The Production Process 170 CHAPTER 11 ◆ Behind the Scenes 189 CHAPTER 12 ◆ Theatre Appreciation 225 CHAPTER 13 ◆ Your Future in Theatre 246

3 Producing and Appreciating Plays

CHAPTER 10 ◆ The Production Process 170 CHAPTER 11 ◆ Behind the Scenes 189 CHAPTER 12 ◆ Theatre Appreciation 225 CHAPTER 13 ◆ Your Future in Theatre 246

168 ■ ■ 169 The Production 10 Process

LESSON 1 ◆ Selecting the Play 171 LESSON 2 ◆ Selecting the Cast 174 LESSON 3 ◆ The Rehearsal Process 177 LESSON 4 ◆ The Performance 184

◆ auditions ◆ line check ◆ blocking ◆ polishing rehearsals rehearsals ◆ promptbook ◆ callbacks ◆ reading rehearsals ◆ casting ◆ rehearsals ◆ copyright ◆ royalty ◆ costume parade ◆ run-throughs ◆ developing ◆ strike rehearsals ◆ technical ◆ director rehearsals ◆ dress rehearsal ◆ understudy ◆ floor plan

170 ■ Unit 3: Producing and Appreciating Plays ■ our teacher or director has just announced that your class or drama Y group is going to produce a show. It is to be a one-act play. The director could have selected a three-act play, a series of scenes from several plays, a readers theatre production, or even a show made up of a variety of “acts.” In each production, most of the preparation techniques will be the same. All productions require careful planning, weeks of preparation, dedication, and hard work on the part of everyone involved. Your teacher or director will be the person in charge of the production. In educational theatre, a teacher is usually the director and is assisted by students who are interested in theatre or enrolled in a theatre class. These students assume the responsibilities for all jobs other than directing. In this chapter, you will become familiar with the entire production process—from selecting the play to bringing down the final curtain and dismantling the set.

Selecting the Play

LESSON OBJECTIVES ◆ Recognize the role and responsibilities of the 1 director in selecting a play. ◆ Understand the process of selecting a play to produce.

Before the title of the production was announced, several deci- sions had already been made. First, the play was selected. This was a orking with your acting major responsibility for your teacher or director. Wcompany or class, list as The director is the person in charge of the artistic production of a many play titles as you can. See play. Directors spend many hours reading and studying plays as well as who can think of the most. attending theatrical productions to enrich their background in dramatic literature. Directors want to enjoy directing the play, they want the cast and crew to enjoy working on the show, and they especially director want the audience to have a rewarding theatrical experience. For person in charge of the artistic those reasons, directors try to select plays that have good literary production of a play. merit, that will challenge the actors as well as the director, and that will offer more than mere entertainment to those attending. There are many things to consider in selecting a play. Directors need to know what type of show would be suitable for the school and community. They also need to be aware of the budget, the availability of the play, the talents of the actors, and their own directing capabili- ties. Finally, directors must be aware of any special needs involved in staging a particular show, such as the sets, costumes, stage facilities, style of acting, and time needed to produce the show. For example, a director might really want to direct the musical Peter Pan, but she might also feel that the stage is too small to accommodate the cast, or perhaps she doesn’t feel comfortable “flying” the characters across the

■ CHAPTER 10: The Production Process ■ 171 stage. Each director must carefully consider these many different elements before selecting a particular play. In some cases, a play might be selected by committee, or students might vote on a favorite play, or the class could work together to write a script. The method of play selection is determined by the director. Obtaining Permission

After selecting the play, the director must secure permission to produce the play and purchase copies of the script. Any material protect- ed by copyright should not be photocopied and requires permission from the publishing company for production. A copyright is the registration of ownership of a piece of literature or music. In most cases, there is a fee charged for each time the show is produced. This fee is called a royalty . A portion of this payment goes to the playwright.

■■■■■■■■■■■■■■■■ Writing is the playwright’s occupation, and receiving payment each Most likely your drama teacher will time the play is produced helps the playwright earn a living. be the director of your first play. Look to your teacher for guidance since it’s the director’s job to combine the roles of all the actors and crew members to create a successful production. copyright the registration of ownership of a literary or musical work. royalty a fee required to produce a play or musical.

