Check list for a PLAY/PANTO
notes for directors
INTRODUCTION
These notes are designed for new directors thinking of directing a play at SMP, and as a checklist for experienced directors.
It should be read alongside the spreadsheet from the committee which has been prepared as an aide memoire.
It should also be read in conjunction with the very good book The Director’s Craft, by Katie Mitchell, which is full of excellent advice about how to approach a production. However, this is a book for directors in professional theatre, and at SMP we do not always have the luxury of a full support team.
So these notes are a practical guide based on the experience of previous SMP directors.
CHOOSING THE PLAY
The first point is very simply that you should love the play and you should want to direct it.
When you choose your play make sure you contact the rights holder and make sure that the rights are available - and fill in the form to book them. The committee can help with this, but it is up to you to make sure it has been done. The rights usually require everyone to purchase a copy of the script, and you should make sure this happens. The rights also might restrict your ability to make changes to the script. Make sure you are aware of these restrictions before you start.
SMP has a core of excellent actors and actresses. When you choose your play you should bear in mind the pool of talent available. It has been possible in the past to draft in from other groups to fill holes, but if you can start with who you know is available, and will be good, you are more than halfway there.
SMP has a limited stage. We do not have large wings, nor the ability to accommodate complicated set changes. There is little room for large furniture to be stored between acts. If your play demands a high degree of staging, you might be wise to think how it can be simplified.
It is good to be ambitious, but it will lead to endless headaches later in the production schedule if you do not give this some thought in the beginning.
SET UP YOUR PRODUCTION TEAM
Before you audition and finalise your cast - or even before - recruit your production team.
Ideally you need a producer (to manage all the admin and publicity) a stage manager, props and costume coordinator. At SMP the stage manager will often be i/c props and will also manage the costume discussions. However, if you can divide these roles it will be easier on everyone. An assistant SM is also a good idea, and you will need to decide whether you are going to use a prompt. Generally we use a prompt during rehearsal, but no prompt for performances from dress rehearsal onwards. But that is your decision.
You will also need a set designer and builder and a tech for lighting, sound effects etc. Make sure you know who these people are because both are vital to you. If you do not have any ideas in mind, the committee will help you.
Ideally you should run a series of production meetings alongside the rehearsal schedule. You will not have time to have production meetings during the rehearsal times, so separate meetings are essential. Your producer, if you have one, should set these up for you and will insist on a production schedule which you are happy with. Don’t leave important set design decisions until later in the schedule. Make them asap. It will be easier for everyone, and you can change them if they obviously don’t work.
CASTING AND AUDITIONS
When you read a play you will probably have in mind an ideal cast. It isn’t a bad thing to have your mind on who might be cast in a particular role. However, it is wise to wait until after auditions until you confirm. You might be surprised at who turns up, and pleasantly surprised by their ability.
It is also a good idea to have another opinion when it comes to casting. Get someone to sit in, and then confer with them before you make your final choice.
Your final choice should also depend on availability of the actors and actresses. Generally the SMP rehearsal times are relatively short - we can only get into the hall on Monday and Thursday evenings from 8-10 pm usually. You don’t want to cast anyone who is going to be unavailable for the majority of the rehearsal run. They might be absolutely excellent, but their absence will have a huge effect on the other members of the cast.
So once you have decided on your cast, make sure you know which rehearsals they will be available for. It is very rare that the whole cast will be available for the whole rehearsal schedule, but you can work round what you know in advance. Generally speaking make sure that everyone is available for the tech and the dress - and good luck on that one!!
Some directors have used a diary app to get a good idea of who is available when and have built their rehearsal around this. Whether or not you want to use an app, do get a timetable. It is so frustrating to intend to rehearse a scene to find that an actor is missing - especially when they informed you in advance but you didn’t make a note of it!!
You should also note that the committee are producing a policy statement when we use anyone under 18 in the cast. This involves chaperones and parental consent - and this is very important i we want to avoid any accusations.
