Guys and Dolls. Submission for Main Theatre Slot Week 3, Term 2

Guys and Dolls Submission for Main Theatre Slot Week 3, Term 2 2 nd October 2003

Guys and Dolls Director...Russell Hope Musical Director (vocal)...andy Ralls Musical Director (orchestral)...owen Lloyd Choreographer...Felicity Betteridge Producer...Heather Young Assistant Producer...Daniel Akers Technical Consultant...Dave Tanqueray Designer...Ruth Carney Lighting Design...Liz Slade Sound Design...Ed Borgnis Costume Design...Emily Stuart Props...Jo Boxwell Stage Manager...Steve Feest Deputy Stage Manager...Jo Gayther

Production Team Russell Hope - Director Whilst studying for A-Levels, Russell performed in and directed a number of works spanning genres from Steven Berkoff's physical theatre (in Metamorphosis, in which he also played the Father) to Howard Brenton's poor-theatre, to musical theatre and naturalism. In his final year he wrote and directed a play entitled The Half Men which was performed the week of the O.F.S.T.E.D. examination of that year, and which was noted in the Chief Examiner's report as an "outstanding... a thought provoking [script and production] that will linger long in the memory of those privileged to be among the audience". Russell has performed in MTW's main theatre, Tamworth/Cooler, and second Weekend shows, as well as working backstage as ASM for Assassins in the Arts Centre Studio. He looks forward to playing a part in what he admits will be an immense challenge, and especially working with this production team. Andrew Ralls Musical Director (vocal) Andrew Ralls (DipLCM) has Musically Directed Company, Kept (European Premiere) and strangely enough, Guys and Dolls. He has vocal coached for Fame, West Side Story and Guys and Dolls. He has his diploma in Piano from the London College of Music, Grade 8 singing, teaches singing for Stagecoach in Solihull, and is relieved that this Guys and Dolls will have its own score ready. Owen Lloyd Musical Director (orchestral) Owen Lloyd is extensively involved with the Music Centre, working in the office as well as playing in several ensembles. He is one of the conductors of the award-winning University of Warwick Wind Orchestra and brings administrative experience to the orchestral side through being President of the Brass Society and Executive Producer of City of Angels for MTW in 2002. He has musically directed Little Shop of Horrors (MTW Weekend Show) and was the Orchestral Musical Director for City of Angels, MTW's most successful main theatre show of 2002. Felicity Betteridge Choreographer Felicity is a second year, currently studying Computer Systems Engineering. She is an experienced dancer and started choreographing four years ago. Felicity has danced with a theatre school since she was four, where she has focused on developing stylised dances ideal for musicals, alongside ballet and tap. She has choreographed dances including Cats, Singing in the Rain and All That Jazz which were performed in several variety shows in her National Theatre. Felicity has also worked for the Department of Education on the Youth Festival Committee who produce feature films designed for young people to star in as well as work on the tech side, and this summer worked as a choreographer on an arts course for 11 to 14 year olds. Heather Young Producer Heather is a second year maths student who has become heavily involved in both MTW and WUDS since arriving at Warwick. Currently Productions Manager for WUDS, she has co-produced Anna Karenina (WUDS) in the Arts Centre Studio and The Erl King (CAP(ed)) at the Smirnoff Underbelly, Edinburgh Fringe Festival 2003. Also props for Assassins (MTW); ASM for City of Angels (MTW); stage manager for Mary Poppins (MTW) and the forthcoming productions Rosencrantz and Guildenstern Are Dead (WUDS) and Cabaret (MTW). Daniel Akers Assistant Producer Daniel Akers (BSc.) has been extensively involved in MTW for two years. He has performed in various shows (Company, City of Angels, Wizard of Oz, Variety Show, Lapworth), and is now looking forward to giving something back to the society behind the scenes. He has had production experience at school, producing The Secret Diary of Adrian Mole for a 4 night run. He has also operated both lights and sound for various school productions, so is familiar with all things back-stage. This production role will tie in with his MA, which deals with production and business in the creative industries.

