also be hired for the duration of your show.

Setting up a sound system Theatrical sound systems are a lot more complex than plugging your iPod into a speaker. Though many shows have run with sound that simple. The size of your PA system depends on many factors • How many inputs? Mic, CD, Computer, MP3 player etc. • How many speakers? Stereo sound, surround sound, subs, foldback etc. • Are you just playing back or are you recording as well? • Wireless or wired mics? Check out these websites for more information on setting up a sound system http://www.sweetwater.com/shop/live-sound/8_ steps_pa_system.php http://www.wikihow.com/Set-Up-a-Simple-OneMicrophone-Sound-System As more and more sound playback is run through laptops, the technology is changing very quickly. The internet is your best resource for keeping up with these changes. Setting • • • • •

Up and Sound System Tips A buzz in the sound system often comes from ‘dirty power’. Sometimes this is because the sound system is powered by the same circuit as lighting. Try to keep lighting and power sound coming from separate circuits. Because traditional lighting works by varying the power supply to the lights, if sound cables are run too close to lighting cables, the variation in power can cause a buzz in the sound system. Try to run sound and lighting cables away from each other. When things are not working consider sound like water. The sound comes out of the source, through the mixer and to the speakers. Follow the flow to work out what is stopping the sound from getting through. Feedback happens when microphones pick up their own signal coming out of the speaker. Try to place speakers in front of mic positions and make performers aware of the need to direct mics away from the speakers. Many performers think that they can speak more quietly when using a microphone. Find a gentle way to remind them that the microphone only amplifies what it hears so the more sound they make, the better sound it can make.

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The Equalizer is able to boost or decrease different frequencies. Gently try playing with the different frequencies to make the best possible sound.

Sound Rights Copyright for sound is similar to copyright on scripts. Anything you use that was recorded by someone else is subject to copyright, and even if you record yourself or other musicians playing music written by someone else, you will need to pay for the right to use it. Like written material, copyright expires 70 years after the death of the author, however there is additional copyright on recordings. Artists also have the right to deny use of their work. This is especially relevant in the case of musical works as performances often use music in a very different context to how it was created that artists may object to for many reasons. This is why it is important to seek permission as early as possible as you may find it is not just a case of paying for the rights. In some cases you may need to find a different track to use. .

APRA deals with most music licensing in Australia and have a simple online form for applying. If there are any tracks they do not have permission to licence, they will be able to tell you who to contact. Make sure you have all the track information including title, artist, duration of the track that you are using, as well as information about your production including seating capacity, dates, ticket price etc. It is usually a sound designer’s responsibility to collate the information to give to the Production Manager who the does the application and pays the fee (from the sound budget) Plaese see soud design Resources DES16 Sound Cues Blank DES17 Basic Sound Setup Located in the design section

PROJECTION DESIGN

The fastest growing field of design is probably projection design. Cheaper data projectors and user-friendly graphics programs inspire more and more people to add projection content into their shows. Design Process The design process is much the same as detailed above for set/Costume/Lighting/Sound • Work out what the play needs. • Decide how best to fulfil those needs. • Find inspiration for your design in the world around you. • Consider budgetary and skill limitations in your design. • Create the content • Set up equipment in the space • Incorporate your design into the show during plot, tech, dress, previews etc. Projection provides amazing scope to add a layer of light and texture to your performance. It allows for dramatic changes to your space at amazingly fast speeds as the press of a button can change the entire image. However it is also commonly one of the most misunderstood areas of production and one of the greatest areas of frustration. Things to consider Some of the pitfalls of projection: Projection takes much more time than • you might expect • However long you think it will take, triple it. Making video content is very time intensive and often requires hours of processing time by your computer • It is a whole extra job, not just

something that a Lighting Designer or Production Manager can set up in a moment. • Projection requires a whole extra set of skills. Knowing about native aspect ratios and throw ratios. Make sure you have personnel with the skills, not just designers who are able to create the content. • Commonly the decision to use projection comes • Just because you have a projector doesn’t mean you have the right one • Brightness (or Lumens) varies greatly between projectors and often the place where the projector needs to sit need to be quite specific to get the right image. Short throw projectors allow the image to be much bigger at a short distance (or throw) from the stage. • Many people make the mistake of thinking that projection will be a cheap option but getting the right equipment can be very expensive and therefore needs to be planned early in the production • Lighting Designers, Projection designers and Directors need to collaborate very closely • Projection often has quite specific lighting requirements in terms of keeping light off projection surfaces and angles of light. This in turn often means that there are places that performers cannot be lit if blocking places them too close to projection surfaces.

Pojection Design Tips • Copyright on images is similar to sound. Any image (still or video) created by another person is subject to copyright, this includes images that are openly available on the internet. Make sure you have obtained copyright before using someone else’s work in your show. • Many sound cueing programs like Qlab can also

•

cue image content. The video licence for Qlab is a paid upgrade. There are many low tech ways to project that can be simpler and sometimes more effective than data projection. Slide projectors and Overhead projectors are capable of some amazing effects and well worth considering.

CHOREOGRAPHY Choreography is about designing movement. While most commonly thought of in relation to dance, it can be as simple as planning the movement of performers in space. A choreographer may be responsible for designing whole dance sequences or small sections of action. The people who create fight sequences are referred to as fight choreographers as they are designing the sequence of movements required to safely portray a fight.

Specialty areas of choreography may include: • Contemporary dance • Fight choreography • Classical Ballet • Tap Dancing • Jazz Ballet • Character Dance • Ballroom Dancing • Folk dancing • Cheerleading • Ice Skating • Synchronised swimming • Disco, Hip-Hop, Belly Dancing, Swing Dancing, Break dancing, Country & Western and many more.

PUPPETRY Puppetry is the animation of inanimate objects and is one of the oldest forms of performance. Puppeteers might use any object and give it life to help tell the story. Puppetry can include: • Shadow puppets – where (usually) two dimensional shapes are held behind a screen and their shadows are projected onto the screen. Especially common in Asian puppetry. • Bunraku – a Japanese style that involves puppeteers dressed in black standing against a black background who manipulate a puppet in front of them that is specifically lit to minimize the view of the puppeteers. • Marionettes – the puppeteer is positioned above the puppet who is manipulated with a complex variety of strings. • Finger puppets – the simplest kind of puppetry with small puppets that each sit on a single finger. • Punch and Judy – Well-known puppet characters that are usually hand puppets who spend most of their time inflicting violence on each other. Most European countries have a version of these characters with different names. Strongly based in the Itallian traditions of Commedia Dell’Arte. • Object theatre – A more modern form of puppetry where the ‘puppets’ can be any everyday object that is manipulated as part of the performance. Ventriloquism – While ventriloquism is • technically the act of speaking without moving ones lips and throwing your voice, it is mostly commonly associated with a puppeteer who 64

• • •

talks with and for their ‘dummy’. Carnival or Body puppets – usually made for large spectacle events like parades, they are human sized or larger and often take more than one person to operate. Black light Puppetry – Puppets are made of fabrics or painted in colours that glow under UV light and the puppeteer is dressed in black velvet so the puppets appear to magically float in space. And the list goes on…

Design Templates DES1 Set Drawing - The Flood DES3 Venue Plan – fortyfivedownstairs DES4 Venue Specifications – fortyfivedownstairs DES5 Props and set Breakdown - A Little Princess DES6 Props and Set Breakdown Blank DES7 Props List - The Flood DES8 Costume breakdown Example DES9 Costume Measurement Sheet DES12 Lantern Schedule Blank DES13 Lighting Plan - The Flood DES14 Lighting Cues Example DES15 Lighting Cues Blank DES16 Sound Cues Blank DES17 Basic Sound Setup DES18 P oster example DES19 Postcard example

ADMINISTRATION

Not every theatre group has the ability to have a separate person for every role mentioned in this toolkit. Most commonly the jobs that are forgotten are the basic administrative roles. The less creative and more mundane tasks are the ones that no one wants to do. However there are some things that are particularly important to cover even if you don’t have someone in every role. The following is a list of administrative tasks that you should pay special attention to assigning to someone in your group, especially when you are unable to fill all the

roles in the production team. • Budget reconciliation – see Production Management/Funding sections • Front of house reconciliation – see Front of house section • Insurance – arrange for public liability insurance and other equipment insurance if required. • Copyright – arrange for and pay for any copyright required.

MARKETING AND PUBLICITY Marketing and Publicity is a very important element in the planning and budgeting of a production. With the rise of digital technologies you can run a cost effective marketing campaign that has a big impact. There is a difference between marketing and publicity and the best results happen when you combine the two in a strategic way. Marketing Traditional marketing methods include: - Posters - Flyers and postcards - Advertising Examples of these items from A Town Called Mills Acre can be found in the resources - DES18 and DES19 Digital marketing methods include: - Facebook campaigns - Google ads - Blogging - Enews/blasts - Twitter - Crowdfunding (also assists in the marketing of a production) Experiment with your marketing campaign; make sure you have a combination of traditional, digital and publicity. Having a well thought out timeline is also important You should start promoting your production 6 weeks to two months out from the opening night and drip feed your audience with information so that by the time your season comes around, they already know exactly who you are and what you are doing.

Publicity is a little bit different to marketing; it is the process of attracting public attention through the use of the media and generally starts with a well-written media release. Publicity Distributing a media release in the lead-up to your production is a great way to generate some free publicity for your show. If it is written really well chances are it may get printed as you have written it. Smaller local news papers love content being provided to them, if you send a media release with an accompanying high quality image then you will increase your chances of getting included in the publication. Creating a comprehensive media list and targeting them individually is the key to a successful publicity campaign. You can do this yourself by googling all local radio, TV and newspaper publications and compiling a database. Or you can pay to subscribe to a media guide that keeps all that information up to date for you, and when you are ready to distribute your media release you just download the information from their website. Margaret Gees is one example.

Tips for a well-written media release:

Marketing Resources

- - - - - -

There are many resources out there to help in planning the marketing strategy for a production.

