Category: Technical

Stage Management

‘The stage management team forms a vital nerve centre, bringing together all the production technical departments, commonly known as the stage departments. Stage management needs to be fluid, dealing with every task, situation and person that may come their way’ (2001, p. 16).

 

Copley and Killner’s description of stage management sums up in just two sentences what it is all about. A stage management team is responsible for bringing the show together, with the stage manager at the centre of the of the web of communications. A stage manager holds many responsibilities, that may be required differently for each production they approach. Daniel Bond states that ‘nothing in this industry is written in stone, for the requirements of every production are different’ (1991, p. 11). This makes it clear that a job within stage management will always bring new ideas, concepts and problems to whoever takes on the task. For a person wishing to pursue this career, Daniel Ionazzi summarises the qualities of a good stage manager in these words:

 

‘A Stage Manager is a LEADER, who is SELF-MOTIVATED and EVEN-TEMPERED, with the ability to ANTICIPATE and ADAPT to constantly changing conditions. Stage managers are DEDICATED to and RESPONSIBLE for every aspect of their productions without losing their SENSE OF HUMOUR. They provide an EFFICIENT and ORGANIZED work environment while remaining EMPATHETIC to the people and the process’(1992, p. 11).

 

It is evident that the job of stage manager is not one to be taken on lightly, it requires a lot of patience, organisation, time and empathy to ensure that the end production is a success. I hope that as stage manager for Progeny Theatre Company, I can excel in completing these tasks. I believe as a person, I am quite a dedicated team player, always wanting to help others and make sure people are on the right track. These qualities should help me to ensure the well-being and safety of each member of the company.

 

Alex Urbanczyk

 

Word Count : 327

 

Works Cited:

 

Ionazzi, D., (1992) The Stage Management Handbook. USA: Betterway Books.

 

Bond, Daniel. (1991) Stage Management A Gentle Art. London: A&C Black (Publishers) Limited.

 

Bond, Daniel. (1991) Stage Management A Gentle Art. London: A&C Black (Publishers) Limited.

 

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

 

How will I manage this production?

The most important factor of producing a technical demanding production is organisation. ” The production manager is responsible for the entire organization of a theatrical production” ((Crabtree, Susan and Peter Beudert (2005) Scenic Art for the Theatre. Oxford: Focal Press.)).  A PM’s main role is to organise ALL elements of the theatrical production from set to lighting, sound to props and bring all these elements together into one, cohesive performance, all the while maintaining the director’s concept for the show. In order to achieve all of these aims in an efficient and effective manner, a PM must be well organised.

Therefore, my main method in producing this performance is careful planning and organisation  and, as a consequence, ensuring that all designers/stage management team have clear instructions and deadlines to meet throughout the production process.

After our initial production meeting, my aim is to begin set construction as soon as possible (ideally during the Easter break) and work to as close a budget as possible. Theatrical productions such as ours, which employ numerous technical elements, can often incur unexpected costs close to performance day. Therefore, I feel it is important to ensure that some money is left in the budget for any unforeseen costs on performance day.

I also aim to maintain constant contact with the director, throughout the rehearsal process, in order for no technical requirements to be missed. In order to do this, I will ensure that at least one member of the technical team (not including those who are also actors) are present at every single rehearsal. Ideally, the Stage Manager will attend as many of these rehearsals as possible because she will be on book during our live performance and it is important that she knows the performance inside out. Any member of the production team who attends these rehearsals has been asked to compile a ‘Production Rehearsal Note’ (see *Appendices) detailing any technical requirements/changes which have been made during that rehearsal.

This is the Stage Management Rehearsal Schedule detailing who will attend each rehearsal:

Stage Management Rehearsal Schedule

Kate Dawson

Word Count: 346

Works Cited

What is a Production Manager?

Creating a successful technically demanding performance requires its production team to not only be versatile but also dedicated and organised contributors to the production. In order for these production processes to run smoothly, one member of the team must act as chief organiser; the Production Manager.

The roles which a Production Manger undertakes vary from show to show; however an efficient Production Manager must be an approachable and organised individual, capable of managing a substantial production team. According to Gail Palin’s Stage Management: The Essential Handbook, a Production Manager has numerous roles to play:

Production Manager (PM)

  • Employs and supervises all production staff.

  • Liaises and agrees the budgets and design deadlines with the director and designers.

  • Prepares and distributes the provisional schedule and budgets to all production departments.

  • Oversees all ordering of materials and building work.

  • Manages and controls the production budget.

  • Chairs design and production/progress meetings.

  • Prepares the production risk assessment and advises on action to be taken.

  • Schedules and oversees all work during production week.

  • Contributes to the technical rehearsal by taking technical notes and scheduling their completion. ((Palin, Gail (2010) Stage Management: The Essential Handbook. London: Nick Hern Books Ltd. pp. 14-15)).

According to this list of numerous tasks and responsibilities a PM must undertake, I enter this experience with a slight hint of uncertainty. Previously, my roles within a production have had much less responsibility and, being that this production is already destined to be ‘tech-heavy’, it is a major undertaking agreeing to the role of Production Manager. Nevertheless, I am determined to succeed in this role and produce a technically spectacular performance comparable to those produced by some of the other theatre companies I have previously reviewed and by whom I am inspired.

Kate Dawson

Word Count: 291

Works Cited

Filter and the Lyric Hammersmith’s “A Midsummer Night’s Dream”

Filter Theatre and the Lyric Hammersmith are two theatrical organisations who combine forces to produce innovative and exciting theatrical productions. A Midsummer Night’s Dream was directed by Sean Holmes and created by Filter Theatre, who are said to “create new work and interpret classic texts” ((Filter Theatre (2013) ‘A Midsummer Night’s Dream’. (Accessed 30 January 2013) Available at: http://www.filtertheatre.com/page/Coming_Soon/)), and was performed at the Lincoln Performing Arts Centre in October 2011. This production was particularly inspiring due to its unique adaptation and modernisation of the classic Shakespeare text, which they describe as ” a magical and fast-paced version of Shakespeare’s best-loved comedy” ((Filter Theatre (2013) ‘A Midsummer Night’s Dream’. (Accessed 30 January 2013) Available at: http://www.filtertheatre.com/page/Coming_Soon/)).

FilterThis production particularly stood out to us because of the innovative way in which the company produced their own sound effects. The concept of producing live music and sound effects on stage, while the action takes place is very inventive and creates a further component to the performance. As well as watching the action, the audience can experience the delights of live and ingenious music creation. This impressive form of sound production was very complimentary of Filter theatre’s modernised version of A Midsummer Night’s Dream, as it enhanced the magical element of the theatre experience.

As well as providing Progeny Theatre Company with inspiration in terms of technical production, it also grants us insight into how to adapt an original text into a unique and thought-provoking format, which both engages and ‘wows’ its audience.

 

“One of the pleasures of theatre is its capacity to surprise, and Filter is a company that delights in dumbfounding audiences. This condensed interpretation of A Midsummer Night’s Dream is joyously unorthodox” ((Hitchings, Henry (2012) ‘A Midsummer Night’s Dream, Lyric Hammersmith – review’. London Evening Standard. (Accessed on: 30 January 2013) Available at: http://www.standard.co.uk/arts/theatre/a-midsummer-nights-dream-lyric-hammersmith–review-7446903.html)).

In this video, the cast and creators discuss Filter’s production of  A Midsummer Night’s Dream.

Kate Dawson

Word Count: 313

Works Cited

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