Visits to the REP Stores & Workshop

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

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

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

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

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

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

The Axes for the Forest Men

The filleting knife for the Lapp & Finn Women

 Lanterns for the Village Kids

Some ModRock to decorate the stag

Gerda's Outfit

Mr & Mrs Crow

The Prince

The Princess

A Palace Girl

 The Snow Queen

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

DSM - Writing the Prompt Book

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

The Snow Queen - Rehearsals

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

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

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

Wind in the Willows Tech.

Friday 23^rd November

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

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

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

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

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

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

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

Equity

Tuesday 6^th November

Whilst the Alex’s and I were at SGC sitting in on Wind in the Willows rehearsals and organising props lists for Snow Queen we received a visit from Jamie Briers, a representative of Equity, the world famous Trade Union for professional performers and other creative workers in the industry.

Equity was established in 1930 by a group of West End performers. For a long time it was a ‘Closed Shop’ union and had quite the reputation for being an ‘Old-Boys-Club’ in that you could only become a member if you had done a certain amount of paid work but most jobs at the time were only open to Equity members…
Due to the growing amount of criticism and reforms in British and European law, the Closed-Shop policy was outlawed and during the late 80s Equity dropped this policy and it is no longer a requirement for professional actors to be members of the union. However it is still a requirement to provide evidence of sufficient paid work to become a full member.
Equity has now established memberships for students to aid future performers and crew in accessing information and advice in preparation for work in the industry.

Equity is the only UK Trade Union to represent artists from across the entire spectrum of arts and entertainment. Nowadays membership includes actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, models, stunt performers and directors and theatre fight directors.

As with most trade unions Equity’s main activity is to negotiate minimum terms and conditions of employment throughout the entire world of entertainment and endeavours to ensure these take account of social, economic and technological changes. Recently they have taken into account advancements in technology and social change and have begun negotiating employment agreements that cover satellite, digital television, new media, mobisodes, internet only productions, podcasting, etc.

Listed below are a few of the numerous benefits of becoming a member of Equity
(Ref: Equity website):

Pay and Conditions

• Minimum terms and conditions across the entertainment industry and guidelines for work in areas where there are no representative bodies. Working under Equity terms is the best protection you can have. Members must discuss with us, before signing, contracts for any overseas work, including dance and cruises. We also advise members working on non-Equity contracts. Full texts of Equity contracts are available on this web site for Equity members.

Equity Card

• Being a member makes a positive statement about your commitment to your vocation and your place in the industry. Your Equity card is a universally recognised symbol of your status as a professional.

Your Professional Name

• We reserve this as long as it is not used by another member. Names are crucial for the distribution of royalties and other payments and credits and casting clarity.

Representation

• We represent members individually or collectively in disputes with employers.

Help and Advice

• We advise members and/or their agents whether it be about contracts and conditions for working in the UK or overseas or areas of the business that are new to you. Your local Equity branch can also be of help in some matters.

Campaigns

• Successful national and international lobbying of employers, governments and other bodies on a wide range of issues that affect you and the industry.

Royalties and Other Payments

• Each year Equity distributes hundreds of thousands of pounds in payments for use of members’ work in television and film re-runs, sales of DVDs, videos and audio recordings, e.g. cast albums.

Contract Enforcement

• Where it is believed that there are outstanding royalties and/or residuals from productions made on Equity contracts, we investigate, recover and distribute these monies. We also monitor developments in intellectual property rights.

Legal Support

• Free legal advice and support in disputes over professional engagements including contracts and personal injury claims. If we take on a case we pay the legal fees and the member receives the full amount of any award given by the court. To register a personal injury claim there is a 24hour free phone. We also provide assistance with personal legal matters such as wills, probate and conveyancing.

Bullying Reporting Line

• If you are experiencing bullying at work, members can let us know by calling the reporting line.

Tax and Welfare Support

• Free advice on National Insurance, tax, Jobseekers Allowance (JSA), welfare benefits and pensions. If necessary we take cases on behalf of members to tribunals. Equity Guides to tax, NI and JSA are available in print and online. We have a strong track record of success and run a helpline two days per week on Mondays and Thursdays.

Public Liability Insurance (PLI)

• Full Equity members automatically have up to £10 million in PLI. For many members this is an essential protection for their working lives and this cover provides unbeatable value. (Please note stage hypnotist members can get PLI but have to contribute substantially to the premium). There is subsidised top-up cover available for Fire Artists which costs £31.50 per year. Equity Student members are covered for up to £2million in PLI. Equity members can print off a personalised Public Liability Insurance certificate from this web site.