The Director’s Concept

Before the director begins to work with the cast, the director will spend much time studying the play, developing ideas for interpreting the playwright’s work. The director’s plan, or vision, is known as the overall

172 ■ Unit 3: Producing and Appreciating Plays ■ concept of the play—the big picture. It is the director’s job to decide what the play means. What’s more, the director must be able to imagine the play being performed in its finished form. Thus, the final production re- flects not only the work of the playwright, but also all of the choices the hoose a good script . . . cast director has made regarding every aspect of the play—characterization, Cgood actors—and you’ll movement, costumes, lighting, props, scenery, and so on. all be good directors. There are as many different ways to put on a play as there are directors. The playwright may have included ideas for production in the Harold Clurman script, but those aren’t the only ideas the director can use. To interpret a play, the director will analyze it in much the same way you learned to analyze characters, reading the play several times to study the style, theme, dramatic structure, characters, and dialogue. The director needs to thoroughly understand the entire play, and research may be needed. The director will study the people and customs of the histori- floor plan cal period as well as furnishings and clothing. a drawing of the stage setting After determining the concept for the play, the director will work as seen from above (bird’s- out a plan for the stage showing all the entrances and exits, levels (dif- eye view). ferent heights), and main furniture pieces that will be needed onstage. This is called a floor plan . If the director has a designer or technical promptbook director, the two of them might work together to plan a suitable design usually a loose-leaf notebook for the play. containing the script marked Many directors continue at this point to plan the play’s blocking and with all stage movement, entrances and exits, technical begin the promptbook. The promptbook is usually a loose-leaf note- cues, and special instructions book containing a script that is marked with all stage movement, en- for the production. The stage trances and exits, and special instructions for the production. Many manager is usually in charge of directors also include the phone numbers and addresses of cast and the promptbook. crew members and any emergency numbers that might be needed.

1. Analyzing Scripts for Production. Look through a catalog from a company that publishes plays. Select a play that you think you would enjoy seeing produced onstage. a. Make a list of the cast requirements (number of males and females) for the play you selected. b. List the number of scenes and acts. c. What information about staging is mentioned in the play catalog? d. Discuss your selection with your acting company, giving reasons for your choice.

2. Paying Royalties. Suppose that your class wants to produce the play you have selected. Determine the amount of royalty you will have to pay if you present the play four times.

3. Calculating Script Costs. Determine how much it will cost to purchase scripts of the play for all members of the cast and the director, assistant director, and stage manager. Also include eight additional scripts for the heads of the production crews.

■ CHAPTER 10: The Production Process ■ 173 4. The Director’s Concept. Read a one-act play and imagine it being staged. In one paragraph, describe your overall concept from a director’s point of view.

5. Creating a Floor Plan. Draw the floor plan for the play you selected.

Selecting the Cast

LESSON OBJECTIVES ◆ Understand the process of auditioning and casting. 2 ◆ Experience the audition process.

While analyzing the play, the director begins to form an impression of the kinds of characters the playwright has created. With these characters in mind, the director’s next major responsibility is to choose actors lay the game “Actor Wants that can bring those characters to life. Matching up characters and ac- Pa Role” (based on the game “Kitty Wants a Corner”). The tors is called casting . In educational theatre, casting is usually accom- students (pretending to be plished through a selection process called auditions , in which actors directors) sit in a circle, and try out for the parts that they want. one student stands in the center of the circle playing the part of Auditions the actor seeking a role. The actor goes to one director and During auditions, actors try different parts for the director. Audi- says, “Actor wants a role.” tions are extremely competitive, so always come prepared. Reading the Each director sends the actor to play before the auditions will give you time to think about the play as a another director, saying, “No part, see another director.” whole as well as to pick individual roles that you think you might like While the actor is walking from to play. director to director, the directors Directors conduct auditions in different ways, depending on the (players) try to exchange places. needs of the particular school or group. If the play is to be produced as The objective is for the actor to a class project, the director might choose to hold auditions during get a job by getting into one of class time; other times, auditions could be held before or after school. the empty places in the circle. The auditions might be limited to only students in theatre classes, or The person left without a place they might be open to the entire school. becomes the actor wanting a During auditions, the director might ask all interested persons to role. The director (player) can “read cold” (without preparation) for each part. This could be done as call out additional playing a private reading or a group reading. Or the director might ask each directions, such as “Audition actor to prepare (memorize) a speech from the play. Still other direc- in character,” “Speak with an accent,” or “Play in slow tors like to have actors improvise scenes from the play. Directors may motion.” choose to use a combination of these techniques to audition actors pri- vately or in groups. When a production requires specific talents, such as singing or dancing, the director might require songs or a short dance routine to be included in the audition. Such important information is usually specified in the audition publicity. If you are unsure, ask questions on your own. To feel comfortable about the audition process, find out as much as possible before the day of auditions.

