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3 Production Roles in Connections, Musical Theatre Showcase, Musical

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3 Production Roles in Connections, Musical Theatre Showcase, Musical

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Click on the link provided to redirect you to the F16 Padlet

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F16 Assignment Brief Technical Theatre 2024 - 2025

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Click the following link to access resources for Pantomime and the Padlet that the Actors/MT will be using.

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Allocated Production Roles for Fleet Street Productions

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Allocated Production Roles for Fleet Street Productions

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Costume Assistant

Head of Marketing and Digital

Technical Swing

Assistant Producer

Senior Lighting Technician

LX Op/Design (LX 1, LX2, LX3)

SX Op/Design (SX1, SX2, SX3)

Technical Manager

Exhibitions/Event Manager

Estates Management

Costume Design

Head of Wardrobe

Makeup Design

Makeup Artist

Scenic Artist

Scenic Carpenter

Scenic Designer

SM/ASM/DSM

Rigger

Flyman

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Manual handling at work: Good handling technique - HSE

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You have to consult all your employees on health and safety

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Session #7_Procurement and Completion of Tasks

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Essential Design Features of a Classic Pantomime | Bournemouth Pavilion Theatre

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When you go to see a pantomime there are some things you expect and often plenty of surprises too. Despite it all seeming like a huge joke and tons of fun,

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Outlandish costumes, broad comedy, celebrity turns and audience participation - the now-familiar trappings of the classic British panto owe much to the enterprising Victorians, whose innovations cemented the popular art-form that we know and love today.

Pantomime has its roots in 'Commedia dell'Arte', a 16th-century Italian entertainment which used dance, music, tumbling, acrobatics and featured a cast of mischievous stock characters. Harlequin was the quick-witted miscreant who carried a magic bat, wore a mask and dressed in clothes made of patches. During the 17th century, Harlequin and his companions, including Scaramouche, Pantaloon, Pierrot, Punch and love-interest Columbine were improvising comic stories, singing, dancing and cavorting their way across Europe. By the early 18th century, Commedia characters began to appear on the London stage in early pantomimes which were based on classical stories, set to music but without speech.

Harlequin was the star of 18th century pantomime, which proved popular with paying audiences. In 1732 John Rich, the most notable early Harlequin who danced but never spoke, built Covent Garden Theatre with the profits of his magical pantomimes. Rich also developed the Harlequinade, a comic chase scene telling the story of the lovers Harlequin and Columbine, who are kept apart by the girl's father, Pantaloon and his servant, Clown. Harlequinades were mimed with music and lots of slapstick and tomfoolery, and dominated pantomime for around 100 years. The term 'slapstick', meaning a certain type of clownish physical comedy, came from Rich's Harlequinades - his harlequin used a wooden bat to change the stage scenery by knocking down a series of hinged flaps.

At Drury Lane Theatre meanwhile the actor-manager David Garrick astonished audiences with a speaking Harlequin and employed Rich's pupil Henry Woodward to pen new stories for him, some incorporating old English folk stories like Dick Whittington, Robin Hood, and the Children of the Wood. As pantomime evolved, more domestic stories and topical satire began to replace classical tales. After Joseph Grimaldi's Clown was such a hit in Mother Goose at Covent Garden in 1806, Clown began to edge out Harlequin as the star of the show.

More change was afoot in pantomime in the 1830s with the rise in the popularity of elaborate scenery and stage effects, and the fairy-tale extravaganzas of James Robinson Planché, starring Lucy Eliza Vestris, first staged at the Olympic Theatre in 1831.

Until 1843, theatre licensing had restricted the use of spoken word in performances. The Theatres Act lifted the restriction, allowing any theatre without a royal patent to produce a play with purely spoken dialogue. Now witty puns, word play and audience participation were added to the repertoire of mime, daring chase scenes and spectacular transformations. Favourite fairy-tale characters, magical animals, principal boys and pantomime dames all became part of the mix. Any subject was fair game, as pantomimes combined nonsense tales with social satire, commenting on current events and innovations such as the exciting but still dangerous railways.

By the late 19th century the most extravagant productions at the largest London theatres could last up to five hours and featured clever stage tricks, stunning costumes and huge casts. It became customary for pantomimes to open on Boxing Day, forever linking this entertainment with Christmas and family. Pantomime became popular on a smaller scale too with families and friends performing pantomimes in Toy Theatre versions, with cardboard characters and abbreviated scripts.

Today's popular panto stories derive from various sources. Dick Whittington was based on the life of a real mayor of London who died in 1423. Written accounts of his life appeared as early as the 17th century, including Thomas Heywood's 1656 The Famous and Remarkable History of Sir Richard Whittington, although there is no evidence he ever owned a cat. The 1862 pantomime version by the prolific pantomime author H.J. Byron saw Dick chased by a villain in a hot air balloon - the year that two English balloonists made the news for ascending to a record-breaking altitude. Robinson Crusoe was based on Daniel Defoe'snovel The Life and Surprising Adventures of Robinson Crusoe (1719), inspired by the true adventures of ship's captain, Alexander Selkirk, who survived on a desert island for four years.

