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Rehearsals for musicals | Getting ready for our next show

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This is the first years musical checklist

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Information to assist people who run theatres in controlling the risks to those working in the theatre or attending productions.

What you should know:

Health and safety law applies to theatres as it does to other businesses. The Health and Safety at Work etc Act 1974 and related legislation places duties on employers, employees, the self-employed and those in control of premises.

The majority of injuries in the theatre industry are related to work at height and manual handling.

What you must do:

Work at height

There is a legal hierarchy for selecting equipment for work at height, based on using the safest possible method of work that can reasonably and practicably be used in the circumstances:

do not work at height – use auto focus or bounce focus lights, bring scenery items down to ground level for adjustment etc

work from an existing place of work – use gantries, bridges or catwalks, a trampoline system etc

work positioning – use fixed length lines to prevent falls, MEWPs etc

fall mitigation – use airbags, nets, inertia reel harnesses (which require a rescue plan)

systems of work – use ladders, Tallescopes, Zarges etc

Further information on working at height can be found in the ABTT Code of Practice for the selection and use of temporary access equipment for working at heights in theatres[1].

Manual handling

There is a large amount of manual handling involved in theatres, especially for travelling shows. Many loads are awkwardly shaped, heavy and often difficult to move in sometimes very confined spaces. This movement is often also done under time pressure. More than a third of the injuries reported annually to HSE are related to manual handling. These tend to be long-term injuries, which can have serious implications for those involved. Reducing the amount and severity of manual handling is a legal obligation. For more information, see:

Manual handling at work: A brief guide[2]

Legal duties

There are legal duties on:

employers

employees

the self-employed (freelance)

people in charge of premises

Employers

Employers must ensure, so far as is reasonably practicable, the health, safety and welfare of their employees, while not exposing others to health and safety risks. As an employer, you must have systems in place to ensure that the risks presented by the work are assessed and either eliminated or controlled. There are a number of ways this can be done. Further help and information can be found in: Health and safety made simple[3].

Employees

Employees can expect their employers to take all reasonably practicable measures to ensure they can work without risk. Employees then have a duty to work carefully and co-operate with their employer to make sure both are complying with their respective legal duties.

Self-employed (freelance)

Self-employed people have duties to ensure they work safely so that their activities do not create risk to themselves or others. Remember, 'self- employed' has a different meaning in health and safety matters to that used in tax matters. Both employers and the self-employed should make sure they know their legal status and obligations under health and safety law.

Person in charge of premises

Any person who allows people not employed by them to work in premises, such as a theatre, has duties to make sure:

the means of getting in and out are safe

all plant and equipment within the premises is safe and does not present a risk to health. This includes the electricity / gas and water supplies etc

1. Code of Practice for the selection and use of temporary access equipment for working at heights in theatres
https://www.abtt.org.uk/

2. Manual handling at work: A brief guide
https://www.hse.gov.uk/pubns/indg143.htm

3. Health and safety made simple
https://www.hse.gov.uk/simple-health-safety/index.htm

4. Manual handling at work: A brief guide
https://www.hse.gov.uk/pubns/indg143.htm

5. Electrical Safety for entertainers
https://www.hse.gov.uk/pubns/indg247.pdf

6. More resources
https://www.hse.gov.uk/entertainment/theatre-tv/resources.htm

7. HSL Report on the stability of Tallescopes
https://www.hse.gov.uk/entertainment/pdf/tallescopes.pdf

8. Association of British Theatre Technicians
http://www.abtt.org.uk/

9. More resources
https://www.hse.gov.uk/entertainment/theatre-tv/resources.htm

10. Adventure activities
https://www.hse.gov.uk/aala/index.htm

11. Safety bulletins
https://www.hse.gov.uk/safetybulletins/index.htm

12. Local Authority Unit
https://www.hse.gov.uk/lau/index.htm

13. Construction 2015
https://www.hse.gov.uk/construction/cdm/2015/index.htm

14. Voluntary organisations
https://www.hse.gov.uk/voluntary/index.htm

15. Mythbusters
https://www.hse.gov.uk/myth/index.htm

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Focuses on the entertainment and leisure industry which covers a wide range of activities, from fairgrounds to film locations and from sports facilities to play areas.

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For the show to come together you will need a creative team to make the creative decisions/ ideas and a production team to bring those ideas to life with props/ set

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When choosing a musical you must consider genre/style, casting, crew, performance space, popularity of the show, the chorus/dance numbers, sets and props.
All of which must fit together to produce a successful performance.

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A selection of shows broken down into type. This is not an exhaustive or definitive list but merely a suggestion. The categories and the majority of the listings have been taken from Let's Put On a Musical - How to Choose the Right Show For your Theatre by Peter Filichia.

This a *must have* book for your theatre library as it will save you many hours of scouring catalogues and other theatre books looking for that next show.

You can order this on-line by clicking the cover below.

Doing a show is great fun but how do you know which one to do?

This practical resource will guide your school, community, or professional theater group to a musical that perfectly fits your budget, creative team, production capabilities, and audiences. With Let's Put on a Musical! you'll discover more than 200 famous and little-known shows, 70 which are new to this edition-all cleverly categorized and described in terms of:

Story

Famous Songs

Musical Requirements, including instrumentation

Chorus and Dance Numbers

Staging the sets, costumes, and props you'll need And it's packed with nuggets about the original Broadway versions and useful tips on casting, publicity, and other practical matters relating to production. Whether it's a big classic like My Fair Lady or an all-but-forgotten show like Drat! the Cat!, if there's a musical in your future-or if you're just a fan of the genre in your future-or if you're just a fan of the genre-Let's Put on a Musical! will be an essential and fun-to-read addition to your theatre library.

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A selection of shows broken down into type. This is not an exhaustive or definitive list but merely a suggestion. The categories and the majority of the listings have been taken from Let's Put On a Musical - How to Choose the Right Show For your Theatre by Peter Filichia.

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In order to put on a production you need to ensure you attain the rights to avoid copyright and make sure all credit is given where due. Failure to do so could easily to a lawsuit.

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Whenever one of our titles is performed, we are the exclusive source of authorised performance rights and show materials. We represent Tony Award®-winning Broadway shows, Olivier Award-winning West End shows, and a wide variety of Off-Broadway, Off-West End, regional shows and Theatre for Young Audiences musicals.

Live Stream Your TRW Musical
TRW in association with BookTix Live offers ticketing and stream viewing of TRW musicals. A TRW streaming license is required.

Ireland United Kingdom (Great Britain) United States Globe

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Whenever one of our titles is performed, we are the exclusive source of authorised performance rights and show materials. We represent Tony Award®-winning Broadway shows, Olivier Award-winning West End shows, and a wide variety of Off-Broadway, Off-West End, regional shows and Theatre for Young Audiences musicals.

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Do you want to collect royalties for performances of your new musical? Make a deal with a licensing agency (or become your own agency). On this page you'll find submissions information for musical publishers.