YOUR VISION
When you have your cast and your production team, and before you go into rehearsal, have a meeting to discuss a) your vision and b) how you want to work. This is important to get everyone on the same page. For instance - if you are intending to ‘update’ your play everyone should know for props, costumes, language, etc. and during the discussion you might find that it is not possible. Some of the cast and crew are also probably hugely experienced and will contribute their ideas - good at this early stage so that you can incorporate them or not. Harder to incorporate at a later stage.
It would also be a good idea at this stage to look at early set design, how the lighting might work. You want everyone to be involved and to be excited too.
As for how you want to work, this depends on you. ‘Do as I say’ or ‘Do as I do’ are both valid, but it is a good idea to listen to feedback from the actors. You might have a particular move in mind which might be a bit unworkable on the stage. Listen to the feedback and try and work out between you what is the most comfortable. SMP productions tend to be team efforts and are the better for that.
SPECIAL REQUIREMENTS
It is a good idea to work out if the script calls for special requirements. Is there a fight scene? Are you using dialects? The committee will be able to help to arrange workshops to deal with this. Identify them early on.
Also, identify any special costumes. Is this a costume drama? Allow everyone, including whoever is i/c costumes for you, to research styles and come up with some suggestions. Include the cast in this too - wearing wigs or changing hair colour can dramatically alter how someone performs and you might want to incorporate this into the rehearsal schedule.
SMP has a good database of suppliers from wigs to props to furniture to costumes. Jane Atkinson is i/c the SMP wardrobe and will happily be involved. And we can usually find other suppliers if you ask through the committee.
REHEARSAL SCHEDULE
This is down to you on how you want to carve this up, and will also depend on the availability of members of the cast on different nights. Be very clear on when you want the cast to drop their books (and add at least another week on to this!!).
Other organisations use the community centre. Be aware of what time you can get into the hall on rehearsal evenings. This will vary, but the hall is usually free at 8. Don't forget to book your tech date, particularly as the hall is often used for parties on Saturdays and Sundays. Get this date in early!!! The committee will help you to liaise with the other users.
Most productions involve the cast in separate line rehearsals. Usually these are arranged by the cast members, but it is also an option for you to arrange these - but they can’t be in the hall on non-rehearsal nights.
Be prepared to divide the play up into segments, not just acts or scenes. There are some excellent notes about this in Katie Mitchell’s book. This will enable you to choose parts of scenes which are important and which you can go over and over to get just right.
Another rehearsal note, and a heartfelt plea. Most of the cast and crew will have day jobs. Holding them late after rehearsal to do endless ‘notes’ will not go down very well. If you have specific notes go directly to the people involved - you can also have some of these discussions in the pub afterwards or on email or phone. If it is really a whole cast discussion, then do it quickly, and again follow up by email.
Another word of warning on this - keep your note emails short and to the point. People with day jobs don't have a lot of time to read long and involved emails. Remember this is amateur theatre. Everyone has other calls on their time - including you - and as this is a hobby for enjoyment, don’t make it a miserable and arduous task. We want to put on good productions - of course we do - but not at the expense of everyone’s sanity and patience.
And please don’t forget to rehearse your curtain call. Good idea to do this at the tech, but almost everyone is so tired that it gets overlooked. But perhaps best to do it before the dress rehearsal as a scrappy curtain call can ruin the final impression.
PUBLICITY
There is a very good publicity schedule which the committee has put together. It shows you what should be done by when and who will do it.
We achieve most of our audience through word of mouth and social media, but you will need a poster. Traditionally our posters have been designed by Brand Reaction (George Atkinson’s company), and you can access them through Jane Atkinson who will help you put together a brief. But if you want something different that is entirely up to you as long as you take responsibility for design and production. Again, the committee will put you in touch with the right people. The cast and committee usually take posters and flyers to distribute.
You will be asked to provide some publicity photos for social media, some words for emails and press release. A producer should take care of this schedule for you, but if you do not have one then this will fall on you, with the help of the committee, so be prepared.
PROPS, COSTUMES, FURNITURE ETC.
Get a props list early, and also assemble working props if they are important to the action. Actors like to get used to handling props - even if they are not the final ones you will be using. If you have them as close to the beginning of the rehearsal schedule as possible, this will help the actors get acclimatised to their moves and positioning.
