Figure 2.1. Vaudeville Show Announcement Sample. VAUDEVILLE! A DAZZLING DISPLAY OF HETEREOGENEOUS SPLENDOR Designed to Educate, Edify, Amaze, and Uplift
Figure 2.2. The Veritas Vaudeville. T h e V e ritas V au d ev i ll e an elevated entertainment, designed to educate, edify, amaze, and uplift! Veritas students in grades 7 12, their parents, and their teachers are encouraged to offer their talents and services. If you wish to participate, return this VAUDEVILLE SIGN-UP SHEET to the school office by October 19. Each act will take between 3 and 10 minutes, and will not require much rehearsal or memorization. We rely on your previous experience and unparalleled talent! When we know what those talents are, we will do a quality control type of audition, to prevent embarrassment beyond the call of duty. Script materials will be provided... and if you know of any to recommend, keep in mind that the time period is pre-1920. Questions? Call Bettyann Henderson, director. Student Name: Grade: Phone: (Check all that apply) I can... ride a unicycle perform magic tricks juggle tap dance dance ballet play an instrument: sing speechify act in a skit deliver a dialogue other: I can... haul sets and props paint sets design sets put up posters host a rehearsal do makeup style hair coach with skits, dances, and songs help with costumes design, shop, create, manage take tickets be an usher
Figure 2.3. Audition Form. Veritas School s Festival Of One-Act Plays Audition Form for Actors, Grades 7 12 Must be returned to the Drama box in the office by September 9, signed by student and parent/guardian What Date & Date Time Location Auditions Sept. 11 (Thurs.) 3:15 5:30 p.m. Fellowship Hall Companies posted Sept. 12 (Fri.) 8 a.m. Office Window First read-throughs Sept. 12 13 TBA Music Room Production week Nov. 12 22 First Friends Church Dress rehearsals Nov. 17 19 4 8 p.m. First Friends Church Evening performances Nov. 20 21 5 10 p.m. First Friends Church Matinee performance Nov. 22 12 5 p.m. First Friends Church Casting decisions and rehearsal schedules will take into consideration the information you provide on this sheet about your availability. See the calendar on back of sheet, and list dates, days and times that are excluded because of prior commitments, including scheduled activities such sports, piano lessons, work hours, etc. Student Name: Grade: Phone: Parent/Guardian e-mail: I understand that if I audition, I am not guaranteed an acting role. If cast, I commit to the following: I will attend all rehearsals for my part in the play (maximum of 3 each week). Availability information you give will be considered before the schedule is set. I will work to be off-book by October 15. I will be available for extra dress rehearsals during Opening Week (November 17 22). If I am negligent in these responsibilities, or disrespectful to other cast members or the production itself, I can be replaced at the discretion of the directors. Student Signature: Date: Parent/Guardian Signature: Date: *This means having all of your lines memorized. 107
Figure 2.4. Audition Agenda. Festival of One-Act Plays Audition Agenda 3:00 3:15 Stage manager hands out calendar with everyone s prior commitments. Students make any additions or corrections and return them. 3:15 3:30 Welcome! First task: nonverbal communication only, students create/do the following: one big circle by alphabetical last name (take attendance); one long line by height, show facial expressions as directors call out emotions to show without any noises (e.g., happy, nervous, hopeful); walk in circle, demonstrate posture and movement that communicates emotion and physical condition of an announced condition (e.g., hungry, cold, thoughtful). 3:30 3:45 Description of companies and tech crew Companies for Antigone, The Tall Stranger, Blindspot Tech crew Artists: design sets, festival logo, stage props Builders: build sets and props, prepare for them to be set up and broken down during the show Foragers: find/make costumes, locate and manage props Promoters: place posters Salesmen: ads (goal of $2,500) Hairdressers/makeup artists: create and prepare for character looks 3:45 4:00 Projection, pronunciation, and presence All students create as large a circle as space permits. Each person has a partner across the diameter of the circle. Partners exchange simple dialogue (e.g., Q&A, bland words delivered with flair). 