Author: Kate Dawson

I'm a second year drama student at the University of Lincoln!

Post-Show Evaluation

A Gothic Tale was a challenging performance to complete as it was very technically demanding. Our aim with this performance was to create a visual spectacle which captivated its audience using elaborate technical elements; however we were very cautious of not overwhelming the performance with tech. Technology should be used to enhance the performance rather than distract from the story itself.

I feel that we succeeded with this aim, as feedback for the show was extremely positive, one audience member even commenting on how our tech was comparable with that of professional productions. The get-in on performance day went very smoothly and, although it lasted longer than predicted, we had planned in advance for such an occurrence and were able to adapt our schedule respectively. The technical documentation produced also succeeded in assisting with the get-in process, ensuring that the company had enough time for a detailed cue-to-cue and a dress rehearsal. The set we constructed functioned very well, although an emergency trip to B&Q was required to buy more cord as bungee cord was not doing the job. However, because money had been left in the budget for such an emergency and enough technical staff were at the venue, this was not a problem.

We also managed to save time having already programmed a QLab file which operated both the lights and sound. This also meant that when one of the sound files became corrupted shortly before the show began, we were well organised and able to correct this problem quickly.

I believe I played a vital role in producing this performance and am happy with the way I organised and managed the production team. All technical elements of the production came together very well and I succeeded in ensuring that every part of the production (set, costume and props) came in either on or under budget and that all documentation, designs and construction was completed in plenty of time. My organisation of the team and production, along with the commitment of the production crew, meant that this tech-heavy show went ahead with few problems and was successful in creating a visually stimulating performance.

Kate Dawson

Word Count: 357

Technical Documentation – After (and Pre-Show Checks)

I am extremely pleased with the results of our technical documentation and feel that the hours spent creating and developing them have been well spent.

We used a ‘Progeny Theatre’ layout, font and format to ‘brand’ our documentation, which gave them a professional look as well as used previous examples of other Theatre Company’s work as case studies for our own documents. The response to our documentation from the venue has been very positive and, as such, the LPAC are prepared for our arrival, which is now at 9am on Sunday 19th May.

All technical documentation can be viewed here.

Myself and the Stage Manager have produced a Performance Day Schedule which underlines the ‘desired’ performance day schedule. However, due to the recent date change (we were originally booked to complete our get-in the evening prior to performance day) we are aware that, because we are a’ tech-heavy’ group, our get-in may over-run and have planned our day accordingly.

We have completed a Pre-Show Check-list of all technical requirements and I am confident that we are fully prepared for performance day.

  • Technical Documentation – completed and sent to venue.
  • QLab file – completed 3 weeks prior to performance and has been kept up-to-date. Saved on memory stick to transfer to LPAC Apple Mac.
  • Sound – all files saved in numerous locations in case of file corruption.
  • Props – sourced and stored in venue.
  • Set – finished and stored in venue.
  • Costume – completed and stored in venue.
  • Actors – briefed on Risk Assessment and Performance Day Schedule.
  • Budget – up-to-date and with £30 left for last minute expenses.

Kate Dawson

Word Count: 251

Technical Documentation – Before

Technical Documentation is produced as a way of informing receiving theatres of a theatre company’s technical requirements. Without such documentation the venue would be unprepared for a company’s arrival and, as a consequence, the get-in process would be slower and less efficient, meaning that time would be wasted which may have been used for technical/dress rehearsals. Maximum use of time is a valuable factor for our theatre company as we have limited time to complete the get-in, which starts at 9.00am, before the performance, which begins at 7.30pm.  Therefore, producing technical documentation which is thorough and well-explained is vital.

Despite our theatre companies amateur status, I feel it is important to produce documentation which rivals that of other professional theatre companies. Not only is it a valuable experience for a newly establishing company to produce such material, it also gives the theatre a good first-impression of the company.

As Production Manager, my role is to ensure that all technical elements of this production are completed to a high standard, which will ‘fit together’ to produce a high quality performance. My aim is to produce documentation which is as professional looking as our performance, as well as highly detailed.

The Technical Rider is that which holds the most detail of a company’s performance. It explains what equipment/staging is needed, details on the company and the show they are touring, as well as any FOH/Company requirements. It is my responsibly, along with the Stage Management/Technical team to produce this and other technical documentation.

Kate Dawson

Word Count: 255

Video… Does it enhance a performance or distract?

Does video enhance a performance or does it distract from the real aim of the piece?

This is a question which I have been debating recently.