Accident and Backstage Insurance

• Equity members are automatically covered for accident and backstage insurance which operates overseas as well as in the UK if you are usually resident in the UK. It provides support if you are unable to work due to an accident and should not be confused with personal injury compensation (see Legal Support).There is also extra accident insurance for dancers which costs £10.50 per year.

Equity Members’ Personal Pension

• The Equity Members' Personal Pension Scheme is the only one into which theatre, radio and TV employers pay. You need to register (free) to take out an individual policy so you can give the number to employers.

Job Information Service

• The Equity Job Information Service gives up-to-date, accurate information on real, paid work opportunities across the industry. You cannot access the service if your Equity subscriptions are not up-to-date. To use the service you must be logged into the website by following the link on the Members Log in page.

Digs List

• This is held at head office and is in the Members’ Area of www.equity.org.uk. To add to the list please email the details to info@equity.org.uk

Publications

• The Equity Magazine is sent directly to all members and student members and has news, features and articles.  Members also get other Equity publications, such as the Review of the Year, Guides, Diary and standard contracts.

Website

• The site has hundreds of pages of news, information and documents plus the, Directories and Campaign updates. It is also a gateway to the wider industry via the Links pages. The Members’ Area is home to the Job Information Service, detailed information, copies of insurance policies and certificates, forums and much more. You can also pay your subscription online if you are within 13 weeks of your expiry date.

On line Directories

• Members submit their details directly via their personal page within the Members’ Area of the website and can also edit their entries. Other online directories such as Walk on and Supporting artists have been done in partnership with Spotlight and can be found at www.spotlight.com.

Your Network

• Equity is made up of thousands of creative people from every genre, age and many cultures. Our structures such as branches give you the opportunity to network and to share and benefit from members’ experience and support. You can also join in on the online forums or get involved with our Facebook, Twitter and other social networking groups. Our highly experienced regional and national professional staff are also available to you for advice and support.

Careers Advice

• Members and student members can use our one-to-one Careers and Learning Advice Service.

Workshops and Training

• Equity has resources on CD-ROMs which are free for members and student members (Arts Administration, Marketing). We support the Actors’ Centres which provide programmes of short courses in professional development and we run workshops.  Members have helped develop workshop programmes in Wales and S.W England. There is training support for Equity Deputies and Equity Ambassadors, Equality Reps and members of committees and branches. We also have joint resources with sister unions and run training as part of this www.feutraining.org.

Health and Safety

• Equity monitors health and safety legislation, advises the Health and Safety Executive, financially supports the Healthier Dancer Programme and provides H & S guidelines and advice for members. Members should always call us if you have an accident at work and put the details in the venue’s Accident Book.

Medical Support (BAPAM)

• Equity supports the British Association of Performing Arts Medicine (BAPAM) which provides free advice and clinical assessment for members and student members who need help with any performance related medical, psychological or dental problem, Members can also get discounts on the cost of BUPA.

Charities

• The Equity Benevolent Fund (EBF) makes grants to members facing financial hardship and the Evelyn Norris Trust (ENT) provides support towards rest, recuperation and convalescence. Equity’s International Committee for Artists Freedom (ICAF) and the International Performers Aid Trust (IPAT) help performers and venues overseas. Members can also call on the Equity Charitable Trust for help. www.equitycharitabletrust.org.uk. We are grateful to those members who leave bequests to our charities in their wills.

Discounts

• These are available to Equity members and Student Members on a wide range of goods and services.

Union Energy

• The TUC has set up Union Energy to give union members a good deal on mains gas and electricity. The agreement is with Scottish Power.

Equity Credit Card

• Offers competitive rates for members.

Industry Information Service

• Agents and industry organisations subscribe to get regular updates about Equity Agreements, rates.

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Equity also offers bursaries for student members.

As someone who has worked in jobs outside the normal 9-5 industries and/or that do not have their own Trade Unions, I understand perfectly how important it is to have specific support, representation and advice from people in the know. Equity performs an increasingly important role in todays’ social/political climate. I for one am very interested in becoming a student member with views to becoming a regular member once I have finished my education.

Now if only I could decide on an ‘Artist Name’….

*References:
Entry on Wikipedia – Equity:  http://en.wikipedia.org/wiki/Equity_%28trade_union%29
Equity Website - http://www.equity.org.uk