Visits to the REP Stores & Workshop

During the production process for The Snow Queen the Alex’s and I were fortunate to be able to visit and raid the REP Stores and Workshop

As someone who has always been fascinated with costumes and props and a confessed ‘hoarder’, (you never know when that spare bit of model kit or piece of dated clothing/furniture may come in handy on another project), the REP stores and construction workshop are like a ‘personal nirvana’. Big ware houses literally filled to the rafters with all sorts of weird and wonderful objects: furniture, clothes, tools and a very long etc.
I could happily be locked in there for days on end, exploring, cataloguing and trying things out. And every time I visit I have to keep a great control of myself to not get distracted and run around like a child in a toy shop.

On our first visit Alex N. and I were to take stock of possible costumes and props that we could use for Snow Queen. Armed with a props list, cast lists, costume descriptions and with Ruth as our guide we went around the myriad racks, (which are thankfully well organised into sections of type, era, etc.), when we found something that we thought was suitable to our needs we took it out, photographed it, (sometimes with one of us in the photo for size/scale), and moved it to allocated areas of the warehouse so that it wouldn’t get lost or allocated to another show.
These photos were then shown to Ellie at our next production meeting as she would have final say on what items we would or wouldn’t be using.

Below are the lists we used and photos of some of the costumes/props Ellie decided we would need to borrow from the REP.

The Throne
That would double up as the Snow Queen's Throne and Granny's Chair
(ie crochet cushion for Granny)

One of the Devil's Staves that would be later painted white.

The Axes for the Forest Men

The filleting knife for the Lapp & Finn Women

 Lanterns for the Village Kids

Some ModRock to decorate the stag

Gerda's Outfit

Mr & Mrs Crow

The Prince

The Princess

A Palace Girl

 The Snow Queen

Our second and third visits to the stores were to pick up and drop off respectively the items that the REP very kindly lent us for the show.

DSM - Writing the Prompt Book

One of the most important roles of the DSM is to build the prompt book, also know as 'The Bible' or sometimes simply "the book," the prompt book is the copy of a production script that contains the information necessary to create a theatrical production from the ground up.
It is a compilation of all blocking, business, light, speech and sound cues, lists of props, drawings of the set, contact information for the cast and crew, and any other relevant information that might be necessary to help the production run smoothly and nicely.
Markings to the script (for cues, notes, etc.) are typically done in pencil (NO PENS ALLOWED), and either in the margins or on the blank side of the back of the opposing page.
For Snow Queen I was tasked with building the prompt book, under Ruth's guidance I started by putting A4 sized pages of the script (actors had been given copies in 2xA5 page per sheet format) into a ring binder. There is no fixed way to which way around the script goes into the book and it is left to the DSM's personal choice as to whether the script is on the left and the cue sheet is on the right or viceversa. I personally preffer the have the script pages on the left hand side and the cue/details/blocking on the right hand side.
The details page is usually written on the blank back of the next page of script so as to not have too many pages in the prompt book. This page is then divided into 3 vertical collumns, the closest to the script is for writing in the cues for Sound, Light, Flys and any other things that crew need to be cued for during the show, and also the appropriate standby cues for each. The middle collumn which tends to be the narrower of the three is for noting down descriptions of the cues. And the third outside collumn is to write notes and blocking. These notes and blocking are normally numbered and have their corresponding numbers in the script. Blocking notes will normally be abreviated and a lot of the time an abreviation key is kept in the prompt book so that anyone reading it can understand what it all means.
Everything that is written into the copy is only ever in pencil due to the fact that during rehearsals, tech and even performance runs it is still a very organic process and many things are changed, moved or even removed completly, so therefore writing everything in pencil means that things can be easily erased, making for a much tidier book.
Once we got to performance week on Snow Queen the prompt book file was practically bursting with the prompt script, rehearsal notes, cast lists, meeting notes, props list setting lists and so on...

The Snow Queen - Rehearsals

The role of Deputy Stage Manager (DSM) entails a great deal of paper work: knowing the script inside and out, writing up all lists, running rehearsals and writing / distributing rehearsal notes after each session, making and updating the 'Prompt Copy' to run the show, and a very long etc.

The following are some examples of rehearsal notes I produced for the Snow Queen.

I wrote these notes based on knowledge I had gleaned from examples of Rehearsal notes from REP shows that Ruth had given me and also pointers that Ellie gave me during the Snow Queen production process.
I have just recently discovered that some of the information I had put into these was not necessary and/or too detailed and now I am beginning to understand exactly what should be inserted into proper rehearsal notes.
Hopefully over the coming months and future productions I will get the hang of it all and improve.
As I have mentioned in previous posts, paper work has never really been my thing, but I believe that now I know how important these documents are for communication amongst the production crew and how much they can effect the smooth running of a show I should be able to make that improvement.

Wind in the Willows Tech.

Friday 23^rd November

Alex W. and I sat in on the first Tech session for Wind in the Willows at the Crescent Theatre.