If you're lucky enough to have had a high-profile show on Broadway or the West End, you will probably already have heard from companies like Music Theatre International, Josef Weinberger LTC (London), or one of the companies now owned by Concord Music: Samuel French, Rodgers & Hammerstein, or Tams-Witmark. They are not open to submissions by un-agented writers without first-class productions.

Most writers will want to seek out companies that accept submissions, as described below. We recommend you only submit a show with production history and reviews. Be sure your demo has high quality singing and your presentation package is polished and professional.

Timeline for Licensing a Musical

The process may take over a year as ideally you would choose your preferred company, submit the show to them, and wait several months to hear back. If you are submitting a show simultaneously to more than one company, it's polite to mention that in your cover letter.

Once your show is accepted, it's still a good idea to help market it with a website that has music clips and notices, and to support your ongoing work through social media efforts.
Need help with your presentation package? Email Holly at [email protected] for design help with your show art, pitch deck, social media, invitations, and website.
Licensing Agencies Open to Submissions

Well-known companies (arranged in approximate order of receptivity to new works.)

Theatrical Rights Worldwide has a significant catalog and they do accept submissions of new musicals. "If you feel your musical is ready for production, please send a hard copy of your script, hard copy samples of your music (for example: piano-vocal music), and an audio CD or thumb drive, as well as any production history (regional theatre, new work festival, or educational environment)..." Theatrical Rights Worldwide - FAQ page (bottom of page)

StageRights LTD (Steele Spring Stage Rights) has an open submissions policy for musicals with some production record, as part of their commitment to fostering new theatrical works. The company licenses musicals and plays to commercial producers, regional theaters, community theaters and educational theaters around the world. Authors retain all copyright ownership. "We prefer full-length pieces suitable for professional, educational and amateur venues." Go to their About Us page and look for the "submissions guidelines" section. Stagerights.com

Dramatic Publishing's extensive catalog of dramatic works is popular for use by high-schools, children's theatres, professional and community theatres. They accept submissions that meet their criteria: The work has had at least two, separate, fully staged equity or amateur productions within the past five years; the author is represented by a credentialed theatre or literary agent or has a show published by them or another major licensing agency. They are looking for originality and add "We will no longer consider... adaptations of A Christmas Carol, classic fairy tales, folktales or Shakespeare." Visit their website for clear guidelines: Dramatic Publishing

Dramatists Play Service, Inc. considers musicals after successful productions in New York City, London or at a major regional theatre. To inform them of productions/new musicals write to Stella Bowles, Assistant to the President, [email protected] with a "one-page synopsis, production history and full reviews (not pull quotes.) Please note, due to the volume of submissions do not send full scripts. Submissions of a full script will not be accepted."

Additional General Licensing Companies

Drama Source. As they say on their home page, "We Specialize In G-Rated, Family-Friendly Plays & Musicals." They prefer to receive submissions in August since their main reading time is September 1 - October 31. Drama Source Submissions Guidelines

Eldridge Plays and Musicals accepts musicals suitable for performance by community theatres as well as junior and senior high schools. These can be full length, works for children, religious, or holiday themed. No explicit adult content or graphically defined situations accepted. https://histage.com/submission-guidelines-2

Heartland Plays Inc. publishes musicals and plays of "the quality and diversity to meet the needs and interests of most theatres and producing organizations; Professional, Community, Summer Stock, College, High School, and Theatre for Children and Youth." Visit Heartlandplays.com/submissions/

Specialty Musical Licensing Companies

Pioneer Drama Service licenses short musicals to schools, churches, and other groups. They accept unsolicited submissions for ensemble-oriented shows that have a running time between 20 and 90 minutes. Submissions must be family friendly in both subject and language. They prefer casts that are balanced or favoring females (or gender neutral). They should have vocal ranges specifically written for amateur voices. Start with a query letter. See Pioneer Drama Service submission guidelines.

YouthPlays welcome submissions of challenging, entertaining plays and musicals that are appropriate for teen and younger actors and/or audiences. They are asking for shows that have been produced at least once, with a few exceptions. See https://www.youthplays.com/submit_play.php
Carol de Giere updated this page August 2019.

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Licensing a Musical - MusicalWriters.com

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Do you want to collect royalties for performances of your new musical? Make a deal with a licensing agency (or become your own agency). On this page you'll find submissions information for musical publishers.

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There’s many costs involved in musicals so budgeting shouldn’t be underestimated. Some of the costs may include scripts and sheet music, rights, performance space, equipment/props/set, costume and makeup and publicity and commissions.

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How to Put on a Musical

Plan a Realistic Budget

by John Kenrick

(Copyright 2003)

The thought of planning a production budget may make you uneasy. Well, being a "word person," I know how you feel. It may help if you think of a budget as a way of explaining what you want to do using numbers instead of words. The budget for an amateur musical does not have to be long or complicated, just realistic.

What does realistic mean? Simple – do not underestimate your expenses, or overestimate the amount of money you have in hand. If you run out of money in mid-production, you will either have to scramble for additional funds or shut down at a total loss – headache or heartache. The way to avoid this is to plan a production budget and stick to it.

Here is a line-up of items that appear in many school & amateur production budgets.

Publicity

Posters, all other forms of advertising

Performance Rights

Rights to Broadway musicals can run into the thousands. The licensing co. agent can give you this figure in advance of actual commitment

Equipment Rental

Lighting, sound, special effects -this will vary depending on what your facility already comes equipped with

Costumes & accessories

Construction, materials, and/or rentals

Sets & props

Construction, materials (lumber, paint, duct tape), any rented items (tools, furniture)

Facility rental & deposit

For rehearsal & performance space

Printing

For programs, posters & other materials

Insurance

(If not already covered by the school or facility)

Not all that complicated, was it? Now comes the fun part – listing every possible source of income.

Starting Funds

Whatever funds you have in hand

Gifts/Fundraising

The mount you need to make up any shortfall

Probable Program Ad Sales

Design your program to be profitable

Refreshment sales

A small but useful plus -- especially if the supplies are donated or provided at a discount

Probable Ticket Sales

Aim to sell about 75% of your seats. If you manage to sell beyond that amount, more power to you!

Total Income minus Total Expenses = Projected Profit. If your financial figure winds up a negative number, get ready to reassess your plans.

Example: Here is the budget for Higgins High's musical. Notice that it only includes those items relevant to their production. The school's print shop is doing the programs and posters in house, saving a bundle. The salaries represent consultant fees of $1,000 each to the choreographer and sound/lighting designer.

Any salaries or fees should be spelled out in formal letters of agreement. Be sure these letters mention everything expected from both parties (participation in tech & dress rehearsals, dates of payment, etc.). You can find model letters in various books – an attorney or your organization's business manager can help you with the wording.