174 ■ Unit 3: Producing and Appreciating Plays ■ Most directors distribute a proposed rehearsal schedule along with an audition application to be filled out before you try out. It is very important to review this schedule with your family to make sure that you can attend all of the scheduled rehearsals. If you foresee conflicts, cting seems to be the write them on your audition application. Directors like to be aware of A easiest of all the arts all conflicts as soon as possible. because everybody walks, talks, If possible, fill out the audition application before you get to audi- gestures, and makes faces. But tions. Audition applications will differ, but the sample in Figure 10–1 then he is just being himself on the next page will give you an idea of the type of information you and one sees immediately how might be asked. different that is from acting as soon as one puts him on stage and gives him a part to learn Casting and interpret. When selecting the cast, the director must consider each actor’s August Strindberg ability to interpret the character and project the character vocally and physically. The director needs to consider each actor’s physical attrib- utes—gender, appearance, height, and size. The director also looks for growth potential. In educational theatre, a director wants an actor who will not just be good in auditions but will continue to grow, giving the character depth as the rehearsals progress. Dependability, cooperation, and attitude are other factors that a director considers when selecting a cast. Along with all these qualities, the director must also pay attention to an actor’s attendance record at school as well as the actor’s grades. Ac- tors must be able to attend classes and keep up grades in spite of nu- callbacks merous rehearsals and performances. After the first auditions, directors sometimes need a second or third additional opportunities for the actor to audition. “look” at an actor. These second and even third audition opportunities are called callbacks . These callback auditions help narrow the selec- tions by giving the director another chance to see and hear the actor. They also give the director an opportunity to combine several actors in scenes to see how they look and work together. After making the “final

■■■■■■■■■■■■■■■■ Often the director must weigh many factors and then choose just one person, from the many people who auditioned, for a particular part. If you don’t get the part you want, taking another part or working on one of the crews will increase your chances for success at the next audition.

■ CHAPTER 10: The Production Process ■ 175 Figure 10–1 ■■■■■■■■■■■■■■■■ Audition Application Form. Name Phone number Address Age Sex Grade Height Weight Hair color

PLEASE COMPLETE THE FOLLOWING INFORMATION:

SPECIFIC TALENTS OR ABILITIES

CONFLICTS WITH PROPOSED REHEARSAL SCHEDULE:

CLASS SCHEDULE PERIOD CLASS TEACHER ROOM NUMBER 1. 2. 3. 4. 5. 6. 7. 8.

ROLES FOR WHICH YOU WILL AUDITION:

DO YOU WISH TO BE CONSIDERED FOR ANY ROLE IN THE PLAY? yes no

WHICH ROLE WOULD YOU NOT ACCEPT? WHY?

CHECK THE AREA/S WHERE YOU WOULD BE WILLING TO WORK: SCENERY PROPS COSTUMES MAKEUP LIGHTING SOUND/MUSIC HOUSE/PUBLICITY STUDENT DIRECTOR STAGE MANAGER TECHNICAL DIRECTOR

176 ■ Unit 3: Producing and Appreciating Plays ■ understudy cuts” (eliminations) and casting the show, the director posts the cast a person who learns a part in list or announces to the actors their assigned roles. order to substitute in a Many directors assign understudies when the cast list is posted. An performance should the understudy is a person who attends all rehearsals and is prepared to original actor not be able to perform if the original actor is absent from a performance. appear in the show.

1. Getting Ready to Audition. a. Copy the audition application on a separate sheet of paper and complete it as though you were auditioning for a play. b. Prepare a selection from The Playbook at the back of this text to use in a real or simulated audition. c. Participate in a simulated or real audition.

The Rehearsal Process

LESSON OBJECTIVES ◆ Understand the rehearsal process. 3 ◆ Understand the purpose of each type of rehearsal. ◆ Recognize the ways the play benefits from the guidance of the director. ◆ Demonstrate the ability to cooperate with a director.