Other stories derived from European, Middle Eastern and Asian folk tales and legends. The fairytales published by the 17th-century French writers Madame d'Aulnoy and Charles Perrault included the stories of Pretty Goldilocks, Cunning Cinders, Little Red Riding Hood, Puss in Boots, the Sleeping Beauty, and Cinderella. Rossini's 1817 opera La Cenerentola, based on Perrault's Cinderella story, had its London premiere in 1820 and appeared at Covent Garden the same year as Harlequin and Cinderella; or, the Little Glass Slipper. Cinderella was renowned for its magical transformation scene and is the only pantomime today to retain one, often with real Shetland ponies pulling Cinderella's coach. The bestselling collection of stories The Arabian Nights wasfirst published in an English edition in the early 18th century. Once translated, they inspired the pantomimes Aladdin's Wonderful Lamp, Ali Baba and the Forty Thieves and The Seven Voyages of Sinbad, reflectingpopular interest in all things oriental.

Principal boys and pantomime dames

The theatrical device of gender switching became a mainstay of Victorian pantomime. As early as 1837, actor-manager Lucy Eliza Vestris played a breeches role in Planché's production of Puss in Boots at the Olympic Theatre (Vestris played Ralph, while her husband Charles Mathews played the cat). In an era when women covered their legs with long skirts, acting in shorts and tights was considered risqué. Entrepreneurial theatre owner Augustus Harris capitalised on controversy by bringing Music Hall performers to his Drury Lane Theatre: Vesta Tilley, a male impersonator, and Marie Lloyd, 'Queen of the Music Halls', were among many female music hall stars who played principal boys. By the late 19th-century the female principal boy was an accepted convention of pantomime.

Men, however, had played women's roles throughout the history of theatre, as female performers were banned from the stage until after the Restoration in 1660. Pantomime drew on this convention - Samuel Simmons played Mother Goose as early as 1806. However artful his disguise, the dame's obvious masculinity remained an essential part of the gag in the 19th century. In 1861 H.J. Byron created the character of Widow Twankey in Aladdin or The Wonderful Scampat the Strand Theatre, starring James Rogers as the widow, named after 'Twankay Tea' - a less than premium brand of tea imported from China. Female impersonators from Music Hall appeared as dames; Harris was credited with instigating the most legendary dame performer when he hired Music Hall star Dan Leno to play the play the wicked aunt in Babes in the Wood at Drury Lane in 1888. Leno continued to play the Christmas season at Drury Lane for the next 15 years, or as he would boast, "for the term of my natural life".

From the late 1860s, Music Hall performers were increasingly cast in pantomimes, bringing with them star quality and new audiences. The equivalent of modern-day celebrities, they became central to promoting pantomime and often brought raucous energy to the carefully staged productions. Some were inclined to pause the action to perform their own 'star turn', whether playing the saxophone, dancing a Can-Can or singing a signature song. Lottie Collins's Ta-ra-ra-boom-de-ay was the 'show stopper' during Dick Whittington (1891), much to the approval of audiences and critics.

Live animals often appeared on stage in Victorian pantomime - donkeys were the preferred means of transport for clowns. Actors also made careers from dressing in elaborate animal costumes known as 'skins'. One of the most famous Victorian animal impersonators was actor and acrobat Charles Lauri Jnr, known as the 'Garrick of Animal Mimes'. He developed his own menagerie, playing 'Puss' in Puss in Boots and 'The Pug Dog' in Babes in the Wood, along with various turns as a monkey, bear, wolf, ostrich and even a kangaroo. Interviewed in 1893, Lauri said, "I need hardly say that I am an entire believer in studying from life. When getting my poodle part I had one always with me at home and it was from him that I learnt nearly all my tricks".

Pantomime became increasingly focussed on elaborate set designs and special effects. Trick scenery and fast scene changes were created with systems of hinged flaps of canvas painted on both sides that switched to reveal new settings; pivots, flying systems, and traps in the stage. The 'star trap' covered an opening in the stage, beneath which an actor stood on a platform. At the release of a counterweight, they were propelled upwards for a magical, if perilous, flying entrance. Some theatres had enormous water tanks and pumps beneath the boards to create water effects such as rivers, fountains and waterfalls. Lighting added to the magical effect; gaslight was introduced in 1817 and electric light was first introduced to the London stage at the Savoy Theatre in 1881. Effects such as ghostly fogs were created using coloured silk, gauze and glass. In Little Bo Peep (1892) large mirrors reflected and multiplied the procession of fairy-tale characters.

Scenic changes and traps were coordinated by stagehands using whistle signals. Elaborate transformations often required over 50 pairs of hands, while hydraulic stage machinery, like that installed at Drury Lane Theatre in 1896, enabled even more dynamic scene changes and special effects. These spectacles were central to the action and pulled in audiences. Stage designers were famous and often featured in the new illustrated press, with images showing the process of design and construction.