Notice in the next section that Mr. Pickering and Ms. Doolittle have planned enough pre-ticket sale income to cover all production expenses – these are two smart cookies! If their fundraising falls a little short of the mark, they will probably be able to make up the difference with ticket sales. In figuring out probable ticket sales, they have projected 375 paid attendees (75% of 500 seats) for each of six performances, at $10 per ticket.

If the show sells out profits could be higher, but this figure will help keep everyone's expectations gentler. With no previous productions to judge by, there is no guarantee they can sell three thousand tickets.

Have I offered a relatively rosy picture here? Of course -- I'm not looking to scare you, but to offer encouragement. Just be as realistic as possible. You don't want visions of profit to turn into bitter disappointment after a mountain of effort.

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How to Put On a Musical: Plan a Realistic Budget

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How to Put on a Musical by John Kenrick (Copyright 2003) The thought of planning a production budget may make you uneasy. Well, being a "word person," I know how you feel. It may help if you think of a budget as a way of explaining what you want to do using numbers instead of words.

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Sample Budgets for Schools, Colleges, Community Theatres and Professional Companies

In the coming months, look for a sampling of budgets from a variety of levels of production.

Here's a sample budget for a high school production of To Kill a Mockingbird.

Stay tuned for more budgets coming soon!

Raising Funds for Your Production

Coming soon.

Bookkeeping

Coming soon.

Typical Budget Items (Amateur Productions)

Note: While all of the budget items listed here are typical of amateur productions, none of them (with the exception of scripts) will necessarily appear on every budget. Not all directors are paid a salary or stipend-some are volunteers, and for some directing the play is part of their regular duties as a school faculty member. Depending on the needs of the individual show (and the expertise of the director), it may or may not be necessary to hire designers. Plays in the public domain don't incur royalty payments. Logo packages and video licenses are not available for every show, and you may not choose to purchase them if they are. Many producers, especially of school productions, will have access to a performance space and won't need to rent one. Ditto lighting and sound equipment, unless the show has very particular needs. If admission is not charged, or if seating is not reserved, tickets may not need to be printed. A show with very simple set requirements may not need a set budget, and one performed in contemporary dress may not need to purchase or rent any costume elements. Nor will all elements in the Revenue column necessarily apply. Some schools do not allow admission to be charged. More do not allow the sale of ads in the program. Most schools contribute all or part of the production budget, but some expect the theatre program to pay for itself.

Moreover, there are very few items on the list for which it is possible to even guess at the amount, without knowing a whole lot of specifics about the show and the program. Directors' salaries or stipends can be nonexistent, a token stipend, or several thousand dollars. Designers, too, depending on their level of experience and on whether they are stipended faculty members or outside professionals, are paid a huge range of amounts. Hall rental might be anywhere from $1000.00 or less to many times that-many, many times, for union halls-and that's not counting whatever personnel you have to pay. The cost of set, prop and costume materials will depend on the elaborateness of what the play calls for, the size of the cast, etc., as well as on how much can be borrowed or pulled from existing stock. Even the cost of hiring a police officer can vary widely from one community to another. (There are some items that are sort of predictable, of course. Scripts tend to cost less but not much less than $10.00 a book. Amateur royalties for a non-musical play are usually-but not always-less than $100.00 per performance.) Obviously the amounts for the revenue items are just as individual to each program, though not so much to each play. But if you start with a budget that contains all of the items listed here, you will be able to fill in the amounts based on your individual situation and your choice of play, and thus determine whether you can afford to mount the production, and what arrangements you will need to make to finance it. It boils down to doing the research.

Subsequent Performance Royalties (x number of performances)

(Unless play is in the public domain. Often different from first performance.)

(Or script copying license, if available.)

(If group does not have own performance space.)

(Most facilities will require a deposit against potential damage.)

(Many facilities will require renting groups to buy insurance for the event.)

(Many facilities will require the presence of a custodian or theater manager while an outside group is in residency.)

(Unless group owns the necessary equipment, or it is included in hall rental.)

(If needed, unless group owns the necessary equipment, or it is included in hall rental.)

(Any ready-made clothing or accessories that must be purchased.)

(Could be anything, really, depending on what props need to be built.)

(Anything that cannot be built or borrowed.)

(Unless each actor is required to purchase his or her own-which is a good safety practice, among other benefits.)

(Posters, paid print, radio or television advertising, etc.)

(May be sold to the cast, either at cost or as a revenue stream.)

(If a video license has been purchased. Videos may be sold to the cast, either at cost or as a revenue stream.)

Food for cast during production week.

(Unless donated by cast members or parents.)

Fight Choreographer Salary/Stipend

Flying Effects Company (Flying by Foy)

(This is a relevant revenue item even if shirts are sold to cast at cost-so as to balance the purchase price in the expense column.)

(Again, this is a valid revenue item even if videos are sold at cost to cast.)

School Contribution or other Donations

Typical Budget Items (Professional Productions)

Coming soon.

Typical Budget Items (Musicals)

Moreover, there are very few items on the list for which it is possible to even guess at the amount without knowing a whole lot of specifics about the show and the program. Directors' salaries or stipends can be nonexistent, a token stipend, or several thousand dollars. What you pay instrumentalists will vary. Designers, too, depending on their level of experience and on whether they are stipended faculty members or outside professionals, are paid a huge range of amounts. Hall rental might be anywhere from $1000.00 or less to many times that-many, many times, for union halls-and that's not counting whatever personnel you have to pay. The cost of set, prop and costume materials will depend on the elaborateness of what the play calls for, the size of the cast, etc., as well as on how much can be borrowed or pulled from existing stock. Even the cost of hiring a police officer can vary widely from one community to another. Unlike with amateur rights to non-musical plays, both the royalty charges and the script rental or purchase charges vary enormously from one show to another and one program to another, often depending in part on the size of the hall. Obviously the amounts for the revenue items are just as individual to each program, though not so much to each play. But if you start with a budget that contains all of the items listed here, you will be able to fill in the amounts based on your individual situation and your choice of play, and thus determine whether you can afford to mount the production, and what arrangements you will need to make to finance it. It boils down to doing the research.

(If applicable, professional productions only.)

Instrumentalists for performances

(Typically professional productions only.)

(Typically professional productions only.)

(Typically professional productions only.)

Lighting Installation Technician(s) Salary/Stipend(s)

(Typically professional productions only.)

Light Board Operator Salary/Stipend

(More usual for professional than for amateur productions.)

Sound Installation Technicians(s) Salary/Stipend(s)

(If needed, typically professional productions only.)

Sound Board Operator Salary/Stipend

(More usual for professional than for amateur productions.)

(Typically professional productions only.)

(Typically professional productions only.)

(Typically professional productions only.)

Subsequent Performance Royalties (x number of performances)

(Unless play is in the public domain. Often different from first performance.)

Script Purchase or Rental (x number of actors)

(Or script copying license, if available.)

Rehearsal/Performance Accompaniment Package

(If group does not have own performance space.)

(Most facilities will require a deposit against potential damage.)

(Many facilities will require renting groups to buy insurance for the event.)

