Music and Sound This week we listened to several
different songs and considered them for ‘themes’ of the fictional characters
that are brought to life on stage. I like the idea that the fictional
characters would have music to accompany their scenes, as it is a way to
distinguish the difference between the real lives of the Bronte family and the
fictional worlds. Also, having the same song for the same character the whole
way through makes it clear to the audience that they are the same character, as
the play is full of double and triple castings.
I found that performing the Jane Eyre scenes
to her theme music (which is, appropriately, called Wallflower) actually made
the scenes easier to perform. As the music suits the character and story so
well, it made it easier to become immersed in the fictional world, and helped
me connect emotionally with the character. Another sound effect that I liked was the sound of waves crashing and wind howling in the flashback scenes, where the Bronte children are imagining stories together - Charlotte and Branwell invent an island and a commander that would later inspire Rochester and Bertha in Jane Eyre and Emily and Anne write a story that would later become Wuthering Heights. I think it's interesting that the sound effects are used here, since it shows how immersed in their own imagination the children are. It also shows that these are the distant beginnings of the sisters famous books, as the only other time in the play sound is really used creatively in the same way is when the actual developed stories are playing out on stage. Scene Development
We also blocked the final Jane Eyre scene in
which Jane and Rochester are reunited. When rehearsing the scene before, Will and I both found it a hard scene to connect to. It felt awkward to perform the way we had staged it and seemed to end very suddenly and abruptly. However, since finding out the context of the scene to the plot of Jane Eyre, the scene makes a lot more sense. During Jane and Rochester's separation, Jane dreams that he is calling her name and returns to his home only to find it burned to the ground - Bertha has burned it down and killed herself, and Rochester was blinded in the fire, becoming withdrawn and bitter. When she finds this out, Jane goes to see if he is alright for herself. With this in mind, we restaged the scene so that Rochester was now the one 'trapped' on the block 'cage' of his own mentality, and Jane the one trying to get through to him. This parallels the first Jane Eyre scene, in which the roles are reversed, which I think is bittersweet but also romantic that their positions have swapped and they can understand one another. I thought it was an interesting touch to have Rochester facing the audience and Jane enter from behind him - in fact the whole scene is staged this way - as it can be perceived as symbolic that Rochester cannot see her. Bertha This week was also the first time I actually played Bertha. For most of part two, Bertha is comprised of just me, Ciara and Erin. It's an interesting section to explore for Bertha, since she starts off still young and sane and hopeful, in love with the brave commander, and slowly over the rest of Act One becomes more unhinged and ravaged by her years left alone and incarcerated. The first time we see Bertha in part two is when she appears to wave goodbye to Branwell 'the commander' as he leaves for London, and she is still in good enough health. The next time we see her fall into insanity, as she remains alone and unloved. The stage direction for this scene was that Bertha 'emits a low, mirthless laugh' which was a problem at first as none of us knew what exactly we had to do, or how to do it. We took mirthless to mean without joy or happiness, and from there I began to understand that it's a bitter, ironic gesture. Bertha is bitter that she has been left alone and locked away. After realising this, we were able to connect with the gesture more. Another scene we worked Bertha into was the scene in which Charlotte is writing a letter to Mr Hagar. As Charlotte becomes more impassioned, Bertha becomes more excited and powerful as she writhes and tears paper in a representation of Charlotte's sexuality/psychology. One moment in the scene that really stood out to me was when Charlotte, at the height of her passion, says 'beat me' Bertha falls to the floor. As Charlotte realises what she's said and is horrified at herself, Bertha limps away almost wounded and weak - once again Charlotte is repressing her and beating her down. I enjoyed exploring the different stages of Bertha's life, particularly as I am also playing Charlotte, who created Bertha as an embodiment of her own state of mind. Ideas and Understanding An interesting thought that I did have when discussing Bertha with Erin outside of rehearsals was the casting of Charlotte and in relation to Bertha. Both Ciara and I play Charlotte at different times and both are part of Bertha. I play Charlotte in part one at her youngest and most free and hopeful, as well as Jane Eyre, an embodiment of what Charlotte thinks she 'should' be - showing that Charlotte sees her younger, freer self as the best of her, or her idealised self. Ciara plays Charlotte in part three, at the height of all the tensions in the play - having her as the 'main' head of Bertha shows that Charlotte sees her older, more troubled self as the monstrous animal Bertha. It is almost as if Charlotte is seeing her past or lost potential as Jane, and her future as Bertha.
My theatre
company will be headed by an artistic director and a producer. The producer
will be in charge of an administrator, who will be in charge of a fundraiser. The
artistic director will be in charge ofperformers and designers – a set designer and costume designer. The
company will also have a stage manager, who will lead a team of lighting and
sound technicians, and deputy stage manager.
I have chosen
to lay out my company this way because I think this this will work well and
efficiently. The artistic director and producer hold equal position at the top
of the structure, as they have equally important but very different roles. Both
are absolutely necessary to any company.
The producer
has both an administrator and a fundraiser at their disposal as both of those
fall under their responsibilities – they will instruct the administrator in
looking after the hiring and paperwork and bookings, and the fundraiser in
writing grant proposals and persuading investors.
The artistic
director’s job is to decide and direct the overall style and ‘look’ of the
play, so they are directly in charge of the performers and design team, in
order to more directly influence the look.
Meanwhile the
stage manager and their deputy stage manager head the lighting and sound tech
team, as well as having an active role in instructing performers, so that they
can have complete control and awareness of everything happening on stage.
Detailed Job Profile of an Actor
Skills/Personal Qualities Needed
An actor working within a theatre company requires variety of skills and personal qualities in order to be successful in the business.
An actor needs to be resilient and dedicated, with a hard-working attitude. Work in a theatre can involve long hours and late nights that can be extremely taxing, as well as roles that can be emotionally and physically demanding.
It is important that an actor has good team working skills and is able to listen and interact well with others and in a group as most work for an actor will involve working closely with others.
As well as being emotionally resilient, an actor needs stamina, energy and physical fitness.
An actor needs plenty of creativity and imagination, in order to explore scenes in different ways, think outside the box and bring characters and emotions to life in ways that are new and exciting.
Reliability and punctuality are also important qualities for an actor to have, as rehearsal or shooting times can vary wildly, from night shifts to early mornings and long hours. It's also important for an actor to show up on time so they can fit in more rehearsal time.
A good memory is a helpful quality for an actor to have, in order to learn lines and blocking quickly and efficiently.
Versatility and adaptability are important for an actor to have, in order to perform in contrasting roles and productions, as well as take direction.
