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SMITHS FALLS COMMUNITY THEATRE
A Manual for Productions
The purpose of this manual is to provide a set of guidelines that will help to lend
some consistency to the productions that are a part of the Smiths Falls Community
Theatre.
It is the intention of the Community Theatre to advertise for submissions of plays
for the upcoming season. Once the executive has had an opportunity to review the
submissions and to narrow the choices down, they will meet with the prospective
directors to discuss their concepts. At that time, the executive will inquire about
the needs that the director has for assembling a team. It may be that the director
will have already assembled a team or it may be that he/she needs our help in
getting enough people to form a team.
The call for submissions will be in March for plays that will be performed in the
next calendar year. The call for submissions will be advertised through the usual
venues that we use to advertise our plays.
The team will consist of a least a producer, a director, a stage manager and a set
designer. The other team members should include a properties manager, a
costumes manager, sound and light manager, someone in charge of ticket sales,
someone who coordinates the front of house, someone in charge of publicity and
various back stage hands.
The production should take place over a six week period of time. Auditions can
occur any time prior to six weeks before the show.
ROLES IN THEATRE PRODUCTION
There are a number of different ways that people can be involved in
Smiths Falls Community Theatre productions. The following chart
outlines the various roles and includes what has to be done prior, during
and after the completion of the production.
Role
Artistic Director
- Stage Manager
Producer
- House Manager and
Tickets
- Advertising, and
Publicity
Musical Director
-Choreographer
Technical
Director
-Lighting Designer
-Sound Designer
-Set Designer and
Construction Team
-Costume Designer and
Construction Team
-Props Designer and
Construction Team
PreProduction
During
Rehearsals
Performance
- comes up with overall
“vision” of the play- how
she wants it to look
- shares this vision with
all designers, who begin
to work on
sketches/plans
- cuts the script (as
required)
- rough blocks the show
- with SM sets up
rehearsal schedule
- attends production
meetings
- watches auditions,
chooses cast (final
decision always rests
here)
- blocks the show
- works on character
development with
individual actors
-approves all sketches,
ideas etc presented by the
tech director
- attends production
meetings
- gives direction to SM re
changing requirements of
tech things, or rehearsal
time/space
-gives the final rousing
speech to the cast
- sits back and enjoys the
applause
- prepares the budget, in
consultation with director
-“hires” the production
team
- arranges production
meetings
- is part of auditions
process
- manages publicity,
ticket sales
- makes sure the theatre
space is booked
- manages the budget
- arranges production
meetings
-hires, supervises House
Management team
- arranges for
intermission things
- introduces the show
- takes care of gifts for
cast
- is part of the auditions
process
- works with the director
to cut/change keys of
songs
- rehearses the chorus
and lead roles in the
show
- co-ordinates with
choreographer re
dance/singing
-arranges for a rehearsal
pianist
- helps/leads actors in
vocal warmup
- sits back and enjoys the
applause
- works with all
designers and director to
create sketches for the
show
- arranges for estimates
and submits budget
needs to producer
- supervises work of all
design and construction
teams
- reports progress on this
at production meetings
- arranges for lighting
hang and focus
-hires running crew for
sound and lights
- present for costume
parade, tech rehearsals
and cue-to-cue
- is present for the preshow check to handle
any last minute problems
- sits back and enjoys the
applause.
Stage Management
The definition and scope of the stage manager’s job is largely dependent
on the style of the director. Some will prefer to keep their own blocking
notes, or co-ordinate with the tech director themselves; others will leave it
all up to you. Here are some ideas to get you started:
Pre-Production
Auditions
Speak to the director about his/her requirements for auditions. Will s/he
need any special equipment? (eg- piano, cd player). Are there any
audition pieces for you to copy? How long does s/he want with each
person? What kind of information would s/he like to gather from each
person auditioning? Generally, stage managers don’t sit in on the
auditions, but some directors prefer it, so ask.
Speak to the producer (who should have secured an audition space for you)
about coming a little early. Set up a table outside the main space (if
possible) with pencils, information slips (that you have created and copied)
for the people coming to fill out, and audition scripts (if relevant). Set up an
area for the director and producer inside with water, pens, paper, and
copies of the audition scripts.
During the auditions, try to keep the director on time, without interrupting
anyone. Welcome and encourage anyone coming in, and make sure they
have all their information filled in before auditioning.
Pre-Rehearsal
Set up a production binder- called a “prompt script,” “show bible,” or just
“the book.” This should have clear dividers for each scene of the play, as
well as sections for: set, costumes, props, time, contact lists, sound cues,
light cues, stage cues (set movement), rehearsal schedule, etc.
Make a contact list with the name and number of each cast and crew
member, and copy it for everyone on the production team.
Attend production meetings put together by the producer. Keep careful
notes on any tech requirements (even if the relevant tech person is there).
You are the communication conduit between the director and all the tech
people, so it’s important to know what is going on in those areas.
Together with the director, make up the rehearsal schedule. Distribute it to
all actors, crew and the production team. Put your phone number on it, and
instruct all actors to call you if they will be away.
Rehearsal
Get the keys to the rehearsal space from the producer. You are the one to
open and lock the space at the end of each rehearsal.
Come early, and be sure the space is clean and ready for rehearsal.
Check for safety issues.