Introduction paragraph should concisely include the where/what/why/when/who of your project. Find a ‘hook’. This is the most interesting thing about your project that will make the audience think ‘wow’. Include punchy, interesting quotes from your Director or other creative person Try fit keep it to one page Keep sentences short, don’t waffle Always conclude with a call to action – how to buy tickets, where to find more information, who to call etc.

Once you have it all together, distribute it to your media list, with an image. For the best result you can make a follow up phone call to ensure the journalist has received your release and this will give you an opportunity to talk to them about the project and potentially arrange an interview. Any publicity that you generate should then be posted on your website, facebook and twitter for maximum affect.

FRONT

These include: Australia Council Pocket Guide http://www. australiacouncil.gov.au/__data/assets/pdf_ file/0004/45967/Arts_marketing_the_pocket_guide. pdf Australia Council guide to developing marketing plans http://www.australiacouncil.gov.au/resources/ reports_and_publications/subjects/marketing/ audience_development/whats_my_plan Australia Council marketing strategies http://www.australiacouncil.gov.au/resources/ reports_and_publications/subjects/marketing/ audience_development/marketing_strategies_for_ arts_organisations http://www.artsmarketing.org/ Arts Marketing Blog http://arts-marketing.blogspot.com.au

Front of house staff are often involved for the shortest amount of time but are vitally important as they are usually the first impression the audience gets of the show. Setting up front of house • Your front of house area needs to have clear directions for the audience. • Where to buy tickets. • Directions to bathrooms. • Where possibly you should try to have an area big enough for the audience to fit before they go into the performance. • Many groups use front of house as an opportunity for a bit more fundraising by selling drinks and snacks. If alcohol is served you must obtain a liquor licence and ensure that all serving staff have a current Responsible Service of Alcohol Certificate. Responsible food service etiquette should also be observed. • The front of house area should be equipped with basic safety equipment such as a fire extinguisher and a first aid kit.

HOUSE

Greeting the audience • As the first point of call for the audience, front of house staff need to be well dressed, polite and friendly. Though occasionally productions choose to theme their space all the way out into the foyer and staff may be dressed in costume and behave in a way specifically suited to the show. Front of house duties • Selling tickets – there are now many online ticket booking companies like TryBooking which offer affordable online ticketing services to even the smallest of productions, however front of house staff are still likely to need to do some door sales. • Make sure you have an adequate cash float to give change. Take into account your ticket price when getting change. For example, if your tickets are $15 you are likely to need lots of $5 notes.

• For safety purposes it is important to have a record of how many audience members you have in the house. Big theatres use complex remote scanners that read bar codes on tickets and send information to the main system to tell front of house staff how many patrons are in. However a piece of paper with a tally of tickets sold or a head count by ushers as the audience goes in is equally acceptable. • In the case of an evacuation it is the front of house managers responsibility to know how many people are in the audience and be able to check that everyone has been evacuated. • Informing the audience of show details – duration of the performance, start time, finish time. • Reminding patrons to switch off mobile phones and other noise making devices. • Selling Programs • Managing Ushers • The foyer should also have signage about any content that the audience needs to know about before entering. This may include • Adult content • Nudity • Strobe lighting • Smoke effects • Loud sound effects – gunfire etc • Simulated smoking (herbal cigarettes) • Nightly reconciliation • Add up and record ticket sales • List audience numbers • Add up and record food and beverage sales • Check food and beverage stock and arrange for extra stock if needed

o Ensure an adequate float is left for the next show o Place box office and food and beverage takings in a secure place – arrange for banking if required. Ushers Duties • To act as a safety officer in the auditorium during a performance. • To check tickets as patrons enter the auditorium. • To direct patrons to their seats in the case of numbered seating. • To escort the audience to the assembly point in the case of an evacuation. • Attend to any audience emergencies – in minor cases this might simply involve escorting the audience member out of the auditorium while in more serious cases this may involve informing the front of house manager or Stage Manager that the performance needs to pause so a more senior staff member can deal with the issue. • To assist with ticket sales if required • To assist with Program sales if required. • To inform audience members of any particular show requirements Front Of House Templates FOH1 Reconciliation FOH2 Ushers Duty List

RESOURCES

69 WWW.OUTBACKTHEATRE.COM

ACTING OBJECT EXERCISE This is an excellent tool to clarify character motivations and develop different strategies in how to perform a scene. It’s designed for specific scenes rather than overarching storyline. You could do this exercise for every scene in your play and you will get a strong sense of your character’s journey.

SCENE 5 : COMMITTEE MEETING EXAMPLE Who am I: Wes McCoy

Buck Fox: An old timer and an old mentor, he knows all there is to know about Mills Acre, the soil, the people, the farming techniques, he’s not much use now but I always try to give him tasks that aren’t too much work. He’s really quite a good friend Will Peters A good friend, lots of energy, he’s intelligent and exciting to work with, I get the sense he’s ready to take on quite a lot on this committee .

What are my given circumstances? Past: I’ve inherited the farm from my dad, I spent three years in Melbourne studying at university for a bachelor in agriculture and other than that I’ve lived my whole life on this farm. It’s been 2 years since the drought broke and we’re starting to pick up a bit of revenue

What is my age? 42 years old Date / Time? The year is 2013, summer time , Sunday evening Where? At the Mills Acre Club What surrounds me? A bar, to my left is my wife Lynetter, and daughter Shelby, to my right is Buck Fox and Will Peters What is my relationship to: Lynette McCoy: My wife who I treasure, I feel completely supported by her and I do what I can to support her. Shelby: My daughter who I caree so much about, I love getting her involved in these committees because it helps her develop a strong sense of community. I want her to feel valued, and I want her to follow her own path.

Present: A lot of my friends are leaving Mills Acre, water allocations have become more tricky and I’m finding it difficult to see a way in which we can stay here. I know my daughter wants to live her life here, and I know my wife is deeply connected to the area, I know my family belong here. What do I want? To run a successful, positive, exciting committee meeting for the Mills Acre Fishing Classic What is in my way? There are onl;y 5 people at this meeting, 3 of which are my family and there seems to be a bit of negativity in the air, I’m struggling to see how so few people can pull off such a big event. What do I do to get what I want? I begin positive, I increase in my positivity as the meeting goes on, I give Buck more work than I normally would and I task Shelby with more work than she normally would have to do.

70 ACT1 Character Background Check – Example

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Character Background Check This is an excellent tool to clarify character motivations and develop different strategies in how to perform a scene. It’s designed for specific scenes rather than overarching storyline. You could do this exercise for every scene in your play and you will get a strong sense of your character’s journey.

Who am I:

What is my age?

Date / Time?

Where?

What surrounds me?

What is my relationship to:

What are my given circumstances? Past:

Present:

What do I want?

What is in my way?

What do I do to get what I want?

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ACT2 Character Background Check – Blank

Company: Show: Stage Manager: Date Updated:

Contact List Full Name COMPANY

Role / Organisation

Mobile

Phone

Artistic Director Producer Marketing Coordinator Operations Coordinator Bookkeeper CREATIVE TEAM Director Set Designer Lighting Designer Sound Designer PRODUCTION PERSONNEL Production Manager Stage Manger Assistant Stage Manager Fly operator PERFORMERS Performer - ROLE SUPPLIERS / SERVICES Venue contact Travel Agent Lighting hire

72 PROD1 Contact List Blank

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Email/Address

WWW.OUTBACKTHEATRE.COM

PROD2 Schedule Example WBTC Tour

Tour Produc)on Manager -‐ name -‐ phone number

Date Time Activity Personel Wed 28 Sept Company travels to Orange County BP, LM, DG, KL, ML, BO Thurs 29 Sept Day off BP, LM, DG, KL, ML, BO Fri 30 Sept 9:00 - 13:00 Load in - WBTC BP, LM, DG, KL, ML, BO Volunteer briefing Polyglot cast & Crew Layout Site Site Manager/Venue Liason Build Boxes 15 x Local crew/volunteers Build Arches/Walls/Signs 13:00 - 14:00 Lunch All 14:00 - 18:00 Build Boxes Polyglot cast & Crew Lay Roads Site Manager/Venue Liason Meet with DJ/Musician - approx 1hr - time tbc 15 x Local crew/volunteers DJ/Musician Sat 1 Oct 11:00 - 1:00 Continue Setup - WBTC Polyglot cast & Crew Sound Check Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician 13:00 - 15:00 Public Performance 1 - WBTC All as above 15:00 - 15:30 Reset Space All as above 15:30 - 16:15 Break All as above 16:15 - 16:30 Prep for performance All as above 16:30 - 18:30 Public Performance 2 - WBTC All as above 18:30 - 19:00 Remove broken boxes from space/finish Polyglot & Local crew Site Manager/Venue Liason Sun 2 Oct 10:30 - 11:30 Performance Call WBTC - reset space Polyglot cast & Crew Sound Check Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician 11:30 - 14:00 Public Performance - WBTC All as above 14:00 - 14:30 Remove broken boxes from space/finish Polyglot & Local crew Site Manager/Venue Liason Black - Travel, Orange - WBTC USA, Blue - Muckheap USA, Purple - WBTC Korea

Accommodation

Subject to Change -‐ as at 14/10/13

Keira to call show

Plaza, Segerstrom Center Wynham Hotel OC

Keira to call show

Lunch provided

Keira to call show

Plaza, Segerstrom Center Wynham Hotel OC

Location/Notes Travel

WBTC/Muckheap -‐ USA/Korea -‐ Produc8on Schedule

PROD2 Schedule Example WBTC Tour

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School Performance 1 - WBTC Reset Space School Performance 2 - WBTC Remove broken boxes from space/finish Break Performance Call WBTC - reset space Public Performance - WBTC Remove broken boxes from space/finish Load in - Muckheap

Day off Performance Call WBTC- reset space Sound Check

Activity

Lunch Plot/Tech Dress run Fix ups/notes Performance Call WBTC- reset space Sound Check

9:00 - 9:45 School Performance - WBTC 10:00 - 11:00 Load out - WBTC 10:00 - 11:00 Performance Call - Muckheap

13:00 - 14:00 14:00 - 16:00 16:00 - 17:00 17:00 - 18:00 8:00 - 9:00

9:00 - 13:00 Lighting Setup Set Construction Prop/Costume Setup

9:00 - 9:45 9:45 - 10:00 10:00 - 10:45 10:45 - 11:15 11:15 - 13:00 13:00 - 14:00 14:00 - 16:00 16:00 - 16:30 9:00

