A Gothic Tale Props List

Although this props list is complete, it is subject to change on request of the Director, Producer and/or Production Manager.

So far the Props list for A Gothic Tale is this:
A Gothic Tale Full Props List v.1

Any item that is highlighted in red, is yet to be confirmed and bought/sourced.

Today I took a trip to the high street to see what I could find. Here are some images:

 

To possibly used in piano room, £5.00

Top of Shelving unit

I found this shelving unit in a charity shop at the top of the high street, I thought it may look quite nice in the piano room as it has roses on the shelves, a symbol that runs through the performance and Progeny Theatre Company as a whole.

 

 

 

These bedding items I found in Primark. The bed covers were quite expensive at£16.00, but I like the lace look, I think it expresses the setting of the castle being grand and fairytale like. I will continue to look for cheaper options as these items will be covered in fake blood during the performance. The blanket/throw I found would be used for the SNOWCHILD’s scene to keep her warm, and it was priced at £2.70.

Lace, light gold duvet cover, £16.00

Lace, light gold duvet cover, £16.00

Soft, used for SNOWCHILD's scene. £2.70

Soft, used for SNOWCHILD’s scene. £2.70

Laced, white and cream, £16.00

Laced, white and cream, £16.00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I will continue my search for the props, trying to find items as cheap as I can get them, as the props budget is limited. So far, if these items were approved, we would have spent £23.70 and there are still lots of items that need to be purchased!

 

Alex Urbanczyk

Word Count: 260

 

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.

 

Dream.

After the script was given to Stephanie Doe- Director for edits it was given back with new added scenes. These scenes were called ‘dream scenes’ and each character would have one during the performance. The ‘dream scenes’ helped link all scenes together and also brought a fairy tale element to the production. They helped the audience to understand characters and their emotions as they each explained a bit about the character. For example the Piano Tuners scene is done in a black out to show he is blind and his hearing senses are heightened as all conversations throughout the play are heard by him which is shown by all characters saying a few key lines whilst walking around the stage. The housekeeper scene shoes that she is stuck in a fairy tale world at the beginning and is trying everything to keep her world magical.

I feel that these dream scenes were important to add to the production as it helped the production to be more magical and like a fairy tale story. I also think it helped the actors to develop their own characters as reading these scenes helped everyone to understand the basis of their character and how they were important to the production.

Hannah Smith.

Prop Sourcing

Upon being given the props list, it became apparent that the majority of props that we needed to use were already located in the LPAC’s prop cupboard. As we were intending the piece to be visually stunning we were focusing on ensuring that the props were also visually effective to maintain the believability of the story, whilst en-capturing the idea of it being a fairytale.

With a list that contained over thirty props and a budget of fifty pounds, it was essential that I was able to source the props both as cheaply as possible or by borrowing off of either the LPAC, family, friends or local establishments. The more props that we were able to lend the easier it will have been to get more difficult props, for instance the piano tuners tools and fake blood.

The aim is to have as many props as possible sourced and to have them available for use by the week leading up to our performance so we are able to rehearse with them and also be comfortable with the props. Having the props at an early stage will minimise the chances of encountering any problems the props could bring in the rehearsal process.

Robert Bull

Everyone… Please remember to bring!

Count-

Jacket and trousers- Costume cupboard.
Shirt- Jess.
Shoes- Costume cupboard.
Tie- Rob.

Hair- Sarah- make up artist and hairdresser.

Make up- Sarah- make up artist and hairdresser.

Countess-

Top- Originally corset from Hannah but now bought from budget.
Skirt- Bought from budget.
Coat or jacket- Costume cupboard.
Shoes- Chesca.
Necklace- Bought from budget.
Ring- Jess.
Underwear- Chesca.

Hair- Sarah- Make up artist and Hairdresser.

Make up- Sarah- Make up artist and Hairdresser.

Countess wedding-

Wedding dress- Costume cupboard.

Hair- Sarah- Make up artist and Hairdresser.

Piano Tuner-

Trousers- Costume cupboard.
Top- Costume cupboard.
Waist coat- Costume cupboard.
Shoes- Costume cupboard.

Hair- Sarah- Make up artist and Hairdresser.

Make up- None.

Will look into contacts for eyes- Possibly party planet if enough money. Not enough left in budget.

Snow Child

Dress- From Budget.
Underwear- Jess.

Hair- Sarah- Make up artist and Hairdresser.

Make up- Sarah- Make up artist and Hairdresser.

Housekeeper

Dress- Costume cupboard.
Apron- Costume cupboard.
Shoes- Hannah.
Accessories- Hannah, costume cupboard and budget.

Hair- Hannah.

Make up- Sarah- Make up artist and Hairdresser.

Ex Wife

Dress- Costume cupboard.
Tights or leggings- Kelsey.
Shoes- Kelsey.
Accessories- Kelsey.

Hair- Sarah- Make up artist and Hairdresser.

Make up- Sarah- Make up artist and Hairdresser.

The Angel

Dress- Ellie.
Shoes- Ellie.
Face- Costume cupboard.

Ex wives in the chamber

Clothing- All bring own blacks.
Shoes- All bring own black shoes.
Accessories- From the budget.

Trees

Clothing- All bring own black clothing.
Accessories- Costume cupboard.

Hannah Smith.

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