Tag: Kate Dawson

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

Lighting Synopsis.

After going through the script scene by scene Kate and I have created a lighting synopsis for the production. We always had in our minds that we wanted to create a show that was technically demanding. In order to prepare ourselves for the day we have started to create the technical documentation that will aid us for the get-in on May the nineteenth. The lighting synopsis is as follows: A Gothic Tale Lighting Synopsis. When it comes to programming all the lighting and sound cues on the day of the performance we will have a physical document to refer to. This will make the process of the get-in smooth and enable us to complete the programming of the cues quickly so we will have more time to rehearse the cues in technical runs relieving some stress.

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

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

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