David Tanqueray Technical Consultant David s career in theatre at Warwick University began in October 2000 when he did sound for A Kind of Alaska performed by WUDS in the Arts Centre Studio. Since then he has worked on many shows for Student and professional companies as Sound Designer/Stage Manager/Dogsbody. He has been with Warwick shows to the prestigious National Student Drama Festival and The Edinburgh Fringe Festival. He has also managed theatre spaces for both of these festivals. Past MTW highlights include; SM for Gypsy in 2001, Sound for West Side Story in 2002, Sound for Company in 2002 and SM for City of Angels in 2003. Ruth Carney - Designer Having spent a year studying in Canada, Ruth has returned to complete the third year of her Philosophy and Literature degree at Warwick. Show highlights from her first year include ASM for The Tempest in 2001 and Designer/Stage Manager for Macbeth in 2002. Liz Slade Lighting Designer Liz is a third year maths student, and since arriving at Warwick, has been involved with many theatre productions in a variety of roles. Highlights have included Lighting Design for Betrayal, Marat Sade, Lie Back and Think of Sondheim, The Last Days of Mankind, Mary Poppins, Spring Awakening and Cabaret, and working as Deputy Stage Manager for The Tempest, Did you hear the one about the Irishman? and City of Angels. Liz has also been a member of the 'Tech Crew' for the National Student Drama Festival for the past two years, and also works for The Pleasance Theatre at the Edinburgh Festival. She is also President of the Warwick Technical Society. Ed Borgnis Sound Designer At home in Norfolk, Ed has worked on the technical team of an annual semi-professional open air festival for six years, eventually becoming the technical manager of the company s studio space. In this role he tackled a wide variety of productions. Ed has also worked with a number of local amateur groups for long panto runs and also on some of the classic musicals including Annie Get You r Gun, Grease, Chess and Joseph as well as completing a week s work experience in the Norwich Theatre Royal and a fortnight at The Royal National Theatre. Since arriving at Warwick, Ed has been employed by TSG at the Union (which has allowed him to do more live sound work). He has designed lighting for WUDS Anna Karenina and Blood Wedding and sound for MTW s Assassins. He was also responsible for lighting and sound for CAP(ed) s production of The Erl King in The Smirnoff Underbelly at the Edinburgh Fringe Festival 2003. Emily Stuart Costumes Emily has designed and made costumes for shows since school where she worked on The Taming of the Shrew, Guys and Dolls and Carousel. Since being at Warwick she has been involved in WUDS Last Days of Mankind (costumes) and Blood Wedding (cast) and Codpiece Woyzeck (costumes and set). This summer she designed set and costumes for A Kind of Alaska at the Edinburgh Fringe Festival and is currently publicity officer for the Codpiece exec. Jo Boxwell Props A second year History student, Jo has taken on a number of theatre roles at Warwick. A member of the Tech Crew executive, Jo was ASM for the WUDS production of Closer and for MTW s City of Angels and also DSM for the WUDS production of Death and the Maiden. Jo was also a member of the Tech Crew at the 2003 National Student Drama Festival in Scarborough Steve Feest Stage Manager Jo Gayther DSM Jo is a second-year student of German with International Studies and has been an active member of MTW since the days of Calamity Jane. In her time at Warwick she has acted as a Stage Manager for the WUDS show The Last Days Of Mankind, and will also be Stage Managing the MTW weekend show,