Set out any props used for that rehearsal, and (with help), set up the stage
for the first scene to be rehearsed.
Set up a table with pencils, paper, the book, and water for yourself and
possibly the director to use.
During rehearsal “hold the book.” This means a variety of things.
As the director blocks things, record the actors’ movements in the script.
Attached is a sample showing how to do this, although you can use your
own system as long as it makes sense to you. Be sure to do this IN
PENCIL, as things may change many times. The next time the scene is
worked on, let the director ask for as much/little information as s/he wants
about how it was done before. Some directors prefer things to be loose
and changeable- this is fine, but keep recording movements so that all
possibilities can be properly lit.
Make note of props, costumes, sets needed as the director mentions them,
or as they come up in the script. Pass along these requests to the relevant
technician as soon as possible.
Prompt the actors. Only prompt (give them the first few words of their line)
if they call “Line.”
If any actors are missing, call and find out if they are coming. If not, stand
in and read their lines.
Record any notes or ideas the director whispers to you mid-rehearsal. At
the end of rehearsal, clean the stage, put away the props, and lock the
space.
Pre-Curtain Week
At the cue-to-cue rehearsal, the stage manager begins the process of
“taking over” the show from the director. You run this rehearsal, and each
of the tech/dress rehearsals that follow. Your job is to preserve the
director’s vision- make sure the actors and tech don’t deviate from the
show the director put together.
Cue-to-Cue
In preparation for this rehearsal, you should prepare the book with all of the
cues in the show. Each cue should be numbered, and for each cue, three
things are written in the book “warn” “standby” and “go”. The “warn” comes
about a page before the cue. The standby cue comes a couple of lines
before the cue comes, and the “go” is written right beside the relevant
line/action. You should have a cue sheet for each of the following: sound,
light, stage, as well as a master cue sheet for yourself. (examples are
attached)
Only key actors are called to the cue-to-cue rehearsal, but the full stage,
sound and light crews should be there. Basically, you go through the show
from one cue to the next cue. The actors do the scene from a few lines
before each cue (sound, light or stage) and the technicians run through the
cue. This is done until all the cues are smooth.
Tech and Dress Rehearsals
These are run in the same way as shows. Begin timing the show, by
scene or by act (as the director prefers).
Production
Arrive well before the show will begin. Go through a pre-show
checklist, which should include:
posting “sign-in” lists for casts, and checking that everyone has made
their call
check that all of the lamps are still aimed properly (by going through a
dimmer check with the lighting operator)
check that the sound system is working properly (with the sound
operator)
check that the stage is clean and set
check the props tables
giving the cast some time in the theatre to warm-up
letting the house manager know when to open the house, and giving
him/her the cue to turn off the house lights
ensuring the actors get 30, 10, 5 minute calls, as well as the “places”
call
During the show, the stage manager “calls” the show (if the
technology allows). This means giving warn, standby and go for each
cue to the operators (through the headsets). When the warn is given
(1-2 pages before the cue is wanted), the operator should check the
cue on the sheet and on the board, and reply “warned”. The standby
comes 3 or 4 lines before the “go” and tells the operator to put his/her
“finger on the button.” The cue goes on the word “go” so it’s best to
call it in that order (for instance, “cue 6....go”), especially if the timing
is important.
At the end of the show, make sure props/set are preset for the next
performance.
During the run, the stage manager’s main job is making sure that the
show remains the same as the director intended, so if an actor or
technician is changing something, it is your job to remind them of
what the director wanted.
Distribution of Posters
Perth
Loebs
Foodsmiths
Curves
Groundwaves-*a very good spot
Perth Courier-only 2 wks before
Event
Valley Books
Studio Theatre
LCBO
A Special Gift
Wood Knot
Mark’s Work Warehouse
Hendrik’s Grocer
Royal Lepage-Pauline’s
Library
Decorating By Design
Pickles
Giant Tiger
Peter’s Restaurant
The Copper Pony
Pet Value
Roosters
Perth Restaurant
Rideau Ferry
Grocery and Gas Store
Merrickville
Post Office-(locked showcase outside)
Elaine’s Beauty Salon
Grocery store
Westport
Tourist info office
Senior’s Hall
Grocery Store
Smiths Falls Downtown
Smolkin’s
Biba
Dawn’s Closet
Pet Value
Giant Tiger
Sew Crafty
Decorating By Design
Post Office
Station Theatre
Library
Chamber of Commerce
Burger King
Modern Thymes
Galleria Hair Design
Smiths Shoes
Gemmell’s Flowers
Royal Lepage Real Estate
Salon 26
Ursula’s
Tait’s Bakery
Rideau River Music
Creative Computing
Iron Legends
Rideau Artisans
Dr. Yunker & Muldowney
Rideau Canal Museum
Lock station Billboard-seasonal
Victoria Park Office-seasonal
Special Greetings
Rideau Kitchens
CIBC
New Beginings
Bank of Montreal
Smiths Falls-Other Areas
Hospital-(see Patty)
Tri-Cap
Nissan Motors
Warrings
Beckers-Main St
Zellers-leave at office
Civitan Hall
Dr.Shew,Hendry,Horsey(see Joanne Smith)
Garden Market
Curves
Players Sports Bar
Food Basics
Elwoods
Record News-lunchroom
Van Horne Manor
The Kiosk-Bham’s