8:00 - 9:00

Time

Tour Produc)on Manager -‐ name -‐ phone number

Thurs 6 Oct

Wed 5 Oct

TBC

Date Mon 3 Oct Tues 4 Oct Polyglot cast & Crew Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician All as above All as above All as above All as above All All as above All as above All as above Polyglot cast & Crew Venue Tech BP, Venue Tech ML, KL, LM DG, BO SG as required All BP, DG, LM, KL, SG BP, DG, LM, KL, SG, BO BP, DG, LM, KL, SG BP, ML, BO, SG Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician All as above ML & Local crew DG, LM, KL, SG BO to set for filming MH

Personel

Accommodation

Subject to Change -‐ as at 14/10/13

Sue to call Show BP between venues Samueli Theater, Segerstrom Center

Plaza, Segerstrom Center Wynham Hotel OC

US presenter to attend

lunch provided

Samueli Theater, Wynham Hotel OC Segerstrom Center

Keira to call show

Plaza, Segerstrom Center Wynham Hotel OC

Location/Notes

WBTC/Muckheap -‐ USA/Korea -‐ Produc8on Schedule

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PROD2 Schedule Example WBTC Tour

Activity School Performance - Muckheap Lunch Reset space - Muckheap Load out - WBTC Depart for Korea Depart for Melbourne Performance Call - Muckheap

School Performance - Muckheap Reset space - Muckheap Performance Call - Muckheap Public Performance - Muckheap Reset space - Muckheap Arrive Korea Depart for Korea Performance Call - Muckheap Public Performance - Muckheap Reset space - Muckheap Break Performance Call - Muckheap Public Performance - Muckheap Break Load out - Muckheap Pre-production - Signage Arrive Korea Depart for Korea PAMS Load in - WBTC Volunteer briefing Layout Site Build Arches/Walls/Signs 13:00 - 14:00 Lunch 14:00 - 18:00 Lay Roads

10:00 - 11:00 11:00 - 12:00 9:00 - 10:00 10:00 - 11:00 11:00 - 12:00 15:10 23:50 12:00 - 13:00 13:00 - 14:00 14:00 - 14:30 14:30 - 15:00 15:00 - 15:30 15:30 - 16:30 16:30 - 15:00 15:00 - 17:00 TBC 17:00 7:41 TBC 9:00 - 13:00

Time 11:00 - 12:00 12:00 - 13:00 13:00 13:00 - 17:00 7:41 10:48 9:00 - 10:00

Tour Produc)on Manager -‐ name -‐ phone number

Mon 10 Oct

Sun 9 Oct

Sat 8 Oct

Fri 7 Oct

Date

BP, ML, PM & Local crew

Personel DG, LM, KL, BO(filming) All DG, LM, KL All BP, ML SG DG, LM, KL BO to set for filming MH DG, LM, KL, BO(filming) DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL BP, ML SA DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL DG, LM, KL & Venue Tech BP, ML SA DG, LM SA BP, ML, PM & Local crew

Accommodation

Fraser Place Central

Subject to Change -‐ as at 14/10/13

National Theatre of Korea

Travel

Korea

Korea Fraser Place Central Travel Samueli Theater, Wynham Hotel OC Segerstrom Center Sign-Language Interpreter Lunch provided

Samueli Theater, Wynham Hotel OC Segerstrom Center

Travel Travel Samueli Theater, Wynham Hotel OC Segerstrom Center

extend break for LM, KL & DG if required

Location/Notes BP, SG, ML watch?

WBTC/Muckheap -‐ USA/Korea -‐ Produc8on Schedule

PROD2 Schedule Example WBTC Tour

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18:10pm TBC 9:00 - 13:00 13:00 - 14:00 TBC 14:00 - 18:00 15:10 TBC TBC 13:00 - 14:00

Time

11:00 17:15

Activity Personel Meet with DJ/Musician - approx 1hr - time tbc Build Boxes Depart for Melbourne KL PAMS SA Continue Load in - WBTC BP, ML, PM & Local crew Lunch BP, ML, PM & Local crew Roving Puppet ML Continue Load in - WBTC Arrive Korea DG, LM PAMS SA Continue Load in - WBTC BP, ML & Local crew Performance Call WBTC Polyglot cast & Crew Sound Check Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician Public Performance - WBTC All as above Reset Space All as above PAMS SA Performance Call WBTC Polyglot cast & Crew Sound Check Site Manager/Venue Liason 2 x FOH Managers 4 x Local crew/volunteers DJ/Musician Public Performance - WBTC All as above Load out - WBTC All as above Dinner break if required Depart for Melbourne DG, LM Depart for Taipei SA

Tour Produc)on Manager -‐ name -‐ phone number

further travel listed on Travel schedule Black - Travel, Orange - WBTC USA, Blue - Muckheap USA, Purple - WBTC Korea

Fri 14 Oct Sat 15 Oct

14:00 - 16:00 16:00 - 20:00

14:00 - 16:00 16:00 - 16:30 Thurs 13 Oct TBC 13:00 - 14:00

Wed 12 Oct

Tues 11 Oct

Date

Travel Travel

Fraser Place Central

Accommodation

Subject to Change -‐ as at 14/10/13

PM finish at 18:00

Pams provide lunch

National Theatre of Korea

Pams provide lunch

National Theatre of Korea

Travel

Location/Notes

WBTC/Muckheap -‐ USA/Korea -‐ Produc8on Schedule

TIDDALIK

Presented by ILBIJERRI THEATRE COMPANY & Bunjilaka at the Melbourne Museum

eed

Monday 5 December

Rehearsal and Performance Schedule Tuesday 6

Wednesday 7

Thursday 8

Friday 9

Saturday 10 Day off

Sunday 11 Day off

17 Day off

18 Day off set work?

10am-4.30pm Rehearsals Activity Rm

10am-4pm Rehearsals Activity Rm

10am-4.30pm Rehearsals Activity Rm

TBC 8am-5pm B’in- Theatre

B’in –Theatre

Performers day off

26 - Day off 2 January Day off

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

Performers Day off 9am-5pm

27 - Day off 3

9am call 11.30am Run 1pm Show 2pm Show 3pm Finish

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

Day off

10am-4pm Rehearsals Activity Rm

24 Day off

31-Day off 1 - Day off 7 8 10.30am call Day off

9am-5pm Rehearsals AGE Theatre

9am-5.30pm Rehearsals AGE Theatre 3pm - Showing

28 - Day off 4

29 - Day off 5

30 - Day off 6

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

set work?

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

25 Day off

11.30am show 1pm Show 2pm Show 3pm Finish

14 Day off

11.30am show 1pm Show 2pm Show 3pm Finish

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

21 Day off

110.30am call

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

Australia Day Day off

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

28 Day off

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 14/10/13 Page 1

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

THIS DOCUMENT IS SUBJECT TO CHANGE AT ANY TIME.

10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish 10.30am call 11.30am show 1pm Show 2pm Show 3pm Finish

Production Manager Phone Number

77 WWW.OUTBACKTHEATRE.COM

PROD3 Schedule Example – Tiddalik

PROD4 Schedule Blank

Start Time

Finish Time

Production Manager - Name - Phone Number

Date

Company: Show: Stage Manager: Date Updated:

OUTBACK THEATRE FOR YOUNG PEOPLE

Activity

Personel Required

Production Schedule

Subject to Change - as at 28/11/2013

Location/Notes

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PROD5 Production Timeline Example

Stage Manager Phone Number

week 9 Bump Out 4 Finish in HMST

week 6 14 Production week Set Bump In week 7 21 Production week AV Bump In week 8 28

week 5 7

week 4 30

week 3 23

week 2 16

MONDAY week 1 June 9

Company: Show: Stage Manager: Date Updated:

Returns

Production week Tech Run 26

Production week TBC

SATURDAY SUNDAY 14 Bron and absent all jess week

Bron and absent all jess week 29 Jess back as SM Design deadline 6 Elise absent all week 13 Hire truck for set transporting 20

NOTES

27 Matinee Performance Performance 2 23 3 BUMP OUT Performance Performance Performance Performance 54 65 76 87 9 10 Tafe students bumping into theatre on 4th

PRODUCTION OUTLINE WEDNESDA Y THURSDAY FRIDAY 10 11 12 13 1st reading Rehearsal 10- Rehearsal 10- Rehearsal 105 5 5 Production meeting 17 18 19 20 Rehearsal 10- Rehearsal 10- Rehearsal 10- Rehearsal 105 5 5 5 Production Meeting 24 25 26 27 Rehearsal 10- Rehearsal 10- Rehearsal 10- Rehearsal 105 5 5 5 Production MeetingJul-01 2 3 4 Rehearsal 10- Rehearsal 10- Rehearsal 10- Rehearsal 105 5 5 5 Production meeting 8 9 10 11 Rehearsal 10- Rehearsal 10- Rehearsal 10- Rehearsal 105 5 5 5 Production Costume meeting 15 16 17 parade? 18 Production Production Production Production week Rehearsal 10- week Rehearsal 10- week Rehearsal 10- week Tech Act 1 5 5 5 LX bump LX Plot SX Bump Tech Act 2 in/focus 22 23 in/plot 24 25 Production Production Production Production week Run week week week Tech Dress Dress Opening 29 Rehearsal 30 Rehearsal 31 Night Aug-01

TUESDAY

Production Manager Phone Number

PROD6 Budget

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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Receip t#

DAT E

ITEM

TOTAL BUDGET REMAINING

SUPPLIER

paymen t method

SET

$0.00 $0.00 $0.00

LIGHTIN COSTUME G SOUND

Date

$0.00 $0.00 $0.00

PROPS

PRODUCTION BUDGET LINE

Budget

$0.00 $0.00 $0.00

other

$0.00 $0.00 $0.00

TOTAL $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00 $0.00

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PROD7 Petty Cash Expenditure

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Receipt #

Petty cash expenditure

Company: Show: Stage Manager: Date Updated:

Item

Date

TOTAL Remaining

Supplier

$ $

FLOAT

Production Meeting Agenda - Date Introductions Production Management -

Contact List Schedules Regular Production Meetings

Directors Report

Rehearsals/Stage Management

Set Design

Costume Design

Lighting Design

Sound Design

Crew

Budgets

Publicity

Program

Housekeeping

 Accommodation  Claim Forms Other Business

Tip - Print agenda with wide spacing to allow people to take notes in each area

PROD8 Production Meeting Agenda

OUTBACK THEATRE FOR YOUNG PEOPLE

WWW.OUTBACKTHEATRE.COM

PROD9 Production Meeting Minutes Example - The Bacchae

Gus, Mel etc

Russell etc

All

SET/PROPS

LIGHTING

BUDGET

DISCUSSION • All going well • Need to look at pocket issues in rehearsal for petal throwing • Should put her in fall arrest harness anchored to floor behind – would require bolt in floor • Would be logical for uni to buy harness • Cloth to be pulled up manually unless found to be too heavy at which point we would look into a pully option • Another option is Macy’s carpet choice in Ballarat where Devil carpet was bought. • Have tree everyone likes it – may need some pruning – to be done in theatre • Dionysus stick found – twig in use in rehearsals • Want haze – would use most of budget – decision to use sound budget for haze (CFA costs) as there should be no sound costs. • Set/props/consumables looking to come in under $1000 • $3-400 of this budget needs to go to rostra building • May be issues with needing EWP tickets – Bron and Russell don’t have them. • Russell has working at heights certificate through uni • Purchase of washing machinerd approved • Lx crew for Russell – Thurs 3 2 crew from 10am to 6pm • Fri 4th rehearsal on set from 10 – 6 • Costume Parade in Foyer Fri 4th • EWP hire Thurs 3rd to Thurs 10th • Need roster of cast for plot on 7th – all cast on Standby for evening of 7th • Community radio interview Wed 2nd at 7.30pm

Next Meeting: 6pm Wednesday 2ND May, Production office (Someone else gets to talk minutes as I cant come – BP)

SCHEDULE

SPEAKER James

DEPARTMENT DIRECTOR

Date: 26/05/2010 Venue: Production office Attending: Gus Powers, Iain Smith, Mel Liertz, James Wardlaw, Bronwyn Pringle, Russell Lloyd Apologies: Liam Mudge, Minutes Taken By: Bronwyn Pringle

Production Meeting Minutes

Gus to make roster – one of each chorus in each group Gus to confirm with cast

Iain to buy Iain? To book crew

Liam to confirm if he has ticket

Formosa gardes to be thanked in program

? to research hire/purchase of harness

ACTION

Risk Assessment The Media Entertainment and Arts Alliance (MEAA) and Live Performance Australia (the two peak bodies that represent australian artists/performers and arts organisations) have some great resources to ensure you are planning your production in a safe manner. MEAA - Risk Assessment Checklist http://ohs.alliance.org.au/view-document/19-risk-management-process-for-film-and-theatres-information Live Performance Australia - safety guidelines https://liveperformance.com.au/safety_guidelines_live_entertainment_and_ events_0

84 PROD10 - Risk Assessment

OUTBACK THEATRE FOR YOUNG PEOPLE

HAZARD/INCIDENT/ACCIDENT REPORT FORM Who uses this form? Two people – the worker and his or her supervisor (from the host employer). Purpose? When a hazard, incident or accident occurs, record what happened, what investigations occurred, and what was done to prevent future injury or illness in relation to this incident or accident. What should happen? The host employer keeps the original and a copy is to be given to the labour-hire agency, to be kept in a file with the host employer’s name on it.

PART A – To be completed by employee Name of employee: Time of incident / accident: Supervisor:

Date: 01/01/05

Name Surname Job Title Host/Employer/Manager Name

Work Area:

1. Describe the hazard / detail what happened – include area and task, equipment, tools and people involved.

2. Possible solutions / how to prevent recurrence – Do you have any suggestions for fixing the problem or preventing a repeat

PART B – To be completed by supervisor 3. Results of investigation – Determine whether the hazard is likely to cause an injury and explain what factors caused the event.

PART C – To be completed by supervisor 4. Action taken – Supervisor to identify actions to prevent injury or illness. ACTION

RESPONSIBILITY

COMPLETION DATE

4.1 4.2 4.3 4.4 4.5

Feedback has been provided to person who reported the hazard / incident / accident.



Employee representative Name Surname (health and safety representative)

Date:

01/01/05

Business Manager Name Surname

Date:

01/01/05

WORKSAFE VICTORIA / SAFETY MANAGEMENT SYSTEMS GUIDE FOR LABOUR HIRE AGENCIES (2nd Edition, October 2005).

WWW.OUTBACKTHEATRE.COM

Page 1 of 1

PROD11 Incident Accident Report Form

Bump out Checklist Lighting Crew 1. 2. 3. Set Crew 1. 2. 3. ETC

Bump out tasks â&#x20AC;&#x201C; tick off items as done De rig all lights Strip colour and gobos from lights Store all lights against back wall Pack away sound equipment Dismantle set Remove all set materials from venue Remove all costumes from dressing room Clean dressing room benches Vacuum Dressing room floor Remove all publicity material from foyer Pack away front of house supplies

86 PROD12 Bump Out Checklist

OUTBACK THEATRE FOR YOUNG PEOPLE

Venue induction Note: Induction to be given by the Production Manager or Stage Manager to all staff when entering a new work site. On touring shows this is to be the first activity upon cast arrival.

Information to be covered. Site Layout information 1. Safe access and egress points: Entrance and exit points around the venue (priority for company will be stage access). It is imperative that emergency exit points remain clear at all times. 2. Facilities and amenities: Toilet facilities, Kitchen facilities, green room or rest areas, dressing rooms, smoking areas. 3. OH&S equipment: Personal safety equipment required (eg shoes must be worn onstage), fire extinguishers, hight safety equipment.. 4. First aid and emergency equipment: Fire curtain etc.

First aid supplies (and qualified personnel),

5. Emergency evacuation procedures: A meeting point and evacuation plan including who is responsible for clearing areas and procedure for determining action. Any other workplace specific information 6. Material Safety data sheets: held on site. 7. No go zones:

Any information regarding hazardous materials

Any areas only accessible to authorised personnel.

8. High danger zones: This could include position of traps and downstage edge, dangers of fly towers, access to FOH lighting grid or Biobox. 9. Trip zones:

Anything that could cause a trip hazard.

10. Electrical hazards: Location of any electrical equipment accessible form stage level. Location of dimmers and high voltage equipment. 11. Vehicle of EWPâ&#x20AC;&#x2122;s:

Any specific access information or access requirements.

General information (only needs to be given once) 12. Drugs and Alcohol: Drugs and alcohol are not to be consumed on work premises. Employees are not to attend work sites under the influence of Drugs or Alcohol. If the employer believes the Employee is unable to complete work due to the influence of drugs or alcohol the employee will be sent off site and the employee may take disciplinary action against the employee.

87 WWW.OUTBACKTHEATRE.COM

PROD13 Venue Induction

A TOWN CALLED MILLS ACRE RUNNING ORDER 1 PROLOGUE 2 KIARRA 3 NETBALL GAME 4 THE McCOY FAMILY 5 COMMITTEE MEETING 6 NETBALL TRAINING 7 SHELBY AND KIARRA GO TO THE RIVER 8 FARM AT WORK 9 ARGUMENT AT HOME 10 SHELBY GOES BUSH 11 MACHINE BREAK DOWN 12 WES BREAK DOWN 13 THE NEW CULTIVATOR 14 THE FISHING CLASSIC 15 EPILOGUE CURTAIN CALL

88 SM1 Running Order Example

OUTBACK THEATRE FOR YOUNG PEOPLE

Company: Outback Theatre for Young People Show: A Town Called Mills Acre Stage Manager: PJ Rosas Date Updated: October 27th 2013

A Town Call Mills Acre Scene Breakdown

Scene Title Number

Content

Characters

PROLOGUE

Shelby Narrates 3 Friends, 3 Friends leave

Shelby, Jane, Frank, Zara

KIARRA

Kiarra approaches 3 boys. Not impresseed

Shelby, Boys, Kiarra

NETBALL GAME

Coach gives pep talk, games is played, Kiarra shoot and goal. Community strength, characters

Shelby, Kiarra, Coach, Daist, Charlotte

THE McCOY FAMILY

In the car, fun, connectedness, radio songs, Shelby, Wes, Lynette Murray Darling Irrigation Nil Allocation of water

COMMITTEE MEETING

Planning of community event - Fishing Comp, challenges, prizes, hopes, population decline

Shelby, Wes, Lynette, Buck, Will

89 WWW.OUTBACKTHEATRE.COM

SM2 Scene Breakdown Example

Company: Show: Stage Manager: Date Updated:

Scene Breakdown Scene Title Number

Content

90 SM3 Scene Breakdown Blank

OUTBACK THEATRE FOR YOUNG PEOPLE

Special Effects

Sound

Lighting

Shelby

You know what. Stuff this!

Wes

Shelby!

EXT S P

Lynette Just leave her SFXQ 28 GO

LXQ 15 GO

EXT L & W OP S ENT St DSC

10.

SHELBY GOES BUSH

Shelby

This town is shrinking. It feels like someone pulled the plug on

SB SFXQ 29

us. We are like water going down the drain. It’s going down fast and no one knows how to stop it.

SB LX Q 16

Lynette Shelby?