4:00 4:30 Dramatic interpretation (index cards prepared with bland dialogue) In pairs, read dialogue to show very different meanings by voice inflection. Then, read dialogue with added nonverbal interpretation. 4:30 5:15 Preparation and presentation Divide everyone into three groups. Hand out excerpts from each of the three plays. Assign experienced students to develop and present a scene with a group of younger students. 5:30 5:55 Directors choice Each director has 15 minutes to work on particular skills with specific students. 6:00 Dismiss with congratulations. Announce when and where cast list will be posted. 108
Figure 2.5. Example of Ushers Instructions for Directing Traffic. COLLEGE STREET Times are approximate to length of plays. TICKET ENTRANCE, DOOR 1 Upstairs: SANCTUARY Father Brown parking wheelchair ramp DOOR 2 Downstairs: SOCIAL HALL Ages Ago offices parking BARKLEY BUILDING Actor s Nightmare Track A: 60 or half of expected crowd 1. Begin promptly at 1 p.m. upstairs Father Brown 1:00 1:25 (25 minutes) 2. Move directly downstairs Ages Ago 1:30 2:00 (30 minutes) 3. Move directly via door 2 Actor s Nightmare 2:10 2:50 (40 minutes) Track B: Second half of expected crowd (including latecomers) 1. Begin LATE at 1:10 p.m. in Barkley Actor s Nightmare 1:10 1:50 (40 minutes) 2. Move directly via door 1 Father Brown 2:00 2:25 (25 minutes) 3. Move directly downstairs Ages Ago 2:30 3:00 (30 minutes) NOTES: There should be two ushers for each audience: a leader to direct the audience to the next play, and one to follow the crowd. Actor s Nightmare needs ushers to groan, take flash photos, and turn out the house lights on cue. Before the show, tear tickets at the door; audience members keep one half, the other half is placed in a manila envelope. After the show, pick up any remaining programs (keep) and toss trash. There is an expected audience of 120 for each performance. Please count the ticket stubs in the manila envelope at the end of the night. 109
Figure 2.6. Crew & Co. Student Application Form. Crew & Co. Student Application Form Please return to the Drama box in the office, signed by student and parent/guardian I am applying to be a member of Crew & Co. I understand that for every hour I work, I will receive payment of 1 Crew & Co. credit per hour. My Crew & Co. credit will be held in my own Crew & Co. account and can be redeemed for my own expenses in the Drama Department (e.g., rehearsal T-shirts, free tickets to plays, scholarship funds for drama field trips). Student Name: Grade: Phone: Parent/Guardian e-mail: If hired, I commit to the following: I will show up when I promise to, and I will accomplish the work assigned. I will fill out the paperwork to assure I receive the fair amount of Crew & Co. credit. I understand I cannot spend my Crew & Co. credit for anyone but myself. If I am negligent in these responsibilities or disrespectful to other Crew & Co. members, or to the production itself, I can be dismissed at the discretion of the directors and adult supervisor. Student Signature: Date: Parent/Guardian Signature: Date: 110
Figure 2.7. Crew & Co. Workshops. Crew & Co. Workshops The purpose of these classes is to offer practical training throughout the year in areas of interest to a variety of students. The skills taught are necessary to promote and sustain the school s drama cocurricular program. Capture It! Videography Professional training plus ongoing supervision and assessment. Assignments throughout the year to film school activities. Servant Salesmanship Ads Professional training plus ongoing supervision and assessment. Assignments throughout the year to sell advertisements, promote sponsorships, and manage food sales during lunchtime twice a week. Peer Prep Stage Managers Professional training with opportunity to stage-manage student productions. Fisticuffs Combat Three classes taught by a professional stage-fight choreographer. Have at You! Sword Fighting Five classes taught by a certified professional stage-fight choreographer. Optical Illusions Set Design Five classes taught by an experienced stage designer. Crowd Pleasers Refreshments One session each month. Students provide suggested ingredients and kitchen supplies. Depending on the size of the class, food is donated or sold. Dress It Up Costumes & Props One session each month. Field trips to costume collections, shopping safaris. Students learn the history of costume, simple design, and creation. Vintage Dos Hairdressing One session each month taught by a professional hair designer. Making Faces Makeup One session each month taught by an experienced makeup designer. 111