By the end of the century, pantomime had reached epic proportions. The 1900 production of Sleeping Beauty and the Beast was one of the most lavish and successful pantomimes ever produced at Drury Lane Theatre. Combining the story of Beauty and the Beast with Sleeping Beauty, it featured double the number of scenes and range of locations, with settings including the Haunted Vaults of the Palace, a Fairy Parliament and the Enchanted Crystal Garden. The grand finale was a transformation scene by set designer Bruce 'Sensation' Smith which represented Beauty's wedding gifts as well as a grand staircase and numerous fountains.

The Drury Lane pantomime...is a symbol of our nation. It is the biggest thing of its kind in the world, it is a prodigal of money, of invention, of splendour, of men and women, but it is without the sense of beauty or the restraining influence of taste. It is impossible to sit in the theatre for five hours without being filled with weary admiration. Only a great nation could have done such a thing; only an undisciplined nation would have done it. The monstrous, glittering thing of pomp and humour is without order or design; it is a hotch-potch of everything that has been seen on any stage.

Find out more about pantomime in Search the Collections

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The familiar trappings of the classic British panto owe much to the innovations of Victorian entrepreneurs, performers and designers

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Costume Design Part 1
Costume Designer's Goals
Costume design is the most personal aspect of design. The costume designer must create clothes for characters that, on the one hand, reflect the ideas and goals of the play, but, on the other hand should look like the character chose the clothing in the same way you choose yours every day. Similarly, because we all wear clothes but probably do not design houses, audiences and actors will make strong, personal associations with what a character is wearing on stage.

The costume designer's goals are similar to the set designer's goals. These goals can be broken into five categories: costumes should help establish tone and style, time and place, and character information, and costumes should aid the performer and coordinate with the director's and other designers' concepts.

Costumes give information on the tone and style of a play. They may look just like what we wear today, or they may look like what people really wore at the time in which the play is set. Both of these would be illusionistic costuming. On the other hand, costumes might be representative of an idea in the play; for example, actors costumed in robes or unitards of various colors will establish a theatrical style. A different, stylized approach to costuming might also use some period elements mixed with contemporary dress; this would give the audience a flavor of a historical period without trying to create a full, theatrical illusion of another time and place.

Costumes tell us a great deal about the time and place in which a play is set. Dresses with an empire waist made of light fabrics in light colors place us in the early 18th century, such as in Jane Austin's novels. Blue jeans with bell bottoms and painted or embroidered with many bright colors tell us a character belongs in the late 1960's.

Costumes give us information on individual characters, on the relationships among characters, and on groups of characters. First consider your own wardrobe, and what you would choose to wear on a job interview, on a big date, to wash the car, or to come to class. What you wear says a great deal about who you are and about what you are intending to do. The same is true on the stage, but on stage we make even more associations with a character's clothing because we know it is specifically chosen for the play. If we see a woman on stage in a bright red dress, we will make associations with the dress's cut and color. For example, we might decide that the character is dressed for a night on the town. We might associate either passion and love with the red color, or perhaps blood and violence, or perhaps images of the devil. If other characters on stage wear subdued tones or cool colors, then the character in red will contrast with the other characters. On the other hand, other characters in shades of red will be visually linked the character in the red dress. Similarly, characters will be visually linked on stage if they wear clothing with similar silhouettes or colors.

The costume designer works closely with actors. He designs costumes for that specific actor's body as much as for the role the actor is playing. For example, if a designer had planned the red dress mentioned above for the central female character in a play, but the director casts a woman with orange hair and freckles, the red dress will no longer have the intended effect when worn by that actress. A more complimentary color will be chosen. Similarly, costumes can be used to enhance an actor's height, girth, natural coloring or to draw attention to any part of the actor. In the end, the actor must be comfortable wearing her costume: the work of the actor and of the designer can be undermined if an actor is uncomfortable in the clothing or does not know how to wear it and move in it correctly. For example, actors today must practice walking around in full length, hooped skirts or in a top hat and tails so that the character can appear to the audience to be comfortable in such clothing.

Finally, the costume designer must support the director's concept and must work with the other designers to create a coordinated visual effect.

Costume Designer's Tools

Like the set designer, the costume designer has two sets of tools: the elements of visual design and the practical material needed to create costumes.

As discussed in the last chapter, the elements of visual design are line, mass, composition, space, color, and texture. The costume designer uses the design elements somewhate differently from a set designer. The first important element of a costume is its silhouette, which combines its line and mass. Silhouette is the fastest way to identify the time and place of a period costume. Silhouette also tells what parts of the body are emphasized, hidden, or displayed by the clothing. Contrast a Restoration woman's silhouette with a woman dressed to go out today: the Restoration woman wore an enormous skirt with underskirts and panniers to increase its mass yet wore a bodice with an extremely low, wide neckline; the woman today might wear a mini skirt, heels, and blouse emphasizing the length of her legs. The Restoration woman would never show her legs, while few contemporary women would dare wear a Restoration neckline.

A costume designer considers composition on several different levels. She composes a single costume, she creates a composition of a single character over the duration of the play, and she composes how the entire cast should look when on stage together at any moment of the play. Usually a central character will change radically through the play's action (Oedipus blinds himself, Nora in A Doll House decides to leave her husband) and the character's successive costumes should show the character's evolution. Factors that a costume designer considers when composing the costuming of the entire cast might include putting the leading characters in more noticable clothing, working within a restricted color pallette, or demonstrating relationships among characters through silhouette or color so that some look good and some silly together.