ENT W & L OP L & W find S, XTO DSC L St

Lynette We understand Shelby. We’ll decide what is best for all of us, together. Wes SFX 29 GO

LXQ 16 GO

Lets go home

EXT W & L & S OP

91 WWW.OUTBACKTHEATRE.COM

SM4 Script with Cues

Company: Outback Theatre for Young People Show: A Town Called Mills Acre Stage Manager: PJ Rosas Date Updated: October 27th 2013

Props List Actor

Item

Preset

Return Details

Shanelle

Clip board Red

OTYP Storage

Shanelle

netball

Barham High School

Shanelle

Fishing reels

OTYP Storage

Shanelle

phone

pocket

Jesse

Shanelle

Sunglasses

Shanelle

Drum Sticks

OTYP Storage

Annie

x2 Tea cups

OTYP Storage

Annie

Green Folder

OTYP Storage

Annie

Pencil

OTYP Storage

Annie

Clip board

OTYP Storage

SM5 Props List Example

OUTBACK THEATRE FOR YOUNG PEOPLE

Company: Show: Stage Manager: Date Updated:

Props List Actor

Item

Preset

Return Details

93 WWW.OUTBACKTHEATRE.COM

SM6 Props List Blank

Company: Outback Theatre for Young People Show: A Town Called Mills Acre Stage Manager: PJ Rosas Date Updated: October 27th 2013

Costume List Actor

Item

Preset

Return Details

Eddy

Flannel shirt

OTYP Storage

Eddy

Netball bib C

Barham High School

Eddy

beanie green

OTYP Storage

Eddy

blue cap

on stage

Angie

Eddy

cowboy hat

Angie

Eddy

headband

OTYP Storage

Eddy

Gumboots

Richie

Eddy

Grey t shirt

Wearing

OTYP Storage

Katherine

gum boots

OTYP Storage

Katherine

blue flannel

OTYP Storage

Katherine

brown blazer

OTYP Storage

Katherine

yellow beanie

OTYP Storage

Katherine

Grey t shirt

wearing

OTYP Storage

94 SM7 Costume List Blank

OUTBACK THEATRE FOR YOUNG PEOPLE

Company: Show: Stage Manager: Date Updated:

Costume List Actor

Item

Preset

Return Details

95 WWW.OUTBACKTHEATRE.COM

SM8 Costume List Blank

Company: Outback Theatre for Young People Show: A Town Called Mills Acre Stage Manager: PJ Rosas Date Updated: October 27th 2013

Show Report

Date

Friday 13th September 2013

Venue

Barham Town Hall

About the show Time Show started

Scheduled: 7.30 pm Time start: 7.37pm

Time Finish

Time finished: 8.47pm

Total running time

Running: 1 hour, 10 minutes .

Performance notes

Very high energy performance. A 3 or 4 lines missed in Committee scene. Audience enjoyed the performance. Standing ovation.

Technical notes

LX Cue 28 too slow

Other notes About the Audience Total number in audience

374

Response

Quiet and attentive.

About the Venue Condition / Technical

Big hall with good acoustics, there was a high stage, which we didnâ&#x20AC;&#x2122;t use. We had to remove stairs from front of stage to be able to use floor space.

Assistance Provided

Very helpful, were happy to assist in any way possible

General

Signed Name

Stage Manager: PJ Rosas

96 SM9 Show Report Example

OUTBACK THEATRE FOR YOUNG PEOPLE

Company: Show: Stage Manager: Date Updated:

Show Report Date Venue About the show Time Show started Time Finish Total running time Performance notes

Technical notes

Other notes About the Audience Total number in audience Response

About the Venue Condition / Technical Assistance Provided General

Signed Name

Stage Manager:

97 WWW.OUTBACKTHEATRE.COM

SM10 Show Report Blank

98 DES1 - Set Drawing The Flood

OUTBACK THEATRE FOR YOUNG PEOPLE

Venue Specifications Some examples are: Fortyfive downstairs http://www.fortyfivedownstairs.com/docs/fortyfivedownstairs_theatre_technical_specifications.pdf Malthouse Theatre http://www.malthousetheatre.com.au/wp-content/uploads/2011/10/FINAL-Merlyn-Technical-Schedule-2011.pdf

99 WWW.OUTBACKTHEATRE.COM

DES2 - Venue Specificatoins

Venue Specifications Some examples are: - Fortyfive downstairs http://issuu.com/outbacktheatre/docs/des4_venue_specifications_-_fortyfi 100 DES3 - DES4 Venue Plan/Tech Specs fortyfivedownstairs

OUTBACK THEATRE FOR YOUNG PEOPLE

101

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DES5 Props and Set Breakdown A Little Princess

Details Bed central -‐ 4 posts and bedding

7 9 11 12

15 Courtyard

4 5 6 7

11 23 Parlour

fog and rain

lamps on short walls

parasol

gun -‐ pistol Bed as table centre with tablecloth None tea service -‐ trayx2, pot, cupx2, scones

lamps on short walls

Trees

as above

as above None None Spiked top and urns

as above

lx separaMon

apron for spill

lx separaMon zuma headdress

aljana mask dancers in white

riding habit

ligh8ng costume window gobo

Africa -‐ tall ship bright sails

Wall pop ups None

Tent DS OP cnr & stairs

carpet & beater washing basket and laundry sheets riding crop

pieces of leJer Banners move around 10 21 Africa-‐zuma/ Sara's Poles as spears bedroom Bed US P-‐ 4 posts -‐ needed?

9 19 Courtyard 9a 20 Africa-‐zuma /courtyard

Banners move around Bed turns to boat Africa -‐ Saint Louis shoes compass Africa -‐ Saint Louis Doll Sara's bedroom leJer Sara's bedroom Courtyard Bed as clothes line US side

Boxes as needed 1 Africa -‐ Saint Louis umbrellas passing -‐ bright in shadow then lit Laundry on poles

pg Loca8on 1 Sara's bedroom

Sc 1

A Li%le Princess set/props breakdown boxes all as packing crates

add bedding, not all poles

as sheets oﬀ line for song, disassemble clothes line

ChaoMc setup

page 1 of 4

2 chairs, 8 grey

all as crates

as above mixed grey/crates

as above

as above as above as above 8 turned to grey side (chairs oﬀ)

as above

umbrellas pass behind wall, no all as packing costumes crates assuming drums from music dept

blocking ideas

102

DES6 Set and Props beakdown

OUTBACK THEATRE FOR YOUNG PEOPLE

Location

Venue / Date

Details

Set movement

Blocking notes

Set and Props breakdown Prop used by

page 1 of 1

Lighting notes costume notes

103

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DES7 Props List - The Flood

more "scotch"

pile of scrap books

camera on string

scissors & clippings

Sc 4

more "scotch"

JANET

CATHERINE

from the floor

PERSONAL PROP

on floor by sofa: knocks them over

tea spoon from "scotch" bottle on floor

X DOROTHY

DATE

OF 4

STOCK

FIND empty bottle

MAKE BUY BORROW/SOURCE

PAGE

3x tea cups/mugs

RUNNING PROP:

sugar bowl

set P/S RUNNING PROP:

DOROTHY

PERSONAL PROP

milk jug

tray with:

JANET

noise from off-stage

from "scotch" bottle on floor

from pile on the floor

RUNNING PROP:

walking stick

JANET

DOROTHY

from "scotch" bottle on floor

PERSONAL PROP: wet while in O/P U/S backstage area

on floor by sofa: full of "scotch"

in glass tumbler

tea pot with tea

"crash"

Sc 3

magazine

CATHERINE

wet overcaot

DOROTHY

scotch bottle DOROTHY

DOROTHY

"scotch"

another drink

DOROTHY

glass tumbler

Sc 2

COMMENTS

PAGE PROP

CHARACTER

VENUE

PRODUCTION

PROPS LIST

104

DES8 Costume breakdown Example

OUTBACK THEATRE FOR YOUNG PEOPLE

Blue dress

Jane

Salesman

David

grey suit

Costume

Sc 1

Cast member EG Sarah Salesman

Sc 2

as before

Costume Schoolgirl

Sc 3

Sc 4

hitchhiker

school dress Jane

Costume

Title of show Costume Breakdown

Blue dress as Sc 1 note - quick change brown pants Jacket

Costume Measurement sheet

Insert picture

Performer _____________________________________ Character(s)___________________________________

Clothing size______________________ Shoe Size__________________________ Height_____________________________ Weight_____________________________

Head__________________________________________ Neck__________________________________________ Chest__________________________________________ Bust___________________________________________ Waist__________________________________________ Hip____________________________________________ Shoulder______________________________________ Width of back________________________________ Neck to waist________________________________ Neck to floor__________________________________ Armhole______________________________________ Inside arm____________________________________ Outside Arm__________________________________ Upper arm____________________________________ Other information 105 WWW.OUTBACKTHEATRE.COM

DES9 Costume Measurement Sheet

106

DES10 - Cue Synopsis Example

OUTBACK THEATRE FOR YOUNG PEOPLE

main projection changes to flower image

cast enter auditorum

approx number of cues approx plot time (5mins x # of cues)

water soundscape begins soundscape louder

preshow with house loose house lights blackout full wash, tree gobos add water chase

Prepared by Bronwyn Pringle 28/11/2013

lighting state/ sound cue/ projection description other info

point in text Doctor enters

fill in during plot audience enters front of house clearance follow on cast set sailors enter

Cue synopsis/Paper plot for: cue no. cue point examples

ARSNIC AND OLD LACE - Lantern Schedule St Michaels Grammar School - June 2013

CH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

ptch? 14/38 37 39 34 33/13 15/20 19 18/16 30 6 29 31 9 12 10 8 s2 22 s1/21 s4 s3 1 1

2 2

25 26 27 28 29 30 31 32 33 34 35 36

32 8 36 11 35 3 s6 4 17 5 s5 24/27

Patch Colour Lantern L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L203 650w fres x 2 L169 1K fres L169 1K fres L169 1K fres L169 1K fres L169 1K fres o/w 650w fres x 3 o/w 650w fres x 3 L717 650w PC x 2 L203 hui x 3 L203 hui x 2 L162 L162 L717 L717 L203 L169 L169 L169 L169 o/w o/w o/w L162 L717 n/a o/w

pacific 650w PC pacific 650w PC pacific 650w PC 650w fres pacific pacific pacific Hui 650w PC 650w PC 650w PC prac 500w floods x 4

Function lx 1.5/2 Wash ds op LX 1.5 Wash ds c op LX 1.5 Wash ds c LX 1.5 Wash ds cp lx 1.5/2 Wash ds p LX 2 Wash us c LX 2 Wash us c LX 2 Wash us p LX3/5 stairs LX 3 landing LX 3 top landing LX 3 Backlight op LX 3 backlight cop LX 3 backlight c LX 3 backlight cp LX 3 backlight p op bm op side boom p bm p side boom op/p bm blackout flr front floor flr front floor Bar

LX 4.5 LX 4 LX 4.5 LX 4 LX 5 LX 3 LX 2.5 LX 3 LX 7 LX 4 flr LX 4 LX 7.5 LX 7.5 set LX 1

notes

boom arms

outside entry door day window on landing day outside entry door night window on landing night front door couch table sideboard window seat upstairs room basement kitchen or prac window day window night table lamp house lights

107 WWW.OUTBACKTHEATRE.COM

DES11 Lantern Schedule Designed By Bronwyn Pringle 28/11/2013 Example

Lantern Schedule

CH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

ptch?