Figure 2.8. Crew & Co. Student Jobs. TASK STUDENT CREW & CO. Estimated TIME Costume Manager Coordinate collection and management of costumes 10 hours @ show Costumes Find or create costumes flexible T-shirts Take orders, arrange with T-shirt supplier 2 3 hours @ show Video Help with video production flexible Hairdressing Design, arrange historically accurate hairstyles 2 4 hours @ show Makeup Design and apply actors makeup 6 8 hours @ show Props Manager Coordinate collection and management of props 3 12 hours @ show Photography Promotion and program photos 3 6 hours @ show Ushers Assist audience 9 hours @ show Figure 2.9. Crew & Co. Adult Supervisors and Helpers. TASK ADULT SUPERVISORS & HELPERS Estimated TIME Telephone Liaison Communicate between volunteers flexible Ads Liaison Coordinate between sales, publication, and payment 20 hours per year Ad Team Recruit, train, drive, and supervise students to sell ads 2 hours per every 3 weeks Costume Manager Coordinate collection and management of costumes 10 hours @ show Costumes Find, create, mend, and iron costumes flexible Video Production Plan, instruct, film, and produce video of shows 6 20 hours @ show Ticket Promotions Coordinate ticket sales with office staff, Crew & Co. 2 4 hours @ show Program Genius Coordinate, design, and print multipage program unspecified Props Manager Coordinate collection and management of props 3 12 hours @ show Publicity Coordinate poster campaign 3 6 hours @ show Publicity Drivers Drive and supervise students to place posters 2 hours @ show Set Designer Design set, plan construction/dismantling of set 3 12 hours @ show Set Construction Work with set designs 6 14 hours @ show Set Movers Pick up/deliver/set up furniture, set blocks, flats 2 6 hours @ show Food Planner Plan, coordinate rehearsal meals and refreshments 2 12 hours @ show Food Providers Prepare and deliver audience refreshments 2 hours @ show Cast Retreat Collect student info, purchase food, prepare meals 2 hours to 3 days Hairdressing Design, arrange historically accurate hairstyles 2 4 hours @ show Figure 3.1. Production Manager s Recommended Timeline. Production Manager s Timeline Before Auditions 1. Meet with director to discuss theme and design elements needed (costume, set, props, makeup, hairdressing, music). 2. Establish a budget; begin advertisement and sponsorship sales. 3. Secure performance rights from publisher. 4. Select and meet with designers to plan time and resources (human and financial). 5. Choose performance venue and negotiate terms (dates, use fees, set limitations). 6. Choose a logo design for posters, T-shirts, and printed programs.
Figure 3.1. Production Manager s Recommended Timeline (Continued). 7. Plan the cast retreat. 8. Host an information time available to parents, teachers, and students. 9. Promote interest among potential students (actors and crew). 10. Print and distribute audition forms and Crew & Co. sign-up sheets. After Auditions 1. Post the company of players list. 2. Host a meeting with parents of cast and crew for directors and designers to inform and solicit help, including ad and sponsorship sales, photography, and videographer. 3. Create a production calendar of rehearsals and crew assignments; include snacks and meal options. 4. Complete advertisement and sponsorship sales campaign. Send bills or receipts. 5. Plan the printed program, check with designer and printer. 6. Choose and train the house manager. During Production Weeks 1. Oversee promotion print and distribute posters, contact local media, write announcements for school or group newsletters, and establish a social media event page. 2. Arrange for T-shirt design and sales to cast and crew. 3. Check with directors and designers weekly for progress updates, including budget and volunteer needs. 