Final props might need to be hired, as might furniture. SMP usually either borrows furniture from members of the cast or the group, or hires from the National Theatre. Similarly costumes. Wigs can also be hired from several places. The committee or the cast will be able to give you information. But don’t leave it too long before you know what you need to hire so that you can go in search of just the right piece of furniture or costume.
Another note about costume - if an actor is required to wear something unusual, such as a long skirt, it is a good idea to rehearse in one as they make you walk differently, and create issues such as walking up stairs. Similarly high heeled shoes.
MUSIC AND ANNOUNCEMENTS
Sometimes music is called for in the play, but when it isn’t it is a really good idea to give some thought to your soundtrack as well as your sound effects. The soundtrack is run by the tech team, but choices are up to you and your cast. You need introductory music before curtain up, end of scene music at the end of each act. You need an intro to each act, and some final music when the curtain closes, and you might also want to include some music for the curtain call.
You can also record the announcement about turning off mobile phones to be played automatically, and please don't forget to warn the audience about flashing lights, loud noises or anything else which might be unpleasant. Usually this is done by a notice in the foyer but you can also include in the announcements if you wish - again recorded!!
FRONT OF HOUSE
The committee will put together a front of house team for you, including someone to run the bar. This should be the last of your worries, but do make sure that it is done.
THE WEEK OF THE PLAY
As the SMP productions are team efforts, you will need to get involved in getting the hall ready for the audience. The front of stage flaps have to come out and the ‘frill’ put around it; the blackout blinds need to be fixed, and don’t forget the blackout blinds on the skylights, especially for summer productions. You need to know when you can get into the hall on performance evenings as the audience chairs need to be put out. The exact number will depend on the size of the audience, so the committee will keep you informed of audience numbers night by night.
At the end of the performance, the chairs have to be put away, the blinds taken down from the windows (if the Montessori school is using the hall during the day), the cast changing room will need to be cleared and cleaned (again only if the school is present during the day). All props, costumes etc. have to go on the stage and out of the way. You will not be solely responsible for all of this but you will be expected to lead the team along with the stage manager and make sure it happens, and all the cast and crew should be expected to help with this.
As you hold the Director’s Key you will probably need to make sure the hall is clear, the doors and windows shut, the lights off, before you lock up every night. And as you hold the key, you will need to be the first there both on rehearsal evenings and performances to open everything up. Other members, particularly committee members, have keys but they might not be around. This is another of your responsibilities.
…. AND FINALLY
Don’t be afraid to ask for help. There are many people at SMP who have either been in or directed productions. They will be happy to give you insight and advice, and some of them have inputted into this. Better to ask than risk forgetting. The committee are there to help too.
BREAK A LEG!!!!
These notes are designed for new directors thinking of directing a play at SMP, and as a checklist for experienced directors.
It should be read alongside the spreadsheet from the committee which has been prepared as an aide memoire.
It should also be read in conjunction with the very good book The Director’s Craft, by Katie Mitchell, which is full of excellent advice about how to approach a production. However, this is a book for directors in professional theatre, and at SMP we do not always have the luxury of a full support team.
So these notes are a practical guide based on the experience of previous SMP directors.
CHOOSING THE PLAY
The first point is very simply that you should love the play and you should want to direct it.
When you choose your play make sure you contact the rights holder and make sure that the rights are available - and fill in the form to book them. The committee can help with this, but it is up to you to make sure it has been done. The rights usually require everyone to purchase a copy of the script, and you should make sure this happens. The rights also might restrict your ability to make changes to the script. Make sure you are aware of these restrictions before you start.
SMP has a core of excellent actors and actresses. When you choose your play you should bear in mind the pool of talent available. It has been possible in the past to draft in from other groups to fill holes, but if you can start with who you know is available, and will be good, you are more than halfway there.
SMP has a limited stage. We do not have large wings, nor the ability to accommodate complicated set changes. There is little room for large furniture to be stored between acts. If your play demands a high degree of staging, you might be wise to think how it can be simplified.
It is good to be ambitious, but it will lead to endless headaches later in the production schedule if you do not give this some thought in the beginning.
SET UP YOUR PRODUCTION TEAM
Before you audition and finalise your cast - or even before - recruit your production team.