Patch Colour Lantern

Bar

Function

notes

24 25 26 27 28 29 30 31 32 33 34 35 36

108 DES12 Lantern Schedule Blank

OUTBACK THEATRE FOR YOUNG Designed PEOPLE By Bronwyn Pringle 28/11/2013

WWW.OUTBACKTHEATRE.COM

domestic lamp

Par 16

Cantata 18/32

Cantata F

Instruments

L7 28

L2 80 41

L0 17

L2 41

L2 02

L0 17

L2 02

L201

L20 2

02 L2

L2 02

L201

o/w

02 L2

CL L2 0

L2 02

3 33

02 L2

L201

1 L20

02 L2

1 L20

L202

L201

2 L20

02 L2

28 L7 17

LX 2

LX 3

LX 1

by Jackie Smith

2 L20

FOH 1

Generic Large Proscenium LX design Scale 1:50 at A4 As at 22.6.2012

Directed by Laurence Strangio Design by Kathryn Sproul Lighting Design by Bronwyn Pringle

'THE FLOOD'

FINUCANE & SMITH with CRITICAL STAGES Present

L728

80 #1

L017

L2 41

L0 17

L2 41 14

L2 78 14

L728

L20 2

109

DES13 Lighting Plan - The Flood

110

DES14 Lighting Cues Example

OUTBACK THEATRE FOR YOUNG PEOPLE

movement

eg. 3

sound cue

line of text

eg. 4

fade times

4-7@35, 25@70, 26@F, 27@10

state channel numbers @ level

14@45

10s

1-10@60

down over 4 sec then up over 10 sec

cross fade over 15 sec

15s

5sec S(nap) 1-5@40, 6-8@F, 10,11@25 up over 5 sec then snap out

if cues are written in script then cue sheet requires only this info

Cue

eg. 2

eg. 1

cue no.

Example Cue sheet

Prepared by Bronwyn Pringle 14/10/13

go on end of text line

notes

111

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DES15 Lighting Cues Blank

cue scene no. master stage action fade

fade time lighting state

Title of Show - Lighting Cues

prepared by Bronwyn Pringle 28/11/2013

notes

112

DES16 Sound Cues Blank

OUTBACK THEATRE FOR YOUNG PEOPLE

date

cue no. cue point

Track No. fade

master level

TItle of Show Sound cues sub level notes

Basic sound Setup Sound sources supply the sound

Microphone

Laptop

CD player

MP3 Player

Headphone out

Mic

Laptop

CD player

Input 1

Input 2

Input 3

Main out left

Mixers and amplifiers boost the signal and distribute the sound

Mixer

Input 4

Main out right

For non-powered speakers an amplifier is inserted here

Speakers play the sound

Left speaker

Right speaker

113 WWW.OUTBACKTHEATRE.COM

DES17 Basic Sound Setup

114 DES18 - POSTER EXAMPLE - A TOWN CALLED MILLS ACRE

OUTBACK THEATRE FOR YOUNG PEOPLE

115 WWW.OUTBACKTHEATRE.COM

DES19 - POSTCARD EXAMPLE - A TOWN CALLED MILLS ACRE

Title of Show - FOH Daily Reconciliation Date FLOAT

prices

TICKETS PROGRAM Sales FOH sales

$0.00

TOTAL

$0.00

$0.00 $0.00

DETAILS OF PURCHASES

TAKEN FOR CONSUMABLES END OF DAY (not inc float)

Audience numbers comp Adult Paid Concession Paid TOTAL

$0.00

Date FLOAT

prices

TICKETS PROGRAM Sales FOH sales

$0.00

TOTAL

$0.00

$0.00 $0.00

DETAILS OF PURCHASES

TAKEN FOR CONSUMABLES END OF DAY (not inc float)

Audience numbers comp Adult Paid Concession Paid TOTAL

$0.00

Date FLOAT

prices

TICKETS PROGRAM Sales FOH sales

$0.00

TOTAL

$0.00

Total income

$0.00

total comps total paid total audience

116 FOH1 Reconciliation

$0.00 $0.00

DETAILS OF PURCHASES

TAKEN FOR CONSUMABLES END OF DAY (not inc float)

Audience numbers comp Adult Paid Concession Paid TOTAL

OUTBACK THEATRE FOR YOUNG PEOPLE

USHER INFO Thank you for helping us out tonight. Your duties are as follows:

Ticket collection – when directed by the front of house manager that the house is open,

please stand at the entry to the hall and rip the small ends off each complimentary ticket, or take the small tickets. These need to be given to the front of house manager before the start of the show so that we can have accurate audience numbers in case of emergency.

Audience seating – Seating is general admission, all you need to do is keep them away

from reserved seating, and to assist any elderly or disabled patrons who require help. Please do encourage people to sit towards the front.

Tea & Coffee – While the tea and coffee table will be a self service area, we ask that you remain near the table to assist patrons where required. Please help to collect used cups in the boxes under the table and generally keep the area clean. In case of emergency… Evacuation – Should we need to evacuate the theatre at any point, our stage manager or production manager, will make the announcement. Then you need to direct the audience back out the front doors and lead them to the evacuation point. It is important that you keep the audience there until the front of house manager does a head count, and until either the front of house manager or emergency services say it is ok for them to leave.

Medical emergencies or disruptive audience members – Should any trouble occur with an audience member, please come out to notify the front of house manager who will deal with the issue. We do not expect you to administer first aid or to confront a troublesome audience member. Other info

Toilets – toilets are located… Show Duration - _______________ is approximately ________long. ------------------------------------------------------------------

Once the show ends there are no further Ushering duties and you are free to go. Thanks again for your help and we hope you enjoy the show.

117 WWW.OUTBACKTHEATRE.COM

FOH2 Ushers Duty List

LINKS AND RESOURCES

118 OUTBACK THEATRE FOR YOUNG PEOPLE

Aboriginal Content and Consultation Australian Theatre Forum - http://australiantheatreforum.com.au/static/files/assets/62c40910/ATF_RECOMMENDATION_Best_Practice_Model.pdf Ilbijerri – www.ilbijerri.com.au Yirra Yaakin - http://yirrayaakin.com.au/ Bangarra Dance Theatre - http://www.bangarra.com.au/ Australia Council - http://www.australiacouncil.gov.au/artforms/aboriginal-and-torres-strait-islander-arts

Devising ‘Story’ Robert McKee – http://mckeestory.com/

Industry Resources APRA – www.apra-amcos.com.au - Music licensing PPCA Phonographic Performance Company of Australia– www.ppca.com.au - recording licensing. Arts Law Centre of Australia www.artslaw.com.au - legal advice, copyright etc Media Entertainment and Arts Alliance (MEAA) – www.alliance.org.au - trade union for performers and entertainment personnel Live Performance Australia – www.liveperformance.com.au - peak body for the live performance industry Theatre Network Australia – www.theatrenetworksaustralia.com - independent, small to medium theatre support Theatre Network Victoria – www.tnv.net.au - independent, small to medium theatre support Australasian Lighting Industry Association (ALIA) – www.alia.com.au - lighting industry support.

Technical Resources Magic Q – www.chamsys.co.uk - lighting control software ETC – www.etcconnect.com - Electronic Theatre Controls, lighting supplier Jands – www.jands.com.au - Lighting supplier Gobotech – www.gobotech.com.au - suppliers of gobos CX – www.cx-mag.com - technical focused magazine Lee Filters – www.leefilters.com - suppliers of colour filters Try Booking – www.trybooking.com - ticket booking system eHow – www.ehow.com - useful info on almost any topic Dropbox – www.dropbox.com - excellent file sharing site Googledocs – www.docs.google.com - excellent file sharing site Qlab – www.qlab.en.softonic.com – Sound cueing software

Theatre Companies Outback Theatre for Young People – www.outbacktheatre.com Australian Theatre for Young People – www.atyp.com.au Riverland Youth Theatre - www.ryt.org.au Backbone Youth Arts - http://www.backbone.org.au PACT - www.pact.net.au Corrugated Iron Youth Arts - http://www.corrugatediron.org.au/ Melbourne Theatre Company – www.mtc.com.au Sydney Theatre Company – www.sydneytheatre.com.au Queensland Theatre Company - http://www.queenslandtheatre.com.au/ Perth Theatre Company - http://www.perththeatre.com.au/ Belvoir St Theatre – www.belvoir.com.au Griffin Theatre Company - http://www.griffintheatre.com.au/ La Boite Theatre - http://www.laboite.com.au/ Darlinghurst Theatre - http://www.darlinghursttheatre.com/ Malthouse Theatre Company – www.malthousetheatre.com.au Arena Theatre company – www.arenatheatre.com.au HotHouse Theatre – www.hothousetheatre.com.au La Mama – www.lamama.com.au

Further training Victorian College of the Arts (VCA) – www.vca.unimelb.edu.au National Institute of Dramatic Art (NIDA) – www.nida.edu.au Western Australian Academy of Performing Arts (WAAPA) – www.waapa.ecu.edu.au Ballarat Arts Academy (BAA) – www.ballarat.edu.au/schools/education-and-arts/arts-academy St Martins Youth Arts Centre – www.stmartinsyouth.com.au Australian Theatre for Young People – www.atyp.com.au Verve Studios – www.vervestudios.com.au