Once casting is complete, it is time for rehearsals to begin. Rehearsals are preparation sessions for the production. Rehearsals provide an opportunity to discuss and analyze the play, to learn lines rainstorm with your class and blocking, and to perfect every aspect of the play. Babout the various types of rehearsals that will be needed to How much rehearsal time is needed will depend on the abilities of produce a play. Set up a the actors, the length of the play, and the difficulty of the play. Your rehearsal time line. group will probably have four or five weeks to put together a one-act production, six to ten weeks for a three-act play or musical. That really isn’t very long, considering all that has to be done. Therefore, rehearsals are extremely important, and your full cooperation is needed. rehearsals Before rehearsals begin, everyone involved in the production should production sessions in which take time to review the Actor Etiquette guidelines featured on the next the actors and technicians prepare by repetition. page. These guidelines are helpful reminders of good production etiquette, which is appropriate behavior and common courtesy. Each rehearsal is planned for a specific purpose. Although your director may call the rehearsals by different names, most rehearsals follow a

■ CHAPTER 10: The Production Process ■ 177 NOTICE

ACTOR ETIQUETTE

1. Abide by all school and classroom rules. 2. Be on time for rehearsals and performances. 3. Leave only when dismissed. 4. Attend every rehearsal, unless you have special permission to be absent. 5. Immediately contact the director in case of an emergency. 6. Come to rehearsal willing and prepared to work. Bring a pencil, your script, and any other items the director has required. Learn your lines as soon as possible. 8. Observe common courtesy to other members of the cast before, during, and after rehearsals. 9. Avoid touching anything that doesn‘t belong to you—including costumes, props, makeup, lights, mikes, or scenery. 10. At the end of a rehearsal or performance, put away your props and costumes. Also check the backstage area or dressing rooms for any of your personal possessions. 11. Once in costume or makeup, the audience should not see you in the theatre or peeking out from behind the curtains. 12. Be quiet backstage during rehearsal and performances. 13. Listen while backstage to avoid missing cues or entrances. 14. Avoid “mouthing” the lines of others. 15. Call “line” if you need a prompt. 16. Keep up your grades. Let your director know if you are having academic difficulty. 17. Continue to study your part during the run of the show. 18. Give 100 percent at all rehearsals, work sessions, and performances.

similar pattern: reading rehearsals, blocking rehearsals, line checks, developing rehearsals, run-throughs, polishing rehearsals, technical rehearsals, costume parade, and dress rehearsals. You are now ready to learn what happens from the first rehearsal all the way through until you put away the show. Reading Rehearsals reading rehearsals Reading rehearsals are rehearsals set aside for reading and under- rehearsals for the purpose of standing the script. These are the first rehearsals after the show is cast. reading and analyzing the script These rehearsals can take place in the classroom, in a rehearsal room, or as well as discussing and on the stage. The cast is usually seated informally in a circle, if possible understanding around a large table. Some directors like to have everyone involved characterization. They can be in the play attend this first rehearsal. This is a good opportunity to referred to as read throughs. introduce everyone, briefly go over job descriptions, pass out any revised rehearsal schedules, and make any general announcements. At this time, all changes or cuts should be made in the script in pencil.

178 ■ Unit 3: Producing and Appreciating Plays ■ ■■■■■■■■■■■■■■■■ At the reading rehearsal, you will have an opportunity to see how your character interacts with the other characters in the play. You will begin to get a feel for the theme and mood of the play.

Everyone should bring a pencil, a notebook, and a copy of the script. (Some crew members may not need to have a script.) The director’s purpose in the first reading rehearsal is to briefly explain the theme of the play, to describe how the playwright tells the he director must not use story, and to share his or her plans for telling the story onstage. The di- T his actors as instruments rector might also describe the characters, show a drawing of the floor to make his own music, but plan, explain any problems in staging, and share other relevant ideas orchestrate theirs until it about the production. becomes one song which he can Next the cast reads the play aloud, carefully considering pronuncia- then share in singing. tion and interpretation of lines. Reading rehearsals provide the actors time to ask questions and to develop a clearer understanding of the Robert L. Benedetti characters and the play. Reading rehearsals can take several days, depending on the play. During these rehearsals, the director may assign research assignments pertaining to the play’s time period, culture, or customs. An individual character analysis may also be assigned. Refer to Chapters 7 and 8 for help with such assignments. Blocking Rehearsals

Blocking rehearsal are used for planning all stage groupings, basic movement, body positions, crosses, entrances, exits, and stage business. For ease in blocking, the director will divide the play into workable units, or scenes. Next, most directors will ask the actors to disregard all stage directions in the script. Those directions probably will not suit your director’s interpretation of the play or the floor plan for your set. The stage manager will have taped the floor plan on the stage floor with masking tape, marking all entrances and levels. Chairs may be blocking rehearsals placed onstage to represent other pieces of furniture. The director will rehearsals for planning stage guide the cast through each scene. Be sure you understand the motiva- movement and groupings. tion behind each move you make.

