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"Bootstrap Theatre": a Prompt Book for the Fantasticks Jayne A

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Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1983 "Bootstrap Theatre": A Prompt Book for The Fantasticks Jayne A. Ball Eastern Illinois University Recommended Citation Ball, Jayne A., ""Bootstrap Theatre": A Prompt Book for The aF ntasticks" (1983). Masters Theses. 2894. https://thekeep.eiu.edu/theses/2894 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. ,. Date ..? () Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ·��- Date .Author m "Bootstrap Theatre": - A Prompt Book for The Fantasticks (TITLE) BY ***Jayne A. Ball*** A Major Paper in lieu of the traditional THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts inRelatedArts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1983 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE ADVISER -./.DATE/��3 /COMMITTE.Wv1EMBE# �·�/98'3DAT COfJM1TiUMEMBER DEPARTl'OIENt CHAIR-PERSON I. :, 1. J y .. • L ... 11, "Bootstra · " 'l'heatre ABST�ACT This paJer is the description of a creative fine arts rroject involving the direction and design of a full-length musical theatre �reduction within a very low working budget. ThP, pur-)OSE' of this project w2s to create a r10rk v:hich shoy;ct< how the arts of theatre, music, dance, and visual art may be combined to achieve a total 9resentation of the arts in one nackage, while demonstrating how it may be presented in ?.n ecC'nomically fen$ible m�nncr. It is ho··0cl 7h-t t�"!is i·:orl: will provide directors of amateur organizations, such as corirriuni tv th"??tr��, ":ith a guide for �te2::-by-ste? :--re )c�r2.tion for thP. direction of a ,·,l;:i.y or rr.usical v1hich has .-rClvcn suc­ cessful for others. This "Bootstr[:. •" Thc?�tre i rojcct, offer�; ide2.� to aic.2. a grou"':' whose budget � :--.:1ro'"'chcs nil t0 t�i'e 0n ? :r·:'.ldt1cti0n that ·nill enable the r,rou" to " ·ull i tsp lf u 1° by its own bootstra!'S" and aid it in building the budget to continue the iroduction of future shows. This work d.o.cu::lcnts my conce:;ts and reasoning for the choice of �reduction and the se)arate visual elements chosen to ex�ress the work. Included are suggestions for determining the choice of the sho� and a list of arrangements that must be made in order to result in a smooth, organized flow of 429634 activity fror.1 casting to pe.:i'o1·:!.c..:..."�Ce. A bt.sic rehearsal schedule is provided so that other directors might gauge the pac i116 of relJeiirsal "ti!:-.e. The 1..ain d irec;tor ial a le is c... de -ca j ].ea p:::onp t tio ok in­ cluding a brief .Listory of the chosen show ( The Fantasticks ) , a plot su�mary, directing analysis, character sketches, and set, costur:Je, lighting, and prop plots. I wish to increase the awareness of readers of this paper of the r:iany steps necessary to put tosether a work of this t;pe for the stage. Carefully prepared organization of a snow seems to be the most valuable tool a director has at his disposal to insure a successful production. This 11 learn­ by-doin�' process has lent kno�ledge ttrough hands-on ex­ perience which has familiarized me with the process which will, I hope, prove successful in aiding future directors of similar productions. DEDICATIOH To Michael, who introduced me to the Theatre ::1d cho�ed me a love which I could ne�cr 0utgrow ••• ACKNO\'fLE.JGE;.:.::NTS I wish to express thanks to my adviser, E. G. Gabbard, my committee members, Vaughn Jaenike and G. P. Wright, and the Related Arts Coordinator, Phillip Settle, for their aid and attention to this project. I thank my cast and crew, named herein in the program, for the time and effort they s�ent on this 8roduction. They worked with an eagerness and a sense of professionalism that made my job of directing/designing the show much easier. All made contributionR which resulted in a fin�r total production and a greater theatrical experience. I thank the Charleston Community Theatre for allowing me to direct The Fant�stjcks in conjunction with their regularly scheduled season of events. I z.lso th2.n1: the Tr.rble Arts Center staff for giving this production a beautiful new home to be born into. I offer S!)ecial thanks to Vaughn Jaenike for the encourage­ ment and inspiration v;hich he provided throughout my work in the 1.