Oliver. In the past she has DSM'd (is that a word?) for smaller productions in her school and for a local theatre company. She is also currently the Secretary for MTW. Plot Synopsis A comic morality tale set to a hot jazz score, Guys and Dolls is a New York love-story filled with memorable songs and punctuated by razor-sharp dialogue. Sarah Brown, an idealistic but sheltered preacher finds her message of salvation falling on deaf ears in the devil s own city, until she meets a compulsive gambler named Sky Masterson, who has been duped into a bet that he can take on a date any girl suggested by Nathan Detroit, the organiser of a floating craps game, who is need of fast money to secure a venue for his next game. Sky offers to take Sarah to Havana in return for stocking her failing Mission with genuine sinners. Whilst Sky prepares the ground, a briefing by Nathan to his prospective customers is halted by Lt. Brannigan of the police, who demands to know the reason for their meeting. One of Nathan s associates, Benny Southstreet, upon seeing Nathan s fiancé Adelaide nearing, blurts out that they are meeting to celebrate Nathan s engagement to Adelaide. Having avoided setting a wedding date for the past 14 years, and eager to hide his involvement in the game, Nathan is trapped into agreeing to marry that week. In Cuba, Sky and Sarah begin to unravel their caricatured perceptions of each others lifestyles, and a genuine love grows between them. However on their return to New York, the crap game is found to have been running in the empty mission. Sarah jumps to the conclusion that Sky s affections were merely a ruse to guarantee the mission would be empty and storms out on Sky. The next night (in a sewer) the crap game continues at the insistence of a hustler from Chicago, Big Jule, who proceeds to cheat Nathan out of the money he has made from setting up the game. Sky arrives and successfully bets each of the gamblers $1000 (on a single roll of the dice) against their souls ; their agreement to attend the mission s forthcoming all-night prayer meeting. Shortly before the meeting, Nathan is accosted by the long-suffering Adelaide, who he avoids, for once telling her the truth that he must attend the prayer meeting. In a cruel twist of irony (the one time Nathan does tell the truth to Adelaide!), she believes that he s lying and leaves him, unable to reconcile her desires to love him for the broker that he is, and to mould him into a family man. The prayer meeting is an unlikely success, owing to the conversion that night of one of the more eccentric low-lives, Nicely-Nicely Johnson. Outside the mission, Sarah and Adelaide express their ambivalence towards their loves and resign themselves to marrying their respective partners and working to change them later. The play resolves itself with the wedding of Adelaide to Nathan, who has resigned from the gambling world in favour of running a newspaper stall in Times Square, and Sky s conversion to Christianity.

Musical Numbers Act One Opening Fugue For Tinhorns Follow the Fold The Oldest Established I ll Know A Bushel and a Peck Adelaide s Lament Guys and Dolls Havana If I Were a Bell My Time Of Day I ve Never Been In Love Before Act Two Take Back Your Mink Reprise: Adelaide s Lament More I Cannot Wish You The Crap Game Dance Luck Be A Lady Sue Me Sit down, You re Rockin The Boat Reprise: Follow The Fold Marry The Man Today Reprise: Guys and Dolls Orchestra Nicely-Nicely, Benny, Rusty, Charlie Sarah, Arvide, Calvin, Agatha, Priscilla Nathan, Nicely-Nicely, Benny, Ensemble Sarah and Sky Adelaide and Hot Box Girls Adelaide Nicely-Nicely and Benny Dance Number Sarah Sky Sky and Sarah Adelaide and Hot Box Girls Adelaide Arvide Dance Number Sky and Crap Shooters Nathan and Adelaide Nicely-Nicely and Ensemble Mission Meeting Group Adelaide and Sarah Company Scene Breakdown In addition to the separation of scenes as listed in the Josef Weinberger script, the script is to be further divided for the purpose of rehearsals. Below is how the play will be divided, along with the cast members required for each sequence. ACT ONE 1 1a Fugue for Tin Horns p6 Nicely, Benny, Rusty 1 1b Follow the Fold Lt. Brannigan p6 Nicely, Benny, Rusty, Sarah, Arvide, Agatha, Calvin, Martha, Harry, Brannigan, Nathan 1 1c Brannigan exits Oldest Established p10 Nicely, Benny, Nathan, Crap Shooters 1 1d Adelaide p16 Angie, Nicely, Benny, Nathan, Harry, Adelaide, Sky, Girl 1, Girl 2 1 1e Nathan and Sky p19 Nathan, Sky, 2 dancers 1 2 The Mission I ll Know p24 Sarah, Arvide, Sarah 1 3 Phone Call p35 Nathan, Joey Biltmore s Voice 1 4a A Bushel and a Peck p38 Master of Ceremonies, Adelaide, Dancers, Nathan 1 4b After Hours at the Hotbox Lament p40 Nathan, Adelaide, Mimi 1 5 Guys and Dolls p47 Nicely, Benny 1 6 General Cartwright p51 Sarah, Arvide, Calvin, Martha, Agatha, Sky, General 1 7 Nathan s getting Married p55 Benny, Harry, Nicely, Nathan, Big Jule, Brannigan, Adelaide 1 8 Havana p62 Sky, Sarah, Waiter 1 9 If I Were a Bell p67 Sky, Sarah 1 10 I ve Never Been in Love Before p70 Sarah, Adelaide plus all male except Brannigan. ACT TWO 2 1a Take Off Your Mink p1 Adelaide, Dancers 2 1b Lament (reprise) p3 Waiter, Sky, Nicely, Adelaide 2 2 More I Cannot Wish You p7 Sarah, Arvide, Sky, Nicely 2 3a Crap Shooters Ballet p11 All male except Brannigan, Arvide, Nicely and Sky 2 3b Dice with No Numbers p11 All male except Brannigan, Arvide, Nicely and Sky 2 3c Sky s Entrance Luck be a Lady p18 Nicely, Sky, Big Jule, Harry, Nathan 2-4 Sue Me p25 Big Jule, Harry, Nathan, Adelaide, Nicely, Benny 2-5 Sit Down You re Rockin the Boat p31 All 2 6 Marry the Man Today p41 Adelaide, Sarah 2 7 Finale p47 All