■ CHAPTER 10: The Production Process ■ 179 The English Restoration: Theatre Returns from Exile

n 1649, Oliver Cromwell and his followers, the reli- William Congreve (1670–1729), who wrote The Way Igiously conservative Puritans, beheaded King of the World, which is still produced, and Sir Richard Charles I, and for over eleven years England was Steele (1672–1729), who wrote The Conscious Lovers, ruled by Cromwell. In 1658, after Cromwell died, also wrote the sentimental comedies that were so the royal family was asked to return to England from popular during this period. France, where they had been living in exile. In 1660, These comedies of manners usually made fun of Charles II became king and the monarchy was “re- members of the upper class and nobility, and of stored” to power, which is why this period of time is their preoccupation with appearances, reputation, called the Restoration Period. and piety. These characters were always shown to be When the English royalty and nobility returned greedy, vain, and obsessed with flirting and ro- to England, they brought with them a taste for the mance. The audience members, most of whom were French theatrical practices that they had enjoyed as from the upper class and nobility, used the plays as a audience members in France. This pleased the En- way to laugh at themselves and their neighbors. glish because the Puritans had closed all theatres in Going to the theatre during this period usually had 1642. With the Restoration came a resurgence of as much to do with “being seen” as it did with enjoy- theatrical activity. As you may recall, English theatre ing the play. during the Renaissance had not been like the the- Theatre companies were changing drastically atre popular in Italy and France. English playwrights during the Restoration. For example, for the first and producers did not use painted perspective time in English history, women were performing the scenery, for example, but had continued to use very roles of the female characters. Another change was few furnishings to suggest a location for the action. taking place in the way actors, both male and fe- After the Restoration, the Elizabethan practices and male, were being paid. Prior to the Restoration, the the Italian and French stage arrangements were Elizabethan companies of actors were paid by col- merged to form a unique, new kind of theatre. This lecting a share of the profits of the production. Dur- combination of styles affected the form of the plays, ing the Restoration period, outside investors began the organization of the theatre companies, the the- to own the buildings and finance the productions, atre buildings themselves, and the use of scenery on keeping the profits, if there were any. The actors stage. were contracted at a set fee for a set period of per- The Restoration was not a period of great tragic formances. This change marked the beginning of plays. Most of the Restoration tragedies were heroic today’s commercial theatre. tragedies about extraordinary heroes who did extra- The theatre buildings were also changing. The ordinary deeds. While entertaining, these plays were Elizabethan theatre buildings had been circular, usually too far removed from reality to have much open-air structures. The new Restoration theatre credibility. The really popular plays of the period, buildings were enclosed with a roof. They merged the ones still performed today, are the comedies, the popular Italian and French staging practices, which are known as “comedies of humours” or which included a proscenium stage opening, and an “comedies of manners.” Thomas Shadwell (1642– apron. This apron was an extended platform that 1692), who wrote The Sullen Lovers, was a popular spread out in front of the proscenium arch, upon playwright during this period and one of the first to which much of the play’s action was performed. The write comedies of manners. His plays focused on ec- apron was a lasting reminder of Elizabethan staging centric characters in modern-day settings. Other im- practices that focused on the use of an open plat- portant playwrights include John Dryden (1631– form. Another addition to the stage in this period 1700), Sir George Etherege (1634–1691), and was a “raked” or slanted floor. This type of floor im- William Wycherley (1640–1715), who wrote The proved the audience’s ability to see the action on Country Wife, a very popular play from the period. the back of the stage.

180 ■ Unit 3: Producing and Appreciating Plays ■ The audiences at Restoration theatres had a hands who shifted the wings to change the set. Un- choice of pit seating, box seating, or gallery seating. like the Italians, who used a complicated system of The pit (the floor space closest to the stage) was un- ropes to move the wings simultaneously, the English like the French pit in that it was furnished with depended upon stagehands to slide the flats out of benches. The boxes, which offered the most comfort the way, revealing the new setting behind them. and privacy to the wealthier audience members, pro- By the end of the Restoration period, in the late vided eye-level viewing. The galleries were rows of 1700s, society was changing and the middle class seating recessed into the side and back walls of the made up of merchants and traders was emerging, theater building, rather like balconies. becoming increasingly powerful financially and po- Restoration scenery was much like the Italian litically. As a result, theatre changed, reflecting this Renaissance scenery. The scenery was painted in cultural change by dramatizing the lives of people perspective on wings, shutters, and sometimes rolled from the middle class. ■ backdrops. Painted boards were added to hide stage-

Look closely at the facial expressions and postures of these four characters from a 1957–58 Broadway production of William Wycherley’s The Country Wife. What adjectives would you use to describe these stock characters from a Restoration comedy of manners?

