In my second term, I wanted to improve my set construction skills by creating a realistic tree stump for an installation. This helped me understand how to work effectively within a given time period, planning for deadlines and adapting when necessary.

For the FMP of my first year at college, I chose to be stage manager for the show. This was to further my knowledge and skills of stage management to a more professional level. Unlike my first college show, this was my first time stage managing alone. I think I benefitted from this as there were more responsibilities for me to take on, giving me further knowledge of all aspects and roles within stage management.

For my first term in my second year at college, I wanted to push myself and explore the more technical aspects of theatre. Because of this, I was lighting designer and programmer for a touring show. This taught me how to create a lighting cue sheet, and how to program lights using QLab. This also let me explore how light interacts with different objects, which I have used in my following projects. During the touring shows for this project, I cued one show and operated two, with a colleague cueing me. This was my first time operating for a show, and it taught me a lot about timing when operating, and the importance of trusting who is cueing.

In my next project, I used a mix of theory based and practical research to explore how sets are designed and created in a professional setting. This helped me to develop my set making skills using industry standard materials and practices. This was presented in an installation.

Through lessons, I have also learned a range of skills relevant to the performing arts industry. These skills include cable coiling and management, sourcing sounds, programming sounds into QLab, and effective techniques for reading and analysing a script.

For my final show in college, I have decided I want the opportunity to design and create a set for a show. This will give me the opportunity to explore how designing for an installation differs from designing for a show. I will be working to improve my skills in analysing a script and working with a director to choose the best ideas for the set. This role will also help me to develop my set design and construction knowledge whilst considering how actors will interact within the space. I will also be able to consider how lighting and sound will interact with the set. I look forward to researching how I can use colour, texture, and shape to create an immersive environment.

I plan on researching the historical context of the play, including when it was written and the time period it was intended to be performed in originally, as well as the time period the director is choosing to set the play in. I will also research the locations within the play and create mood boards to help inspire my designs.

For evidence of my work, I will provide concept set drawings, technical drawings, mood boards of locations, images showing the process of creating the set, as well as completed images of each individual set piece and the set as a whole. I will also include recordings of the play being performed, to show how the set looks with lighting, as well as how the actors interact with it.

At the end of every week, I will review my entries to ensure they are clear, accurate, and reflective of my progress. Each entry will evaluate my actions for that day, comparing them against the weekly targets I have set in my project action plan. This will help me assess how effectively I am working and whether I am on track to achieve my goals by the deadline.

Target 1: Read and understand FMP project assignment brief

Target 2: Start new Padlet and make sections for proposal

Target 3: Write 50 words of rationale

Target 1: Completed with time to start Padlet

Target 2: Started Padlet and added sections

Target 3: Wrote 75 words of rationale

Overall, I think I managed my time effectively and worked efficiently to complete each task I had set for myself. Not only did I achieve all my targets, but I also exceeded my goal for writing my rationale.

In the next lesson, we were working independently, so I set myself the goal to complete my rationale, which I did. I plan to reread it tomorrow to ensure I still understand it and that it is clear and concise. Giving myself time between completing it and editing it will mean that I am able to view it more critically without having it fresh in my mind.

In the next lesson, we were going through the assignment brief to ensure everyone was clear on what it meant. I made clear and concise notes during the lesson. I also made sure that I was correctly following the assignment brief and that I interpreted it correctly by rereading my work and checking it against my notes

Target 1: Write 50 words of proposal

Target 2: Add dates and plans for project action plan and timetable

Target 3: Complete rationale

Target 4: Make effective notes on a production proposal and apply them to my current assignment 

Target 1: Wrote 100 words of rationale

Target 2: Added all 'week beginning' dates for project action plan and timetable, planned first 5 weeks from assignment launch, added tech and show week to project action plan

Target 3: Completed rationale

Target 4: Made lesson notes and ensured my proposal still follows the criteria set in the assignment brief.

In my project action plan, I anticipated the project being launched and set myself the goal to begin my proposal. In my opinion, I should have been more specific in my project action plan by giving myself a word count to aim for. However, I think I was efficient in completing the targets I set for myself each lesson.