My habit of trying to show up for appointments 30 minutes early came in handy that morning as Google Maps was on the blink and sent me on a merry dance around the canals of Birmingham. After a while I still hadn’t found the theatre and began to ask directions from passers-by but to no avail. Then I started phoning people but everyone seemed to be out of signal or away from their phones.
Finally I found a very basic area map on a sign that at least had the street on it and I reached the theatre at exactly 09:00 after over 30 minutes of wandering around in the wrong directions.
I found Ruth and explained the situation and warned her that if I had been running late due to GPS problems then Alex W. may very well be running late as well. And yes he had had the same trouble but eventually arrived only about 15 minutes late.

After we had signed in Ruth showed us through into the theatre and we got our first look at the fully built stage. Both Alex and I had seen the amazing designs and model box for W.i.t.W during rehearsals, and it had further inspired me in following a more artistic career path but to see it in the flesh… Alex and I just sat there for a long while, open-mouthed in utter awe of the stage. The set was truly incredible; all we could say for a time was ‘WOW!!’

Ruth sent us to shadow the Lighting & Sound crew who were set up on huge desks in the audience seating. From our vantage points behind them we could observe how they were going about setting up the lighting and sound cues from prompt copies and large detailed diagrams. Unfortunately everyone was on ‘cans’ so while we could see what they were doing we couldn’t actually hear what was going on. But even then I found myself beginning to spot certain things on the diagrams and around the stage that I did recognise and understand, where as a matter of months before I wouldn’t have had a single clue. So by osmosis alone I must be learning on my course!

The cast came on stage in costume to do sound checks for their instruments and also their cleverly hidden microphones. Then after that they began doing a cue to cue tech session.
Now for someone who isn’t in the know and is just sitting and watching cue to cue can look extremely odd and possibly quite boring for the actors. As this is the techies time when they control everything that is going on. We watched as it took over an hour to tech about 5 minutes worth of action. Constantly starting up going through certain cues, stopping, going back and repeating it over and over again till the myriad of parts: actors, props, stage, lighting and sound functioned perfectly together. The cast just took it in their stride and seemed comfortable and patient.

When the session stopped for a break, Ruth took us for a tour of the stage and back stage area. It was fascinating to see how a lot of the scenery and props had been made. The rickety looking bridge walkway on close examination turned out to be constructed from thick steel beams and wooden panels, which could easily hold the full cast if needed. The gypsy caravan, the car, train engine and so on were all scale mock ups that still functioned perfectly whilst being light enough of weight to be moved easily around the stage.
As there is practically no wing space at the Crescent, the designer and crew had come up with ingenious ways to store all of the big props and sets and also by using the revolving stage piece and independently opening and closing panel back drops towards the back of the stage moving the sets on and off stage became much more fluid. Absolutely every nook and cranny of the wings was being used to the maximum and I appreciated how organized everything was and that there was a lot of sense to how and where everything was set.

We had a look at some of the prop tables, quick change area (each actor having a plastic hamper under their chair for their props and costume items to be dropped in is a great idea I shall keep in mind for future work), the pulley system for the back drop panels and the crank hand for the revolving stage piece (including video monitor to check angles etc.) and then the prompt desk… A rather confusing looking piece of equipment that is occupied by the DSM during the show, from which action, lighting and sound cues are given, actors can be prompted for forgotten lines and cue lights can be controlled. After seeing a prompt desk in use I think I can now imagine what a civvy must feel like when faced with a coms desk or weaponry control system on a warship for the first time. Daunting indeed.

The Wind in the Willows: M&G and 1st Run Through

Monday 22^nd October

Whilst Anthony, Alex W. and Alex N. were at MB helping on the ‘Get-In’ for YouTheatre; Ruth and I met at SGC for the Meet & Greet and 1^st run-through for Wind In The Willows, the REP’s big Christmas show this year.
As usual I arrived bright and early and lent a hand to set up the various snacks, drinks and seating areas ready for when everybody showed up.
The cast and crew all arrived on time and most had already come over and introduced themselves by the time the director suggested that formal introductions would be for everyone to stand and individually say their name and their role on the production.

Once everyone was acquainted, one of the crew guided us around the building and all the office spaces and explained how all the rehearsal areas work, this included directing us through the ‘up-and-over’ and the ‘down-and-under’ routes used to avoided walking through certain areas when rehearsals are in progress, and of course these routes meant I was holding everyone up as they involved a heck of a lot of going up and down flights of stairs.
By the time we’d all finished the tour it was lunch time, so I popped to the shops to grab some food and then sat and had a chat with the crew.

After lunch we all met up again in the rehearsal space for a look at the wonderful artistic designs for the stage and costumes, the first read-through and to work on the song that is the main theme tune for the show.
The stage Model Box and costume designs were fantastic! And I told Ruth later that in that field I may have discovered my future speciality.

I was lent a copy of the script and sat to one side of the room to observe how the professional process works. The majority of the cast are also experienced musicians who will play instruments on stage during the show, so arranging the song was incredibly easy and quick. And the quality of the singing just a couple of hours later when they finished was incredible.