Space is less a factor for costume designers than set designers, because their canvas is always the human body. Color in costumes functions similarly to color in set design; it has its four properties, we associate certain colors with comedy versus tragedy or with other kinds of moods, and color must be used with less subtlety than in life to compensate for the distance between audience and actors.

Texture in costume is slightly different from set design. The first element of texture is in the fabric itself: satins are smooth and shiny while lace is light and highly textured and tweed is heavy and highly textured. On the stage, plastics, leathers, furs, feathers, and other materials may also be combined with fabric. Two dimensional texture is provided by the fabrics' patterns: paisley, plaid, and polka dots have a busy visual texture, for example. Many costumes are composed of multiple fabrics making up multiple articles of clothing plus accessories, making an elaborate visual texture.

Movement is an element of visual design only in art forms that move through time (video, film, theatre, kinetic sculpture) Costumes must move with an actor through space, and the amount of movement should reflect the character and action of the play. Light or loosely woven fabrics move more freely than heavy or tightly woven fabrics or than other costume materials like leather or plastic. Consider the Romantic ballerina's tea length tutu of gauze versus the armor worn in a Shakespearean history play.

Practical Tools
In a more practical sense, the tools of the costume designer are the fabrics or other materials out of which costumes may be created; the various methods of putting costumes together, such as sewing machines or hot glue guns; and the bodies of the actors themselves, because no costume will make it onto the stage without an actor in character in it.

To Costume Design Part 2
BACK TO BLOOD'S COURSE MATERIAL HOME PAGE

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Costume Design Part 1 Costume Designer's Goals Costume design is the most personal aspect of design. The costume designer must create clothes for characters that, on the one hand, reflect the ideas and goals of the play, but, on the other hand should look like the character chose the clothing in the same way you choose yours every day.

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This collection of prop designs was my result from a course at CDW Studios. Before the course, I was a total newbie when it comes to prop design. Yet I got better and discovered some useful tips in the process so I would love to share them. Reference Collecting If

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Add your Swap Shop name suggestions (and your name) below.

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NEW PAGE - UNDER CONSTRUCTION

The aim of this page is to list some of the Health and Safety regulations that exist to protect everyone working in live events. This is initially focussed on the UK, but will cover more territories in time.

HASAWA - Health and Safety At Work Act 1974 - overall legislation that contains the following regulations:

Construction Design and Management Regulations 2015 - Control of Noise at Work Regulations 2005COSHH - Control of Substances Hazardous to Health 2002
EAW - Electricity at Work Regulations 1989
LOLER - Lifting Operations and Lifting Equipment Regulations 1998
PUWER - Provision and Use of Work Equipment Regulations 1998
RIDDOR - Reporting of Injuries, Diseases and Dangerous Occurrences Regulations, 2013
WAH - Work at Height Regulations 2005

Safe System of Work

Every activity required to put on a show of any kind should have a series of procedures which are documented, regularly revised and reviewed, and followed by all involved in the activity. These documents should be available to anyone involved in the activity to review BEFORE the activity takes place.

Risk Assessment
What is a Risk Assessment? A Risk Assessment is a formal record of hazards in the workplace, identifying the risks they pose, defining the seriousness and likelihood of the risks, and explaining the control methods to reduce the risks to acceptable levels. How do I fill out a Risk Assessment? The Health & Safety Executive (UK) has a set of sample risk assessments for various businesses. [HSE Website] Can I download a sample risk assessment for a theatre? We're working on a series of sample risk assessments, and these will be available to download in the coming months.
Access Equipment

The Work at Height Regulations 2005 have very clear guidance on using equipment to access high levels.
See the Health & Safety Executive (UK) guidance.

Electrical Safety

PAT Testing (Electricity at Work Act, 1989)

All portable electrical equipment must be periodically tested to ensure it is safe to use, and the results should be recorded for future reference.

A large percentage of faults can be easily found by carrying out a visual check.
Visual Check

Unplug the item before carrying out any check

Is the flex correctly secured in the plug?

Is the cable free from any breaks, cracks, temporary repairs or other damage? (any electrical tape on the cable should be removed, and if a problem is found, the equipment should be taken out of service).

Can any of the inner cores of the cable (usually coloured brown, blue and green/yellow) be seen through the outer protective cable sheath?

Is the case fully intact and unbroken?

Are there any marks on the equipment or plug which may indicate overheating?

Does the equipment work as intended?

If any of the above checks fail, the equipment must be taken out of service and repaired by a competent person.

Further information about electrical tests and checks can be found on the HSE website.

External Links

MORE INFORMATION COMING SOON

Lighting Rigging

The need for secondary safety supports is covered under the Work at Height Regulations 2005.
From the HSE website:
The Work at Height Regulations 2005 require employers to take steps to ensure that people can't be hurt by falling objects. This involves assessing the risks and taking action to control them. If the theatre's risk assessment suggests this is best managed with steel wire rather than chain then they have a duty to implement that control. As an employee, you have legal duties to co-operate with your employer to ensure they can comply with their duties.