4. Communicate with parents often via group e-mails. 5. Communicate as needed with venue host, plan move-in and storage needs. 6. Oversee information for the printed program (volunteer help, director s notes, late ad sales, photographs). 7. Print tickets and establish ticket sales campaign, including costumed performance(s) of play excerpts. 8. If the video rights can be secured, print order forms for DVDs. During Performance Week(s) 1. Track ticket sales. 2. Plan strike assignments assign who will sort costume and props, disassemble set(s), move furnishings, load and unload trucks, and drive trucks to return/storage destinations. 3. Plan cast party. 4. Encourage, encourage, encourage! After Final Performance 1. Strike set. 2. Hold cast and crew party enjoy food, share memories and report positive feedback from audience, write thank-you notes to venue host, designers, directors, sponsors, advertisers, media, etc. 3. Complete storage and return of costumes, props, supplies, etc. 4. Visit businesses to remove posters; deliver thank-you notes, bills, or receipts; and provide printed programs to advertisers. 5. Turn in ticket and miscellaneous revenue, receipts from designers. Request reimbursements from the school. 6. Check with videographer for release of (legal) DVDs. 7. Submit budget report (income and expenditures) to the school. 8. Take a week off to relax and recover, and then begin planning the next season s project. 113
Figure 3.2. Director s Recommended Timeline for Full-Length Play. Director s Timeline 9. Select Script (3 12 months before opening) a. If copyright protected, order copies, secure permission, pay royalty. b. Divide into French scenes, optional combat/choreography; prepare the stage manager s prompt book. c. Develop primary theme, establish location and time period. 10. Consult with Production Manager (3 6 months before opening) a. Design set, furnishings, floor plan, optional 3D miniature set, and light design (3 12 months). b. Make sure logo and promotional artwork is planned or complete, and the production is publicity ready (1.5 2 months before opening). c. Plan costumes, props, hair and makeup, and optional refreshments (2 4 months before opening). 11. Choose the Company of Players a. Hold auditions (3 4 months before opening). b. Complete first read-through, develop character relationships (first week after auditions). c. Refine character and scene development; plan optional cast retreat (within 1 2 weeks after auditions). d. Assign roles. 12. Rehearsals a. Publish a calendar of all rehearsals (1 week after casting). b. Block rehearsals; plan combat/choreography if needed (within 1 4 weeks after casting). c. Hold acting rehearsals (within 3 4 weeks after casting). d. Hold technical rehearsals, including props and costumes (2 weeks before opening). 114
Figure 3.3. Character Analysis Worksheet. Character Analysis Worksheet Answer these questions from an objective point of view, outside of your character. 1. Write out the lines that answer the following questions about your character: a. Who is this character? b. How old is he/she? c. Family? d. Background (place of birth, where he/she grew up, etc.)? e. Relation to other characters? f. Financial situation? 2. Write out the lines that answer the following questions: a. How is your character perceived by other characters? b. What are your character s hopes and aspirations? c. What are your character s fears and doubts? 3. List several ways to portray motivations. (How can you help the audience see the thoughts of your character s mind?) 4. What facial expressions cue the audience of your reactions? 5. List several ways to portray each of your reactions, subtle or obvious (body and voice). 115
Figure 3.4. Scene Analysis Worksheet. Answer from your character s point of view: Scene Analysis Worksheet 1. For each entrance of your scenes, answer the following questions: a. Where are you coming from? b. Where have you been? c. How long have you been gone? d. What have you been doing since your last scene? 2. For each scene, answer the following questions: a. What do you expect to find? What, if any, surprises occur? b. What do you think of these unexpected events, and reactions from others (positive, negative)? c. What changes do you intend to make in reaction to events? d. How do you perceive your appearance affects those already on stage? 3. For each scene, write out the lines that answer the following questions: a. How are you perceived by other characters? b. What are your hopes and aspirations? c. What are you fears and doubts? 4. For each exit of your scenes, answer the following questions: a. Why are you leaving the scene? b. Where are you going? c. What do you intend to do next? 116