An actor also needs plenty of determination and persistence in order to make it in the industry. Throughout their career, it is certain an actor will face rejection and extended time periods out of work, but in order to ensure success, they persevere.
An actor should have plenty of compassion and empathy in order to connect with a character's emotions.
Training/Experience
There are a variety of ways in which an actor can train or gain experience.
Though not necessary, an actor may choose to study at drama school. There are many long-standing institutions such as RADA and LAMDA that offer courses in acting and theatre work. Courses such as the BA in Acting, Classical Acting for Theatre and the Foundation Degree in Professional Acting are all highly recognised and esteemed. Having such degrees can boost an actor's resume and help them get jobs,
Institutions such as LAMDA also offer part-time courses and summer courses that are completed in a few weeks and usually are focused on a specific theme such as acting for Shakespeare. These courses can also look good on a resume.
An actor could also study a drama course at a general university.
And most importantly, actors gain experience through various job roles in actual theatres.
Typical Working Activities
The working activities and responsibilities of an actor can vary greatly depending on the job and contract, but can include:
Actively job seeking between work - contacting theatres and companies, meeting with their agent if they have one, and networking. Actors can network in person at theatre/film events or workshops but also through websites such as The Stage and Spotlight.
Preparing for auditions by preparing monologues or lines necessary, and attending the auditions and casting meetings.
Attending rehearsals once they have got a part and learning lines and blocking.
Doing research for the context of a play or film, as well as researching character and considering the character's emotional journey and developing their personality, history and mannerisms.
Meeting with the director and their fellow actors to discuss interpretation of scenes and character.
Performing
Travelling to locations for shoots when working in film or TV.
Shooting on location or on set when working in film or TV.
Attending costume fittings
Helping to manage the performance area, organising costumes and props. Also helping with get-outs by dismantling sets.
Working as an extra on TV or film sets.
Career Progression
The career progression of an actor tends to be different from person to person rather than a standard progression, as jobs can vary and actors can spend long periods of time out of work or working a day job for money.
Many actors start off in some form of training or school, whether that is at university, drama school or as a part time course. From there an actor will most likely work a day job such as waiting tables, while networking and attending auditions. While actually working in the industry, an actor’s career progress can be unreliable and unpredictable – they may go from touring with a theatre company for a year to shooting a scenes for a film over a few weeks, potentially long periods of unemployment in between jobs.
Progressing to better paid jobs comes from completing different roles successfully and gaining a good reputation from positive critics reviews. However, it could take just one excellent and widely-known performance to boost an actor’s profile and lead to other jobs.
Though the majority of actors spend years playing minor roles or working as extras before receiving a major role, an actors career path is never set.
Working Conditions
Working conditions for an actor can vary greatly depending on the job or production, particularly if they have to film on location.
Most acting work takes place indoors, in theatres, rehearsal rooms or TV and film sets. Working conditions are probably most comfortable here, as they are spaces specifically designated for performance, and may have facilities such as heating, air conditioning, toilets, wifi/mobile phone signal, dressing rooms and sometimes a break room. Acting on location could potentially be a lot less comfortable, if the job includes night shoots or shoots in dangerous or remote locations without the comforts of the indoors. Location shoots could also be disrupted by bad weather – actors may end up waiting through rain or working in the cold.
No matter where an actor is working, the hours are most likely going to be long and demanding. Early mornings and late nights are common in theatre and television work both, and actors will often be required to work evenings and weekend. Usually actor will be standing most of the day.
Actors will usually be given short breaks between rehearsals to catch their breath and eat. However, like most things in the industry, this can vary from job to job.
Contracts and Salaries
• Equity is a trade union for professional performers and other creative workers, and they can negotiate the minimum wage for their members.
• Equity’s minimum wages can vary based on the type of job, location of the job and how many performances are involved.
• However, Equity does require a membership fee that can be paid as a percentage of the actor’s professional earnings. Details of the fees are on the Equity website. Students studying performance as a higher education course for a year or more can claim a student membership discount on their Equity fees.
• If an actor is signed by an agency, the agency may be able to negotiate higher wages, although they will claim a percentage of the actor’s earnings as a fee.
• The percentage taken by an actors agency can vary greatly depending on the type of work.
• Few people become significantly wealthy from acting.
• Recent surveys by Casting Call Pro and Equity have shown that only one actor in 50 – 2% of British actors - earns more than £20,000 a year.
• In fact, around 75% of actors asked earned less than £5000 from acting on stage or screen.
• There is no set wage for acting jobs as pay rates for different roles vary significantly depending on the production, company and size of role.
• Unlike in other professions, wages in the performing arts industry aren’t necessarily linked to professional experience or qualifications.
Who Will They Liase With In The Company?
An actor will liase with many different workers within a theatre company. As well as working with other actors, they will work closely with their director. The director will oversee their rehearsals, giving direction on the blocking, speech and energy of the scenes. Additionally, actors and directors may meet before the rehearsal process to discuss each other their visions for the characters and scenes together.
They may also liaise with designers. An actor will need to attend costume fittings while the costume designer oversees and makes adjustments to fit their vision. In addition to this, the actor and costume designer (and any hair and make up team working on the project) may also meet before the actual designing process takes place - the director may be present too – to discuss what they see the character wearing in terms of costume, hair and makeup and why
Personal Comments
I think that day to day work as an actor would be very challenging in different ways. One of things I think would be very hard is the constant rejection actors face, as it could be very disheartening. Long periods of unemployment as an actor are also a negative - having to do a 'day job' that you don't really want to do could be really discouraging and draining.
Another thing I think would be challenging about working as an actor is the level of emotionally commitment some jobs would require. For instance, working on a particularly intense play could be mentally draining.
The unpredictable schedule of an actor - unsociable hours, long periods of unemployment - is also something that could be taken as a negative thing, but I personally think there's something really appealing about always being kept on your toes by your work.
I think there are an equal amount of pros and cons to working as an actor, but I believe that overall the satisfaction and fulfilment of acting makes all the hard work and 'cons' worthwhile.
Profiles of Actors Helena Bonham Carter • Represented by Conway Van Gelder Grant Talent Agency (UK).
• Though she investigated drama schools and universities both, she actually has no formal acting training. She entered the field by winning a national writing contest and using the money to pay for the entry into the actors’ Spotlight directory.
• Her first job was a TV advert when she was sixteen. Shortly after she gained a part in a TV film, A Patter of Roses.
As discussed in the video, she got into acting because of a friend at school who was acting on the TV show Grange Hill. Jealous, she contacted her friend's agent.
Best known for extensive work with her ex husband director Tim Burton in successful films including Planet of the Apes, Dark Shadows, Sweeney Todd. Also starred in the Les Miserables film adaption and in the Harry Potter films.