Professional bodies such as the ABTT in the UK, and standard professional practice, require safety wires to be used on all suspended equipment. In the UK, safety chains were formerly used, but these should not now be used as the chain cannot be certified to carry a particular load. Safety wires (made for the purpose) are properly rated, and stamped with the rating. A range of wires are available, from stage equipment suppliers, rated to carry loads from 5kg (for accessories such as barndoors) to 100kg (for larger lanterns and moving lights).

Audience Safety Concerns
Strobe Lights / Flashing Lights
Certain combinations of flashing lights can trigger seizures for anyone with photo-sensitive epilepsy. Warning signs should always be used when lighting effects are being used that could trigger a seizure. Be as specific as possible so that the audience knows what to expect. Don't forget that actors, crew-members, orchestra members can also be triggered. Here are some examples:

Fast Strobing Lights are used in this performance

Camera Flash lighting effects are used in this performance

Multiple Strobes and Flashing Lights are used in this performance

An explosion lighting effect is used in this performance

Ensure the signs can be seen by everyone entering the venue.

Fire Safety

All items used on stage should be adequately fire-resistant. This includes scenic drapes and costumes. Where fire risks are increased (e.g. near pyrotechnic devices, hot lighting equipment) then extra precautions should be taken.
Theatre Fires:
See also Asbestos in the Theatre

Testing

All systems connected with safety must be regularly maintained and tested. The frequency of testing will be set by local regulations.

Visual checks should be carried out every time an item (e.g. a ladder) is used. If there are signs of damage, it should be referred to the responsible person to be tested and if necessary replaced. No equipment that raises concern during a visual check should be used if a different item is available.

Safety Related Links

External Links

Glossary Entries

COMING IN Warning used when flying scenery or lighting bars (electrics).

e.g. "First Electric Coming In", "Heads on Stage - LX3 coming in!" etc.
See GOING OUT, FLYING.

CONTINGENCY An alternative plan of action if a piece of technology fails to operate. Large-scale productions have to continue wherever possible to avoid having to give the audience refunds. So if a small piece of the set fails to work or gets stuck (particularly automated scenery) the cast and crew will have rehearsed an alternative choreography to work around it while the crew repair it. For example in
The Lord of the Rings The Musical in London, when the revolving stage with multiple lifts had a safety sensor triggered, the automation went into 'E-Stop' mode, a thunderclap sound effect was triggered, the stage lifts went to a flat floor (once it had been found safe to do so) and the actors for the next scene were rushed into new positions, while the actors on stage immediately adopted a new choreography.
It's vital that contingencies are worked out in advance so that as soon as something goes wrong, the show can continue, and the audience will hopefully be unaware.

COSHH (UK Health and Safety) Acronym for Control of Substances Hazardous to Health Regulations 2002. Requires employers to prevent or reduce their workers' exposure to substances that are hazardous to their health.

As well as dangerous chemicals and solvents, COSHH also covers ANY substance that is hazardous, including dust particles in a set-building environment.
HSE COSHH website

GOING OUT Warning that a flying bar is about to be lifted.

e.g. "LX3 Going Out".
See also COMING IN, FLYING

HEALTH AND SAFETY (Abbreviated to H&S) UK term to cover a range of legislation and guidance on how to work safely, and to reduce accidents or incidents.

The legal component is the Health and Safety at Work Act (1974), but there are a number of regulations which relate to safe working.
See COSHH, SAFE SYSTEM OF WORK, LOLER, PPE, PUWER, RIDDOR.
Safety in Live Entertainment on Theatrecrafts.com

ICOPER Acronym for International Code of Practice for Entertainment Rigging.

A new standard, published in 2017.
Download ICOPER at PLASA

MANUAL HANDLING (UK Health & Safety) One of the areas of risk at work which can result in physical damage, through incorrect lifting technique, trying to lift inappropriate weight, or sprains/strains resulting from pressure on the body.

Anyone who moves large or heavy objects as part of their work should carry out a manual handling risk assessment to ensure they are not putting themselves at risk. The amount that an average person can safely lift depends on their position relative to the load, how extended their arms are, if they need to twist their body during the process, and if they have to lift an excessive distance.
Mechanical assistance (such as the use of small wheeled dolly platforms, trolleys, pallet trucks, sack trucks etc) can make handling of some loads easier.
Manual handling should not be carried out alone, wherever possible.

METHOD STATEMENT Part of the safety information produced by a theatre company to state in detail how they will go about the process of getting the show on while compllying with all relevant safety legislation and best practice for the industry.

Combined with a Risk Assessment, the Method Statement is known as RAMS (Risk Assessment & Method Statement).
See also RISK ASSESSMENT, CDM (UK).

OSHA (USA) Occupational Safety and Health Administration.

Set up by Congress following the Occupational Safety and Health Act in 1970 'to assure safe and healthful working conditions for working men and women by setting and enforcing standards and by providing training, outreach, education and assistance.'
Equivalent to the Health & Safety Executive in the UK.
OSHA Website

PPE (UK - Health & Safety) Abbreviation of
Personal Protective Equipment. The equipment that's needed depends on the task and risk assessment but could include: steel toe-capped boots / shoes, protective headgear, gloves etc.