Ideally you need a producer (to manage all the admin and publicity) a stage manager, props and costume coordinator. At SMP the stage manager will often be i/c props and will also manage the costume discussions. However, if you can divide these roles it will be easier on everyone. An assistant SM is also a good idea, and you will need to decide whether you are going to use a prompt. Generally we use a prompt during rehearsal, but no prompt for performances from dress rehearsal onwards. But that is your decision.
You will also need a set designer and builder and a tech for lighting, sound effects etc. Make sure you know who these people are because both are vital to you. If you do not have any ideas in mind, the committee will help you.
Ideally you should run a series of production meetings alongside the rehearsal schedule. You will not have time to have production meetings during the rehearsal times, so separate meetings are essential. Your producer, if you have one, should set these up for you and will insist on a production schedule which you are happy with. Don’t leave important set design decisions until later in the schedule. Make them asap. It will be easier for everyone, and you can change them if they obviously don’t work.
CASTING AND AUDITIONS
When you read a play you will probably have in mind an ideal cast. It isn’t a bad thing to have your mind on who might be cast in a particular role. However, it is wise to wait until after auditions until you confirm. You might be surprised at who turns up, and pleasantly surprised by their ability.
It is also a good idea to have another opinion when it comes to casting. Get someone to sit in, and then confer with them before you make your final choice.
Your final choice should also depend on availability of the actors and actresses. Generally the SMP rehearsal times are relatively short - we can only get into the hall on Monday and Thursday evenings from 8-10 pm usually. You don’t want to cast anyone who is going to be unavailable for the majority of the rehearsal run. They might be absolutely excellent, but their absence will have a huge effect on the other members of the cast.
So once you have decided on your cast, make sure you know which rehearsals they will be available for. It is very rare that the whole cast will be available for the whole rehearsal schedule, but you can work round what you know in advance. Generally speaking make sure that everyone is available for the tech and the dress - and good luck on that one!!
Some directors have used a diary app to get a good idea of who is available when and have built their rehearsal around this. Whether or not you want to use an app, do get a timetable. It is so frustrating to intend to rehearse a scene to find that an actor is missing - especially when they informed you in advance but you didn’t make a note of it!!
You should also note that the committee are producing a policy statement when we use anyone under 18 in the cast. This involves chaperones and parental consent - and this is very important i we want to avoid any accusations.
YOUR VISION
When you have your cast and your production team, and before you go into rehearsal, have a meeting to discuss a) your vision and b) how you want to work. This is important to get everyone on the same page. For instance - if you are intending to ‘update’ your play everyone should know for props, costumes, language, etc. and during the discussion you might find that it is not possible. Some of the cast and crew are also probably hugely experienced and will contribute their ideas - good at this early stage so that you can incorporate them or not. Harder to incorporate at a later stage.
It would also be a good idea at this stage to look at early set design, how the lighting might work. You want everyone to be involved and to be excited too.
As for how you want to work, this depends on you. ‘Do as I say’ or ‘Do as I do’ are both valid, but it is a good idea to listen to feedback from the actors. You might have a particular move in mind which might be a bit unworkable on the stage. Listen to the feedback and try and work out between you what is the most comfortable. SMP productions tend to be team efforts and are the better for that.
SPECIAL REQUIREMENTS
It is a good idea to work out if the script calls for special requirements. Is there a fight scene? Are you using dialects? The committee will be able to help to arrange workshops to deal with this. Identify them early on.
Also, identify any special costumes. Is this a costume drama? Allow everyone, including whoever is i/c costumes for you, to research styles and come up with some suggestions. Include the cast in this too - wearing wigs or changing hair colour can dramatically alter how someone performs and you might want to incorporate this into the rehearsal schedule.
SMP has a good database of suppliers from wigs to props to furniture to costumes. Jane Atkinson is i/c the SMP wardrobe and will happily be involved. And we can usually find other suppliers if you ask through the committee.
REHEARSAL SCHEDULE
This is down to you on how you want to carve this up, and will also depend on the availability of members of the cast on different nights. Be very clear on when you want the cast to drop their books (and add at least another week on to this!!).