Cast Requirements (12 male, 6 female, plus 5 dancers) Cast Requirements Nathan Detroit Sky Masterson Nicely-Nicely Johnson Benny Southstreet db. Hotbox & Cuba ensembles Rusty Charlie db. Hotbox & Cuba ensembles Big Jule db. Hotbox & Cuba ensembles Harry the Horse db. Hotbox & Cuba ensembles Angie the Ox db. Hotbox & Cuba ensembles Liverlips Louie / Joey Biltmore s Voice db. Hotbox & Cuba ensembles Society Max / Cuban Waiter db. Hotbox ensemble Lt. Brannigan / Hotbox Janitor db. Cuba Ensemble Arvide Abernathy db. Cuba ensemble Adelaide Sarah Brown Agatha / Mimi db. Hotbox & Cuba ensembles Calvin 1 db. Hotbox & Cuba ensembles Martha db. Hotbox & Cuba ensembles General Cartwright db. Hotbox & Cuba ensembles We are also seeking five dancers for the Hotbox, Cuba and Finale sequences. Character Descriptions & Vocal Ranges Character roles: Nathan Detroit (D to high F) An facilitator of illegal gambling, Nathan maintains a distance by acting only as a broker; seldom a gambler. A consummate businessman with divided loyalties; he pacifies his fiancé Adelaide with vague promises of a marriage some time in the future. Adelaide Mezzo (A to D) A club singer and Nathan s long-suffering fiancée. Not the brightest of people. Weary of the disruption Nathan s involvement in the craps game causes to their relationship, she longs for quiet family life away from New York. Sky Masterson Baritone (B to E b ) A charming but self-assured gambler. Able to adapt to any situation but ready to reel off pre-prepared anecdotes regarding his view of the world. Despite his failings, Sky is immensely likeable and oozes style. Sarah Brown Soprano (B to high A) An idealistic but sheltered missionary. Kind-hearted but like Sky, too categorical in her view of the world. Charisma, a natural beauty and a silky jazz voice are important attributes for this character. 1 We would seek to cast this role with a female, in order to add balance to the male ensemble during Sit Down You re Rockin the Boat, and considering the predominance of male parts in the show.

Nicely-Nicely Johnson Tenor (D b to high B b ) An eccentric gambler and one of Nathan s closest associates. Although arguably an ensemble role he isn t particularly essential to the large majority of the narrative he sings one of the most well known numbers of the show, Sit Down You re Rockin the Boat. Arvide Abernathy Baritone (D to high F) A member of the Save-a-Soul mission. A reasoned old man with a warm heart that harbours only the kindest intentions, even if he tends to be a little gullible. Big Jule An intimidating hustler from Chicago. Temperamental. A sore loser. Although not necessarily a large man, stage presence and acting ability are the main requirements for this role. Lt. Brannigan A policeman engaged in what he perceives to be a battle of wits with Nathan to stop the craps game. Again a primarily acting role. Comic timing and acting ability are essential. General Cartwright Regional direction of the Save-a-Soul mission. Authoritative through necessity but motivated by charity. The Ensemble: Benny Southstreet (D b to high G) Rusty Charlie ( D b to high G ) Harry the Horse Angie the Ox Liverlips Louie / Joey Biltmore Society Max / Cuban Waiter Agatha / Mimi Calvin Martha