Figure 3.5. Compatible Rehearsal Scenes: The Importance of Being Earnest. Character Algernon Jack Lady Bracknell Gwendolen Pages I-1 6 x x x I-2 2 x x x x x I-3 2 x x I-4 3 x x I-5 3 x x x x II-1 2 x x x II-2 2 x x x II-3 2 x x x x x II-4 3 x x x x x II-5 2 x x x II-6 4 x x x III-1 5 x x x III-2 2 x x x x III-3 3 x x x III-4 2 x x x x III-5 6 x x x x x x x x III-6 6 x x x x x x x Cecily Miss Prism Dr. Chasuble Lane Merriman I-1 Lane s preparations II-1 Cecily s lessons III-1 Merriman s attendance I-2 Aunt Augusta s tea II-2 Hypocrisy III-2 Sisters I-3 Jack s proposal II-3 Deep mourning III-3 Muffins I-4 Lady Bracknell s questions II-4 Joyful tidings III-4 Repentance I-5 Gwendolen s rebellion II-5 A gentleman s duty III-5 Bunbury s demise II-6 Algernon s proposal III-6 Ernest after all Sharing the Stage in French Scenes: II-5, III-3 Algernon, Jack, Merriman I-1 Algernon, Jack, Lane I-5 Algernon, Jack, Gwendolen, Lane I-3 Jack, Gwendolen II-1 II-4, II-3 III-5, III-6 Cecily, Miss Prism, Dr. Chasuble Algernon, Jack, Cecily, Miss Prism, Dr. Chasuble Algernon, Jack, Lady Bracknell, Cecily, Miss Prism, Dr. Chasuble, Merriman III-2 Algernon, Jack, Gwendolen, Cecily II-2, II-6 Algernon, Cecily, Merriman I-4 Jack, Lady Bracknell I-2 Algernon, Jack, Lady Bracknell, Gwendolen, Lane III-4 Algernon, Jack, Gwendolen, Cecily III-1 Gwendolen, Cecily, Merriman 117
Figure 3.6. Rehearsal Schedule. 118 Rehearsal Schedule (adjusted to actors excused absences as reported on their audition forms) Sunday Monday Tuesday Wednesday Thursday Friday Saturday CHOIR 4 Annie, John 4 6; Tara, CHOIR 4; Tara, Oliver Tara 5:30+ Nov. 29 Oliver 4 6; Tara 5+; Melissa 6:30+ 4 6; Melissa 7+ ALL CAST 12 8 Annie 6 9 bring snacks & $5 2 3 4 5 6 Tara; Melissa, Annie 4+ Melissa; Melissa Melissa; Annie ALL CAST 9 3 3 5 Jack, Algernon ALL CAST 3 8 Potluck Brunch, snacks Melissa, Tyler SAT (am?) Annie, John 1 6 9 10 11 12 13 Bethany Tyler, Tara ACT (am?) 16 17 18 19 20 Christmas Concert Bethany Tara 23 24 25 26 27 Oliver, Tara Oliver, Tara Christmas Day! Oliver, Tara Oliver, Tara Christmas Break Christmas Break Christmas Break Christmas Break John 3 6; Tara 5:30+* Tyler 7+ 30 Dec. 1 3 4 Bracknell, Prism, Chasuble 3 6 Algernon, Cecily 7 8 John 3 4, Bethany 3 5 Bracknell, Jack 3 Oliver, Tara 3 Christmas Break 2 Oliver Christmas Break OFF-BOOK Jan. 1 Oliver, Tara Christmas Break 31 Oliver, Tara Christmas Break 30 Oliver, Tara Christmas Break 14 15 John 3 4 21 22 Oliver, Tara Christmas Break John 3 4 28 29 Oliver Christmas Break * The times next to student names indicate the hours during which those students have secured a prior excused absence. The plus sign (+) next to times indicates a student is unavailable from that time onward. Student names listed without a time indicate that the student is excused for the entire day and cannot be scheduled for a rehearsal.
6 7 ALL CAST 3 7 4 5 3 6 ALL CAST John 3 4 11 12 3 7 ALL CAST 18 19 NO SCHOOL 10 6 Earnest at Kelty Oliver 8 9 ALL CAST 3 8 13 4 5 Bracknell, Cecily, Algernon 20 FINALS 27 Tyler? 3 Dress rehearsal at Kelty Estate 25 26 3 8 Scenes as needed 10 Earnest pick-up at school 14 3 6 Lane, Jack, Algernon 21 FINALS 28 3 8 Scenes as needed 4 Rehearsal TBA at Kelty Estate 15 16 CHOIR 4:30 FINALS 4 6 Act I 6 9 Act II 22 23 Tyler Tyler FINALS FINALS 4 6 Act I 6 9 Act II 29 30 3 8 Scenes as needed CEILI (TBA) ALL CAST 3 7 Feb. 1 2 5 OPENING PERFORMANCE Earnest 11 12 PERFORMANCE Earnest 6 PERFORMANCE Earnest Dress rehearsal at Kelty Estate 13 PERFORMANCE Earnest 10 Rehearsal at Kelty Estate 10 5 17 Melissa 10 5 ALL CAST 24 10 1 Act III 1 8 ALL CAST runthrough 31 10 3 ALL CAST 3 8 scenes as needed 7 PERFORMANCE(S) Earnest 14 CLOSING PERFORMANCE Earnest 8 9 John 3 4 119
Figure 3.7. Blocking Notes: The Book. Importance of Being Earnest ACT 1 Algernon s London Flat Front door mirror PROP: cigarette case Garden exit bell settee X Kitchen exit X Chair left Tea table X Chair right 120