Other organisations use the community centre. Be aware of what time you can get into the hall on rehearsal evenings. This will vary, but the hall is usually free at 8. Don't forget to book your tech date, particularly as the hall is often used for parties on Saturdays and Sundays. Get this date in early!!! The committee will help you to liaise with the other users.
Most productions involve the cast in separate line rehearsals. Usually these are arranged by the cast members, but it is also an option for you to arrange these - but they can’t be in the hall on non-rehearsal nights.
Be prepared to divide the play up into segments, not just acts or scenes. There are some excellent notes about this in Katie Mitchell’s book. This will enable you to choose parts of scenes which are important and which you can go over and over to get just right.
Another rehearsal note, and a heartfelt plea. Most of the cast and crew will have day jobs. Holding them late after rehearsal to do endless ‘notes’ will not go down very well. If you have specific notes go directly to the people involved - you can also have some of these discussions in the pub afterwards or on email or phone. If it is really a whole cast discussion, then do it quickly, and again follow up by email.
Another word of warning on this - keep your note emails short and to the point. People with day jobs don't have a lot of time to read long and involved emails. Remember this is amateur theatre. Everyone has other calls on their time - including you - and as this is a hobby for enjoyment, don’t make it a miserable and arduous task. We want to put on good productions - of course we do - but not at the expense of everyone’s sanity and patience.
And please don’t forget to rehearse your curtain call. Good idea to do this at the tech, but almost everyone is so tired that it gets overlooked. But perhaps best to do it before the dress rehearsal as a scrappy curtain call can ruin the final impression.
PUBLICITY
There is a very good publicity schedule which the committee has put together. It shows you what should be done by when and who will do it.
We achieve most of our audience through word of mouth and social media, but you will need a poster. Traditionally our posters have been designed by Brand Reaction (George Atkinson’s company), and you can access them through Jane Atkinson who will help you put together a brief. But if you want something different that is entirely up to you as long as you take responsibility for design and production. Again, the committee will put you in touch with the right people. The cast and committee usually take posters and flyers to distribute.
You will be asked to provide some publicity photos for social media, some words for emails and press release. A producer should take care of this schedule for you, but if you do not have one then this will fall on you, with the help of the committee, so be prepared.
PROPS, COSTUMES, FURNITURE ETC.
Get a props list early, and also assemble working props if they are important to the action. Actors like to get used to handling props - even if they are not the final ones you will be using. If you have them as close to the beginning of the rehearsal schedule as possible, this will help the actors get acclimatised to their moves and positioning.
Final props might need to be hired, as might furniture. SMP usually either borrows furniture from members of the cast or the group, or hires from the National Theatre. Similarly costumes. Wigs can also be hired from several places. The committee or the cast will be able to give you information. But don’t leave it too long before you know what you need to hire so that you can go in search of just the right piece of furniture or costume.
Another note about costume - if an actor is required to wear something unusual, such as a long skirt, it is a good idea to rehearse in one as they make you walk differently, and create issues such as walking up stairs. Similarly high heeled shoes.
MUSIC AND ANNOUNCEMENTS
Sometimes music is called for in the play, but when it isn’t it is a really good idea to give some thought to your soundtrack as well as your sound effects. The soundtrack is run by the tech team, but choices are up to you and your cast. You need introductory music before curtain up, end of scene music at the end of each act. You need an intro to each act, and some final music when the curtain closes, and you might also want to include some music for the curtain call.
You can also record the announcement about turning off mobile phones to be played automatically, and please don't forget to warn the audience about flashing lights, loud noises or anything else which might be unpleasant. Usually this is done by a notice in the foyer but you can also include in the announcements if you wish - again recorded!!
FRONT OF HOUSE
The committee will put together a front of house team for you, including someone to run the bar. This should be the last of your worries, but do make sure that it is done.
THE WEEK OF THE PLAY
As the SMP productions are team efforts, you will need to get involved in getting the hall ready for the audience. The front of stage flaps have to come out and the ‘frill’ put around it; the blackout blinds need to be fixed, and don’t forget the blackout blinds on the skylights, especially for summer productions. You need to know when you can get into the hall on performance evenings as the audience chairs need to be put out. The exact number will depend on the size of the audience, so the committee will keep you informed of audience numbers night by night.
