Ruby & the Vinyl Education Resource Pack
Ruby & the Vinyl In Ruby’s Pop-Up record and vintage clothes shop magical things are happening, people are falling in love, finding themselves, sorting their lives and restyling their look! When Lily meets Tom on a wet afternoon they could never have imagined where their relationship would go, from perfect strangers to inseparable lovers. But is everything quite as it seems? Ruby’s shop is an oasis of calm in a chaotic universe, but eventually you have to step back outside, step up and face the chaos! Featuring BBC supporting artist Ruby Mackintosh and her hypnotic vocals, 'Ruby and the Vinyl' is a new musical with a vintage heart.
Characters TOM Tom is an alleged Film Studies student who has dreams of being a singer-songwriter. He is from a working-class background, and has had a passion for vinyl records since he was a child due to growing up living with his Grandad. He is sometimes a "story-teller", but is at his core, a loyal friend and romantic.
LILY Lily is a first year Film Studies student at the University of Hull originally from Goole. She is intelligent, and has had a somewhat overbearing childhood, being pushed academically by her parents. She has a love of film and TV, but can be overly emotionally invested in the character she watches. She is sometimes shy, but is passionate about things she really believes in.
RUBY Ruby is an ex-PhD student who now runs a shop called "Ruby's Vintage and Vinyl", which is where Lily and Tom first meet. Ruby is a sing-songwriter; she is a key part of the band, and unofficial narrator of the play.
Q&A with answers from the cast and crew (For GCSE and BTEC specifications)
Roles within the company and Team: In order to mount this production we have the following people working on our team: Director Directs the show Runs rehearsals. Attends performances and gives notes. Works with costume, lighting and set designers. A designer for the set and lights. Our designer also builds the sets and sources the major props. Production manager The production manager attends rehearsals and then liaises with the technical teams at each venue. They will work out how the set will fit into each venue and how it might contract or expand if need be. All this information is shared with the company manager in good time so that actors and stage management are prepared. Our production manager also arrives early at each venue to get in the set and rig the lights so that by the time the actors arrive it is just a case of checking how the lighting is working in that venue and where they need to stand for any specials. The production manager will also talk through entrances and exits. They are also responsible for all aspects of health and safety. The Company stage manager Coordinates rehearsals. Sources props Arranges call times at theatres Allocates dressing rooms Sets and checks all props and costumes each night before the performance. Sorts out programmes and any other business with the Front of House staff Looks after the actors. Calls the actors to the stage.
Runs the show by either running all sound and light themselves or working with someone from the venue whom they will cue throughout the show. Writes a show report after each performance Helps with the get out from the theatre. Booker A booker contacts venues a year to six months in advance and works out the deals. Press and Marketing Leads the marketing campaign for each show Is responsible for some poster and leaflet distribution. Books and organise any radio ads Works with the directors to discuss the poster design and employs a designer. Orders all the leaflets and posters and distributes to the venues The press officer contacts local press and TV and radio at touring venues and works with the press officers at the venues to do this. Books a photographer to take production shots Works with a social media person. Administrator Pays wages Organises insurance Draws up contracts with actors and venues Answers Company emails Finance officer Pays wages and suppliers Invoices venues and suppliers Organises accounts Pays writers’ royalties to their agents. Actors Choreographer
Planning Process Q: How long does the planning process take? A: John says… Well I suppose once you’ve got a deadline, and the deadline for any play is the day you start rehearsing then that gives you an automatic target so that’s what you’re always planning for and you’re planning to end your process of writing by that time and my particular way of writing is to get up early and to start at maybe 5 or 6 o'clock in the morning and work on stuff so I put it on the computer so I can play around with it and then the next morning I’ll have another look. It’s part of what you do as a writer. There becomes an internal timetable, that you know when a plays got to be ready and you just know instinctively how much time you need to give to it and obviously the more you write the more it becomes part of your natural instinct. Changes and adaptations were made in the rehearsal process, sometimes you try things out and it doesn’t work and with different props and costumes and especially with the music. We had a song that just wasn't right and we changed it, moved it around and changed the lyrics and made it work better so although a lot of it was set before rehearsals there were changes in rehearsals as well.
Rehearsals Q: What rehearsal techniques were used to prepare the actors for their roles? A: Jane says… With a musical it’s important to warm up voices and we encourage the actors to get into rehearsals early in order to do this. Having the writers in rehearsal really helps; it’s a huge bonus, because they can answer any questions, fill the actors in on characters and how the piece should sound. It is always useful to use Stanislavski's Circle of concentration and for actors to research areas of the play they are unfamiliar with. For example if you’re talking about Ziggy Stardust and have never listened to Bowie then it’s a good idea to go away and familiarise yourself with it. Or if your character is from Goole, research, have a look online at what Goole is like, what your house might be like because then when you're talking about it you have a reference in your head. Don’t just learn the lines, listen listen listen, Acting is about reacting and responding. We give notes after every run and continue to give them for at least the first ten performances. Sometimes we change things even after the show has opened because you never fully know how something will work until it has played in front of an audience.