Expectations and Benefits The production team believes that following on from the society s presentations last year, a slick production of Guys and Dolls would be of great benefit to the society and its members. Assassins demonstrated a competence with material relatively difficult in terms of themes and musicality; City of Angels showed a willingness to engage with relatively unknown work, and both weekend shows, fairly light in tone, allowed for some showboating for the crowd. A classic such as Guys and Dolls, treated equally appropriately would exhibit another side of our repertoire. Whilst being well known, there is great potential for research into the era, allowing for authentic choreography and a striking visual presentation Not to mention a swinging live orchestra performing some of Broadway s greatest songs, at times inventive, at times and affecting and with some classic toe-tapping moments. The regeneration of the society and the continuation of its work by new faces are clearly important, and Guys and Dolls reputation makes it the perfect show to entice freshers. The amount of second year students on the Exec, as well as piloting this year s Cooler show (not to mention the producer and director of this submission) shows the effect a strong opening to the year can have on recruiting new faces, and we hope that a show such as this will entice fresh blood. Regarding the material itself, it s pure entertainment and incredibly accessible. There are harder shows to sing, and scripts that deal with more complex issues, but staging a show such as this holds its own set of challenges the attainment of a style that must appear to the audience as having been effortlessly created; an attention to detail in the set up and execution of each joke, and the injection of spirit into each dance and song. Loesser s use of a stock plot and characters allows a concentration on the music and the delivery of the script, and suggests different dramatic textures, from the garish cabaret of the Hotbox, to the macho ballet in the sewer, to the spectacle of watching the crap shooters twirl in the isles and raise their hands in the style of the negro-spiritual Gospel choirs of New York. It s easy to perform Guys and Dolls averagely. It practically sells itself. However, to perform it well is as hard as performing many other works deemed by many as more challenging. To summarise, it will be challenging, though the desired effect is one of natural ease (perhaps it s comparable to recording a really catchy pop song). I hope the effect will be that of a romp in the best possible taste, with a lot of laughs and a thumping live band. A few words on style The overall production will take a slightly seedier tone that often taken, most notably in the 1955 Sam Goldwyn movie. Consider Nathan and Sky. Nathan lies to Adelaide about the crap game and more importantly about the extent of his feelings for her, and Sky, a compulsive gambler, tricks Sarah into going to Havana, presumably assuming she will fall for him, yet he will win the bet and walk away, leaving her broken-hearted. As he tells Nathan in their first exchange, a guy should have a doll around when he wants one, and they are easy to find. If the resolution wasn t happy if Nathan and Adelaide didn t eventually marry, and if Sky didn t end up falling for Sarah as she falls for him what would we think of them? And consider the crapshooters looking to Nathan to feed an addiction, or Lt. Brannigan as a very fallible embodiment of the law, creating a personal battle with Nathan to pre-empt the next game. This is New York s underbelly, and set, direction and choreography will seek to address this.