At the end of the performance, the chairs have to be put away, the blinds taken down from the windows (if the Montessori school is using the hall during the day), the cast changing room will need to be cleared and cleaned (again only if the school is present during the day). All props, costumes etc. have to go on the stage and out of the way. You will not be solely responsible for all of this but you will be expected to lead the team along with the stage manager and make sure it happens, and all the cast and crew should be expected to help with this.
As you hold the Director’s Key you will probably need to make sure the hall is clear, the doors and windows shut, the lights off, before you lock up every night. And as you hold the key, you will need to be the first there both on rehearsal evenings and performances to open everything up. Other members, particularly committee members, have keys but they might not be around. This is another of your responsibilities.
…. AND FINALLY
Don’t be afraid to ask for help. There are many people at SMP who have either been in or directed productions. They will be happy to give you insight and advice, and some of them have inputted into this. Better to ask than risk forgetting. The committee are there to help too.
BREAK A LEG!!!!
FRONT OF HOUSE GUIDELINES
:FOH MANAGER TO ARRANGE TEAMS OF PEOPLE FOR FOYER & BAR DUTIES
This requires an email to members & non-members who are usually willing to help, sent out 2-3 weeks before the week of the performance. It should be mentioned that we like helpers to buy tickets if they plan to watch the show.
FOYER: 2 people
BAR: 2 people
FOH MANAGER
Sue Darrieulat Nov 2023
This requires an email to members & non-members who are usually willing to help, sent out 2-3 weeks before the week of the performance. It should be mentioned that we like helpers to buy tickets if they plan to watch the show.
FOYER: 2 people
- Arrive at hall 7pm / doors open 7.15pm
- Check off pre-paid online tickets
- Sell tickets on the door (currently £14 with no concessions) Programmes (currently FOC)
- Stage Manager to advise when audience allowed in the hall FOH Manager to provide printout of online ticket sales report FOH Manager to provide cash float for tickets sold on the door
- FOH Manager to check who provides programmes (currently Treasurer) FOH Manager to collect all money at the end of each performance
BAR: 2 people
- Arrive at hall no later than 6.45pm to set up bar which opens 7.15pm Check who provides wine, beer & juice (currently Jo Harry)
- Check who has key to the glasses cupboard (normally the Director) Check bottle & can openers
- Check who has the card reader (liaise with Treasurer beforehand) Clear up kitchen & wash glasses at the end of each performance FOH Manager to provide cash float for the bar
- FOH Manager to provide printout of bar prices if required
- FOH Manager to collect all money at the end of each performance
FOH MANAGER
- Has access to TicketSource website (needs to have a printer) Prints online ticket sales report for each performance.
- Provides cash floats for tickets (currently £30) & bar (currently £60) Asks Treasurer to fund floats if required.
- Bank money at Metro in Chiswick High Road (paying-in book required) Sends finance summary to Treasurer (example to be provided)
Sue Darrieulat Nov 2023
STAGE MANAGEMENT
General
Before curtain up:
During the show:
After the performance:
- The Director (or AD or Producer) will usually ask for volunteers for backstage and technical crew; the Stage Manager (SM) will then run the backstage team, i.e. Asst SM, props, scene shifters etc.
- The SM attends rehearsals to learn what props/set/scenery changes are required when.
- Props are often listed in the back of the script, but the Director may want more or different. It is helpful to start assembling props early, and to make sure the cast know what is available so that they can start using them. If more are needed than can be supplied from existing stocks, the person I/c props will need to put out a request to the cast (or wider membership) or start acquiring them from elsewhere.
- Although setting up the stage is a SM job, everyone is supposed to help with putting out chairs, raising the stage extensions (front and side), placing the steps etc both for rehearsals and performances – and putting everything away again afterwards. The Director should make this plain, but the SM may have to do so, or issue periodic reminders.
- It is helpful to produce an action list that can be printed or shared with the rest of the backstage crew. This should itemise everything that needs to be done before curtain up, during scenes, in the interval, and at the end of the show.