Figure 3.8. Blocking Notes: Actor s Script. Jack. Oh, that is nonsense! Lane s Preparations I-7 Algernon. It isn t. It is a great truth. It accounts for the extraordinary number of bachelors that one sees all over the place. In the second place, I don t give my consent. walk around to bell Jack. Your consent! Algernon. My dear fellow, Gwendolen is my first cousin. And before I allow you to marry her, you will have to clear up the whole question of Cecily. [Rings bell.] go to bell Jack. Cecily! What on earth do you mean? What do you mean, Algy, by Cecily! I don t know anyone of the name of Cecily. [Enter Lane.] from Kitchen R eat B&B Algernon. Bring me that cigarette case Mr. Worthing left in the smoking-room the last time he dined here. Lane. Yes, sir. [Lane goes out.] Garden L Jack. Do you mean to say you have had my cigarette case all this time? I wish to goodness you had let me know. I have been writing frantic letters to Scotland Yard about it. I was very nearly offering a large reward. Algernon. Well, I wish you would offer one. I happen to be more than usually hard up. Jack. There is no good offering a large reward now that the thing is found. [Enter Lane with the cigarette case on a salver. Algernon takes it. Lane exit.] Kitchen R Algernon. I think that is rather mean of you, Ernest, I must say. [Opens case and examines it.] However, it makes no matter, for, now that I look at the inscription inside, I find that the thing isn t yours after all. move down to settee cross R in front of table Jack. Of course it s mine. [Moving to him.] You have seen me with it a hundred times, and you have no right whatsoever to read what is written inside. It is a very ungentlemanly thing to read a private cigarette case. Algernon. Yes; but this isn t your cigarette case. This cigarette case is a present from someone of the name Cecily, and you said you didn t know anyone of that name. Jack. Well, if you want to know, Cecily happens to be my aunt. Algernon. Your aunt! 121
Figure 5.1. Themed Menu. Tuscan Basket Supper Menu Semelln (Tyrolian roll) Landjaeger (Bavarian pepperoni) Hand-picked estate fruits Asiago & Provolone (Italian cheeses) Biscotti (Tuscan cookie) Scholarship water Wine & Juice available for purchase Figure 6.1. Festival Graphic. Designed by Cornelius Hegeman, 2008. Used by permission. 122
Figure 6.2. Sample Promotional Art. Figure 6.3. Sample Logo. Designed by Kitty Touzeau, 2007. Used by permission. Designed by Kitty Touzeau, 2007. Used by permission. Figure 6.4. Menu for a High Tea. Tea Menu Yorkshire Gold tea with milk, sugar Cucumber sandwich with herb butter Bacon & tomato sandwiches Lemon curd tart & English toffee bar 123
Figure 7.1. Stage Geography. Upstage Right Right Center Up Center Left Center Left Centerstage Right Right Center Center Left Center Left Downstage Right Right Center Down Center Left Center Left AUDIENCE 124
Notes on Blocking Blocking is tedious and seems to take forever. Everybody wants to get into the acting and memorizing too soon, but taking the time to do blocking helps memorization and characterization. Some of the stage directions provided in the script (e.g., George enters left; Joanne sits) may be used right off the page. More often, though, your set design will not match the prototype in the published script, so as the director you will need to sort through the entrances, exits, and stage movements. Be sure you don t expect your heroine to exit downstage right and re-enter upstage left if the only way to make that happen is for her to run outside and around the building. A film director has the advantage of choosing one shot out of many takes, but a stage director needs to develop an eye for creating a balanced picture to help the audience focus on the crucial words and actions. The invaluable and dedicated stage manager has the responsibility to keep The Book with all the blocking for every actor clearly marked and available for all to reference. Have this marked before each blocking rehearsal begins. As you continue to direct more productions with experienced actors, you will be able to decide how many blocking decisions you can encourage your students to suggest for their own roles. 125