She has now won 37 awards for acting.
Zoe Doano
Represented by Bloomfields Management.
Trained at the London Arts Educational School.
Understudied Cinderella in the West End production, starred as Cosette in Les Miserables in the West End.
Has also appeared in TV shows suh as Hollyoaks, Doctors and Penny Dreadful.
Detailed Job Profile of a Director Skills/Personal Qualities Needed
A director working in the film, TV or theatre industry requires a variety of different skills and qualities. For instance: • One of the most important qualities a director can have is a strong sense of creativity, as well as a wide imagination, in order to bring their visions to life and try bringing scenes to life in new and unique ways. They also need to be able to come up with creative, new solutions to any problems that arise.
• A director will need strong communication and negotiation skills to express their ideas and goals with others in the company, particularly performers and designers.
• It is important that a director is a good natural leader with the ability to inspire and motivate others.
• Research skills are also important for directors so they can build an understanding of the context of the world they are creating.
• Directors need focus, drive and determination to overcome problems and see productions through.
• When working for a company, a director needs to have a good awareness of business. This includes financial awareness, so that they can understand the budget they are working with.
• A director needs a sense of team spirit, and the ability to work well with others.
• Patience is an important quality for a director to have – the rehearsal process can be long and laborious, and things can always go wrong. It can take a long time for a directors vision to come to life.
• A director working in theatre needs a good understanding of the theatre itself and the other workers in the company. For instance, a director needs to know when to bring in lighting and sound technicians and work with them.
• Organisation skills are useful for a director, as work in theatre and film can be chaotic.
• A director also requires good time management skills in order to plan and make the best use of rehearsal time. Training/Experience
A lot of directors in theatre or film have no formal training, instead gaining their position through reputation and practical experience. A degree isn’t essential to becoming a successful director – new directors can instead choose to go straight into the industry, starting small and working their way up as they gain reputation, experience and develop their own personal style.
However, directors often start out working in theatres in another role for experience, and then working their way up to the role later. A director can start off working as a variety of roles, including:
• Assistant director
• Actor
• Designer
• Producer
• Stage manager or Deputy Stage Manager
• Playwright
There are, however, many opportunities to train as a director in higher education. Several prestigious performing arts schools such as LAMDA or Bristol Old Vic offer courses in directing, including the four-term MA Drama Directing.
Other drama schools such as Royal Central don’t offer one orthodox directing course, but rather several different courses that will help and prepare a director for a career in the industry, such as Advanced Theatre Practise MA/MFA or Applied Theatre MA.
For a director more interested in directing films rather than theatre a BA in Practical Filmmaking may be preferable, offered at film school such as the Met Film School.
However, other degrees may be helpful for a well rounded director to have and could provide some of the necessary skills. Related subjects could include:
• Performing arts
• Drama
• Music
• English literature/language
• Humanities subjects that involve deeper thought and interpretation, such as philosophy, psychology and history Typical Working Activities
The typical working activities of a director can vary greatly from project to project, and the level of involvement the director has with the company/producers. These jobs can include:
• Budgeting
• Working with playwrights to develop or adapt a script/story.
• Adapting a script and if the play is newly written, working with the writer or collaborating with playwrights
• Breaking down a script, analysing and exploring the content and conducting relevant research
• Translating and interpreting a script or musical score
• Holding auditions for productions, selecting and hiring designers, musicians, etc
• Managing time and organising people and space
• Attending production meetings with set designers
• Organising rehearsals
• Communicating and liaising with all parties involved, including actors, the creative team, production team, and producers
• Attending preview performances and preparing detailed notes for the cast and creative and production teams.
• Helping to publicise the production by giving interviews and leading discussions.
Career Progression
As with most jobs in the performing arts industry, there is no set linear career progression for a director, and progression from director to director can vary greatly.
Some directors may start by gaining a relevant degree in higher education, and from there go straight into work as a freelance director, starting small and building up their reputation and individual style and eventually directing more well known productions. However, as many directors have no formal training, they rely mostly on experience to get to that level. A lot of new up-and-coming directors take their first production to the Edinburgh Fringe Festival in order to become more well known.
Many directors begin working in the theatre in a different role and gain experience and reputation there before progressing to becoming a full-time director. Directors could gain theatre experience working as an actor, assistant director, writer, stage manager, DSM, producer or designer.
Working Conditions
Directing a production will involve regular weekend and evening work. During the rehearsal process, days can be long with early starts and late nights.
Working in a theatre or rehearsal room would be fairly comfortable, as it is a safe, indoor environment specifically designed for performance and planning, and often has many facilities such as heating/air conditioning, toilets, WiFi/mobile phone signal and a break room. Working on a film/television set on location however, could be less comfortable. The director is required on all shoots, including ones that take place outdoors where weather could be potentially cold and rainy, or
hot and sweaty.
Directing for theatre and TV/film both is demanding work that will involve regular weekend and evening work. During the rehearsal process, days can be long with early starts and late nights, and directors will be required to work even longer organising, planning and budgeting.
Work may include a lunch break – full catering could be provided while working in TV and film, while theatre work and rehearsals will usually have quicker breaks between scenes to grab some food.
Travel is common for directors: they must make their way to and from the venue when working in theatre, or to the set/different locations for film and TV. If a director is working with a touring company, it is unlikely that directors will be on the road for the full tour, but they may go to some of the venues.
Contracts and Salaries
Directors usually belong to trade union Equity, who negotiate a minimum wage for their creative working members. Membership also provides insurance and legal assistance.
The current minimum wage for a director working a short run on a show for a season/tour is £483.35 a week, £80.57 a day.
The Independant Theatre Council (ITC) and UK Theatre also negotiate minimum rates of pay with appropriate entertainment unions on behalf of their members. The agreed weekly fee for assistant directors is around £425. A theatre director of a full length play should receive a minimum preparatory fee of £1439 and weekly rehearsal payments of £440. Freelance directors in a commercial repertory theatre can command a minimum fee of around £2,300 with a weekly fee of £430 to £520.
Directors can choose to deal with their own contracts and salaries themselves or they may employ agents to negotiate for them.
Salaries can vary greatly from job to job, and directors may experience long periods of time out of work. Directors can earn some extra cash by doing freelance work such as running creative workshops.
Directors may also branch out into acting or writing, or they could have a day job between directing productions which gives them a steadier income.
Most directors are employed as freelancers on a contract for each individual production from the planning and rehearsal time to the performance.
Who Will They Liaise With In The Company?
Directors will liaise with almost everybody within the company, from performers to technicians to producers.