■ CHAPTER 10: The Production Process ■ 181 Some directors draw the plans on a chalkboard, others talk and walk the cast through, and still others let the actors experiment through im- provisation. However your director directs, you should make careful notes in your script in pencil. Blocking can change as rehearsals progress. After each scene is blocked, the actors walk through it several times to clearly establish the movement and business in their minds. That is also the actor’s signal to memorize lines for that scene in the play, unless told otherwise. Blocking rehearsals continue until the entire play is completed. Meanwhile, all actors are memorizing their parts. When an actor has completely memorized his or her part, that actor is said to be “off book” or “off script.”

■■■■■■■■■■■■■■■■ In developing rehearsals, your Line Checks director will continue to work with you and your fellow actors to To make sure that the entire cast is off book, a director may call a refine and improve all aspects of line check, or line rehearsal. During a line check , the cast sits in a cir- your performance. cle performing only the lines, without any movement or action. The purpose of this rehearsal is to be sure that all the actors have memorized their lines. Provided everyone is off book, the director may also line check use this opportunity to time the run of the show from opening line to a test run of the show’s closing line. dialogue to ensure that all lines have been memorized; also called a line rehearsal. Developing Rehearsals developing rehearsals Developing rehearsals are also called working rehearsals because that rehearsals in which the actors is exactly what happens. The director and cast are working as they go work under the director’s over and over the play, making changes and adjustments as needed. As guidance to prepare the show the play develops, sometimes new action or stage business is added to for performance; also called help the audience understand what the characters are doing and how working rehearsals. they are doing it. Props are added during these rehearsals so that the actors can become accustomed to their use. During this period, directors often work individually with actors or with small groups of actors to strengthen their scenes without rehearsing the entire company.

Run-Throughs run-throughs Run-throughs are rehearsals without any stops. These rehearsals rehearsals conducted without should take place after all actors are off book and the blocking is any stops. firmly established. These rehearsals must take place at least two weeks before the production. Run-throughs give the director an opportunity to see the strengths and weaknesses of the show. During the run-throughs, both the assistant director and the director make notes. Some directors use a small tape recorder to “talk” their comments. The tape is then played at the critique session. Many directors like to videotape these rehearsals and view the tape with the cast at the next rehearsal. At least two run-throughs are beneficial to the performance.

182 ■ Unit 3: Producing and Appreciating Plays ■ polishing rehearsals Polishing Rehearsals rehearsals used to correct problems that occurred in the Polishing rehearsals are used to smooth out all the rough spots dis- run-throughs. The rehearsals covered during the run-throughs. The play is now in the final stages of give the actors the opportunity the rehearsal process, and it is important to continue to improve. to fine-tune character These rehearsals often stop and start, focusing on problem areas and believability, vocal projection, strengthening the weaker scenes. These rehearsals also give actors and “picking up cues.” time to fine-tune characterization, vocal projection, and “picking up cues”—qualities that contribute to a well-polished production.

Technical Rehearsals

Technical rehearsals focus on all of the technical aspects of the play, including set changes, lighting, sound, music, and special effects. Once the scenery is in place, the first technical rehearsal may be held with just the stage crew so that they can get the feel of moving the set pieces without the cast. Some directors have similar rehearsals for lighting, sound, and special effects, with the assistant director reading the cues. All technical elements must be completed for a full technical rehearsal. During rehearsal the actors walk through the play delivering only lines that are cues for a technical effect. Doorbells ring, lights go up and down, scenery changes, doors open and close—all at the proper time. Enough of these rehearsals must be scheduled to have the ■■■■■■■■■■■■■■■■ technicians feeling comfortable and all the technical elements run- Several technical rehearsals will be held, with and without the actors, ning smoothly by dress rehearsal. to solve problems and perfect the timing for lighting, scenery, sound, and all the other technical parts of the play. Costume Parade