Before curtain up:
- Fit the valance to the front stage extension;
- Set up table(s) for props in the rhs corridor against the stage wall and arrange props as required (if there are a lot, as for panto, it can be useful to store stuff for after the interval in boxes under the table);
- Check backstage crew have torches and there is some sort of low-level lighting on the props table;
- Fit the baffle to the dressing room door;
- Make sure there is water and cups for the cast in the dressing room, and a rubbish bag;
- Fit the baby monitors;
- Check that everything that should be on stage or in the wings is in place;
- Check that the cast are all present by 19.15 (15.30 for matinees), start making panic phone calls if not;
- FoH will check with SM when it is alright to allow the audience into the hall;
- Remind the cast not to go out into the hall once the audience is starting to come in;
- Check that the lobby light switch that controls the downlighters, currently marked 'Main Hall', is switched off (the rest can be controlled from the loft);
- Remind cast and backstage crew to turn off their phones;
- Arrange a signal to be given to the technical crew for lights down – this will need to be given by the SM from just inside the hall and visible to the loft. Maintain the signal until it has been acknowledged, If there is to be a reminder to the audience to turn off phones etc, the person giving the reminder can give the signal;
- If there is a dedicated tabs-puller, check they are in position;
- 5-minute and beginners (2-minute) calls to be given to cast and technical crew.
- Cast should be ready to go on stage at the 2-minute mark.
During the show:
- Be ready to place props on and collect from the side stage extensions. If
- Any cast members have taken personal responsibility for any props, check that they have them;
- Be ready to winkle cast members out of the dressing room if they appear to be in danger of missing their entrance, while also discouraging them from hanging around in the corridor too early and getting in the way;
- If cast members want their scripts to hand, they should be asked to put them in the rear corridor, not on the props table or in the wings;
- Be alert for noise in the dressing room and ask for voices to be kept down if necessary;
- If there are large/heavy items to be moved, it is useful to pre-arrange for some cast members to be ready to help;
- If there are a lot of props etc to be moved in a short time, between scenes, cast members may need to be asked to bring items off when they leave the stage.
After the performance:
- The dressing room will need to be cleared, with all costumes being placed on the stage – except on Fridays and Saturdays, unless we have been warned that the room will be needed;
- Props will need to be put on the stage and the table(s) removed (except Fris and Sats as above);
- Check the dressing room is clear, the blind has been raised, the baffle, rubbish bag and baby monitors removed, and the outer door is properly closed;
- Check that the blinds have been raised in the hall and the valance removed NB. The blinds will normally be put up during the tech;
- Stage extensions will need to be lowered and any school equipment that has been moved should be put back where it was found.
BAR REFRESHMENTS
As soon as the next production’s dates are confirmed and preparations for it are underway, prepare to purchase the bar consumables for that production.
Undertake a stocktake audit of what’s leftover in the lighting gallery from the previous production.
Watch out for the next opportunity in supermarkets for ‘Buy 6 save 25%’ offers on wines and buy during that window.
Currently, based on the latest ‘play-reading blind-taste-test’, for each production purchase Brancott Estate Pinot Grigio (NZ if poss otherwise Aus) as the white wine and Trivento Argentinian Malbec as the red. (Although these two came out with top marks during blind wine tastings at play-readings if alternatives in future have ‘won, only choose those available at standard supermarkets, in plentiful supply and regularly on ‘Buy >6 save 25% off’ deals, and are screw-cap.)
Aim for at least 48 bottles (24 red and 24 white), plus two carry-packs of 4x longlife orange juice 1-litre cartons eg from Sainsburys, 16 x Punk IPA and 16 Stella lager cans.
For the Panto Matinee purchase orange fuitshoots or caprisuns x 32 (supermarkets like Iceland typically has offers on their ‘8-packs’).
On production nights bar staff will need to arrive early to prepare bar by bringing down stock from lighting gallery to fridge in kitchen and collecting crates of glasses from the cupboards in the backstage corridor. At end of night take unused stock back upstairs and restock small fridge there with white wine, orange juice, lager and ‘some’ IPA cans, to be cold for next night. (Prior to first night ensure lighting gallery fridge ‘on’ and similarly stocked beforehand.)