Set Design The set consists of a street in a rougher part of New York. The shop/building fronts are at different depths, creating something more than a flat backdrop. The set is interactive, with the doors being functional. The downstairs windows contain display cabinets behind so can be filled and dressed. Upstairs windows may be lit. The lighting for daytime scenes will be fairly naturalistic. The back drop will have lots of holes, representing windows, so that it can be lit from behind for nightscapes. The backdrop will be black and grey but display grandeur within the monotone effects. The sky will be grey and overcast, to increase the dingy nature of the scene. The front of the mission opens out to reveal the inside a lectern and pews/chairs being brought on. The mission is minimalist, plain in the style of such places. The Hotbox Club is created by flying a curtain in front of the street scene. A festoon frame in the style of New York cabaret of the time is flown in. Steps leading up to this are brought on, along with chairs and tables with the audience. The stage area will be defined with lights and the whole atmosphere is very seedy with dark reds lighting the audience. The Havana scenes will be in front of the same blacks but here the mood will be very different with vivid colours magentas and cyans and have a more carefree feel. Outside scenes will be lit just in dark moonlight colours, the other features being implied by the action. The sewer scenes will be in front of a gauze further downstage, creating a narrow space. A flown ladder will be the only set, lights defining manhole covers and the wet gloomy atmosphere. Great care will be taken with the sightlines of the set, so as to ensure the greatest possible audience capacity. Costumes The costumes will reflect the seedy atmosphere created by the set. The crapshooters suits will vary from tattered to brand new, to suggest the transient nature of any money won by a compulsive gambler. The Hotbox dancers will wear garish showgirl costumes for their first scene; the look of the second resembling a cut-price Audrey Hepburn (with ball-gowns, gloves and cigarette-holders) for a sleazy cabaret feel. The Salvation Army costumes will be dull in colour and restrictive, with highbuttoned shirts and polished shoes. Aside from the dancers, who will require two distinct costumes, each actor should have one main costume, which can be altered by the addition of accessories. The placing of the set should allow a quick-change area directly behind the stage area. Sketches are currently being prepared and will be presented at the submissions meeting. Technical Requirements Instrumental Guys and Dolls is scored with a 17-piece pit orchestra. It comprises rhythm, strings, brass and reeds. These will come through with minimal use of microphones in the pit. The only sections that will need amplification are the electric bass and strings. The cost of doing this is included in the Theatre hire. Monitoring in the pit will not be necessary.

Vocal All the solo singing parts can be covered using the six radio mics owned by the arts centre which are available to the society at 75 each for the week. The equipment for vocal monitoring on-stage is included in the Theatre hire. Recorded Voice There is a telephone conversation that will be pre-recorded voice. This will be recorded prior to the show week in the union. Orchestral Requirements 1. Reed I (alto sax / clarinet / flute) 2. Reed II (alto sax / clarinet / flute) 3. Reed III (tenor sax / clarinet / oboe) 4. Reed IV (tenor sax / clarinet) 5. Reed V (baritone sax / bass clarinet) 6. Horn 7. Trumpet I 8. Trumpet II 9. Trumpet III 10. Trombone 11. Violin I (x2) 12. Violin II (x2) 13. Drums (kit) 14. Piano 15. Bass

Audition Material The first round of auditions is to begin with a group dance audition and vocal warm up, followed by individual auditions. Following a range test, any tenors will be asked to sing from Sit Down You re Rocking The Boat. Baritones will be asked to sing from I ve Never Been In Love Before. The main melody line of The Oldes t Established may also be required. The recital of either Nathan or Sky s role in their first exchange (p19-23 in the Weinberger prompt book, beginning Hey, Masterson! and ending at the close of the scene) will be read. Following a range test, sopranos will be asked to sing from I ll Know and altos, from Adelaide s Lament as well as the opening lines preaching in Times Square (p7-8, beginning Brothers and sisters ). As this process will be rigorous, the majority of the ensemble casting will be decided on this round, however the following roles will be decided upon following a second round of auditions: Sarah, Sky, Nathan, Adelaide, Arvide Abernathy, Nicely-Nicely, Big Jule. Those recalled to read for Sky and Sarah will be asked to perform their first encounter (p27-34, beginning Here are some pamphlets and ending with the close of the scene), including the duet I ll Know. Those reading Nathan, Adelaide & Arvide will be asked to perform Nathan and Adelaide s conversation in the Hotbox following Adelaide s performance (p40-45, beginning hello pie-face ) 2. Those auditioning for Arvide will be asked to sing his solo, More I Cannot Wish You; Adelaide, her Lament. Those recalled for Big Jule will be asked to act the exchange with Nathan in the sewer beginning p(2)14-18 ( here is my marker ) with extra attention paid to presence (as this is a character part). Note that in casting Big Jule, acting ability is a greater concern than singing ability. Those recalled for Nicely-Nicely Johnson will be asked to sing Sit Down You re Rockin the Boat, with the emphasis placed on stage charisma and interpretation of the song. There will be separate auditions, held slightly later, for dancers, led by Felicity. Members of both MTW and Classical and Modern Dance will be informed of these. Rehearsal Plan Rehearsals The rehearsals will hopefully begin in Week 4, and will divide as follows: Acting: Cast w/ piano: Vocal rehearsals: Wednesdays 5pm 10pm (Union, Westwood, Arts Centre rooms) Sundays 2pm 9pm (primarily Ensemble Room) Tuesday and Thursday nights (Music Centre practice rooms) The schedule for acting will be as follows. The vocal rehearsals each week will be organised as to prepare the actors for the relevant scenes, although special emphasis will be placed upon the more difficult chorus numbers (e.g. Sit Down ) at the beginning of the rehearsal period in the hope of 2 Although Arvide does not feature in this scene, it should provide an extended opportunity to see the recalled person s acting ability. Arvide s own scenes are too short to be effective in an audition environment.

