Handbook

Introduction
This handbook gives a brief description the roles that members of the Purbeck Players drama society may undertake during the production of a play. The information is intended for:
new or potential members who wish to understand the workings of the society, existing members, to encourage them to take on new tasks, researchers interested in the workings of a successful amateur drama group.

Table of Contents
Direction (Director, Assistant, Musical & Fight Directors, Set Designer and Choreographer)
Production (Production, Wardrobe and Properties Managers and Photographer)
Staging & technical (Stage and Assistant Stage Manager, Lighting & Sound Specialists, Armourer and Set Constructors)
Business ( Front of House, Ushers and Caterers)
Acting (Actors and Prompt)
Production Timetable
Glossary

Roles in a production
This section briefly describes the different positions which must be filled to stage a show. The roles are grouped for ease of presentation and it is not intended that every production should necessarily be staffed in exactly this way. There is also scope for specific responsibilities to be reassigned to take account of an individual's skills. The fact remains, however, that somebody must be assigned to fulfil each of the tasks below, and the sooner in the production cycle the better. No role should be thought of as more important than another. Just as some roles require much more commitment of time and effort than others, so some members have more time to give than others. The audience's evening can be spoilt equally by mislaid props, a late sound or lighting cue, a badly directed movement, a forgotten line.

Direction

The Director is the creative driving force of the show. He or she must interpret the script to the actors, enabling them to present the story to the audience in the way the author intended.
Firstly the committee will call for offers to direct a production, and suggestions for appropriate plays. Any society member may make a proposal. If more than one firm proposal is made to direct a play then readings may be held and the committee will decide which play to stage, considering aspects such as the quality of the play, the likely cost compared to funds held, the potential audience, the similarity of the play to recent productions, and so on.
The chosen Director will hold readings and if necessary auditions to choose the cast for the play. Where possible the play should be cast with existing society members (and this should be considered when the play is originally proposed). If it is necessary to bring in an actor from outside the society then they must become a member. When the play is cast, as well as notifying the chosen actors the Director must also inform the unsuccessful readers as soon as possible. In consultation with the committee the Director will appoint Production, Stage managers (see below). It is possible for one person to hold more than one of these roles, but care should be taken not to overload anybody. The Director will produce and publish a rehearsal schedule and will attend the vast majority of rehearsals, firstly blocking out the moves for the actors then adding interpretation and feeling to the performances. He or she must keep the other Managers informed of all relevant needs (such as costumes, properties and furniture) and decisions.
Early during rehearsals (or even before) the Director should meet with the Set Designer and the Lighting and Sound Specialists to discuss the creative aspects of their work (see below) and the technical constraints which the theatre imposes. The Set Designer must produce a detailed scale plan from which the set construction crew, the Properties Manager and the Lighting specialist can work. The Director may wish to appoint an Assistant Director to consult with or perhaps to run occasional rehearsals in his or her absence. There may also be a need for specialist assistance such as a Musical Director, a Fight Director or a Choreographer. As the person in charge at rehearsals, the Director is also responsible for generating a team spirit and sense of enjoyable enterprise amongst cast and crew. Rehearsals are a big commitment and we all do this for fun! Although not mandatory it is traditional for there to be a post-production party on the Saturday night after the run. The Director will normally arrange for (though not necessarily host) the party. If the majority of the cast and crew wish to have a NODA criticism of the production then the Director should arrange for this too.

Production

The Production Manager ensures that the by the time of the Get-in all the necessary preparation is complete. Roughly in chronological order, this includes ordering the scripts, paying the performing right, making sure that all the non-acting roles are filled, and liaising with the Mowlem Theatreto show them the set design and discuss technical issues such as safety regulations.Most importantly the Production Manager is also responsible for ensuring the availability of appropriate costumes and props (including furniture). This usually requires the appointment of Wardrobe and Properties Managers.The Wardrobe Manager will conduct research and consult with the Director to agree styles appropriate for each character, and then arrange to borrow, rent, buy or make the costumes or, if available, to retrieve them from our own store in North beach car park. This includes shoes and wigs. During rehearsal, if costumes are unfamiliar (eg wide skirts) or integral to the plot (eg taken off) it may be helpful to the actors to be able to practise with representative garments. For a contemporary play the Actors will often be able to provide their own costume. During the run, the Wardrobe Manager may be called upon to make running repairs, assist with costume changes and perhaps arrange for overnight cleaning if a costume is dirtied during a performance. At the end of the run they must ensure that all costumes are returned to their owners. .The Properties Manager will research and consult with the Director to agree props and furniture appropriate for the production and then arrange to borrow, rent, buy or make the objects or, if available, to retrieve them from our own store in North beach car park. During rehearsal it is helpful to the actors to be able to practise with props that they will have to handle such as cigarettes, glasses, cases, etc. These do not have to be the actual props intended for the play but may be simply representative. During the run the properties manager may continue to control the properties, but this will be in the role of an Assistant Stage Manager. At the end of the run they must ensure that all properties are returned to their owners.The production manager should also arrange for a photographer to take photographs for display on the foyer boards during the public performances and as mementoes for the cast and crew. Several society members are capable of this and usually the most practical option for the main photographs is to take them in colour at the Technical Rehearsal (Monday) and have them processed as 5" X 7" or 6" X 8" at Fotoshop or Boots on Tuesday with a 24-hour turnaround. Although some members prefer black and white photographs, unless the photographer processes their own they are much slower and much more expensive to produce. Many of the photographs on these pages were taken by various members

