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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