SAFETY BOND Chain or wire fixed around lantern and lighting bar or boom to prevent danger in the event of failure of the primary support (eg Hook Clamp). A requirement of most licensing authorities in the UK.

As a standard safety chain does not have a rated loading, current recommendations in the UK is to use an approved (and rated) safety wire (also known as a safety bond) as a secondary suspension.
Although hook clamps (in the UK) that support lanterns do not fail, they are subject to a number of human failings including not doing the clamp up sufficiently or not tightening the bolt at the base of the hook clamp that connects to the lantern. However, the highest risk is due to a flown lantern being struck by a piece of scenery or another lantern as it flies past.

SAFETY CURTAIN A fireproof "curtain" that can be dropped downstage of the house tabs in a proscenium theatre to separate the audience from the stage in the event of fire.

A Safety Curtain is required by most UK licensing authorities for theatres of traditional design. The regulations also require that it is raised and lowered at least once in view of each audience (usually during the interval). Usually made from sheet metal and electrically operated, these curtains were originally of iron construction faced with asbestos and lowered by gravity using a hydraulic damping system. Colloquially known as the "iron".
Some Safety Curtains are painted - the iron at the Theatre Royal Drury Lane has a beautiful design with the text "For Thine Especial Safety".
The musical Billy Elliot uses a false iron as a scenic device with a pair of doors in it, which would not be permitted for a real iron.
The line on the stage where the fire curtain drops, usually a short distance from the downstage edge of the stage, is known as the FIRE CURTAIN LINE and cannot be obstructed by any fixed scenery.
Also known as FIRE CURTAIN, IRON or ASBESTOS. See also DRENCHER.

STAGE EDGE The edge of a raised stage / platform should be clearly visible to actors / technicians at all times.

It can be marked with white tape or with glow tape to ensure visibility. It can also have a strip of led tape or rope light at a low intensity to be visible during blackouts. Some venues use a strip of wood with LED lamps embedded in it, which provide an indication to actors that is not visible to the audience.
If there is no marking or lighting, actors must not move on the stage / platform during blackouts.
A physical barrier such as a handrail should be used on platforms, to give the actors reassurance that they can hold onto something when standing near the edge.

TRUSS A framework of alloy bars and triangular cross-bracing (commonly around 50mm diameter) providing a rigid structure, particularly useful for hanging lights where no permanent facility is available. Very often box-shaped in cross section, so known as BOX TRUSS. This type of truss is useful for touring as lanterns / speakers etc can be hung inside the truss which protects them when loading and takes up less space in the truck.

You should only use truss from reputable manufacturers, and should check the manufacturers' website for instructions on how to use it, and what limitations it may have.
Rigging a truss incorrectly can vastly reduce its' safe working load, and can result in damage to the truss,or a far more serious failure. Always seek advice from professionals, and do not attempt to rig equipment without proper advice or supervision.
The cross-sectional shape of truss can either be FLAT (known as Ladder Truss), SQUARE (known as Box Truss) or TRIANGULAR (known as Tri-Truss).

UL Short for Underwriter's Laboratory. Founded in 1894 in the USA, initially focussing on fire safety, it is responsible for publishing a huge range of safety standards and testing products and services. The UL mark shows that a product has passed relevant safety requirements.

From the UL website, 2020:
Our mission is working for a safer world. These principles drive every decision we make:

To promote safe, secure and sustainable living and working environments for people by the application of science, hazard-based safety engineering and data acumen

To support the production and use of products which are physically and environmentally safe and to apply our efforts to prevent or reduce loss of life and property

To advance safety science through research and investigation

To concentrate our efforts and resources on public safety in those areas where we can make valuable contributions

To work with integrity and focus on quality to enhance the trust conveyed by our certification marks and services

To charge fair prices that allow us to meet our obligations, sustain our growth, and invest in safety science and education

To invest in our people and to encourage our people to invest in themselves

To be a good example of corporate citizenship and social responsibility

UL History & Timeline

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Safety in Live Entertainment - Theatrecrafts.com

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NEW PAGE - UNDER CONSTRUCTION The aim of this page is to list some of the Health and Safety regulations that exist to protect everyone working in live events. This is initially focussed on the UK, but will cover more...Read more

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A Stage Manager supports and organises all the different teams involved in the day-to-day running of a theatre production from rehearsals right through to performances and then post-show. They liaise and communicate with the full company and organise each team to ensure the smooth running of a production. See the difference between stage management and production management by reading our blog 'What does a theatre Production Manager do?'

What are the main responsibilities of a Stage Manager?

Create and set up rehearsal schedules

Managing furniture and props

Arrange costume and wig fittings

Liaise with all theatre departments and collate information

Liaise with Production Manager regarding budgets

Supervise the 'get in' and 'get out' (When the set, lighting and sound are installed and removed from the space)

Create a prompt script compiled with notes on Actors' cues and requirements for props, lighting and sound

Make alterations to the set and props between scene changes

Cue the lighting and Sound Technicians

Create a risk assessment to ensure the safety of the full company

Manage the backstage and onstage area during performances

Call Actors for rehearsals and performances

Maintain props, furniture and set during the run

Liaise with resident staff (if touring)

Search all theatre opportunities here
What qualifications do I need to be a Stage Manager?