They will work closely with the actors or performers in the production, overseeing and directing the rehearsal process until the show is ready to perform. They may even be involved in casting the actors. Once the actor is cast, the director will meet with them to discuss their visions for the character and production, compare ideas and research. During the rehearsal process, the director will work closely with the actors, blocking and directing their scenes.
Directors, particularly head Artistic Directors, will work closely with designers too. They will meet with set designers before or during the rehearsal process to confer about their vision for the set and discuss ideas. They may do the same with costume designers too, discussing the way they see the character and the practical aspect of costumes.
Directors and technicians will also work together – mostly done during tech week – to plan and plot the lighting and sound of the play, making sure they all agree it fits the directors vision and adds to the world of the play.
Personal Comments
I think that work as a director would be really interesting and fulfilling, although also very hard. There are some aspects of directing, like having to manage actors and designers, that I think take a certain type of person to manage - I know personally wouldn't be able to handle.
I think work as a director would also be very stressful, as all the jobs that fall to them would take up a lot of personal time and it is a lot of responsibility for one person. It would involve a lot of working overtime and unsociable hours.
However, I think the creative side of directing would be very rewarding and enjoyable to get stuck into. Directors have limitless creative potential with their work and that's a really appealing idea.
Directors Career Profiles Tom Hooper
Hooper's original interest in drama and film came from one of his school teachers who was previously an actor with the Royal Shakespeare Company. When he was twelve, he read a book about filmmaking and directing and realised that was what he wanted to do.
Hooper studied English at Oxford University and joined the Oxford University Dramatic Society, where he directed Kate Beckinsale. He also started getting paid directing jobs for TV adverts.
After graduating from Oxford, he started directing more adverts and episodes of TV shows, including several episodes of EastEnders. From there, he progressed to BBC costume dramas ad TV films, building up experience and reputation until he could direct his own feature films, including The King's Speech, Les Miserables and The Danish Girl.
He is managed by the Oxford House Independent Talent Group.
Matthew Warchus
Warchus studied drama and music for three years at the University of Bristol.
After graduating university, Warchus took on work as a director for the National Youth Theatre to pay for training as an actor or conductor, and soon discovered his preference for directing.
He became the youngest ever director to work with the RSC on the Stratford main stage.
He is represented by Leah Schmidt at The Agency.
His biggest achievement is directing the hit musical Matilda in its original run.
Detailed Job Profile of a Stage Manager Skills/Qualities
Needed In order to succeed in the business, a stage manager will
need a variety of different skills and personal qualities, including:
·Excellent organisation skills
are a must for a stage manager in order to plan rehearsals, organize budgets and make sure everything and everyone is where they should be.
·A stage manager needs to be a
natural leader to be in control of the stage and their colleagues well.
·Good communication skills are
necessary for a stage manager, in order for them to instruct technicians and performers
efficiently and stay in control of the production.
The stage manager needs extensive knowledge of all the health and safety risks on site and how to manage them.
Stage managers need an eye for detail to make sure every detail in tech, set and costume is right and working.
It is helpful for a stage manager to be a calm and level headed person, with the ability to work under pressure and stay calm even when things go wrong.
Stage managers will need lots of confidence in themselves and their ideas to carry the stage and exert authority when needed.
A stage manager needs to be able to think on their feet and solve problems in effective, creative ways.
Stage managers also need patience and stamina, as rehearsals and productions will mean long days and the work can often be stressful.
Experience/Training People can get into stage management work without having a theatre degree, although it helps to have a degree in theatre studies/production, performing arts, music or stage management. Many drama or theatre schools will have a course in stage
management, such as Typical Working
Activities
· Setting up rehearsal schedules
Arranging costume fittings
Managing props and design budgets with the producer or production manager
Supervising the productions get-in and get-out in the theatre or venue.
Creating and using a prompt script of notes, blocking and tech cues
Prompting actors and cueing technicians during rehearsals
Calling actors and technicians for rehearsals and performances
Maintaining the set, props and costumes and making alterations between rehearsals and performances when needed.
Negotiating with resident staff if the production is touring to different venues.
Helping set up or build sets and props.
Planning and plotting lighting and sound cues with the technicians and/or director.
Career Progression Some stage managers may begin studying stage management in
higher education while others may go straight into the business. However, most
stage managers will progress to the role through experience working within a
theatre company. Many will begin as a lower down part of the crew, working
their way up to assistant stage manager or deputy stage manager before landing
the role of stage manager. A stage managers first show in the job will usually be
something small, and they will work on smaller projects to gain experience and
reputation that will build their name until they are working on bigger scale
projects. Working Conditions Working conditions for a stage manager are usually reliable
and comfortable. Most of their work will take place indoors in theatres, where
there may be heating or air conditioning, toilets, break room, wifi and/or
mobile signal and spaces to eat and drink. Backstage can be hot, dusty or dark. In a touring company, stage managers would be required to spend a lot of time away from home. A stage manager will be required to work long days
with early mornings and late nights, often on weekends. Work may be hectic and stressful,
particularly during tech rehearsals and show days, and there may only be short
breaks to eat. Contracts/Salaries Salaries for a stage manager can vary greatly between companies, locations and the type of contract. Like most theatre workers, minimum wages for stage managers are generally negotiated by the trade union Equity. The current agreed minimum wage for a stage manager in an eight week run is £540 (for a venue with between 500-1,500 seats), £552 (for a venue with 1,500+ seats), £533 (for a venue with 250-499 seats) and £444.50 (for a venue with under 249 seats). Freelance stage managers generally earn more than company stage managers, particularly in the West End, where they would be paid per production. Who Will They Liaise
With In The Company? Stage managers will work with almost everyone in the company. They will work with actors during the rehearsal process through helping to block and light them, as well as often giving prompts and cues. They will also work with the set builders, often helping set up the set and props, as well as making adjustments when necessary throughout the production process. Stage managers will work closely with the rest of the stage management team, which will usually comprise of an assistant stage manager and
deputy stage manager, as the two are there to help them and lighten their workload. The three will work closely together to make sure nothing goes wrong in the production - the DSM will usually be calling and cueing lights and actors on the nights of productions, and the ASM will often manage the backstage area and props - the stage manager is in charge of both of them and all areas. The stage manager will work closely with the tech crew, including sound and light technicians/operators. They will work together (sometimes with the artistic director) to plan the lighting and sound for the show, and throughout the rehearsal and production process the stage manager is in charge of prompting, plotting, and cueing the light and sound tech.