(Many facilities will require the presence of a custodian or theater manager while an outside group is in residency.)

(If not provided by the hall, especially for professional productions-you can't ask professional actors to clean their own dressing rooms.)

(Unless group owns the necessary equipment, or it is included in hall rental.)

(If needed, unless group owns the necessary equipment, or it is included in hall rental.)

(Even if there's a piano that lives in a rented hall, there's usually a separate charge to use it.)

(Any ready-made clothing or accessories that must be purchased.)

(Could be anything, really, depending on what props need to be built.)

(Anything that cannot be built or borrowed.)

(Unless each actor is required to purchase his or her own-which is a good safety practice, among other benefits.)

(Posters, paid print, radio or television advertising, etc.)

(May be sold to the cast, either at cost or as a revenue stream.)

(Typically professional productions only.)

(If a video license has been purchased. Videos may be sold to the cast, either at cost or as a revenue stream. Typically amateur productions only.)

Food for cast during production week.

(Unless donated by cast members or parents.)

Fight Choreographer Salary/Stipend

Flying Effects Company (Flying by Foy)

(Typically professional productions only.)

(Typically professional productions only.)

(This is a relevant revenue item even if shirts are sold to cast at cost-so as to balance the purchase price in the expense column.)

(Typically professional productions only.)

(Typically amateur productions only. Again, this is a valid revenue item even if videos are sold at cost to cast.)

Typical Budget Items (Touring Shows)

Touring shows bring their own unique expenses, as well as many of the expenses of more traditional, "sit down" productions. Touring shows themselves can vary, from four actors going out in a van for the day, to an entire company traveling for a major national tour. For the small-scale tour (let's call it a day tour), anticipate the following potential expenses:

Small-scale tours, which tend to be brought in by schools or other community groups, will tend not to have much in the way of set expenses (typically everything will have to fit in a large trunk or two), and lighting will likewise be minimal (whatever is available on-site). And, of course, there's generally no theatre rental.

For a more extended tour, add the following to the day tour expenses:

Buses (rather than vans)-At this point, you're probably talking about many more people, and so you're likely to be traveling by chartered bus.

Truck Rental-Trucks are the norm for transporting larger sets, so you'll likely have to contract with a company that does this sort of transporting.

Hotel (if applicable)-it is acceptable to have members of your traveling company of the same gender share a room (with two queen beds, for example), though if you have the budget, they will certainly appreciate their own space.

Approaching Investors

Coming soon.

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In the coming months, look for a sampling of budgets from a variety of levels of production. Here's a sample budget for a high school production of To Kill a Mockingbird . Stay tuned for more budgets coming soon! Coming soon. Coming soon.

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What are all the different roles in a creative team? - Pantomime Scripts

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When you first decide you're going to direct or produce a show, and you've decided on the pantomime title, your next thought is probably going to be who else you want to work with. Here's my list of all the roles in a creative team and what their responsibilities are towards the production.

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Performers and stage managers qualify for certain amounts of equity dependant on amount of shows and number of tickets sold.

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UK Theatre/Equity Commercial Theatre

Changes to the Agreement incorporating new Terms and Conditions have come into effect as of 8 April 2019. The updated Agreement incorporating these changes is now available. PLEASE NOTE: UK Theatre and Equity have entered into a COVID-19 Variation Agreement, which will remain in force during this period until the sector is able to operate normally.

If you have any queries regarding this please do not hesitate to get in touch with us.

Who does it cover?

Performers, Understudies and Stage Management for commercial theatrical productions. There is a separate agreement for working in the West End ( www.solt.co.uk).

The current rates of pay can be found here. PLEASE NOTE: Under the UK Theatre/Equity Commercial Theatre COVID-19 Variation Agreement, the 2019/2020 rates will be maintained until April 2022, except touring allowance and subsistence. Tier C rates have been amended in line with the current National Living Wage.

Logged in Organisation Members can access the agreement, the COVID-19 Variation Agreement and additional advice below. The Employment Relations team are not able to provide further advice or information in relation to the rates or the terms of our Agreements to non-Organisation members of UK Theatre. To find out more about how you can join UK Theatre, please refer to our Membership page.

UK Theatre/Equity Agreement for Subsidised Managers

Changes to the Agreement incorporating new Terms and Conditions have come into effect as of 8 April 2019. The updated Agreement incorporating all the changes is now available. If you have any queries regarding this please do not hesitate to get in touch with us. PLEASE NOTE: UK Theatre and Equity have entered into a COVID-19 Variation Agreement, which will remain in force until the end of April 2022.

Who does it cover?

This Agreement covers Performers, Understudies and Stage Management employed by Managers in receipt of funding from Arts Council England, Arts Council of Wales, Creative Scotland or the Arts Council of Northern Ireland. There is a separate agreement for working in the West End ( www.solt.co.uk).

The current rates of pay can be found here. PLEASE NOTE: Under the UK Theatre/Equity Subsidised Theatre COVID-19 Variation Agreement, the 2020/2021 rates will be maintained until the end of April 2022.

Logged in Organisation Members can access the agreement, the revised COVID-19 provisions and additional advice below. The Employment Relations team are not able to provide further advice or information in relation to the rates or the terms of our Agreements to non-Organisation members of UK Theatre. To find out more about how you can join UK Theatre, please refer to our Membership page.

The minimum rates of pay are contained within UK Theatre-negotiated Agreements that have specific terms and conditions of employment. Any queries should be directed to Lisa Radford at lisa@soltukt.co.uk or 020 7557 6700. Please note that advice on rates and other industrial relations matters is available only to only UK Theatre Organisation Members. These Agreements may be obtained by non-members of UK Theatre at a cost of £50.00 per copy by contacting UK Theatre.

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Changes to the Agreement incorporating new Terms and Conditions have come into effect as of 8 April 2019. The updated Agreement incorporating these changes is now available. PLEASE NOTE: UK Theatre and Equity have entered into a COVID-19 Variation Agreement, which will remain in force during this period until the sector is able to operate normally.

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Equity - the UK trade union for creative practitioners

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To create a hype and build excitement within a production’s desired audience you need to put forward the right marketing to entice them. People respond differently to different types of advertising and you need to know what your audience demographic responds well to. The marketing will help sell tickets and build up a large audience for the production and hopefully help make it as successful as possible.

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If you've been following Sold Out Run for a while, then you already know how much I emphasize using a marketing calendar to organize the attack plan for promoting the show. Of course, you need to have some killer marketing tactics to flesh out your calendar. That's where this big list comes in.

Not all of these ideas will make sense for all productions, but I guarantee that you will find quite a few ideas here that are a great fit for your show - no matter what your show is about or where you are performing it.