integrating the cast. Term 2 s schedule should comprise mostly of working through problems and running the show. The schedule is therefore dependent on Term 1. Term 1 (italics denotes dance routine, underlined denotes song) Week 4 Wednesday 1:1a&b, 1:d&e, 1:2 Sunday 1:1a-c, 1:4a, 2:7 Week 5 Wednesday 1:2, 1:4b, 1:6, 1:7, 1:10 Sunday 1:1a-c, 1:2, 1:4a, 2:1a Week 6 Sunday Dance numbers (1:4a, 1:8, 2:1a, 2:3a, 2:5, 2:7) Week 7 Wednesday 1:d&e, 1:4b, 2:3b&c, 2:1b Sunday 1:8, 2:3a, 2:5, 2:6, 1:5 Week 8 Wednesday 1:2, 2:4, 1:5, 1:6, 2:2, 2:6 Sunday 1:1a, 1:1b, 1:1c, 1:4a, 2:3a, Week 9 Wednesday 2:3b&c, 1:9, 1:10, 1:7, 1:d, 1:e, 2:4 Sunday Dance numbers (1:4a, 1:8, 2:1a, 2:3a, 2:5, 2:7) 1:9, 1:10, 1:5 Week 10 Wednesday Full Run Vocal exercises Considering the size of the venue, the director believes it would be beneficial to focus during warm-ups on vocal exercises that assist in volume and projection. The fact that the cast only arrive in the performance space itself only a day before the run begins as well as problems caused if the volume is inconsistent due to louder music and quiet dialogue make this an important feature. We have spoken to Howard at the Arts Centre who has suggested that we would be able to conduct occasional rehearsals on the Main Theatre stage, to also remind the cast of what is required. We are also planning to conduct some rehearsals in places where sound does not travel well, such as outside. Choreography The setting for Guys and Dolls allows for the incorporation of many different styles of dance; the cabaret Hotbox scenes; the ballet in the sewer; the raunchy and disorganised Cuban nightclub; and the jubilant revival hymn, Sit Down. The choreography will be accurately researched to fit into the time period, and will seek to create a sense of pace and compliment both Loesser s evocative music and the mood the direction and the set seek to suggest.

Publicity and Sponsorship We anticipate that the show will be relatively widely known, so ideally an extra publicity drive can aid us in obtaining excellent audience figures. The two main forms of publicity will as usual be posters and flyers, which are covered in the budget. The budget should allow for colour posters, with flyers colour by default, but if this is not possible, it should not pose a significant problem as Guys and Dolls is a show well-suited to black and white publicity. The design of the poster and flyers should be completed by the end of week 8, which should allow plenty of time for printing and then distribution the following term. Distribution of posters and flyers will be the responsibility of the production team, hopefully aided by an enthusiastic cast. A further publicity medium is the cast t-shirt, which we will definitely acquire. Paid for by the cast and crew themselves, the design of the t-shirt can be based upon the design of the poster, or on a more standard MTW template. A decision on this will be made by both cast and crew. A Guys and Dolls website will be set up by week 6, as a publicity medium, with information about the cast, crew and orchestra and the show itself. Press Releases and Photos: A photographer will be acquired, covered by the publicity budget, to take press and head shots, for general publicity use. These photos will be distributed with a press pack to local newspapers, Arts Centres and websites, with the offer of free tickets to reviewers and the possibility of a competition for free tickets. Sponsorship: The small amount of money budgeted for sponsorship will be obtained solely by selling programme space. We will offer quarter, half and whole pages of the programme to both Leamington and Coventry businesses. Workshop: We have budgeted for, and intend to organise a Workshop. This will aim to attract local colleges to put forward students to take part in a general Arts Workshop. The proposed format for this is three sessions, one with the director, one with the musical director(s), and one with the backstage team, in order to gain a rounded theatrical experience. This will generate some extra revenue as well as swelling audience figures.

