hierachy

The Director

The director is responsible for the main vision of the production. They must

interpret the script and the characters relationships. They lead rehearsals and

determine stage blocking. They need to communicate their needs to the various

departments. These departments include:

· The House Manager

· The Stage Manager

· The Actors

· The Production Manager

· The Assistant Director

The Assistant Director

The Assistant Director provides support to the Director and the specifics of the

role would be determined between the two. Depending upon the nature of the

production, this role might focus more on actors or on supporting the technical

departments.

The Actors

The actors deliver the script, work with the director to determine relationships

with the other characters, and strive to fulfill the pacing and tempo decisions of

the director. Actors are responsible to:

· The Director

· The Assistant Director

· The Stage Manager

Stage Manager

The Stage Manager is responsible for the running of the stage during

production. They are required to call for the cueing of lights, sounds, sets,

props, and actors during the show. The stage manager is constant

communication with the following departments.

· The Director

· The Actors

· The House Manager

· The Production Manager

· The Assistant Stage Manager

· The Running Crew

Assistant Stage Manager

The Assistant Stage Manager provides assistance to the Stage Manager. The

support will be determined in concert with each other, and may specialize in any

of the production areas.

Running Crew

The Running Crew is responsible for the placement and removal of sets and

props during scene changes. They follow the direction of the Assistant Stage

Manager. A Sound Technician from the Sound Crew and a Lighting Console

Operator from the Light Crew follow their cues as “called” by the Stage

Manager during the show.

Production Manager

The Production Manager, in consultation with the Director, oversees the

development of set, prop, costume, makeup,

lights, and sound. They are

responsible to assist in the creation of a unified look throughout all the above

areas. They assure each of the other areas meets deadlines in a timely

manner.

· Director

· Stage Manager

· Set Designer

· Technical Director

· Props Coordinator

· Costume Coordinator

· Makeup Coordinator

Set Designer

The Set Designer works in consultation with the Director and the Production

Manager to articulate the primary vision of the production through the design

and creation of sets. Sets can be realistic or implied; giving the audience a

sense of where the action of the play is taking place.

Construction Crew

The Construction Crew works as a team to fabricate the set according to the

design of the Set Designer. Team members consult with the Set Designer to

complete the working set. Set Decorators begin the task of set decoration when

the set has met the approval of the Director.

Decorating Crew

Once a set has been constructed and a approved, the Decorating Crew applies

paint, wall paper and texture to the set to give it a look and feel that meets the

specifications of the Set Designer. Decorating requires a unique set of artistic

skills.

Technical Director

The Technical Director works in consultation with the Director and the

Production Manager to develop the lighting, sound and special effects

requirements for the production.

Light Crew

The Light Crew is Responsible for the servicing, hanging, colourfiltering

and

focusing lighting instruments to meet the design specifications developed by the

Technical Director.

Sound Crew

Music, sound effects and sound reinforcement are all the domain of the Sound

Crew. They must fabricate the sound track for the production, collecting or

creating the sounds necessary for the play. They are also responsible for

designing and setting up the Public Address system and monitoring speakers

for the production.

Props Coordinator

The Props Coordinator works in consultation with the Director and the

Production Manager to develop the necessary props for the production.

Props Crew

The Props Crew works as a team to design, create and build each of the

properties for a play based on the script and the Director’s interpretation. Props

are given final approval by the Director.

Costume Coordinator

The Costume Coordinator works in consultation with the Director and the

Production Manager to develop costuming for the actors. The creation or

collection of costumes requires extensive research and knowledge of the

measurements of each actor.

Costume Crew

The costume crew works as team to take the measurements of each actor and

to organize and care for costumes. If costumes are to be sewn for the play, it is

the duty of the costume crew under the direction of the costume coordinator to

create outfits matching the vision of the Director.

Makeup

Coordinator

The Makeup

Coordinator works in consultation with the Director and the

Production Manager to develop appropriate makeup

for the actors. Makeup

must be inventoried and purchased within a set budget for any production.

Makeup

Crew

The Makeup

Crew works with each actor on the night of a production, applying

makeup

according to the needs of the play as outlined by the Makeup

Coordinator. The Director must give final approval of makeup

applications

before the opening of any production.

House Manager

The House Manager is responsible for the audience side of the curtain. They

are responsible for the arrival, seating, and dispersal of audience.

· Director

· Stage Manager

· Publicity

· Box Office

· House Staff

Publicity

The Publicity Coordinator is responsible for advertising and promotion of the

production.