There are also a handful of ideas included that focus on long-term marketing beyond the current show, but I trust you'll forgive me for including those in the mix. 🙂

So read on and start selecting tactics to populate your marketing calendar:

1. patronize other theatres regularly to see which of their shows are selling well - then look at how they marketed those

2. most links to online ticket sales are unwieldy and ugly, create a redirect using a link shortening service like Bit.ly - or better yet have yourdomain.com/tickets redirect to your online ticket sales service

3. leave (appropriate) comments on the online articles of your local arts journalists so they get to know who you are in a context where you're not asking them for anything

4. host/sponsor a playwright festival

5. offer a complimentary popcorn or soda on the night you know is going to have the weakest attendance

6. offer an early bird discount for the first 100 tickets purchased when your tickets go on sale

7. partner with an organization that accepts donations of food, clothes, or toys and have a night where people get free admission with their donation (use photos, videos, and press releases from this event to drive sales for all your other performances)

8. strap a GoPro camera to an actor during rehearsal for an intricate dance, fight, or flying scene and share on social media

9. create a video showing publicity or production stills with the actors doing voice over of their best lines

10. put a sandwich board out on the sidewalk with rotating taglines that say things like, "free cupholder with every seat" (assuming, of course, your seats have cupholders)

11. send an email or postcard to everyone who came to see one of your previous, similar shows and tell them why if they liked that one, they're going to love what you have coming up next

12. create a magazine ad - even if you never run it - because it will help you get clear on how to quickly, concisely convey your marketing message

13. have a night where your subscribers or best patrons can bring a friend for free and give them the royal treatment so they look like rock stars in front of their friends

14. hold a press junket with all the other local theatres where the press and arts bloggers can come get the scoop on all the upcoming shows at once

15. create a Foursquare special for a free drink and advertise it to your regulars

16. write down what you would do if you had an extra $10k to spend on marketing, once that's done - and only after it's done - look at how you can do a leaner version of those tactics with your current budget

17. specialty printers online will create professional style trading cards for little league baseball teams - use these services to instead print trading cards of your cast

18. work with a nearby restaurant to create a special that's themed after the show and cross promote for each other

19. send an invite to social influencers and bloggers to have lunch with the director and talk about the show

20. write a letter to the editor of the local paper about why an issue that your show deals with matters to your community

21. create a ticket package with another theatre or arts organization where someone can buy tickets to an event at both places at a discount

22. call repeat visitors just to thank them for their patronage, and if the opportunity presents itself ask them what they'd like to see you do more of

23. offer free seat upgrades to regular patrons when available

24. create a short podcast series talking to cast members and the production team about the show

25. hold an open Google Hangout where the general public can meet the leads and ask them questions

26. instead of (or in addition to) postcards and flyers, print business cards to promote your show

27. print custom decks of cards with your show's art on the back and distribute to influencers

28. take out a classified ad: audience wanted

29. posters are great for store windows, but in residential areas create yard signs like the ones used in local political campaigns (at least, they are here in the U.S.)

30. do a 1-3 minute preview of your show right before the performances of whatever show is being produced at your venue right before you - just like a movie trailer

31. get a custom domain name for your show (i.e. www.nameofshow.com)

32. keep a production blog going for your show in the weeks leading up to opening

33. create a custom audience in Facebook based on your email list and run highly targeted ads to a lookalike audience

34. take your local arts journalist to lunch when you don't have a show in production just to get to know him/her

35. create a media contact list of all the writers, radio producers, bloggers, and social media aficionados who talk about theatre in your market

36. assemble a digital media kit with show art, contact information, publicity stills, pre-packaged quotes, the press releases, and anything else you think someone covering the show would need

37. offer tickets to the show to other local arts groups along with an explicit personal invitation to come see the show

38. create video postcards from the cast thanking donors and VIPs

39. record a video tour backstage showing how any dramatic scene changes, costume changes, or other technical elements of the show are pulled off

40. create a short exit survey you can email to audience members the day after they come to the show

41. grab a video camera and ask people in the lobby during intermission or right after the show what they like about it

42. prepare a 2-minute excerpt of the show (heavy on movement, not just talking) that you could pitch to local television shows

43. prepare talking points about your production and submit those to local radio show producers

44. pick a hashtag for your production and make sure the cast, production team, and everyone involved knows to use that hashtag when they post on social media to build momentum

45. if there's a technical element of the show that you could add with a little extra money (like a rotating stage or more advanced flight rigging) create a Kickstarter campaign to fund that specific addon and use the campaign as a promotional tool

46. start a local Meetup group that acts as a book club for plays (make sure you give some love to other theatres around town, not just yours)

47. take your production team to the park, turn off all your phones, and spend 30 minutes talking about what makes this show cool

48. create a mastermind group to share marketing ideas with other similarly-sized theatres in faraway cities

49. join Toastmasters and become amazing at talking in front of people

50. if one of your performance dates falls on the birthday of a regular patron, offer them complimentary tickets for that date

51. create a door prize related to your show and present it during the curtain speech

52. if you have a cool poster, publicity still, or some other marketing piece that you're particularly proud of, create a behind-the-scenes video of how it was created

53. have some or all of your cast make public appearances in a basketball tournament, quiz show, open mic night, or anywhere they have a chance to introduce themselves and show off their skills

54. send a secret shopper to your box office to ask questions about your show and the venue

55. set up Google Alerts with the name of your show, the theatre, and your leads to monitor any new online buzz about them you might want to piggyback on

56. create a video contest where people can submit a YouTube video talking about the show

57. use social media to plug all of the live theatre going on this weekend, and be specific about who would really like each show (i.e. if you love over-the-top slapstick comedy don't miss... )

58. take pictures or video of the first table read when you get everyone together in the same room - who knows when you might use those on social media or as part of a larger marketing collateral piece

59. buy a domain to redirect to your best marketing piece (i.e. if I have a great promo video about a production of Hamlet here in Indy, I might buy the domain indyhamlet.com that points directly to the video and use that in all my marketing)

60. send text messages to SMS subscribers with immediate, short-term specials

61. selectively invite some folks to be a focus group for your show - which is a lot like a preview, but you'll get feedback and if you end up taking the feedback, those people feel a small sense of affiliate with your production

62. give people a free drink when they tweet a picture of themselves from the lobby during the show

63. set up an affiliate program for ticket sales where people earn a commission for bringing you paying customers

64. take the marketing director of another theatre out to lunch and ask what made last year's best attended show so successful

65. have an honorary press campaign where you invite a handful of people with no press affiliation to receive the media kit, receive comps, and have access to ask you questions about the show on the condition that they take a stab at writing a review (which you will then take care of promoting)

66. during your curtain speech, invite patrons to post an update about seeing the show (perhaps with your custom hashtag) before silencing their devices

67. write the ideal review that you'd like to see in the paper the day after opening, then work backward to figure out what needs to happen to get the right person to write that review

68. keep a "morgue file" of great marketing ideas that for whatever reason didn't work out this time that you can quickly refer back to for future productions

69. create a marketing budget - you don't have to spend it all, but know what you could spend if you had enough brilliant marketing ideas

70. offer some tickets to local organizations that do raffles or charity auctions