Target 1: Identify the different effects the painting techniques will have in set painting

Target 1: Identified the effect each technique had and found possible uses for each

Despite not knowing the play yet, learning these techniques has definitely given me some ideas for both potential plays. I hope to further develop these ideas, so that I have some initial ideas before the play is decided.

After this, I focused on writing my method of evaluation. I finished writing this with enough time to read it through and edit out any mistakes.

I plan to reread both of these sections on a new day to ensure it still makes sense and is clear.

After completing my 'method of evaluation', I focused on completing a target I set for myself last week. This target was to read through my rationale and edit it as needed.

My final target for the morning was to compete the formatting of my Padlet, adding all the relevant sections. Within some of these sections, I added 'posts', titling them with information I planned to research and/or write about.

Target 1: Complete project concept section of proposal

Target 2: Complete method of evaluation section of proposal

Target 3: Read through and edit rationale

Target 4: Add all sections to the Padlet and complete formatting

Target 1: Completed project concept with time to start evaluation

Target 2: Completed method of evaluation, but will read again later on to ensure it makes sense

Target 3: Read through and edited rationale to ensure it was clear and concise

Target 4: Added all the sections to the Padlet and changed the order they are in. Also added some posts to sections with what I want to research/write about

In my project action plan, I set myself the goal to complete as much of my proposal as is possible without knowing the show. I succeeded in completing this goal. I was also efficient in completing my targets for the day.

Target 1: Read through 'A Midsummer Night's Dream'

Target 2: Make list of books available in library that could be useful for research

Target 3: Understand and explain the different types of context and how I can use them for my FMP portfolio 

Target 1: Read through the play and noted initial set ideas

Target 2: Used college library online catalogue to make a list of books to use for research

Target 3: Made notes during the lesson on different types of context and listed some contexts to research about the play

The 1980s was a period marked by rapid cultural, political, and technological changes. The rise of consumerism, the explosion of pop culture, and the growing influence of media and entertainment created an era of excess, with bold colors, dramatic glamour, and experimental design. Theatre during this time also saw a shift toward more diverse and innovative productions, often merging classical stories with contemporary aesthetics. These influences can significantly shape the design and performance choices for 'A Midsummer Night's Dream', creating a visually rich and thematically layered experience.

In terms of design, the 1980s' emphasis on bright neon colors, geometric patterns, and extravagant fashion offers a wealth of inspiration for the set and costumes.

Socially, the 1980s were a time of significant progress in areas like gender equality and LGBTQ+ rights, as well as a growing rejection of traditional societal norms. These cultural shifts can influence how we portray relationships in 'A Midsummer Night's Dream', especially the complex dynamics between the lovers and the hierarchical power structures.

In conclusion, setting 'A Midsummer Night's Dream' in the 1980s offers a unique opportunity to blend Shakespeare’s timeless themes with the vibrant, experimental spirit of the era. By drawing on the cultural and visual influences of the 1980s, this production can deliver a fresh, engaging interpretation that honors the original play while providing a contemporary lens through which to view the story.

This website provides a lot of information about 'A Midsummer Night's Dream', including a summary of the play and each scene, the play's genre, when it was written, a detailed overview of each character, and the location of each scene. I plan to use this website to understand the play further, which will help inspire my ideas for set.

The setting reflects a society shaped by mythology and strict social hierarchies. The mechanicals' jobs- such as carpenter, weaver, and tailor- represent the working-class trades common in that society.

Greek mythology plays a major role in shaping the world of the play through characters like Theseus and Hippolyta, who are drawn directly from mythological tales.

Theseus, known for his role as a hero and king, brings a sense order and authority, while Hippolyta's background as Queen of the Amazons introduces themes of power and gender roles within this society.

The role of women in Athenian society is also a key influence, particularly in how Hermia is treated by her father and the law. Women in ancient Athens had limited autonomy and were expected to obey their fathers or husbands. Hermia's lack of freedom to choose her own partner reflects these cultural expectations.

In my project action plan for this week, I set myself the goal to read both potential scripts, receive a final decision on the script based on a vote, and to read through the script whilst noting my initial ideas for set. I also planned to begin my research on the context surrounding this production of the play.

I was efficient in completing this goal, and also had enough time to identify potential research sources.