When touring, the stage manager is the one who will liaise with the theatre managers and front of house staff of the different venues. Personal Comments I personally think that the job of a stage manager would be very stressful, as they have to be aware of everything going on onstage. I think that a stage manager would have to be someone who is very organised and has natural leadership skills - which is why I wouldn't be able to cope with it.
Another con of being a stage manager is that you are working constantly through every performance and must remain in control under extreme pressure. They would also be working backstage which could be hot and sweaty, also dark and stuffy.
One pro about being a stage manager would be getting to make your own artistic choices to some degree and the satisfaction of problem solving. Also the feeling of beloginging to a tight knit company community is something I think would be very rewarding.
However, I think one of the biggest pros of stage management must be the feeling of accomplishment they would have after a successful show.
Brief Profile of a
Costume Designer Skills/Personal
Qualities Needed
·Creativity and imagination is
important to come up with interesting and original costumes and looks for a
production.
·Empathy and the ability to
understand characters and places in the script is important for a costume
designer to plan their wardrobe to suit them.
·A costume designer needs a good
eye for detail to make sure that the costumes are perfect and realistic, and also
that they don’t change or get damaged between shots or performances.
·The ability to meet deadlines
and work under pressure is important, so that the costumes are finished and
ready by the time of the performance or shoot.
·Costume designers must be aware
of costs in order to stick to the costume budget provided.
·Leadership and teamwork
abilities are also important, as a costume designer will likely be working
alongside hair and make up designers to create a finished look for a character,
and they may be in charge of costume makers and wardrobe assistants in a larger
company.
·Organisation skills are helpful
for a costume designer so that every article of clothing or accessory is in
place and kept track of.
·A working knowledge of clothing
and fashion throughout history and in different cultures.
·The ability to sketch or create
concept art for characters costumes.
Working Activities
·Studying the script and
becoming familiar with the characters.
·Discussing initial costume ideas
with the artistic director and production designer, as well as hair, make up
and costume makers.
·Sketching concept art for
different costumes for each character.
·Coming up with costume ideas
and making sure that they fit the productions style and budget.
·Researching different clothing
styles, fabrics and designs.
·Supervising or giving
instructions to costume makers.
·Attending actors costume
fittings to make sure the costume fits and looks right on the actor, and making
suitable adjustments or adaptions when needed.
·Buying or ordering different
fabrics or pieces.
·Managing the wardrobe budget.
Career Progression Costume designers usually start out studying fashion or
design in higher education, and may progress to work in TV, film or theatre
somewhere lower down, such as a wardrobe assistant, to gain experience which
will help them progress up the ranks to designing. They could also start out in
another related field such as hair or make up. A costume designer will usually design for a smaller scale
production when they are just starting out, to gain a good reputation and
develop an individual style. They may find they have a preference for work in
TV, theatre or film, or choose to dabble between all three. Who Will They Liaise
With In The Company? The costume designer will liaise with many people within
the company. They will initially have to meet with the artistic director and
production designer to discuss initial ideas for costumes to make sure they
suit the overall style of ‘look’ of the production and collaboratively decide
on ideas. The costume designer may be in charge of costume makers,
who will actually construct the costumes they have designed. They may supervise
the creating, or simply deliver instructions along with concept art for the
makers to follow. They may also be in charge of any wardrobe assistants working
on the production. Costume designers will work with the hair and make up team
to collaboratively come up with one complete look for a character, making sure
the clothing, hair and make up work together and compliment each other, as well
as make sense in the context of the play.
Brief Profile of a Lighting
Technician/Designer Skills/Personal
Qualities Needed A lighting technician requires a variety of skills to be
successful in their profession. Including:
·Most importantly, a lighting
technician requires a knowledge and experience of lighting technology.
·A lighting technician,
particularly one involved with design, will need plenty of creativity and
imagination in order to come up with new and exciting ideas for lighting scenes
in interesting ways.
·Good organisation skills are
also helpful for a lighting technician to have, in order to keep track of
lighting plans and cues for a production.
·Attention to detail is
important for a lighting technician, in order for the lights to run smoothly.
·A lighting technician/designer
needs good colour vision.
·Communication and the ability
to work well in a team is useful, as lighting technicians often work with other
technicians in a team or are in charge of others.
·Technicians need patience too
during long tech sessions or chaotic rehearsals.
·A lighting technician will also
need the ability to solve problems creatively and effectively.
·Constant awareness of health
and safety issues.
·A fair level of physical
fitness is needed for a technician, as work can involve heavy lifting or
working high up in tech boxes, or on walkways or scaffolding.
Working activities
·Planning and discussing
creative ideas for lighting with the artistic director.
·Plotting the lighting
·Taking note of lighting cues
with the artistic director and actors.
·Assembling lighting and filter
equipment
·Doing risk assessments for
health and safety
·Checking that all wires and
cables are safely connected and not a hazard.
·Doing tech runs of the
production.
·Setting up lights on location
at a location shoot.
·Travelling to location shoots.
·Repairing and maintaining
broken or malfunctioning lights.
·Controlling the lights during
tech rehearsals and performances.
Career progression A lighting technician/designers career progression is one
of the more linear or standard lines of progression in theatre. Though they may
study or take part in theatre in higher education, many lighting technicians
opt not to and instead begin practical work straight away, gaining reputation
and experience until they can work their way up to more important roles and
larger scale productions. A lighting designer usually starts off as a
technician and works their way up through experience, eventually taking a more
active role in designing the lights for a show. Who will they liaise
within the company? A lighting technician will liaise with several different
people within the company. One person they will liaise with is the artistic
director. A director and lighting designer may meet before the rehearsal
process to discuss creative ideas and visions for the show’s lighting, or they
may not meet until later on in the rehearsal process. The director and
technician may work together to plan all the lighting changes in a show. It is likely the lighting technician will work with the
actors or performers too to plan and plot lights around the actors positions on
the stage to ensure they are well lit.
Brief Profile of a
Producer Skills/Personal
Qualities Needed
·Organisational skills are key
for producers, as most of their job lies in organising and acquiring locations,
employees and funds.
·A producer will also need good
communication skills in order to manage their staff and convey their ideas. Written
communication skills are also necessary for producers writing proposals to get
grants or persuade people to invest in their show/company.
·Financial awareness is also a
must for a producer, as they are in charge of administration and fundraising.
·Producers require excellent
leadership skills to successfully head and manage an entire company.
·Producers will also need good
time management skills to arrange rehearsals and meetings, and plan the entire creation
process up until the final performance.
·Inventive and effective problem
solving
·The ability to work to
deadlines and under pressure
·A good working knowledge of
theatre and the theatrical production process
·Creativity and imagination
Working Activities
·The producers first
responsibility is to choose a play to produce and decide how many performances
to schedule. They can read different scripts themselves, or opt to have
‘readers’ look through candidates for them. They will consider lots of
different factors when choosing a play, including target audience, budget, and
how much it will cost to buy the rights.