71. provide an optional gift-wrapping service for your tickets at no charge so that if someone wants to purchase them as a gift you provide them in an attractive display that is immediately ready to hand to the recipient

72. find a mentor that does professional marketing in something other than the arts

73. record your director talking about the strength of each of your leads and then edit together a video with the director's words over b-roll of rehearsal

74. pick up the latest issue of a magazine that appeals to your target audience and flip through the ads, looking for a image, message, or concept you can use in your own marketing

75. call a local business with a fair amount of employees and speak to the HR department, then invite them to buy a block of tickets for employees or VIP clients at a group discount

76. hide free tickets or other cool swag at local retail locations and restaurants (with their approval) and provide clues over social media to help your most adventurous patrons track them down

77. put a fish bowl in the lobby for business cards, and choose one randomly each month or production to get free tickets, a subscription, or an upgrade - then put the contacts from all the business cards on your mailing list

78. pick a paid tactic you were considering using and scrap it - use that money instead to get the best photographer you can afford

79. invite your social media followers to create captions for funny/shocking rehearsal photos

80. segment previous customers who have bought more than 4 tickets at once, and send them an invitation to use a special group rate

81. have a performers night on your slowest day of the week where local performers can bring in a recent program of a show they've been in for a discounted ticket

82. do a Google image search for posters people have used in other productions of your show for crazy, random inspiration

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The Big List of Theatre Marketing Tactics

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If you've been following Sold Out Run for a while, then you already know how much I emphasize using a marketing calendar to organize the attack plan for promoting the show. Of course, you need to have some killer marketing tactics to flesh out your calendar. That's where this big...

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Advertising Strategy: Most Effective Advertising Strategies - Udemy Blog

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I am not ashamed to admit that I still love McDonald's happy meals, even in my late 20's. Especially when I see a commercial or billboard promoting those juicy burgers and crispy fries of my childhood, McDonald's advertising strategy for their Happy Meals get me every time.

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The prep before the show for the performers and crew to prepare themselves for what they have to do in order to create a smooth show.

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How to Put on a Musical

Rehearsals

by John Kenrick

(Copyright 2003)

You're finally putting on that musical! (Never thought we'd get here, did ya?) As a director, you now have the grand challenge of being a strategic commander, personal counselor, small claims judge and a dramatic artist – all at the same time. (And you thought it was easy for Hal Prince to win all those Tonys? Ha!) Musical directors have all the same burdens, along with the pressure of conducting and/or accompanying all performances. (Guess it isn't so easy for Don Pippin or Paul Gemignani either!)

We revue staging basics elsewhere, and can learn about staging in a variety of excellent books, some of which are listed in ourrecommended reading list. But there are a number of other practical concerns that come up during the rehearsal process.

Plan your full rehearsal calendar of six to eight weeks. Most Broadway musicals traditionally rehearse for four to six weeks, so it makes sense to give your beginners more time. Block the show in order. This will help the cast to understand the flow of the show. Especially in the early weeks, it can help to have separate music rehearsals. You may find it easier to stage scenes first, then the musical sequences. See what fits your taste best. Plan the first few weeks so that everyone in the cast gets a day/night off now and then. If you want everyone to retain their sanity and their enthusiasm, do not rehearse seven days a week. Leave time for living.

List at least one rehearsal per week as "TBA" (To Be Announced), with the understanding that all cast members must be available for them. This leaves you valuable flexibility as you see what material needs extra work. In the next to last week, plan on a rehearsal where you run through act one twice, followed by a rehearsal running through act two twice.

Your last week of rehearsals should include two or three preliminary dress rehearsals, the first without makeup, so you can focus on costume issues. In the midst of these, include a tech rehearsal – you may want to schedule this time consuming event in two parts (more on this below). Two days before your premiere, set your final dress rehearsal. Leave the 24 hours before your opening as a break day for the cast and crew. (More on this below.)

Before Rehearsals Begin

Get the scripts and vocal scores to the cast at least a week before rehearsals begin – they probably wont accomplish much, but they will be delighted. Make sure everyone in the cast and crew gets a copy of the rehearsal calendar, and understands when and were they are expected to be. They have to understand this musical is a serious commitment.

One way to reinforce this is to have every volunteer involved with the show sign a Letter of Commitment. You can print them up on half-sheets or post cards. Here is a sample text, which can easily fit on a postcard –

This is not legally binding, but clarifies the moral commitment each person is making to the production. If you are working with any small children, have their parents sign this letter too. You can have everyone sign this at the first rehearsal, or beforehand -- the sooner the better.

This is the time when directors (both stage and musical) must do their homework. Consider how you will approach every scene and song, at least in terms of the overall effect you want to achieve. The cast and crew must always sense that you know the material and have clear goals. Unlike professionals, they are not paid to respect you. You will have to earn their respect. The best way to accomplish that is by demonstrating from day one that you are the person (or persons) to look to. Screaming won't do this. A calm, firm sense of command will.

If this is a school production, make it clear from the get-go that everyone on the team is expected to keep their grades up. Many schools have a policy that students having academic problems will be removed from a production. If you announce such a policy, be sure to stick to it. That could be tricky if you have to replace your lead one week to opening! In my opinion, a stern warning to maintain good grades will usually be enough. Most students involved in dramatics have solid grades, and you may be surprised to see how many improve their grades while working on a show.

There is tremendous excitement when the cast and crew come together for the first time. First rehearsal begins with presenting the production team. The stage and musical directors make brief introductory remarks, followed by a full read through of the show by the cast. If the leads are prepared, they can sing their numbers – otherwise, the musical director can do the honors.

The stage manager or assistant director should put together a contact sheet with up to date phone numbers of all cast and crew. This list should include both home and cell phone numbers, just in case. The first rehearsal is also a good time to get a list of emergency contacts for everyone -- and to ask anyone with health concerns to clue you in. Basically healthy people of all ages can be diabetic, hypoglycemic, epileptic or have other conditions that it behooves you to be aware of.

If time allows (and you can make sure that it does) go right into blocking one of the ensemble scenes. Make it clear that rehearsals will be busy events and that you will not be wasting time. The atmosphere should be upbeat and positive. Do not tolerate improper behavior. Make it clear that the way for everyone to have a good time at rehearsals is by going a good job. A director's sense of focus can be contagious. Set the right tone at this point and the entire rehearsal process will benefit from it.

As the first week or so goes by, someone may test things – showing up late, not preparing material, etc. Nip this in the bud! Be sure to correct behavior without humiliating anyone. If someone tries to pull a star trip, take them aside and make it clear that they can be replaced. After all, this is the easiest time to recast.

On the other hand, anyone creating a scene in front of others must be corrected on the spot. In such cases, be firm, not shrill. It must always be clear that anyone challenging your authority is wasting their time. This is not about power, but about fulfilling your responsibilities. Those responsibilities include planning out each rehearsal, and starting on time. If cast and crew sit around doing nothing because of confusion and delays, they will start to wonder if its worth showing up at all.