Staging Q: How do you prepare for the different types of stages you may come across whilst on tour. For example between Thrust and proscenium arch. A: Jane says… I suppose because you’re writing the play and also helping to produce it and you know where the tour is. You have to create a set which is quite nimble, and can modulate and be changed, so yes you keep a count of that when you bring the whole show together.
Q: Is this something that you discuss throughout the rehearsal period? A: Jane says… Yes but we also have a short rehearsal at each new venue. We will do a sound and vocal check and restage where necessary. The actors have to be adaptable.
Lighting Q: How do you ensure that the lighting reflects the context of the scenes? A: Jane says… Our lighting designer Graham Kirk works with us before and during rehearsals to discuss our vision for the piece and he then designs the lighting accordingly. The lighting for Ruby is vibrant and colourful to evoke the feeling of a gig. Each of the performers has a downlight on them to pick them out during the songs. The star cloth and hanging shades are there to give a feeling of magic and other-worldliness which reflects some of the themes. There is also quite a hard edged central area of light where the story within the story takes place. This enables us to delineate between the flashbacks and the gig. When we reach the climax of the piece the letter lights have a chaser on them and then go to full power to capture the joy of the moment.
Q: Does the lighting change at all with moving between venues on a tour? A: Jane says… We try to ensure that the lighting at each venue is the same but sometimes have to adapt to what is available on the rig. We also take our own lighting equipment with us. Picture - Lighting example.
The hanging shades and stars can be seen in the background with Ruby across it written in bright red lights. Towards the bottom of the picture are the letter lights placed across the stage that have the chaser lights ready for the climax in the piece.
Set Q: How do you ensure that the set used is both appropriate for the piece and suitable for touring? A: Jane says… The set is decided at the point of writing after discussions with the designer. It is important that it is effective but easy to tour. The Godber style of theatre generally has a minimalistic use of props, costumes and set and relies on the actors physicality and vocal skills to tell the story. The show is basically the gig of the band Ruby and the Vinyl and it has mics and a flight case and allsorts of wires and things as part of the set . A single rail of vintage clothes and a box of records are enough to suggest a thrift shop when necessary and are designed so that they can be easily moved into a scene.
Music/Sound Q: Are sound effects used in the piece? How do the sound effects help the audience understand the atmosphere in the piece? A: John says…On occasion we use the guitar to suggest raindrops and to underscore various moments in the play.The underscoring can lighten or darken the mood, make it feel more romantic or fill a moment with anticipation or suspense. It's very acoustic and it was all worked out in rehearsal. It’s interesting to have a musical instrument because it gives you an extra dimension to the quality of the performance.
Q: How is the story portrayed through the music? A: Jane says… Essentially Ruby is the storyteller and the songs are often used to move on the narrative or comment on the scenes. Songs also allow the two main characters to soar and express their emotions in a different way. Through a song they can share their hopes and dreams, fears and truths. The songs also keep taking us back to the gig and thus in a Brechtian way reminds the audience that they are watching a play.
Costume Whose role is it within the production to choose and source costume? Do the actors have an influence on the costume chosen? How do costumes in Ruby and the Vinyl give insight into the characters on stage? A: The costumes in the play were inspired by the characters' backstories and the actors did play a role in bringing ideas to those costumes. So for example the character of Tom wears a suit and in the play he talks about finding suits that belonged to his grandad in the loft after his grandad has died. Tom talks alot about his grandad and the influence he has had on him so it felt right that she should have decided to wear one of his suits. (Picture to the right: This is the character of Tom wearing the suit as described above)
Lily’s costume is quirky but not too out there, which is a bit like her. We must also remember that this is her “band costume’ although it is one that works equally well in the flashback scenes. The colours were chosen to compliment both Tom and Ruby’s outfits. We decided to keep the tag on her blazer to echo the feel of it being in a shop.
Ruby’s outfit is more vintage 50s rock and roll. It is a costume that authentically represents her as a thrift shop owner but one that also elevates to be the central performer at the gig. It’s colours and vibrancy lend themselves to making her slightly more ethereal and unique. There is a Bowie flash across her skirt which relates to Tom wanting to be Ziggy Stardust.
(Images of Lily and Ruby in costume)
Props Q: Are props used throughout the entire rehearsal period? Or are these used towards the end of the rehearsals? Q: How do you implement the use of props throughout the rehearsals to ensure the actors become familiar with the use of them? (Even if they aren’t physically used throughout). A: Elizabeth says… The props that are used in the play, are designed to be items that might be used during a gig or found in the thrift shop but they are also linked to the characters. For example the character of Lillie, has a bag which has a reference to the walking dead on it. This is a show that she becomes obsessed with which makes it very appropriate for her character. The fact that the play is in a way a theatrical Rom Com allows us to use some props to recreate traditional rom com moments/ images. Lillie appears with a pile of books and a bouquet of flowers for example (as pictured below). Picture: Lily and Tom both using props in a scene, those that you may find in a thrift shop or can be placed in a traditional rom com image.