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GLOSSARY

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NB: People use terms differently around the world so this is merely a guide. Things to you do in a theatre Bump in/Get In Set up time in the theatre Bump out/Get Out Pack up time after the show Load in Just like bump in though sometimes just means delivering the equipment Load out Just like bump out though sometimes just means removing the equipment Strike Can be another name for bump out though individual items can be struck i.e. taken away at any time Places in a theatre and some directions Prompt side or P The side where the prompt used to sit, left side of stage when facing out into audience Prompt The person who prompts cast members if they forget their lines, usually the Stage Manager in smaller productions Prompt corner Downstage prompt side corner where the prompt or Stage Manager sits Opposite prompt side or OP The other side, right side of stage when facing audience (OP does not stand for off prompt which would mean to take an item offstage to prompt) Stage left Same as P, left side of stage when facing out into audience Stage right Same as OP, right side of stage when facing out into audience Upstage Area of stage away from audience, often written as US Downstage Area of stage closer to audience, often written as DS Centre stage Towards the middle often written as simply C So the stage can easily described as upstage OP, downstage centre, a little P of C far US and so on Offstage Either to move towards the edges of the stage or to be literally off the stage Onstage Either to move towards the centre of the stage or simply to be on the stage Backstage Can be the area behind the proscenium arch or the area offstage Wings The out of view area to the sides of the acting area. Apron An extension of the stage in front of the proscenium arch also known as forestage Archway that stands between the stage and the auditorium. Also known Proscenium Arch as Pros. Any theatre with a proscenium arch. Proscenium Theatre Traverse Audience on two sides of a performance space. In The round Audience on all sides of a performance space â&#x20AC;&#x201C; also referred to as an arena Bio Box Room or area in which lights and sound are operated also known as control room Green Room A room backstage where actors meet and relax before, during and after shows. Stage Door The door used only by the cast and crew to exit or enter the theatre. In When flying items to bring them in is bringing them down onto the stage Out When flying items to bring them out is taking the up away from the stage Things you find in a theatre Grid Metal frame from which flying equipment and lights are suspended. Lighting bar or LX bar Bars in Grid Panorama bars Lighting bars running horizontally along the sides of the theatre Front of house bars Lighting bars over the auditorium Rake A risen stage floor or seating area, which inclines away from the horizontal. Backdrop Usually a painted cloth hung at the rear of the playing space Cyclorama Usually a plain cloth hung at the rear of the playing space Cloths Any cloth used in theatre, house curtain, legs backdrop etc House curtain Front curtain that hides stage as audience enters Fire curtain A heavy fireproof cloth that drops automatically to stop spread of fire between auditorium and stage space Legs Long thin vertical side curtains that mask the wings Border Long thin horizontal curtains that mask equipment in the grid Gauze A cloth with a relatively coarse weave. When lit from in front the gauze appears solid, when lit from behind it becomes almost fully transparent. Also referred to as a scrim or sharks tooth depending on the 121 weave. WWW.OUTBACKTHEATRE.COM

GLOSSARY

Floor cloth Usually a painted cloth which covers part or all of the stage floor Masking Neutral material or designed scenery which defines the performance area and conceals the technical areas Flys The space above the stage in which scenery, lanterns and so on are hung. Fly Gallery A high platform from which the flying lines are operated. Fly Tower The part of the theatre building above the stage where the flys are stored. Baffle Something used to stop light or sound from spilling into an area it is not wanted Props Or Properties. Objects that actors hold/use/move around. Gaffer Tape Heavy duty cloth adhesive tape. A precious tool in the performing arts. Some lighting terminology Lantern Theatre lights sometimes also called lamps, lights or rude names when being bad Lamp The globe inside the lantern. (Can be used to define the entire lantern unit). Lighting Design A picture/plan showing lighting fixtures for a production. Placement of lanterns, with what colour, on which dimmer etc. Lighting Designer The person who establishes, in consultation with other key staff the lighting design. (Abb. LD) Focusing Setting up the light to be the right size and shape on the right angle etc i.e. pointing it in the right direction Panning Horizontal movement of the lantern, to the left or right Tilt Vertical movement of the lantern, up or down Spot in To focus the lantern smaller Flood To focus the lantern larger. Also a type of light that has a wide beam with no control of shape or size. Yoke U shaped part connecting the lantern to hook clamp, allowing movement Hook clamp Clamp connecting yoke to lighting bar also called g clamp Lenses Pieces of glass which disperse and control light according to type of lantern The globe - not to be touched with bare fingers Bubble Safety chain Rated (of a certain strength to hold a particular weight) chain used as backup if lantern should slip off hook clamp or bar Gel Cellophane like plastic used to colour light Frost/silk Types of gel used to diffuse (spread) light Gel frame Frame used to hold gel for insertion into lantern Barn doors Flaps in front of a light used to cut off the beam of light Gobo A thin piece of metal, glass or even plastic with a pattern or design etched or printed on it which is placed in front of a stage light and projected onto stage. Home made ones should be made from printers tin/flashing not soft drink cans. Gobo holder Metal frame which holds the gobo in the correct place inside the lantern Donut Piece of metal with a hole in the middle, placed in front of profiles to sharpen focus Shutters Like internal barn doors, pieces of metal inside a profile that allow shaping of the light Focus knobs Knobs you turn and move to shift the lens or bubble thus changing the focus Tweak knob Knobs you turn and move to shift the bubble in a profile to adjust the flatness of light Profiles 1 or 2 convex lenses, variable size and sharpness Fresnel Concentric circles, soft edge, variable size Pebble Convex or PC Convex lens with pebbly surface on rear of lens, behaves much like a fresnel. Just point it, large even spread of light Flood Par Cans Light spread determined by lamp in lantern then just point it - many different sizes Par lamps The Lamps in parcans contain filament, reflector and lens in one sealed unit Domestic lights used in rig desk lamps, bare bulbs etc Pracs 122 GLOSSARY

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Pin spots or par 36 Very small fixed beam of light usually used with mirror balls - part of the par family Spotlight Usually just another name for a profile Special A lantern performing a particular function, such as ‘window’ or ‘sun’ special. Work light High wattage lights used in a venue when the stage/ auditorium lighting is not on. Used for rehearsals, bump-ins and outs and theatre maintenance. Looms An extension lead with several circuits in one lead Patch point The power points in the grid, which lights are plugged into. Dimmers The mechanism that controls the amount of power going to a lantern, therefore its brightness. Faders The knob or slide that controls the amount of power going to a lantern, therefore its brightness. Dimmer rack Equipment which you plug lights into, this provides the power source and is then connected to the lighting desk which controls the lights Channels Describes the faders or number of inputs on a lighting desk Boom Upright lighting bar or an extension arm supporting a lantern, microphone etc Traps Holes in the floor covered with a hinged panel covering leads or patch points or access to the under stage Blackout All the lights going off sometimes intentionally Blocking The planned movement of actors on stage, entrances exits etc Stage Directions Written directions in the script by the playwright about how certain actions or sequences should be performed. Set Everything on stage i.e. furniture & scenery, also means to prepare the stage by placing everything in its required position Rig 1) To install lights, set and sound equipment for a particular production. 2) General term for lanterns (and other equipment) once they have been put up. The equipment used to hang lights, set etc. Rigging Plot A list of cues for the effects used in a production. Plotting To program or determine the levels of each of the lighting dimmers at each cue. Fade time Duration of time of a cue Cue or Q A signal to do something i.e. change lighting state Cue sheet Ordered list of cues to be carried out Cue-to-cue A technical rehearsal which runs only the cues an a few moments before and after Technical rehearsal A rehearsal that stops and starts focusing on getting technical elements correct Dress rehearsal A rehearsal that should in theory run through without stopping and have all elements in place minus the audience House Lights The lights on in the auditorium whilst the audience are finding their seats or exiting the theatre. They are usually dimmed or turned off during the performance. Alternate names, Abbreviations and nicknames, this is where it can get really confusing Pattern 23 Also known as hairdryers Pattern 123 Also known as eggs or as hairdryers Pattern 45 Also known as bread boxes Cordless drills Also known as grabber guns & tech guns Weiland Trade name for an extension lead that has several circuits rolled onto one lead. Cans Can mean parcans or can mean intercom headsets used for crew communication Dome Just another name for a follow spot Tech Technical personal Mech Mechanist, the people who build sets, rig curtains etc LX Usual shortening of Lighting Get in/out British term for bump in/out Crew Pretty much everyone who isn’t an Actor, Writer or Director, basically the technical and production people SM Stage Manager ASM Assistant Stage Manager 123 LX OP Lighting Operator WWW.OUTBACKTHEATRE.COM

GLOSSARY

Now for a bit of humourâ&#x20AC;Ś. Blocking

The art of moving actors on the stage in such a manner as not to collide with the walls, the furniture, the orchestra pit or each other.

Dress Rehearsal

A practice run of the show without an audience, the last chance for it all to go horribly wrong, and it usually does.

Tech Week

The last week of rehearsal when everything that was supposed to be done weeks before finally comes together at the last minute; reaches its grand climax on dress rehearsal night when costumes rip, a dimmer pack catches fire and the Director has a nervous breakdown.

Dark Spot

An area of the stage which the lighting designer has inexplicably forgotten to light, and which has a magnetic attraction for the first time actor.

Chookas

A way of saying good luck. Originates from a time when actors could only afford to eat meat after a successful performance.

Thanks to the following people who contributed ideas, templates, thoughts and skills to this toolkit,Sarah Bianco, Fortyfivedownstairs, Richie Hallal, Lisa Parris, Kathryn Sproul, Alex Walker, Bronwyn Pringle.