Weekend rehearsals must include reasonable meal breaks. For weeknight rehearsals, give your cast and crew a chance to eat dinner beforehand. Many healthy people have conditions that require them to eat at regular times. Don't let a rehearse-a-thon compromise anyone's health.

About three weeks into rehearsals, it is time for the cast to start working "off book." Banish scripts from the stage! If any actors decide to do this earlier, all the better. It can inspire others to do the same. At this point, have the stage manager (or another assistant) on duty to "throw" the actors any lines they forget. Make it clear that its okay for performers to forget lines at this stage, but everyone must have their parts memorized. The stage manager or assistant director who "throws lines" to the actors must always do so in a pleasant, nonjudgmental manner. Correcting actors is the director's job.

At the end of each full cast rehearsal, cast notes are customary. The entire company sits down while the musical and stage directors offer pointers on anything that requires special attention. Major problems with individuals are often handled in private discussions – humiliation is a lousy directorial tool. The tone of these notes must be as encouraging as possible – negative or angry outbursts can backfire, especially in front of the entire company. However, if the ensemble is goofing off, let them know how disappointed you are. We cover this in our "Staging Basics" discussion ofRiot Act Time.

Example: One evening, the chorus is distracted. They miss cues, and one girl walks off stage when she receives a cell phone call. It turns out several people are using radios with earphones to follow a championship game. Ms. Doolittle sits the cast down, firmly bans radios from future rehearsals, and orders that cell phones be turned off until rehearsal is over. She is clearly angry, but fully in control of herself and the situation. Neither problem occurs again.

Schedule fittings separately from formal rehearsal times if you can, but not all groups have that luxury. Have final fittings handled one to two weeks before show time, if possible. If costume rentals leave you with a tighter schedule, allow as much time for adjustments as you can.

Have seamstresses from your costume crew on hand for all dress rehearsals and performances – buttons, zippers and seams can disintegrate at the darnedest times, and someone wielding a competent needle can be a lifesaver.

Example: At Higgins High, the next to last week of rehearsals includes a few costume fitting sessions, as well as full dress run-throughs of each act. There are all sorts of gaffs – costumes need adjusting, sleeves come apart, a zipper refuses to zip. Thanks to the costume coordinator having a good sense of humor, panic eases and costume issues are soon resolved. There is a locked classroom available for storage, so the costumes are kept on the premises. The coordinator makes sure that any items getting soiled or soaked with perspiration are laundered overnight.

Tech Rehearsal

The technical rehearsal is when the full cast and crew walk through the entire show in performance order, making sure every light cue, sound effect, microphone, etc. works as planned. This means stopping hundreds of times to make adjustments. No one needs to act or sing -- this rehearsal is for the tech staff.

If this is your first time running a tech rehearsal, know in advance that lots of things will go wildly wrong – equipment that has always worked suddenly won't, and little staging problems will turn into insurmountable barriers. You want these disasters to happen now, rather than in front of an audience. While it is always important for the director to be an island of calm command, it is especially true during tech rehearsals.

Have the cast in costume so lights and microphone placement can be adjusted. The actors will find this tiring, as even a simple scene may require hours of adjustment. Explain that they will have to live with this process just like the pros do. Encourage the cast to conserve their voices. For this rehearsal, they are primarily on hand to help the tech crews light and amplify them to best advantage – there are no cast notes. If you can, lay in a supply of soft drinks and fresh fruit. Or encourage the cast and crew to bring their own. You don't know when or of it will be possible to allow an extended break. Some find it practical to include a planned meal break, ordering in pizza or having everyone brown bag it.

It is not unusual for tech rehearsals to run into the wee hours. Scheduling this on a Friday or Saturday, most people won't be as concerned with running late. An even more sensible option is to divide your tech into two rehearsals, one per act. This may be less traditional, but it beats people dragging themselves home at 3 AM.

Example: Doolittle runs the tech rehearsal on two nights. Despite the inevitable headaches, the tech crews work things out. Bottled water, apples and pretzels are on hand both evenings. With the pressure spread over two days, both rehearsals finish at civilized hours.

Dress Rehearsals
Why are dress rehearsals necessary? You can click on the photo at left to get a closer look at me during a dress rehearsal for my college production of Camelot. During dress rehearsal the director noticed I was still sporting my trusty wristwatch -- not a standard item in a medieval wardrobe.
Schedule more than one dress rehearsal, especially for shows involving elaborate sets, costuming and/or effects. This is your last opportunity to correct any remaining costume and tech issues. Preliminary dress rehearsals are a great time to stage curtain calls. Keep the bows simple and swiftly paced, giving all featured players recognition.

Schedule the final dress rehearsal two days before your first performance. This is a tough moment for stage directors. After today, their baby will have to walk on its own. They must be the personification of calm, confident strength – no matter how things go! At this rehearsal, directors must let each act flow from beginning to end. Behave as if this is a performance. When something goes wrong, let the cast & crew must handle. The director only intervenes if there is a genuine emergency.

If you want, the final dress rehearsal can take place in front of an invited audience. One high school I've worked with invited some folks from a local senior center, a small and receptive audience. Before the rehearsal begins, explain that the performance might be stopped in case of problems. And if you do have to stop, that's okay – I attended the final Broadway dress of Moon Over Buffalo, which stopped during the second act due to jammed equipment. Director Tom Moore came out to explain the problem, and star Carol Burnett delighted everyone by stepping on stage to take questions from the audience. You may not have such an ace in the hole, but you'll find that anyone previewing a show for free will be on your side if something goes wrong. (The licensing company may consider a rehearsal that plays to a large audience as a performance, for which additional rights should be paid.)

After any guests leave, keep final notes to the cast brief and positive. Stress what is going well. Those who are having problems should be encouraged privately -- this point, you switch from authority figure to chief cheerleader. Make it clear to one and all that they have your confidence, even if they don't!

Amateur performers often ask what special things they can do to prepare for the opening. It helps to avoid screaming their lungs out at sports events, or consuming any illegal drugs or booze. Other than that, the best thing anyone can do is to follow their normal routine. That makes it easier for bodies & minds to relax.

Example: Doolittle and Pickering's final dress is scheduled at 7PM on a Tuesday – which allows everyone time for dinner beforehand. The rehearsal goes pretty well. Some voices sound a little strained, and one or two lines are flubbed, but the cast and crew keep the show running a lot smoother than the last few rehearsals led anyone to expect. The small invited audience offers compliments. After all guests leave, Doolittle and Pickering bring the full cast and all crews into the auditorium for notes. They stress the positives, and wish everyone a relaxing day off.

A full day & night off between final dress and the opening performance is not traditional. Some experienced directors will scoff at this idea, saying they cannot afford the time. My answer is that this final day off is something you can't afford to do without. In fact, if you only take one piece of advice from this website, make this it!