Social Media Q: Who is responsible for the social media marketing of the piece? How do you create posts that appeal to your audience? A: We have marketing and social media people on the team. The John Godber Company has a significant number of Twitter followers and subscribers which are our core audience but we try to create posts that have a universal appeal as we are always trying to build our audience and in particular attract young people and a new generation of theatre audience. We try to post daily during the run of the show and work with venues to achieve this.
Social Media examples: Pinned post on The John Godber Company’s Facebook: https://fb.watch/bkOHRGCE-G/ Including all tour dates, synopsis, trailer and booking options to attract an audience as soon as the Facebook is clicked on. Daily Facebook posts: On the run up to the shows, with new photos, information, booking details and which venue is next! https://www.facebook.com/jgodberco/
Instagram: Frequent posts that match with the other social media accounts. On the run up to the show releasing the cast members and their profiles, videos and new photos of the shows to gain interest. Including an Instagram Reel of images and information that can always be accessed. Link to Instagram: https://www.instagram.com/p/CaPbH57tyMM/
Cast profile example: https://www.instagram.com/p/CZbr5hhL2D_/
Twitter: Frequent posting that matches the other social media platforms, regularly retweeting and sharing stories that other companies have written about The john Godber Company’s work and shows. Twitter example: Advertising the show.
Twitter Example: Retweeting a news story and Ruby & the Vinyl.
Workshop ideas - GCSE and BTEC Warm up Activities Beat the Boss: Everyone should grab a chair and put it anywhere in the room, all the chairs should face different ways. A volunteer is needed to be the boss and the boss's chair is taken away and put to the side. The aim of the game is for the boss to sit in an empty seat, everyone else must work together to stop the boss from getting a seat by moving onto other chairs. The boss must walk slowly towards an empty seat and those sitting in chairs should move to fill the empty seat before the boss reaches it. Themes Explored: Teamwork and communication, works well with a bigger group.
Anyone Who: Everyone needs a chair and to sit in a circle, 1 person volunteers to be in the centre of the circle, their chair is taken away. The person in the middle starts their sentence with Anyone who… and then chooses something that more than 2 people in the group have in common. For example: Anyone who is wearing a watch, everyone wearing a watch would then get up and switch chairs. The person in the middle has to find a chair, the one person left standing without a chair is now in the centre of the circle. Examples: Anyone who has brown hair. Anyone who likes to watch films. Anyone who has a dog. Themes Explored: Teamwork and communication, works well with a bigger group.
What are you doing: The group stands in a circle and one person goes into the centre of the circle and starts an action, for example brushing their teeth. A person from the circle goes into the centre and asks ‘What are you doing?’. The person brushing their teeth answers by saying something other than what they’re doing for example I am playing football. The first person leaves and the new person starts playing football as an action. The next person goes in and asks ‘What are you doing?’, this continues for the full circle. Encourage new actions each time and no repeats. Themes explored: Improvisation skills and spontaneity, listening to others in the group and responding based on what they say.
Who’s the leader?: Everyone stands in a circle and one person leave the room, the facilitator then chooses a secret leader. The leader will start with a repetitive motion/movement that the rest of the group will follow for example clapping hands. The secret leader will then slowly change the motion and the rest of the group follow and copy the new motion. The person from outside stands in the middle of the circle and has three chances to guess who the secret leader is. Once guessed the secret leader then becomes the guesser and so on.
Character Creation and Development Exercises All of the exercises here can be done using the characters from Ruby & the vinyl or you may want to create your own or create new ones based on the play! Role on the wall: Below is a template - an outline of a person. Feel free to use the one given or draw your own outline. Have a think about your character, on the inside of the character drawn write/draw their characteristics, important facts about the character and their personality, their likes, dislikes. For example for Tom it could be ‘loyal and passionate’. Around the outside of the person write/draw external characteristics, for example for Tom it could be ‘wears a grey suit that remind him of his grandad’.
Sculptor and Clay: In pairs Person A is sculptor and Person B is the clay. B stands in a neutral position and the sculptor (A) moves B into a position depending on the characters/theme being explored. For example A may say… Please can you move your hands to make them look like you are holding a microphone. This can be done with or without communication, don’t forget facial expressions too.
Park Bench: Place three chairs together in a line, and everyone lines up at one end of the bench. The scene starts with one person on the bench and another character enters, the actors play out a scene. When the scene feels a natural end, the next character jumps in, the character who has been on the bench the longest then finds a reason to leave. A scene with the new character then plays out. Extras: 3 characters in the scene each time, decide a place to put the bench e.g a train station, the next character entering has to change the location of the bench.
Hot Seating: One chair is put in the centre of the room and everyone else sits in a semi circle around this chair. The person playing their character first enters the room s their character ans sitd on the empty chair. This is the groups chance to find out more about the persons character. People in the group can put up their hand and asks the character questions. Characters can be hot seated in pairs or small groups. It is helpful if there is a facilitator guiding the questioning from the people in the group.