Staging & Technical

Whereas the production manager's main work takes place before the run, the Stage Manager comes to the fore in production week. Once we are in the theatre the Stage Manager not the Director is in charge.To do the job to the full, however, he or she must know the play intimately and this means attending many rehearsals, keeping notes of the actors' moves, the positioning of furniture and props and the timing of sound and lighting cues.Usually the Stage Manager will manage the Get-in on Sunday Morning. This includes arranging for access and transportation to North beach car park (and any other points to pick up props) the acquisition of any additional paint and building materials necessary and the construction, painting and dressing of the set.
In this task the Stage Manager will be assisted or at least briefed by the Set Designer and will require several Set Constructors (ie any willing member of the society) to shift and paint. For photos of set construction click here.During Technical and Dress Rehearsals and the public performances the Stage Manager will normally be assisted by one or more Assistant Stage Managers (ASMs). The Stage manager will normally remain at his desk (downstage left) and perform some of the tasks below, delegating the rest to the ASMs: Ensure that all cast and crew are present Ensure that the furniture is correctly positioned and properties are in place (on or beside the stage) Ensure that actors have their personal props Broadcast time and audience warnings and instructions to cast, crew and front of House staff Cue the lighting and sound specialists. Open and close the curtains Provide backstage effects (door knocks etc.)
At the end of the run the Stage Manager will organise the breaking of the set on Saturday night (the Strike) and the Get-out to remove all the props, costumes and furniture on Sunday morning.Early in rehearsals the Lighting Specialist will have designed a basic lighting plot with the Director and he or she will then attend several later rehearsals to become familiar with the play and the cues. At the Get-in the Lighting Specialist will take several hours to point and focus the lights, add coloured gels and program the computer to create the ambience and effects required. During the Tech and Dress Rehearsals and the public performances the Lighting Specialist will run the lighting computer, reacting to cues provided either by the actors' lines or the Stage Manager's warnings. At the Strike the Lighting Specialist must dismantle and put away any temporary equipment which they have installed.Also early in rehearsals the Sound Specialist will have agreed the necessary music and sound effects with the Director and will have obtained the necessary recordings. He or she will then attend several later rehearsals to become familiar with the play and the cues. It is often helpful (although not essential) for the actors if sound effects (perhaps only approximate ones) can be played during rehearsals. At the Get-in the Sound Specialist may need to finalise tapes in the recording studio and will then experiment with the music and effects to ascertain the correct sound levels in the theatre. During the Tech and Dress Rehearsals and the public performances the Sound Specialist will run the sound desk, reacting to cues provided either by the actors' lines or the stage manager's warnings.If the production involves weapons, the Stage Manager may wish to appoint one of the ASMs as Armourer to ensure their safe use and storage.

Business

The Business Manager is responsible for ensuring that a lot of people come to see the play and are well looked after while they are there. The first job is to arrange for the production and distribution of publicity material, particularly posters and booking forms. These should go to libraries, the University Drama Studio and other theatres, tourist board offices, the Bank, hotels and anywhere else that members can think to take them. Booking forms should be sent out to everybody on the mailing list. Secondly the media should be informed including the free papers and the radio stations. If possible some sort of 'story' and perhaps a photograph should be provided to encourage an article rather than just a listing entry. At the same time the theatre critics should be invited to the performance.The Business Manager should also arrange for the design and production of the programme which should be checked for accuracy by as many people as possible, especially the Director and the Production Manager.
In consultation with the committee the Business Manager should appoint a Front of House (FOH) Manage.The Front of House Manager is responsible for the safety and comfort of the audience at public performances. also sell programmes.
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Acting

The Actors fill the most visible role in a production and therefore get most of the praise so it is important that they accept their share of responsibilities. The most obvious of these are to rehearse and have learned their lines, moves and body language by the date that the Director says "books down". Actors have a major duty to each other to turn up at rehearsals and help each other interpret their parts. As much notice as possible should be given if a rehearsal must be missed.There should be an open and co-operative spirit during rehearsals during which everybody should feel free to make (and accept) suggestions but all should recognise that the Director has the ultimate authority.As much as possible, Actors should help all the other members by trying to find their own costumes and props, helping with publicity, selling as many tickets as possible to friends and colleagues, assisting at the Get-in & Get-out and perhaps even being an ASM.During the production run the Actors are supported by the Prompt who must know the play very well and will normally attend rehearsals, at least after "books down" day. The Prompt's only (though difficult) role is to unobtrusively supply a line when an Actor can't do it him or herself.

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