TOOLKIT

WRITERS

Angela is a multi-award winning theatre maker. Her career has spans over 10 years as a community cultural Angela

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INDEX

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THE CREATIVE ENVIRONMENT P6 COMMON THEATRE STYLES P6 GETTING STARTED P7 CONSULTATION P8 ABORIGINAL CONTENT P8 RESEARCH P9 DEVISING P10 WORKING FROM AN EXISTING SCRIPT P11 SKILLS DEVELOPMENT EXERCISES P12 INTRODUCTORY EXERCISES P12 INFORMATION SHARING RITUAL P12 TRUE OR FALSE P13 KNIFE, FORK AND SPOON P13 MEMORY TO MOVEMENT P13 GROUPS OF IMAGES P14 ADD AN IMAGE P14 WRITING EXERCISES P16 ALPHABET STORY P16 DESCRIBE A PLACE USING ALL YOUR SENSES P16 THEATRE SPORTS P16 ONE MINUTE GAMES P17 DEATH IN A MINUTE P17 I LOVE YOU P17 SLOW MOTION COMENTARY P17 TV AD P17 30 SECOND SCENE P17 TWO MINUTE GAMES P17 ALPHABET GAME P17 HELPING HANDS P18 FIRST LINE/LAST LINE P18 SUBTITLES OR WORLD MOVIE P18 TOUCH TO TALK P18 THREE MINUTE GAMES P18 EMOTIONAL REPLAY P18 GENRE REPLAY P18 SPACEJUMP P18 FINDING A VENUE P19 FINDING A VENUE P19 OUTDOOR VS INDOOR P19 FUNDING P20 FUNDING OPPORTUNITIES P20 THEATRE ROLES P21 RESPECT THE ROLES P22 THEATRE COMPANY ROLES P23 ARTISTIC ROLES P24 PRODUCTION ROLES P25 WRITING P31 RESEARCH P31

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THE PLOT P31 CHARACTERS P31 STORY STRUCTURE P31 THE CONTROLLING IDEA P32 DIRECTING P33 WORKING WITH A PLAYWRIGHT P33 WORKING WITH DRAMATURGE P33 CASTING P33 DEVELOPING SKILLS AND CONFIDENCE OF PERFORMERS P33 DIRECTING ACTORS P33 WORKING WITH THE PRDUCTION TEAM P34 MUSICAL DIRECTOR P34 ACTING P36 QUALITIES OF A GREAT ACTOR P36 VOICE P36 BODY P36 FACE P37 EXAGGERATION P37 PLAYING MULTIPLE CHARACTERS P37 ADDING VALUE P37 ACTING IS REACTING P37 GETTING TO KONW YOUR CHARACTER P38 WARMING UP P38 VOICE WARM UP P38 BODY WARM UP P38 THE HEADSHOT P39 PRODUCTION MANAGEMENT P40 PRE PRODUCTION P40 SCHEDULING P40 KEEPING TO BUDGET P41 ORGANISING AND RUNNING MEETINGS P41 LIASING WITH THE VENUE P41 OCCUPATIONAL HEALT AND SAFETY P41 OTHER THINGS THAT MAY NEED ORGANISING P41 PRODUCTION WEEK P42 TAKING BREAKS P42 COMMON SITUATIONS ARE... P42 HELPING WHERE NEEDED P42 MANAGING THE TEAM P42 DURING THE SEASON P42 BUMP OUT P42 POST PRODUCTION P42 RETURNS P42 WRAPPING UP THE BUDGET P42 DEBRIEFING P42 ARCHIVING P43 OCCUPATIONAL HEALTH AND SAFETY P43 USE COMMON SENSE P43 USE INCIDENT REPORT FORMS P43 HAVE THE RIGHT EQUIPMENT P43 TEST AND TAG ELECTRICAL APPLIANCES P43 THEATRE HAZARDS P43 RISK ASSESSMENT P44 BUDGET MANAGERS P44 MANAGING THE MONEY P44 BUMP IN/OUT P45 WWW.OUTBACKTHEATRE.COM

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LIGHTING FOCUS/SOUND EQUALIZING/SET DRESS P45 PLOT P45 TECHNICAL REHEARSAL P46 DRESS REHEARSAL P46 PREVIEW P46 OPENING NIGHT P46 CLOSING NIGHT P46 BUMP OUT P46 COSTUME PARADE P46 STITZPROBE P47 FIX UP TIME P47 STAGE MANAGEMENT P48 QUALITIES OF A STAGE MANAGER P48 RESPONSIBILITIES P48 ASSISTANT STAGE MANAGER P48 PROMPT COPY P48 PROMPT COPY CONTENTS P48 BEFORE REHEARSALS BEGIN P50 REHEASALS P50 PRODUCTION WEEK P51 AREAS OF THE STAGE P52 DRAWING BLOCKING P52 DRAWING SET PIECES P53 WRITING BLOCKING P53 WRITING CUES P53 CALLING THE SHOW P54 THE PROMPT COVER P54 MARKING UP THE STAGE P54 BACKSTAGE P54 SHOW REPORT P54 POST PRODUCTION P54 THEATRE DESIGN P56 WHAT IS THEATRE DESIGN P56 SET DESIGN P57 PROP DESIGN P57 LIGHTING DESIGN P57 TYPES OF LIGHTS P59 RIGGING A LIGHT P60 FOCUSING A LIGHT P60 SPECIAL EFFECTS P60 SOUND DESIGN P61 SETTING UP A SOUND SYSTEM P62 SOUND RIGHTS P63 PROJECTION DESIGN P63 CHOREOGRAPH P64 PUPPETRY P64 ADMINISTRATION P66 MARKETING AND PUBLICITY P66 FRONT OF HOUSE P67 GREETING THE AUDIENCE P67 FRONT OF HOUSE DUTIES P67 USHERS DUTIES P68

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TOOLKIT

WRITERS

Angela Frost Angela is a multi-award winning theatre maker. Her career has spans over 10 years as a community cultural development practitioner. She has worked with over 40 communities throughout Victoria, New South Wales, Tasmania and remote areas of the Northern Territory as a producer, project manager, Director, writer and actor. She has worked across all age groups, cultures and demographics and created over 30 new theatre works. Angela’s practice has a focus on theatre performance and cultural ceremony to bring people together in an open, collaborative and empowering environment. She is a recipient of the Australian Council for the Arts, Community Partnerships, ‘Kirk Robson Award’, 2010 for excellence in leadership in arts and community development and the Regional Arts Victoria, ‘Youth Engagement Award, 2011. Career highlights include working alongside Zeal Theatre’s Stefo Nanstou with regionally based young people to create and perform in The Forwards; working with remote Aboriginal communities in the Northern Territory to build community arts and cultural festivals in Yarralin, Binjari and Wugularr; working as part of The Torch Project - bringing together 14 communities from across Victoria for a community cultural development capacity building and theatre making festival RICignition and project managing and co-directing with Aboriginal Elder Hank Kerr four new theatre productions with the Swan Hill community: The Pondi Project, The Kunawaa Project, The Marruk-Marruk Project, and Bringing Up the Sun. Angela believes that working with communities to create relevant art can enhance community capacity, strength and pride, and celebrate, maintain and protect cultures. Ultimately her work is driven in response to community need and aims to raise the quality of life. Projects support community members in discovering for themselves the strength and beauty that lies in their community. As an artist she creates a nurturing, empowering environment where people can come together to create work where strength and beauty can reach an audience. Currently Angela is the Artistic Director with Outback Theatre For Young People’s Illuminate project in the Wakool shire in New South Wales. Bronwyn Pringle Bronwyn is a Melbourne based lighting designer who's work with companies including Polyglot, SoulArt, Finucane & Smith, Chamber Made Opera, Ballarat Arts Academy, Outback Theatre for Young People and La Mama has been seen in venues ranging from a derelict Kensington flat, a woodshed in Glencoe, Belvoir Street Theatre, a warehouse in Buenos Aries, a park in Swan Hill, the Segerstrom Centre in California and many more conventional and unconventional performance spaces. Bronwyn has also worked extensively as a Production, Tour and Stage manager. Her work with Polyglot’s production of We Built this City has taken her to Taiwan, California, Okinawa and Seoul, adapting the piece to four different languages. Community theatre also features strongly in her body of work, incorporating regional, indigenous, youth, mental health and physical disability groups such as Rawcus, The Torch Project, RAG Theatre, Marruk Marruk, Spark Theatre and more. Teaching credits include VCA, Women’s Circus, Monash University, Victorian Drama League, VUT, GPAC, Box Hill Tafe and numerous community workshops. Bronwyn has won green room awards for Best Lighting Design for Letters from Animals (SRWT/Here Theatre 2007 – Independent Theatre Category) and alias Grace (Malthouse 2005 – Theatre Companies Category) and two Melbourne fringe festival design awards for Anachronisticity (co-design with Richard Vabre) and Uninvited Guests (design Collaboration award with Clare Watson and Marg Horwell). She was also nominated for Green Room Awards for her lighting designs for Aviary (La Mama) and Serial Blogger (X:Machine). As a lighting designer, Bronwyn tends to specialize in new and unconventional works. Other design highlights include The Good Person of Szechuan, The Flood, Topsy, The Hatpin, My Life in the Nude, Two Mortals, Catalpa, A Kind of Fabulous Hatred and Lloyd Beckmann: Beekeeper. This year Bronwyn travelled to New York to take part in Live Design’s Broadway Master classes and is soon to start working with a group of designers to create a design driven installation piece. 129 WWW.OUTBACKTHEATRE.COM

Photographs in this toolkit were taken during the following OTYP projects: WaterWays (2009) Balranald Director: Bec Cooen Creative Producer: Suzanne Hauser Photos by Suzanne Hauser This Side of the River (2010) Barham A partnership between OTYP, Zeal Theatre and Golden Rivers Theatre Group Directors: Ange Frost, Dave Housten, Richie Hallal Creative Producer: Suzanne Hauser Photos by Suzanne Hauser Secret Places (2011) Griffith Director: Alex Walker Creative Producers: Suzanne Hauser and Mandy Field Photos by Brett Naseby BYO Grownup Project (2012) Deniliquin, Hay and Balranald Directors: Alex Walker, Bec Cooen, Angela Frost Creative Producers: Suzanne Hauser, Mandy Field Photos by Mandy Field Reverberate (2012/13) Deniliquin Director: Danielle O'Keefe Creative Producer: Mandy Field Photos by Kate Butler Illuminate Project (2012/13) Barham, Moulamein and Wakool Director: Angela Frost Artistic Associate: Richie Hallal Creative Producers: Mandy Field, Claire Harris Photos by Richie Hallal

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The development of this toolkit was made possible through funding support from Arts NSW, The Australian Council and Regional Arts NSW

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