-;aster of Arts in Related Arts program. His help and reassurance were constant sources of comfort to me, and al- - lowed me to see a light at the end of a long, but most worth- while, tunnel. ABSTRACT. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i DEDICATION .••••••••••••••.•.•••••••••• •••••• .••••••••••iii • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ACKT�0'.'.1IBDG�!11B!·TTS • • iv "BOOTSTRA-..)" Trr�/\'rR:::........ • • • • • . • • • • • • • • • • • • . • • . • • • . • 1 · A B!.\I:;:r BhClCGROUI\D..................................... 6 'LOT • • . • . • . • • • . • • . • • • • • • • • • • • • • • • • • . • • • • S Ui1I!'MRY. • • • • • • 7 UIRECTIO!� ..•• .•••.••••.••••.•••.•.••••••.•••••••. .•...• 10 CHARACTERS. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 13 ·; .... -"'' T D!!:.ECTI0l�.•...•. ' •••••••••••••••••••••••••••• 1.• ::> \..!. ••.;J c I 20 C�0�'!:.0G�/.. ...••.•.•.•, • . • • • • • • • • • • • • • • • • • . • • • • . • . • _., � . • • 2 � • • • • • • • • • • • • • • • • • , , • , • • • • • • • • • • • • • • • • • • •••, • • • • • �';""'rri � • • • 22 G�ru�:) --1 . .r.r� .••...•••••.•.•.•....•••.•.•••••••...•....•• 25 R0llG:-! Sr.:T tSJ0��'I'CJi. • • • • • • • • • • • • . • • . • • . • • . • . • • . • • • 26 . • • • • • • • • • • • • • • • • • • • • • • . • . • • . • . • . • . • • • • • • • • co::;'i·U; ..t.,3. • • • 27 -. -.,. ............ -........... - ,, : • , • • ••••••••••••• C0S':i'U: · •. : • • • f. , • • • • 31 '-' J. • C' ·- m ("\· - C"' ' • • • • f I f • • • • •• ••• •• • I.,. V.. • t" ' • 0 • f • f f f f f e t • f • C Lir-�::pJlll"! .....•. .... .. .. , . .... .... .......... 40 L . • • • • • • • • . • . • . • • • • • • • • • . • • • • • • . • • • • • • . LIGHTil,!G P OT. • • 42 .... PBO .) . .. .. .. ........ ... ..... .... ... ... 43 • • • • • . • • • • • . • • • • • • • • • . • . • • • • • • • . • • . • . ·PRO!:> LIST. .. .. • . 45 ..,UBLICITY..•.• .•••.••..••.•.••••••...•. .••.•• ....•....• 46 CO! . • . • . • .. • • • • . • . • • • . • • • . • . • • • • • • • • • . • • �r.�L1J�. TC'�'. • • • Li·? A-,�;.!:!)I .. ...•....•... .•••• •..•..•..•.••••••••••..••...• 4e Production Ex-.enses ..••.... • • . • . 49 Poster ...•••..•. • • • • • . • • • • • • • • • • • • • • • • • • • • • • 50 ...•.•.• . •••••• . Handbill . • . 51 Audition Infor�ation Sheet ••.••.. ... 52 Rehearsal Schedule •••. ... 5J Program .........•....•......... • • • • • • • • • • • • • • 55 BI BL I OGRA DHY .••...•..••••. •..•..•.••.••..•••.•••.•••.. 56 This project was designed to offer some ideas to new ryerforming grou�s or to revitalize old ones to ;·ut the grou·is financially back on their feet again. Any ideas stated were taken directly from observation �hile directing and designing a sho� on 2 shoestrinG budget. The ideas were caref ul ly thou:ht out, tried and were �Jroven successful for me. I learned a great deal through this hands-on type of ex)erience. The descriptions of visual elements and the directorial ::--rci:-: �t book and reh�c:.rf:f'_l schedule inc luded here in r.-r<::> �u.r:r- eP.sted as examules of a uroduction. Some of these ideas or tim� fr?��� �ill �llor �7ture di recto rs to see ho� ? sho� rnay brst be: �';.�r:d, or -·c::rtia.lly f.::>: �ls.ined in conce;-.t of visual design. They also allow me to document my version of this show. Choosine; t he correct sho-...· r.:3.y be the :nc::t ir::�.: or-tc:.nt mc-nt in bud[;et consideration. T0 5.nf:"ure its f'UCCcf:s, j t �h0u] .4 have a nonul2.r a·"'9eal, a univer sali ty that many can identify with. This �ill hel • to sell the tickets to g et that muc h- needed money . Since I was c::nvinced that 2.. :71USical theatre ::.;reduction would be rddely acce�::ted, my search began. Taken under con- sideration for my pur 10ses were The F'antasticks, The Ar.mle 'I'ree, and Thev're PlavinR' Our � · They all met differe nt reouire­ men ts , but it was necessary to decide which of those three The A:Jple 'i1rec, a ch�rming little rausic�l taken from 'i'he Qi::i�rv of Adam 2.nd ;.;ve , was the first to be elimin?.ted bec:-�usc of ?.. very recent local production of the same. It met m2.ny of my requirements, but if �eople have
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