Budget The budget below breaks even at just over 47%, which we feel is an achievable figure, given the...of the show and the reputation of the society. 40% 50% 60% 70% 80% 48% Performance Rights 888.30 1,110.38 1,332.45 1,554.53 1,776.60 1,065.96 Scripts and Scores 230.00 230.00 230.00 230.00 230.00 230.00 Orchestral Parts Hire 390.00 390.00 390.00 390.00 390.00 390.00 Main Theatre Hire 700.00 700.00 700.00 700.00 700.00 700.00 Extra Get-In Day 540.00 540.00 540.00 540.00 540.00 540.00 Radio Mic Hire 450.00 450.00 450.00 450.00 450.00 450.00 Piano Tuning 60.00 60.00 60.00 60.00 60.00 60.00 Technical Costs 150.00 150.00 150.00 150.00 150.00 150.00 Set Construction 1,800.00 1,800.00 1,800.00 1,800.00 1,800.00 1,800.00 Publicity 250.00 250.00 250.00 250.00 250.00 250.00 Costumes 600.00 600.00 600.00 600.00 600.00 600.00 Props 100.00 100.00 100.00 100.00 100.00 100.00 Hair and Make-up 50.00 50.00 50.00 50.00 50.00 50.00 Admin 50.00 50.00 50.00 50.00 50.00 50.00 Total Costs 6,208.30 6,430.38 6,652.45 6,874.53 7,096.60 6,385.96 Ticket sales 5,600.00 7,000.00 8,400.00 9,800.00 11,200.00 6,720.00 Box Office fee -658.00-822.50-987.00-1,151.50-1,316.00-789.60 Sponsorship 300.00 300.00 300.00 300.00 300.00 300.00 Workshop 240.00 240.00 240.00 240.00 240.00 240.00 Total Income 5,482.00 6,717.50 7,953.00 9,188.50 10,424.00 6,470.40 Profit -726.30 287.13 1,300.55 2,313.98 3,327.40 84.44 1. 13.5% of ticket sales, plus VAT 2. Based on 3 men, for 12 hours 3. Hire of 6 radio mics for the week, from Arts Centre cheaper hire elsewhere is a possibility any surplus funds will be used for Haribo 4. 5000 flyers @ 117.50, 100 A2 posters @ 5. Based on theatre capacity of 500, average ticket price 7 6. 10% of ticket sales, plus VAT 7. Based on 60 participants, each paying 4 on top of 6 ticket

Proof of availability of rights From: "emma lovatt" <emmal@jwmail.co.uk> To: R.B.Hope@warwick.ac.uk Date: Tuesday - September 30, 2003 9:30 AM Subject: RE: Guys & Dolls Dear Russell, Further to your email and our previous correspondence I'm pleased to confirm that the amateur performing rights for GUYS & DOLLS are currently available for proposed performances in January 2004 at the Warwick Arts Centre. Should you require further information in the meantime please don't hesitate to contact me and I shall look forward to hearing from you in the near future. With kind regards, Emma -----Original Message----- From: Russell Hope [mailto:r.b.hope@warwick.ac.uk] Sent: Monday, September 29, 2003 6:04 PM To: emma lovatt Subject: Re: Guys & Dolls Dear Emma, Could you send me email confirmation that the rights to Guys and Dolls would be available to our society on the dates January 21-24th 2004 at Warwick Arts Centre, as written confirmation (email or letter) is a prerequisite of approaching the submissions panel. Thanks very much, Russell