·Producers also choose the venue
for the play, based on location, budget and specialist requirements.
·The producer is also in charge
of hiring a director. They may also hire stage crew, lighting, costume and set
designers, and sometimes performers.
·Getting the right funding for a
play is also the job of a producer. When the play is not for profit, the
producer will write a proposal to get a grant donation from agencies or corporation.
Commercial for-profit producers instead look for investors.
·Producers will meet with
directors and managers to track progress.
·Set goals to keep the
production on schedule.
·Arrange rehearsal space
·Distribute call sheets and
copies of scripts
Career Progression Producers usually study some form of theatre in higher
education – many get a degree in writing, acting or directing though some study
theatre management and production. From university, theatre related work experience
is key. It will often take years to work their way to the top of the theatre
hierarchy. Producers might dabble in administration or directing, but mostly
they will start off as a business manager or as a production assistant, gaining
lots of experience and a good reputation in the industry before branching out
and producing their own performances, which may lead to them heading their own
theatre company. Who Will They Liaise
With In The Company? Producers will liaise will virtually everybody in the company
as they are essentially the top of the chain. Producers will be very involved
with the artistic director, from hiring them to discussing their initial ideas
and visions in detail and meeting throughout the rehearsal and creative process
to track the production’s progress. They will also be involved with designers,
including set designers, costume designers and lighting and sound designers, in
order to discuss ideas and agree on a running artistic style for the
production. Producers liaise with investors too, writing grant proposals to
donators and persuading other investors.
Database
NAME AND CONTACT DETAILS OF
COMPANY/ORGANISATION.
WHAT IS THEIR AIM & FUNCTION?
WHAT DO THEY DO? WHAT SERVICES DO THEY
PROVIDE? (BE DETAILED)
LINKS TO OTHER ORGANISATIONS
WHY HAVE YOU CHOSEN THIS COMPANY/ORGANISATION
TO BE IN YOUR DATABASE?
WHICH MEMBER OF STAFF FROM YOUR COMPANY
STRUCTURE WOULD NORMALLY LIAISE WITH THIS COMPANY/ ORGANISATION?
EQUITY
Equity
is the UK trade union for professional performers and creative practitioners
such as directors and stage managers.
They
negotiate minimum wages for their members as well as handling other
contracts.
Equity are also a campaigning organisation
who listen to matters that are important to their members and have more than
once taken issues to parliament – Equity gives its members a voice and prides
itself on having its members be the heart of its organisation and mattering
to them.
Equity provides a range of other services,
including:
·Equity
Job Information Service which gives members up to date information on paid
jobs and work opportunities in the industry
·Equity
members get free advice on National Insurance, Tax, Jobseekers Allowance,
welfare benefits and pensions
·Equity
run a helpline two days a week
·Full
Equity members automatically have up to £10 million in Public Liability
Insurance
·Equity
members are also automatically covered for Backstage and Injury Insurance
overseas and in the UK
·Equity
offers an Equity Members Personal Pension Scheme
·Equity
offers many different workshops resources and training experiences which are
free for members
·Equity
campaigns on behalf of members for issues they raise personally
·Membership
with Equity gives discounts on parking, hotels, restaurants, health and
beauty, tickets, websites, photography and more
·Members
also get an Equity Card to show their belonging and commitment
·Equity
also reserves members professional names
·Equity
legally represent members who have issues or disputes with employers
·They
advise members and their agents on contracts and conditions
·Equity
also have a workplace bullying support line
·Equity
Magazine is sent directly to all members with news, features and articles.
·They
have a Careers and Learning Advice Service
·Equity
monitors health and safety and gives medical support to members
·The
TUC have also given Equity members good deals on gas and electricity
The
Stage –
Equity frequently work with and appear in the
theatre journal The Stage.
Federation
of Entertainment Unions – Along with BECTU, the Musicians Union and four others,
Equity is a part of this UK federation.
Amnesty –
Equity
works with human rights organisation Amnesty to provide advice and support,
as well as doing joint campaigns for struggling or unfairly persecuted
performers – for instance, Equity and Amnesty worked together on a campaign
to raise awareness of comedians imprisoned in Burma for their satirical work.
British
Association for Performing Arts Medicine – Equity partially funds BAPAM, a
unique health charity who provides Equity members with help for performance
health problems as well as giving assessments and referrals.
British
Copyright Council –
Equity attends BCC meetings to discuss
performers copyrights and property rights.
British
Equity Collecting Society – Equity set up BECS in 1998 to collect and
distribute money to European performers. They also give royalties on behalf
of Equity.
Council
for Dance Education and Training –
Equity is on the CDET council.
CC
Skills –
Equity’s General Secretary is on the board for Creative and Culture Skills.
Dance UK
–
Equity supports the work of Dance UK and
gives financial support to its Healthier Dancer Programme
Equity
Charitable Trust – The
ECT was founded by then Equity board members to donate money to performers in
genuine need.
Evelyn
Norris Trust – Equity
has been heavily involved with this charity, which seeks to give grants to
performers.
Federation
of Actors – Equity
are part of this umbrella organisation for arts unions
Liberty – Equity is involved
with this campaigning organisation which works to protect human rights.
I have chosen Equity because they provide a
range of helpful services such as contracting and negotiating wages for a
good yearly price, as well as making sure members working conditions are
fair, from meal breaks to working hours.
They are also a very strongly ethical
company, actively running campaigns for the equality of gender, race,
religion, sexuality and disability which really appeals to me because I want
my theatre company to be inclusive and ethical.
One of the main things that appeal to me
about Equity is that they seem to really care about making their members
voices and opinions heard.
I also like the fact that Equity also
supports you if anyone in the industry treats you unfairly or exploits you, as
well as offering insurance and protection services which my theatre company
will need as it is just starting out.
Also, while Equity have centres in London and
other big cities such as Leeds and Manchester, most of their services are
accessible online or over the phone which will cut travel costs.
Actors, stage managers, dancers. directors
MUSICIANS UNION
The
Musicians Union is the leading UK trade union for professional working
musicians. Their aim is to negotiate minimum wages, contracts and working conditions
with major employers in the industry.
One
of the Musicians Union’s biggest aims is to improve the working conditions
and demands of professional musicians. For example, they have currently set
up a campaign called Work Not Play against musicians being asked to work for
free.
They
also have a parliamentary group which work hard to make members voices heard.