As Production Manager, my initial idea for the opening of the show was to project a short video which would ‘set the scene’ for the performance. Using animation software, my aim was to create a Progeny Theatre storybook, that would open up to reveal the title of our show A Gothic Tale this would then fade into a journey through a dark, snowy forest leading to a Gothic castle shrouded in mist and mystery, similar to the videos below, which have been created by the general public.

Sigrid Merx explains that: “When video is employed within the theatrical frame, there is a potential for the static space of theatre to become more dynamic” ((Merx, Segrid (2006) ‘Swan’s way: video and theatre as an intermedial stage for the representation of time’ in Chapple, Freda and Chiel Kattenbelt Intermediality in Theatre and Performance. Amsterdam: IFTR. p.71)). However, as much as our company enjoyed the idea of building an atmosphere using visual technology, one major concern was whether this took away from the magic of the theatre experience rather than adding to it. The audience will have come to the theatre to watch a play, not a film.

Of course, an important element to Progeny Theatre’s Manifesto is that we are ‘tech heavy’ and enjoy the use of elaborate technical devices to enhance our productions but where does the line stand between film and theatre? How much technology can you throw at a theatrical performance before it no longer is ‘theatre’?

With this in mind, our production team have adjusted their focus onto more stage based technologies such as haze and smoke machines and creative set in order to mesmerise our audience. We want to encourage the audience to become more of an active participant in the theatre experience, rather than a passive ‘watcher’, by drawing them in with numerous visual delights.

 

Word Count: 340

Kate Dawson.

Works Cited

 

The Importance of Production Meetings and Rehearsal Notes

Producing detailed production notes during rehearsals is important for the performance because it allows designers and technical team members to remain up-to-date with a show’s progress without having to attend all rehearsals. Generally, it is the task of the DSM to compile all rehearsal notes, however, because in this production the SM is calling the show and the DSM also has the job of scriptwriting, it is the responsibility of the PM, SM and DSM to complete these notes.

When discussing production notes, Palin explains that: “As this is the main line of communication between the company and the production team, it is vital that the DSM [or any production team member] makes detailed and accurate notes throughout rehearsals” ((Palin, Gail (2010) Stage Management: The Essential Handbook. London: Nick Hern Books Ltd. p,41)). Compiling such notes allows designers/set builders more time to complete their designs and progress with their own tasks while remaining privy to any changes that have been made which will affect them.

It is also important for a PM to organise regular production meetings with both the director and the design/production team to ensure they are kept updated with the progress of both the show and the production processes. This will ensure that deadlines are met and the production keeps moving forward.

 

Below is the first of many ‘Production Rehearsal Notes’ which can be viewed as *Appendices in the coming weeks.

Kate Dawson

Word Count: 240

Works Cited – can be viewed beneath the following ‘Production Rehearsal Note’

Progeny Theatre Rehearsal Note

Production: A Gothic Tale

Date: 11/3/13

 Notices for: ASM, DSM,SM, Set /Sound/Lighting Designers.

Props:

  1. The chair used at the start of Scene 1 will also be the piano stool; therefore an extra chair will not need to be sourced (LPAC prop store).
  2. A wooden dressing table is required for Scene 1 (LPAC prop store).
  3. One small mirror is needed to sit on the dressing table (LPAC prop store).
  4. An old silver brush is required during Scene 1 (needs sourcing).
  5. Piano tuner requires tools to be kept in a small box during Scene 3 (needs sourcing).
  6. During Scene 3, the director has asked for the set to be full of small trinkets/items, which the housekeeper can tidy – These are likely to be placed on a small shelving trolley (LPAC prop store).
  7. The Count requires a suitcase during Scene 3 (LPAC prop store).
  8. The Count also needs a set of large metal keys (LPAC prop store).

Lights:

  1. During Scene 1, a spotlight is required DSC on the Countess. This may change colour as the scene progresses.
  2. A lighting change will be needed once the Countess stands up during the above scene.
  3. After the monologue in Scene 1, the lights will fade up into a general wash.

Sound/AV:

  1. The opening AV will need to be changed, as it is currently too much like a film.
  2. The music for the opening may also change but will still end with an ordinary ‘grand’ Wedding March.
  3. An ‘out of tune’ version of the same Wedding March is required at the end of Scene 1. This can be edited on Audacity.
  4. The projector may now be focussed on stage rather than at a cyclorama upstage. 

Set:

  1. A cyclorama will no longer be required; a plain black curtain upstage will suffice.
  2. The fabric angel may need to move to USL as it could now be masked by the bed.

Word Count: 307

Kate Dawson

Works Cited

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