Ensure bar staff have downloaded the ‘Collect’ app and have worked with Chris Hulatt to connect it to SMP’s account. There is a free St Michael’s Hall guest wifi to use during the production which is a more sustainable wifi service in the Hall than other providers like O2.
Keep checking, currently only Morrisons and Asda sell the Brancott Estate Pinot Grigio. All supermarkets sell the Trivento Malbec. These are £8.50 wines we can purchase when they’re £6 especially with store loyalty cards and further discounted with the ‘Buy 6 save 25%’ offer.
Once purchased, gather the receipts onto one side of A4, particularly highlight the price and the date, total this up, and send electronically to Chris as an expense for the Treasurer to reimburse to account details you’ve furnished.
If any tumblers or the old-style ‘Paris goblets’ have been broken during a production, purchase them for about 50p when you see them in charity shops and replace.
Always remove empty bottles and cans to members’ own recycling boxes at end of each production night, do not leave in the Hall’s black bin sack or recycling boxes. Remove SMP’s own black bin sack waste and personally dispose.
Occasionally crisps or mince pies have been purchased for sale at productions. Additionally, Pimm’s or Mulled Wine has been made up for sale on occasion. These can be extra work for the effort and make no greater contribution to profits. Time can sometimes be against the bar staff, consider that ultimately our audience prefers bar service to be simple and swift.
Undertake a stocktake audit of what’s leftover in the lighting gallery from the previous production.
Watch out for the next opportunity in supermarkets for ‘Buy 6 save 25%’ offers on wines and buy during that window.
Currently, based on the latest ‘play-reading blind-taste-test’, for each production purchase Brancott Estate Pinot Grigio (NZ if poss otherwise Aus) as the white wine and Trivento Argentinian Malbec as the red. (Although these two came out with top marks during blind wine tastings at play-readings if alternatives in future have ‘won, only choose those available at standard supermarkets, in plentiful supply and regularly on ‘Buy >6 save 25% off’ deals, and are screw-cap.)
Aim for at least 48 bottles (24 red and 24 white), plus two carry-packs of 4x longlife orange juice 1-litre cartons eg from Sainsburys, 16 x Punk IPA and 16 Stella lager cans.
For the Panto Matinee purchase orange fuitshoots or caprisuns x 32 (supermarkets like Iceland typically has offers on their ‘8-packs’).
On production nights bar staff will need to arrive early to prepare bar by bringing down stock from lighting gallery to fridge in kitchen and collecting crates of glasses from the cupboards in the backstage corridor. At end of night take unused stock back upstairs and restock small fridge there with white wine, orange juice, lager and ‘some’ IPA cans, to be cold for next night. (Prior to first night ensure lighting gallery fridge ‘on’ and similarly stocked beforehand.)
Ensure bar staff have downloaded the ‘Collect’ app and have worked with Chris Hulatt to connect it to SMP’s account. There is a free St Michael’s Hall guest wifi to use during the production which is a more sustainable wifi service in the Hall than other providers like O2.
Keep checking, currently only Morrisons and Asda sell the Brancott Estate Pinot Grigio. All supermarkets sell the Trivento Malbec. These are £8.50 wines we can purchase when they’re £6 especially with store loyalty cards and further discounted with the ‘Buy 6 save 25%’ offer.
Once purchased, gather the receipts onto one side of A4, particularly highlight the price and the date, total this up, and send electronically to Chris as an expense for the Treasurer to reimburse to account details you’ve furnished.
If any tumblers or the old-style ‘Paris goblets’ have been broken during a production, purchase them for about 50p when you see them in charity shops and replace.
Always remove empty bottles and cans to members’ own recycling boxes at end of each production night, do not leave in the Hall’s black bin sack or recycling boxes. Remove SMP’s own black bin sack waste and personally dispose.
Occasionally crisps or mince pies have been purchased for sale at productions. Additionally, Pimm’s or Mulled Wine has been made up for sale on occasion. These can be extra work for the effort and make no greater contribution to profits. Time can sometimes be against the bar staff, consider that ultimately our audience prefers bar service to be simple and swift.