The costume parade is an informal modeling of all costumes under technical rehearsals the lights. The director and costume crew sit in the audience and view rehearsals emphasizing the the costumes, making notes about possible changes. Holding the cos- performance of the tume parade a week before dress rehearsal gives the costume crew time production’s technical to make the needed changes before the first dress rehearsal. elements—prop changes, If your director plans to have the cast take a curtain call, this is a scenery shifts, light changes, good time for blocking and rehearsal. If you are performing your show sound effects, and so on. during the school day, you may just have time for one curtain call. When the lights fade or the final curtain closes, the cast should line up costume parade along the proscenium line, alternating males and females. Your direc- actors modeling costumes tor may wish to place the principal characters in the center of the line. under the appropriate stage lights. This parade gives the When the curtain opens, the cast should smile and bow graciously in director and costume designer response to the audience’s applause. After the bow, the lights fade as the opportunity to evaluate the the curtain closes. costumes and make any There are other ways to take a curtain call, and your director may needed changes before the wish to block it differently. If time permits, several curtain calls can be production opens. taken. The first call is the entire cast, the second is usually the sec- ondary parts, and the third is reserved for the principal actors. If there is a fourth call—and in educational theatre there can be—this curtain call can be for all of the crews, the stage manager, the student director,

■ CHAPTER 10: The Production Process ■ 183 and anyone else who has played an important part in the show. On the night of the performance, the curtain call is a good time for the actors to acknowledge and thank the director. Dress Rehearsals dress rehearsal A dress rehearsal is a rehearsal that is conducted as though it were a rehearsal conducted as if it an actual performance. The crews are in place. The actors are cos- were an actual performance. tumed and in complete makeup. The show runs without stopping unless there is a major problem. After the rehearsal, the director will gather the cast and crews and go over any problems that need to be corrected before the next dress rehearsal. At least two dress rehearsals are required, and three are usually needed. The final dress rehearsal should be completely under the di- rection of the stage manager.

1. Evaluating Your Rehearsal Time Line. Working with your acting company, compare the rehearsal time line you developed at the beginning-of-the-lesson warm-up with the suggestions given in the lesson. Discuss your findings with the class.

2. Organizing Rehearsals. You are the director for the next production. Prepare a chart for the cast, showing what will be done at each rehearsal.

3. Reviewing Types of Rehearsals. Summarize, in one sentence, the purpose of each type of rehearsal.

The Performance

LESSON OBJECTIVES ◆ Demonstrate an actor’s responsibilities before, during, and after a performance. 4 ◆ Explore performance as an actor. ◆ Reflect on and form opinions of the performance experience.

The day you have waited and worked for has finally arrived. Excite- ment is in the air! Everything has been planned, rehearsed, and prepared for the moment when the curtains will open to a real live audience. Even if the play is to be performed in the morning or after- noon, during class or after school, for classmates or paying patrons, you will experience the feeling of “opening night”!

184 ■ Unit 3: Producing and Appreciating Plays ■ Before the Performance

Everyone should arrive at the school or theatre early—your director nder the guidance of your will tell you how early. Be sure you have made arrangements for trans- Uteacher or the student portation so that you won’t be late. Once you arrive, you will need to director, physically stretch and report to your assigned place for makeup and dressing. Always check warm up your body to the music your own props to be sure that they are in place and ready to go. Once of a Broadway musical. Warm you are in makeup, you should begin relaxation exercises and vocal up vocally, repeating the letters warm-ups. These can be done individually or as a group. Some direc- of the alphabet with a variety of tors ask the assistant director to plan and lead these activities. inflections. Breathe deeply and relax the body as well as the Thirty minutes before “curtain,” the stage manager will call “half- vocal mechanisms. Think hour,” announcing 30 minutes remaining before the show begins. Five about your role. Begin to get minutes before the curtain opens, the stage manager will call “places,” into character. and all cast members should report to the areas designated by the director. This is a most exciting time in an actor’s life. The hours of training and rehearsal will now pay off in the performance. It is time to take a deep breath, swallow, and think about your character. As you go onstage, you must become your character rather than being just an actor playing a part. Beginning with the stage manager’s signal, the performance should go as rehearsed. This is not the time to try something new. If a problem should arise or a line is missed, follow the guidelines that your director has instilled in you to keep the show moving.

After Each Performance

After each performance, you will be exhilarated. But you must re- member to put away your personal props, hang up your costume, and take off your makeup. Although you may be tempted, don’t ever go out

■■■■■■■■■■■■■■■■ You will want to arrive at the theatre in plenty of time to prepare for the performance. You will be part of the team, and every member of the team must be ready if the show is to be a success.