There are no specific qualifications required to become a Stage Manager. People with the right skills can get into the field, however it can be useful to have training in any of the following subjects:

Drama and Theatre Studies

Music

Performing Arts

Stage Management

Theatre Production/Professional Practice.

Find more theatre careers advice here
What skills do I need to be a Stage Manager?

These are the desirable skills to have to become and ideal candidate for a stage management role:

High standard of organisational and communication skills

Computer skills and understanding of current technology

Ability to work under pressure

A sharp eye for detail

Problem-solving skills, ability to think on your feet

Negotiation skills, confidence and decision-making abilities

What does a career in stage management look like?

You can start in an entry level position which would be Backstage Crew or an Assistant Stage Manager. After gaining experience you can move on to Deputy Stage Manager, to Stage Manager, and in larger theatres Company Stage Manager.

How much can I earn?

Pay for a Stage Manager varies depending on your experience. Typically salaries are:

Starting salary: £18k - £22k

Experienced: £25k - £35k

Highly experienced: £45k +
Find theatre vacancies with The Stage Jobs here
References:
https://www.thestage.co.uk/jobs/tips-and-advice/stage-manager-job-profile https://www.prospects.ac.uk/job-profiles/theatre-stage-manager
Photo: Stocksy

Published: 04 May 2019

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What does a Stage Manager do? - Get into Theatre

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Read the latest advice from Get Into Theatre, including audition tips, advice on how to make a career in theatre, the different types of theatre careers and more.

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A Lighting Designer will work with the Director, Artistic Director and/or Lighting Technicians to create the visuals for lighting, lasers, strobes, spots and sometimes video screens for a performance.

What are the main responsibilities of a Lighting Designer?

Work with the creative team to come up with ideas

Design the lighting needed for the performance

Be aware of health and safety aspects

Write a lighting plot/script to note where there are any lighting changes

Attend technical rehearsals

Be aware of budgets and energy use

Find a variety of different opportunities in lighting design here.

What qualifications do I need to be a Lighting Designer?

While you do not need a degree for this role, here are some useful subjects and courses that you can study to gain knowledge and experience.

School subjects that are relevant for lighting design are:

Drama and Theatre Studies

Art and Design

Electronics

Physics

Photography

Media Studies

Further education at colleges or universities:

Lighting Design and Technology

Technical Theatre

Theatre Lighting Design

Electrical Engineering

Find training opportunities in lighting design here.

What skills do I need to be a Lighting Designer?

These are the desirable skills to have which would make you an ideal candidate for a Lighting Designer role:

Technical skills

Ability to work under pressure to tight deadlines

Good communicator

Excellent colour vision

What does a career in lighting design look like?

You could start as Crew or Assistant Stage Manager (ASM) to gain experience before moving on to become a Lighting Technician or Theatre Technician and then, once you have more experience, move into a Lighting Designer role. Find out how Lighting Designer and Technician Rajiv Pattani got into theatre and how you can too.

How much can a Lighting Designer earn?

Most Lighting Designers are employed on a freelance basis, meaning that you are self-employed. In bigger theatres, some employ a resident Lighting Designer which pays an annual salary, however this is rare. These are the typical rates you can charge as a freelance Lighting Designer, however it mainly depends on the project, what is expected of you and what experience you have.

Starting pay/salary: from £100 a day

Experienced pay/salary: up to £225 a day .
Find theatre vacancies with The Stage Jobs here
References:
https://ccskills.org.uk/careers/advice/article/lighting-designer1 https://www.prospects.ac.uk/job-profiles/lighting-technician-broadcasting-film-video
Photo: Shutterstock

Published: 04 March 2019

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What does a Lighting Designer do? - Get into Theatre

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Read the latest advice from Get Into Theatre, including audition tips, advice on how to make a career in theatre, the different types of theatre careers and more.

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Session #1 - Developing understanding of the Musical

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Session #1 - Developing understanding of the Musical

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What does a Deputy Stage Manager do? - Get into Theatre

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Read the latest advice from Get Into Theatre, including audition tips, advice on how to make a career in theatre, the different types of theatre careers and more.

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Session #16.5 - Analysing Connections Script

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Session #16.5 - Analysing Connections Script

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Feedback from Production Role Design Presentations

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Feedback from Production Role Design Presentations

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Strengths

·       Comprehending the Script – You have a strong understanding of the complexity of the script, recognising that it’s not feasible to create individual lighting states for each scene. This shows a good grasp of prioritising and focusing on the bigger picture.

·       Big Leap 1/2/3 (Major Scenes) – You’re on point with the progression of the day and static lighting. Your knowledge of how lighting will change across different times of the day (dawn, midday, dusk) is key to creating dynamic lighting effects. Also, you’re well-researched regarding golden hour/blue hour, which will help add realism and depth to your lighting choices.