The read-through was equally easy going and fun. I was amazed at how many of the cast were already working off-script and when certain characters hadn’t been allocated yet, actors just jumped straight in and picked up the lines without pause or argument.
The full run came in at just under two hours and without a single hitch. All in all it was a lovely experience for me, to see how a professional company goes about starting a big show like this. Granted everyone may have been on their very best behaviour, it being the first day and all, but I hope that this hasn’t spoilt me for when I get back to classes, in that I hope that I won’t automatically expect the same standard from amateur/student cast and crew.

RISK Performance and Snow Queen Production

Thursday 18^th October

My first ever time working tech on a performance.

The day started early, I was at the MAC by 08:30 (always ‘first in, last out’), to meet up with all the actors and make sure everyone got placed properly. Ellie handed over the card keys and props (hand held LED lights for the ‘Club Risk’ piece), and it was down to me to make sure everyone was in their various preparation rooms and that the props were well looked after.

Once I had done this I adjourned back to my own ‘Risk’ performance group who had decided to use a quiet hall way in the basement to go over lines, block out movements, etc. Alex N. joined us for a time as he would be in charge of operating the sound/light for nearly all the groups. Leon provided us with print outs of the script so we could go through with them and mark up the various tech cues for the performance.
I also took opportunity of this time to use my laptop and the MAC’s Wi-Fi to go in search of an appropriate metallic clang sound effect to simulate the bars of the cage going up.
I ended up on the website: http://www.freesound.org/ which Anthony had recommended. It has a huge selection of sound effects and such that can be downloaded and used for free.
The tag search for ‘metallic clang’ came up with a huge amount of results, so I set to checking the descriptions and selecting those sounds that I thought would be suitable. Then I checked the ones I had selected and whittled them down to about half a dozen options which I played to the cast till we finally found the clang that sounded the best. Alex N then took a copy of that sound and the music that we would be using and moved on to the next group he would be operating for.
By this time I was starting to feel a tad nervous and also being in a cramped space underground full of people all talking at once and moving (stomping) about was making me feel a bit queasy. So I decided to move on to make sure all the other groups were happy and had everything they needed and also get some air.
On my travels between groups I was told that Anthony had arrived, had a briefing from management about using the Hexagon Theatre space and us techies could go in and get ourselves properly acquainted with the space and set up in the control booth. So I went and collected my equipment from the basement and went to the booth.
Whilst we were setting up our lap tops, cds etc. I noticed how stuffy the booth was getting after just a few minutes of there being only 4 people in there. Then I noticed the radiator! Whose clever idea was it to have a radiator in a tiny room full of electronic equipment which at times will also be occupied by a number of highly strung techies?!? We tried to turn off the radiator but the best we could do was turn it down a little bit.
Later on I would have to time getting out of the booth to get some fresh air, unfortunately it meant missing a few of the performance pieces as to get to the booth I had to climb through the audience seating, which of course meant constantly dealing with my nemesis: ‘odd shaped flights of stairs’.

By the time we’d got set up performance time had rolled around and we went straight to work.
My own ‘Risk’ group, now officially named ‘Caged Bird’ was one of the first to go. So with much trepidation I made sure that my script and video were completely set up and ready to go. It was at this point that I realised how incredibly nervous I was. Pre-performance nerves are not something I had encountered for quite some time. Having competed in sports for so many years you get used to it and metallise yourself to the point that you no longer feel the typical butterflies in stomach and anxieties associated with such things. But, of course, production arts are still very new and alien to me. So as my group took their places and the piece started I saw how my hands were shaking and I felt quite wobbly as I made sure that I hit the video cues on time. The anxiety didn’t let up until quite some time after we’d finished but in the end it all worked out ok and it came off without too many hitches.
Afterwards I stayed in the booth to observe Alex N. and Alex W. working. Again all those buttons and movement had me quite confused but I’m sure that very soon I will begin to understand perfectly what everything does.

Once all the performances had finished it was our turn to clear up, I had to make sure that all of the rehearsal spaces had been tidied up and that all the props etc. were returned to Ellie in the state she had provided them in.
Such is the lot of the production staff that even when all the actors had finished and left there we were still making sure everything was neat and tidy.

After that we all adjourned to the MAC cafeteria area for a production meeting for the Snow Queen.
Alex N. and I shared note taking duties for the meeting. We spoke with Ellie about the set, props and costumes.
We finally decided on the dimensions of the cave/platform which would be the centre piece for the set.
We went through the costumes and what sorts of styles Ellie had in mind for each character so I could then write up a properly detailed costume list for the whole team to investigate, research and source, much the same as the props list.
Anthony provided a perfect idea for the magic mirror that the Snow Queen breaks at the start of the show: We make up a mirror that is pre-broken into two pieces. These pieces slot together and then before each performance it is covered in a large piece of tin foil which holds it together but then tears as the Devils pull the pieces apart. Quite ingenious really.
There was a great deal of debate over a lot of the set, costumes and props with everyone interjecting with ideas and such. In general a great group ‘brain storming’ session.