■ CHAPTER 10: The Production Process ■ 185 ■■■■■■■■■■■■■■■■ When the curtain comes down, it will be time for celebration and congratulations. You will enjoy the feeling of having been part of a team that has worked hard to entertain and enlighten an audience.

into the audience or crowd dressed in your costume and makeup—unless your director has planned a “meet the cast” time. Your parents and very closest friends will probably come backstage to congratulate you. Crews will carefully check for any repairs or replacements that need to be made before the next performance. Everyone should help clean up to make sure that everything is ready for the next show. After the Final Curtain

It is sad, but every show has to end and be “put away.” In theatre, putting away everything that was used in the performance is called the strike strike . This part of the production process is also a team effort. Your take apart the stage setting, director will plan the best time for the strike. remove it from the stage, and To strike the set means to disassemble the scenery. The stage crew will store all parts of the be responsible for the majority of the tasks, but the cast must also help. production for future use. Besides striking the set, there are many things that need to be done. Costumes must be cleaned and returned to the wardrobe closets. Props must be put in their proper places. Letters of appreciation must be written to anyone who was not part of the company but extended their help. All persons or companies who loaned props or furniture for the show should also receive thank-you letters. All of the posters or advertising should be taken down, and the theatre area must be cleaned. Every director has a special plan for what needs to be done and when it needs to be completed, so be prepared to do your share. ny great work of art is A great because it creates a special world of its own. Closing Traditions

Leonard Bernstein Theatre groups often have special traditions that take place after all of the performances are over and the show is struck. Casts sometimes gather to discuss the show’s success or to enjoy viewing the videotape

186 ■ Unit 3: Producing and Appreciating Plays ■ together. Classes usually complete an evaluation or a self-critique. Last- ing memories of the show can also be created by autographing pro- grams, scripts, or cast shirts at a cast party. Your director will have a special way of “putting the show away.”

1. Describing Your Theatre Experience. Using colored markers on 3- by-5-inch index cards, write one word or a short statement summing up your response to being part of a performance. Share your comments aloud or post the card on a bulletin board for all the cast members to read.

2. Appreciating a Team Member. Write a note of appreciation to another member of the cast or to a member of one of the production crews, expressing admiration for something in that person’s performance.

3. Thanking the Person in Charge. Write a short letter to your director, assistant director, or stage manager, expressing appreciation for that person’s role in the production.

■ CHAPTER 10: The Production Process ■ 187 CHAPTER 10 REVIEW

■■SPOTLIGHT ON TERMS ■■ 2. If you were the director, how would you audition twenty female actors for a play with only three fe- An important part of theatre is understanding the male parts? terminology, or vocabulary, used. Add the new 3. Your theatre class has $200 to produce a one-act terms and definitions to the vocabulary section of play. How will you spend the money? your theatre notebook or folder. 4. Which warm-ups would you choose to prepare your own voice and body before a performance? 5. What specific ensemble or team growth did you ■■FOCUS ON FACTS ■■ see in the cast of this play during the production process? 1. What are four responsibilities a director must complete prior to rehearsals? 2. What is a royalty? Why is it paid? ■■THEATRE IN YOUR LIFE ■■ 3. What is a copyright? 4. What is the purpose of filling out an audition ap- 1. Discuss aloud or in your journal what you liked plication? best about being part of the production. 5. Outline the rehearsal process from reading re- 2. Pass around your scripts to be autographed by hearsals to dress rehearsals. Explain what hap- members of the cast and crew. pens at each type of rehearsal. 3. Suggest a tradition you feel would be a meaning- 6. List the actor’s responsibilities before a perfor- ful way to close your next production. mance on the night of a show. 7. What are an actor’s responsibilities following a performance? ■■ENCORE ■■ 8. What is meant by “off book”? 9. What is meant by “striking the show”? When 1. Prepare a promptbook for a production. does this “strike” take place? 2. Design an appropriate audition application for first-year theatre students. 3. Design a self-evaluation form to be used by the ■■REFLECTIONS ■■ cast of a one-act play. 4. Write a letter to a publishing company request- Discuss the following questions with your class or ing the right to perform a play at your school. answer them on paper as instructed by your teacher. 5. Check on plays and scripts available from your school library. Ask your librarian for help in se- 1. Why do you consider it important to prepare a lecting these plays. promptbook for a play?

188 ■ Unit 3: Producing and Appreciating Plays ■