My college director introduced me to this concept, and in the ensuing years I have successfully followed it with both amateur and professional productions. In many cases, I have seen it work wonders. The extended strain of tech and dress rehearsals is exhausting for everyone involved -- including you. By giving your company a one day breather, you give vocal chords and nerves a chance to recuperate. One day is all you need -- more could cost your cast their "edge."

Our college production of Carnival looked like a disaster at dress rehearsal. The Tech had run till 4:00 AM, voices were raw, cues missed – a nightmare scenario. After a full day & night off, the opening night went off like a dream. The cast and crew were literally shocked. That day-long chance to catch our breath made a tremendous difference. On other occasions when dress rehearsals went well, taking the break day only made the opening night all the stronger.

Example: Wednesday is a day off for the cast and crew. They still go to school, but the auditorium is off limits. A few techies may double check some wiring, but that's it. That evening, Doolittle enjoys a quiet dinner with friends, while Pickering stays home with take-out and a favorite movie. The leads commiserate a bit, but otherwise take it easy. Tomorrow will be a big day.

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How to Put on a Musical by John Kenrick (Copyright 2003) You're finally putting on that musical! (Never thought we'd get here, did ya?) As a director, you now have the grand challenge of being a strategic commander, personal counselor, small claims judge and a dramatic artist - all at the same time.

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To maintain a safe working environment risk assessments need to be carried out, ensuring any and all injuries are minimal- it’s very important to keep the cast and crew safe.

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Conduct a risk assessment to identify any potential hazards in your drama studio or theatre. An inspection should be…

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Costume and makeup enhance the performance and develop a sense of character and style.

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Musical theatre has given us some of the most iconic character looks. Hair, make-up and costume all come together to transform actors for the stage and wow audiences night after night.

For make-up artists, working in theatre is one of the most challenging and rewarding roles. It's a fast-paced environment that relies on your speed and accuracy. And make-up artists might be required to use a range of skills and techniques - from wig application and maintenance, to ageing techniques and drag make-up.

What is theatrical make-up?

Theatrical make-up is used to either enhance or totally transform the looks of actors for a theatre production.

It usually requires artists to be versatile, it's not unusual for a make-up assistant to apply make-up, style actors' hair and apply wigs. So, training in a range of skills is essential.

But theatre make-up can be showstopping, and the sense of accomplishment is worth the hard work. Take a look at 5 of the most recognisable hair and make-up looks in theatre, and the hard work that goes into creating them.

CATS (1981) -

Cats opened in the West End in 1981 and ever since the costumes and make-up worn by the cast have become recognisable around the world.
For each performance the actors need to be transformed into cats. Designer John Napier came up with the concept for the characters' looks, he wanted to make sure not "to lose the human being in the cat guises".

So, the make-up works to blend human and feline features, almost like an optical illusion. Different shades of foundation are used to contour the face and features are painted on in sharp and dark lines to stand out on stage.

The wigs are also unique, featuring cat-like patterns and shapes. Unlike most theatrical wigs which are made from human hair, the wigs in Cats are made from Yak hair. This gives the wigs a fluffier texture which stands on end like whiskers.

Photo credit: Birmingham Live

Les Misérables (1985) -

Set in 19th century France, Les Misérables calls for period hair and make-up. The show also features characters from a range of classes - from convicts to aristocrats, so the looks are diverse.

Each performance of Les Misérables requires 31 period wigs which need to be cleaned and reset after each show.
The lead character, Jean Valjean goes through several changes - first appearing as a convict, then a mayor so his make-up and costume are changed during the show to reflect this.

In the first scene, the actor has minimal make-up, a shaved head and is covered in dirt. Later in the show, his look is cleaner and productions like the West End have used wigs and facial pieces like sideburns to accentuate the change in class.

As an added challenge for hair and make-up artists working on the show, the storyline takes place over 15 years. In the final scenes, ageing techniques are used to make Jean Valjean appear older.

The picture below shows Killian Donnelly as Jean Valjean at the beginning and end of the show.

Photo credit: Matt Crockett

The Phantom of the Opera (1986) -

Another iconic principal character from musical theatre is the phantom in The Phantom of the Opera.

The story centres around a mysterious character who wears a mask to cover his disfigurement. It's set in 1911, and hair and make-up are designed to reflect the era.
To create the look of the phantom, a bald cap is fitted on the actor and a wig applied on top. For the majority of the show, the actor wears a mask but it's removed to momentarily show the character's disfigurement, so it has to make an impact.

Special effects make-up is used to achieve the disfigurement. Prosthetics pieces are made to fit each individual actor - so the lead and understudy will have their own prosthetics. These are glued down, and make-up is blended into the wafer-thin edges for a seamless look.

Photo credit: mariabjornson.com

Hairspray (2002) -

Hairspray is set in the 1960's, so big hair is a huge feature of the show. And that calls for a lot of wigs.

On the recent UK tour, 65 wigs were used per show, along with 3 cans of hairspray to set them!

But it's one of the principal roles that has the most showstopping hair, make-up and costume - Edna Turnblad. This female character is traditionally played by a man, so it requires drag make-up to prepare the actor for the stage.

You can see how a theatre make-up artist prepares Damian Williams for the role on Broadway below. She starts by blocking out his eyebrows and drawing a higher brow for a more feminine look. The drag make-up is finished off with eyeshadow, blush and lipstick in pink hues to reflect the 1960's setting before applying and styling the first wig.

Wicked (2003) -

Finally, one of the most showstopping make-up looks from musical theatre in recent years is that of Elphaba in Wicked.
The show is a re-telling of the Wizard of Oz, and Elphaba is already recognisable as the Wicked Witch of the West in the classic film. So, audiences of the stage show expect to see a similar look.

Elphaba is a technically complex look which requires the make-up artist to make the actress's skin appear green. For the Broadway production, a green Chromacake foundation from Mac is used.

It's applied using a hake (ha-kay) brush - a Japanese style brush made from synthetic or goat hair with a long flat handle. The brush can hold a lot of water making it perfect for covering large areas of colour. The actress's face is then sculpted with a purple contour which contrasts well with green.

More make-up is added as the show goes on to show the character's development - with darker and more dramatic eye make-up, so the make-up artist must do touch-ups and changes throughout the show.

Photo credit: Monica Simoes

If you want to learn more about the make-up techniques used in the theatre, and the skills it takes to be a make-up artist, take a look at our theatre and performing arts course, or get in touch to find out more.

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Iconic Hair and Make-Up from Musical Theatre | Cats, Hairspray

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Musical theatre has given us some of the most iconic character looks. Hair, make-up and costume all come together to transform actors for the stage and wow audiences night after night. For make-up artists, working in theatre is one of the most challenging and rewarding roles.

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The technical dress rehearsal comes near the end of the production process and it ties everything together in the show and enables tweaking or altering of certain elements like staging or props/ set. All those involved are able to see how the finished result looks and it also allows the tech crew to check that everything works and flows nicely with sound and lighting etc…