Some
of the services the MU provides are:
·Free legal advise and
representation for members in workplace disputes or issues with employers
·Contract Advice and
Negotiation Service for members, including freelance and casual work
·Unpaid fee recovery
·Trade union
representation for problems at work
·Partnership Advisory
Service provides advice for working with other musicians and bands
·Career development
advice
·Free training, workshops
and networking events
·Help with issues such as
hearing and health and safety
UK Music
-
The Musicians Union is closely involved with
UK Music, who are a campaigning group to represent and improve the music industry
in the UK
PPL – The MU work with PPL
who licence recorded music played in public.
British
Copyright Council –
The MU have representatives on the BCC raising their voices and protecting
the property of their members.
TUC – The MU belong to TUC
and promote and attend their events such as Young Workers Month.
Federation
of Entertainment Unions – The MU belong to the FEU.
International
Federation of Musicians – The MU belongs to the FIM, which represents musicians worldwide
on issues like copyright and travel
I have chosen this organisation for my database because musicians are an important part of the company and also need insurance and protection in the workplace. I have chosen the MU specifically because they are the most widely recognised and successful musician-specific union and seem very committed to getting their members what they deserve and improving their working conditions
Musicians
BECTU
BECTU
is the UK’s media and entertainment union for broadcasting, cinema, film,
digital media, independent production and theatre and the arts. The union
represents staff, contract and freelance workers who are mostly based in the
UK.
BECTU’s
main aims are to protect jobs in media/theatre/entertainment, increase
memberships and improve pay conditions for their members, including pensions.
The
union provides a variety of different services including negotiating wages,
contracts and conditions, giving personal advice including advice on health
and safety. They also offer training support and courses, and arrange
networking events and opportunities to develop careers. BECTU have a union
journal (Stage, Screen and Radio) which is published six times a year.
They
also have a website designed to improve access to the unions advice and
support.
BECTU
also have a yearly Freelancers Fair which provides training advice and
workshops.
The
union provides a range of different services and benefits for members
including:
·Discounted British Film
Industry membership, which gives people discounts on films and access to film
events
·Legal advice and
representation including copyright advice
·BECTU gives a death
benefit to the family of people who are members at the time of their passing
·One of the financial
services offered is access to the Benevolent Fund which could give grants to
those in need
·BECTU members get
hearing healthcare discounts with Harley Street Hearing
·The union has a
specialist broker for getting insurance for small companies
·25% discount for BECTU
members with Stage Jobs Pro, one of the leading theatre jobs and networking
websites
·BECTU members have legal
cover for any workplace injury
·They have a 24 hour legal
helpline open every day of the year.
·Contract advice for
freelance and casual workers
·Free will-making service
·Access to Thompsons
National Criminal Law Unit for members and members families
·BECTU have a script
registration service for members in a dated log which could be helpful for
copyright issues
·Members have access to
the unions tax consultant
Trade
Union Centre (TCU)
– BECTU is part of the TUC, who are the internationally recognised
organisations for all the UK’s trade unions.
Union
Network International – They also belong to the UNI, an umbrella organisation
with over 900 international unions.
General
Federation of Trade Unions – They work with GFTU, the UK federation for
more specialist unions.
Federation
of Entertainment Unions – BECTU also belong to the FEUU, which is made up of them
and six other unions (Equity, Musicians Union, National Union of Journalists,
Professional Footballers Association, Unite Amicus Section and Writers Guild
of Great Britain.)
Labour
Party – BECTU
support the UK Labour Party.
Cinema
& Television Benevolent Fund – BECTU supports this successful industry
charity.
Stage
Jobs Pro –
BECTU members get 25% off membership with SJP, one of the UK’s top theatre
jobsites.
I have chosen BECTU for my company database
because they are a democracy organisation run by representatives elected
among its members and that appeals to me.
BECTU are also ethical and supportive of
diversity amongst its members which is something I really like – they even
have a union Equality and Diversity Committee which encourages more women to
enter the different fields they represent. They also haveBlack Members Committee for people of
colour that aims to increase diversity among members and the Disabled Members
Network supports and advices disabled members. I really like this as it
encourages everyone to get involved and offers support. BECTU genuinely seems
to care about its members.
BECTU can also provide advice and help
getting insurance for a small company something that my theatre company will
need as it is just starting out.
Actor, stage managers, directors, dancers
NATIONAL THEATRE PROP AND COSTUME HIRE
The National Theatre Prop and Costume Hire’s
main aim and function is to provide beautiful, accurate and detailed costumes
and props to theatre, TV and film productions, as well as colleges, schools
and individuals for fancy dress and such. One of the services they provide is
costume fittings onsite so you don’t have to travel home and wait for them to
be delivered to make sure they fit. They also offer discounts for regular
customers.
National
Theatre -
As a branch of the National Theatre, the
NTPACH work closely on National Theatre productions to provide them with
costumes and props.
I have chosen the National Theatre Prop and
Costume Hire because they are well known for being accurate and detailed. As
they are well known and some costumes have been worn in famous productions by
excellent performers, it also adds an element of prestige to the
performances.
Another strength that I considered was their
on site costume fitting service, which would be useful and effective in
saving time later on.
However, this may not be the most cost
effective choice as the company are situated in London and hence there will
be travel costs to pay.
Flints are the major retailer of theatrical
goods in the UK, theyprovide the
theatre industry with a single source for specialist theatre hardware and
paints.
Their aim is to provide realistic and long
lasting theatre sets and hardware goods, including prop making equipment,
paints, glazes, varnishes, pyrotechnics, foam, glass fibre, draping for set
and front of house, scenic fabrics and flooring, iron fittings braces and
weights, rigging, winches, tracks, hinges, doors, power tools, electrical
lighting and hand tools.
Flints provides a range of helpful services which
are all authorized by Lifting Operations and Lifting Equipment Regulations,
including:
·Installations
·Safety
checks for theatre and school production sets, individual wires and tools and
winches/lifting equipment
·Maintenance
inspections
·Consultations
about venues
·Specialty/unique
requests
·Installing
anchor points
BBC – Flints have worked
with sets and props for the BBC.
Industrial
Rope Access Trade Association – Flints staff have certified training rom IRATA
International
Powered Access Federation – They also have training from IPAF
Lifting
Equipment Engineers Association – Flints staff are also trained by LEETA.
I have chosen Flints because have an
excellent reputation for providing realistic and long lasting hardware and
set products.
The fact that Flints can come out and install
the set and technical equipment with full safety checks is really reassuring.
I also like their ‘no project too small’
mentality.
However, as they are a London company this
will not be the most cost effective hire company. The company will have to
pay travel costs there and back and shipping costs. However, I think that the
quality of the products at Flints are worth the extra costs.