Box Office

The Box Office is responsible for the sale of tickets and in coordination with the

House Manager the organization of seating.

House Staff

The House Staff are responsible for the seating of the audience, program

dispersal, and the general order and cleanliness of the seating area

construction processes

the processes shown below required a different range of techniques:
the aging of furniture for we will rock you:

to age uo the furniture i used sandpaper to wear away the varnish on the furniture that originally gave it a glossy finish to give it an aged effect here above are a selection of shots of the furniture during the sanding process when I took the furniture from a glossy cabinet to rustic and decrepit.

tools and joints

materials

scale drawing

taking this we created a scale drawing of the set the scale I used was 20:1 as it would appear on the stage

conclusion

As a whole the building of the set went well, and ive learnt new skills, and worked out any faults and mistakes I made during the process of the construction and will take those forward into the future if ever I should construct a set if Im being perfectly honest, for my first attempt at building the thing I was most worried about was somethings falling or breaking or causing bodilly harm to one of the preformers, which I am happy to comfirm this did not occur did not happen and the set stood test again the preformance, and was a good addition to the AS drama exam, I know this as I was one of the preformers in question so was able to add inputs to make sure that the set was suitable for the preformance.

evaluation

the set as a whole I am quite proud of, there are a key few points I may change were I to rebuild this set would probably be either A) use a weaker varnish(the fumes let off by the kind we used were quite plungent) or B) dont use varnish at all as varnish if I am being honest doesnt work the best with the material onto which we painted it which was chipboard is very absorbant and therefore the varnish did not give the desired effect, instead I would probable have used white gloss paints, which admittedly would not be as cost effective as the varnish which was purchased at 1 pound a can,but would in my opinion give a better effect than the varnish without the fumes and would appear more like a bathroom and the rest of the paint wouldnt be wasted as an investment as it could be used widely in other future unrelated productions.
Another issue which i would rectify if I were to build the set again was a mess up upon my part which was the holes in into which the sinks(plastic washing up bowls:more cost effective than ceramic or stainless steel with the same effect)which i placed the bowls face down to draw around for the size of the holes,instead of the base, as a result the holes were cut too large, and to rectify this cost us more time and materials in the form of wooden blocks screwed on under the holes to support the bowls in their too large holes.
Things that went well were the painting of the set and graffiti...but time management I have learnt through the building of this set needs to be organised upon my part.

health and safety

much of the health and safety for this section was simple inititive such as while using the mitre saw making sure that our fingers or anything else apart from we were meant to be cutting were near the blade..and wearing goggles to make sure that if a piece of wood did fly of while we were sawing it, it did not cause any damage to the eyes...again with jigsaw making saw fingers were out of the way have someone hold the wood  to stop it vibrating and causing damage, goggles and dustmasks were wore to protect the operator of the saw from getting sawdust in their eyes or mouth while cutting the wood.Judging the strength of the smell of  the varnish we used we probably should have worn dustmasks even though we did coat the wood outside.While using the drill sinking counter sinking and inserting screws to fix the wood into place making sure our fingers werent near the head of the drill and that a hand was firmly placed on top of the wood we were drilling to stop it spinning round and causing damage while the drill is operation.

set ideas

these are inspiration starting points for our own interpretation of the stags and hens which of course is set in the male/female toilets of a run down liverpool night club, these are pieces of graffiti artwork purpose made to represent modern society,yet the idea of the extreme covering of graffiti inspired us as well as gave us graffiti ideas.

  these were our starting points to see how to costruct a set around the flats we had and rosterers, these are examples of previous productions of the play preformed elsewhere in the country in different time eras, with these basic layouts we constructed a basic birdseye view of the set.(to be scanned in at a later point)

stags and hens intro

The play focuses on a group of girls and local lads who venture out for a night of pre-marriage stag and hen party celebrations. The action takes place in the Gents and Ladies loos of a tacky Liverpool club, Bransky's, where Dave and Linda (bride and groom-to-be) have decided, unbeknownst to each other, to hold their stag and hen parties.
Linda runs into her old boyfriend, Peter, a musician with a single climbing up the pop charts, but who is back in Liverpool on this particular night - playing a gig at Branskys.
Whilst entering the club, Dave, in a drunken stupor, becomes ill from the indian curry he ate (washed down with a copious mix of cider and Guiness) and spends the remainder of the evening (and the play) in the Gents, with his head down the lavatory bowl!
His mates, including Kas, and gang leader Eddie decide to take the law into their own hands when they suspect that Linda has developed a crush on Peter and may be having second thoughts about marrying Dave.