·       Lighting Fixtures – Your understanding of different lighting fixtures and how they impact the scene is solid. You've already considered how different fixtures, such as Fresnels and ellipsoidal reflectors, can create distinct effects, which is a key strength in your design process.

·       Impact of Lighting on Visibility – You’ve demonstrated awareness that the lighting needs to be functional as well as atmospheric. Prioritising visibility of the performers and considering how lighting will affect the audience’s view is essential in creating a successful lighting design.

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·       Areas for Growth

·       Lighting Package and Fixtures – It would be beneficial to confirm the fixture list for the venue(s). Knowing the available equipment will help you plan more effectively and identify any limitations or additional gear you might need.

·       Cost of Lighting – While cost isn't a primary focus, further research into the budget and energy efficiency of different lighting options could help streamline the process. For example, balancing the use of energy-efficient LEDs with the aesthetic needs of the production could provide more flexibility in terms of budget and environmental impact.

·       LED vs. Tungsten – You’ve got a solid start here, but refining the application of LED versus Tungsten based on the needs of specific scenes and the overall atmosphere would help ensure you're making the most effective and economical choice for each moment in the play.

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·       Next Steps

·       Finalise the Lighting Design – Refine your lighting cues and effects. You can start detailing exactly how each scene will be lit, paying attention to specific timing and colour changes for different parts of the play.

·       Test Lighting Setups During Rehearsals – During technical rehearsals, it’s crucial to test the lighting setups. This will allow you to adjust how the lighting interacts with the performers and the set, ensuring that everything looks as intended in a live environment.

·       Create a Lighting Plot and Equipment List – Based on your final design, create a detailed lighting plot and equipment list. This will allow you to coordinate with the technical team and ensure you have everything needed for the show.

·       Collaborate with the Technical Team – Work closely with the technical team to make sure everything is feasible and safe. Discuss the lighting design and make any adjustments based on their feedback and available resources.

·       Revisit Timing and Colour Choices – As you begin running scenes, revisit your timing and colour choices. There may be moments that need refinement, so make sure to adjust accordingly to ensure consistency and clarity throughout the production.

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Strengths: You have thoroughly explored the themes of Shrek the Musical and effectively linked key themes to specific colors. Your research into previous productions has provided valuable inspiration and demonstrates a strong awareness of lighting as a storytelling tool. Your incorporation of symbolic lighting and undertones to enhance different moods and settings is a great approach.

Areas for Growth: Ensure that all scenes have been considered when developing the lighting design. Mapping out when and where each thematic color will be prevalent will help strengthen the overall visual cohesion of the production. Additionally, refining your breakdown of scene timing will ensure that lighting transitions support the narrative effectively.

Next Steps:

Develop a step-by-step plan for implementing lighting designs.

Clarify how symbolic lighting choices will be applied within each scene.

Explore techniques such as cross lighting, face lighting, shadows, and silhouettes to enhance the theatrical impact.

Consider commonalities with productions like The Lion King and Aladdin to draw further inspiration.

Conduct test runs to refine timing and transitions in lighting cues.

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Strengths: Your inspiration pictures provided a clear visual reference and helped shape the design direction effectively. Your consideration of prosthetic use for Ogres, particularly in defining their distinct characteristics, showed strong research and planning. The differentiation between Fiona’s simpler makeup approach and the prosthetic-heavy designs for other characters demonstrated good attention to detail.

Areas for Growth: Expanding your research into the process of creating and applying prosthetics will be valuable. Exploring different materials and application techniques will help ensure durability and comfort for the performers. Additionally, outlining a practical plan for execution, considering time constraints and the number of makeup looks you will need to complete, will enhance efficiency.

Next Steps:

Research and experiment with different prosthetic-making techniques, ensuring they are feasible for live performance use.

Develop clear designs for Donkey and Dragon, considering their unique challenges in makeup and prosthetic application.

Conduct trial runs to test the timing and feasibility of executing each makeup look.

Practice contouring, shadowing, and facial feature enhancements on a model to refine techniques.

Establish a structured schedule to determine how many roles can be physically completed within the performance timeframe.

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·       Strengths: You have a strong foundation with your initial drawn designs, demonstrating creativity and attention to detail. The idea of blending projections with physical set elements is a compelling approach that adds depth to the scenic design. Your exploration of animated projections for scenic transitions is an exciting concept that could enhance the dynamism of the production.

Areas for Growth: While individual scenic elements were well considered, it would be beneficial to develop a more cohesive overall design for the entire production. Ensuring that all scenic elements align in a unified concept will strengthen the visual storytelling. Additionally, refining the clarity and structure of your presentation will help effectively communicate your ideas without running off on tangents.

Next Steps:

Develop a clear concept that ties all scenic elements together.

Expand initial sketches into detailed design plans, including plan, side, and front elevations, as well as 3D renderings (consider using CAD if possible).

Create a stage plan with scenic requirements broken down per scene.

Consider practical aspects such as size, material choices, and cost implications to ensure feasibility.

Focus on achieving the ‘impression’ of each location using minimal yet effective elements.