Groundlings Costume are a branch of the
Portsmouth based Groundlings Theatre. Their aim is to provide a range of
period and contemporary costumes and accessories for use in film, TV and
theatre. They have over 11,000 items currently in stock.
Their collection has been made up of costumes
bought or made for the BBC, Royal Opera House, National Theatre, and West End
productions.
Designers from the company looking to hire
can come out and look, or employees at Groundling Hire can put together a
collection of potential costumes for you based on a description of the sort
of thing you’re looking for.
Groundlings can deliver costumes for TV and
film overnight, anywhere in the country.
As well as clothing, they also provide masks,
props, accessories such as jewellery and hats, and theatrical makeup.
Staff at the Groundlings have a good working
knowledge of the history of costumes and fashion and the time periods often
required for productions.
Groundlings
Theatre –
Groundlings Costume are a branch of the Portsmouth Groundlings Theatre
BBC – Groundlings Costume
have in their stock costumes used and made for the BBC
Royal
Opera House –
The Royal Opera House has used some of their products
National
Theatre –
they also have costumes used by the National Theatre
One of the reasons I have chosen Groundlings
for my database is that they are a local, Portsmouth-based company. This will
save time and money by cutting down the costs of travel and time spent
travelling.
I also like that someone from Groundlings
Costume can put together some costumes for you based on your requirements to
save designers time.
Another reason I have chosen them is for the
quality of their costumes – the idea of their products being used in BBC or
National Theatre productions is a testament to the quality of them.
Also, he fact that they also provide
theatrical make up will save time going to a separate company for it.
Costume designers, artistic director, make up
artists
THE SPRING ARTS CENTRE
The
Spring is an arts and heritage centre aiming to provide quality
entertainment, exhibitions and workshops for the local community in and
around Havant, Hampshire. To provide good service and excellent educational
opportunities in a space where the public can relax and enjoy themselves.
They are a registered charity organisation.
They
provide a number of services, including live performances as well as film
screenings, heritage and visual art exhibitions, workshops and cultural
advice. They also have rooms available to hire for talks and meetings/
They
also have a shop and café located in the centre building which is open to the
public.
Music
Fusion –
The Spring are in partnership with Music Fusion, a charity group who provide
music workshops for young people.
Bench
Theatre – The
Spring also support award-winning amateur theatre company Bench Theatre
HumDrum
Theatre
– Another theatre company they support is the experimental Portsmouth company
HumDrum.
Dynamo
Youth Theatre –
The Spring also works in partnership with Dynamo, a drama, music and dance
group for people between 11 and 25.
I have chosen the Spring Arts Centre for my
database because
They are also local to me and easy to travel to
which saves travel costs and won’t take too much time.
Their long time support of the small or amateur
theatre companies such as Bench Theatre, HumDrum, and Dynamo is appealing and
shows their commitment to helping hardworking small theatre companies such as
the one I will be producing. This makes me think that they will be a
supportive partner to have starting out.
Their hireable meetings rooms would also be
helpful for production meetings, talks or even read-throughs with the cast of
my company’s productions and their on-site café would be appealing to workers
as well as potential audience members.
Production Manager, Stage Manager, Producer,
Administrator, Performer, Artistic Director, Front of House
THE MAYFLOWER THEATRE
The
Mayflower Theatre is the biggest theatre on the South Coast. They are a
presenting theatre, hosting touring productions including West End musicals,
dance/ballet, opera and comedy.
The
Mayflower is run as a charitable trust and is completely self sufficient.
Instead of getting funding from other organisations the money from their
ticket sales go straight to maintaining the theatre.
The
Mayflower’s goal is to provide a varied artistic programme that is welcoming
and accessible to everybody.
The
theatre is accessible to all members of the community including those with disabilities.
Some specific services they provide are captioned performances for people
hard of hearing, audio descriptions of performances and signed performances. They
also do ‘Touch Tours’ for visually impaired people to familiarize themselves
with the set or props. They also provide discounts for disabled people.
One
unique service the Mayflower provides is Ovation, the theatre’s own
restaurant..
The
Mayflower also provide a Summer Youth Programme and a Musical Youth Theatre
programme, as well as acting workshops for adults.
Ovation – The Mayflower owns
the restaurant Ovation which is located in the theatre building, accessible
to all and has meal options for vegetarians and children. The restaurant also
sometimes has murder mystery nights and other themed events.
Positive
About Disabled People Scheme – The Mayflower are part of the scheme
Schools
and Colleges – The
Mayflower has a work experience scheme for students over the age of 16 with a
school or college
One of the reasons I have the chosen to
include the Mayflower is because they are the biggest theatre in the local
area with over 2,300 seats.
Their nearby location means that staging a
show at the Mayflower would be effective in cutting down travel costs (it
would be much less expensive than travelling to the West End) and it would
also save time that would otherwise be used on travel.
Ethically, I like how focused the Mayflower
are on having their productions be accessible to everybody.
Production Manager, Stage Manager, Producer,
Front of House, Administrators, Artistic Director, Performers
THE KINGS THEATRE
The
King’s Theatre is a Portsmouth theatre dating back to Edwardian times. Their
mission is to present a varied, quality programme of entertainment including
musicals, dance/ballet, comedy, opera, plays and professional music, and to
support and build the local community.
They
offer a Youth Theatre programme for children age 7 to 17. They also host
summer school programmes, as well as many different performance workshops and
talks.
The
Kings also offers work placements for English and international students to
gain experience in theatre and management.
Another
service they provide is a resource hire shop including lighting equipment,
orchestral stands, pyrotechnics and AV equipment.
Teatro
Nuovo –
The Kings are currently working with Teatro Nuovo in Verona to bring an
English street production of Romeo and Juliet to Verona.
House of
Burlesque – The
Kings co-produce what is one of the biggest burlesque events in the UK with
host Joe Black.
Icarus Theatre
Collective – The
Kings also co-produce many productions with the ITC, who are famous for their
emotional Shakespeare plays, including Macbeth, Othello and Romeo and Juliet.
Portsmouth
City Council –
The Kings Theatre is part of the Portsmouth City Council
I have chosen the Kings Theatre for my database
because they are a well-known local theatre. Their location is helpful and
means my company will cut down on travel costs as well as time spent
travelling.
Their technical hire shop is a really helpful
resource as it means that we won’t have to find our technical equipment
elsewhere, which could be far away and therefore expensive or time consuming
to bring to the venue and set up.
Production Manager, Producer, Stage Manager,
Lighting Designer, Technicians, Front of House, Administrators, Artistic
Director, Performers