Target 1: Identify potential online research sources

Target 1: Went through 20 online research sources about Shakespeare, A Midsummer Night's Dream, set design and took out irrelevant/unnecessary sources

Although this website does not have any information in direct reference to the play, I have used it to understand the political context behind 'A Midsummer Night's Dream', and how the government was operating in Athens within the play.

This website has been very useful in providing information regarding Elizabethan theatre and how plays were performed.

I am using this website to learn more about Elizabethan theatres and the history of plays before the Elizabethan era.

I am using this website to research the full process of designing and creating a set for theatre. This website focuses more on designing and less on creating the set.

I am using this website as another reference on how to effectively design a set for theatre. This website gives a lot more advice of common mistakes to avoid, and how to successfully collaborate with the production team.

I found the section about colour and lighting very helpful, as it has caused me to consider colour more in my designs, and how lighting will interact with it.

This website gives a lot of information on Shakespeare's life, including his childhood and education, his career as a playwright, his family, his later years, and his death. I will use this information to research what inspired Shakespeare's plays and the main themes behind them.

This website also has information on the most popular theatres during the Elizabethan era. This will help me to understand the stage layout that was typically used, and how this may have affected any plays.

Target 1: Create mood boards for each location and come up with at least three set design ideas for each location

Target 1: Created mood boards for each location and wrote down all set ideas for each location (at least 3)

Edited after rehearsal notes:

"In Athens, Nicky would like the archway flat between 2 flats upstage (the archway would be an entrance), with 2 more flats either side, on a diagonal."

• Entrance archway in centre - cut out

• 2 flats each side - flats directly next to archway at same angle, flats on outside at an angle

Another reason for their popularity is the universal nature of the themes. Shakespeare explores ideas like love, jealousy, power, revenge, and identity, concepts that are still relevant and easy for modern audiences to connect with. His work also allows for varied interpretations. Productions can take place in traditional settings or be reimagined entirely, from modern urban environments to fantasy worlds. This creative freedom allows directors and designers to bring something fresh and original to well-known stories.

In addition, Shakespeare’s plays are filled with rich, challenging roles for actors. Whether playing comedic characters, villains, lovers, or royalty, performers get to explore complex emotions and develop their skills. The combination of accessibility, adaptability, and depth is a big part of why his work continues to be performed all over the world.

• Camo net on ceiling - figure out where to hang, need lighting rig sheet for that

• Fake flowers attached/hanging from camo net - check props cupboard to see if those flowers will work, bright and colourful

• Cut out boards of wood on sides of rostra, painted to look like wood - figure out how to attach to rostra

• Fake flowers/vines hanging from underside of rostra - hanging so does not obstruct lighting

• Paint blocks with same effect as wood on rostra - how many blocks needed?

• 1.2m diameter moon hanging above centre stage - need to talk to set people from other show to organise time to complete this

Concerns:

• Stage layout - where audience are sitting (3 or 4 sides)

• Blocks - how many are needed for this production? How many blocks are being used in the show before? - paint blocks as soon as possible, might need to paint some in tech week depending on previous show

• Wooden signpost with 2 signs on (pointing to Athens and woods) - potentially signpost base available after talking to Josh B, would just need to make arrows

• Fake vines/flowers on wall

• Stage flat to left of theatre stage exit - makes walkway more obvious, not a fire exit - need to put during act 1 (audience start in lecture theatre)

• LED light strips/fairy lights across wall - talked to lighting designer about this

Concerns:

• Trip hazards - nothing on floor

• Changing room door - camo net covering?

• Stage flat in way/blocks other changing room for actors - stage flat not wide enough to completely block changing room, place against wall to give actors as much space as possible

• Painted brick pattern on flats - will work for palace and Quince's house

• 6 painted flats and an arch - space behind for props/costume changes/entrances from archway

Concerns:

• Will have to paint 7 flats - actually 5

• Same as palace - 6 flats and an arch painted

Concerns:

• Same as palace concerns

Notes:

• Takes place in lecture theatre

• Location non specific

• Audience potentially entering through outside - discuss with director - discussed with director who likes the idea, but will need to see if possible

• If audience enter through outside door, black flat in corridor pre-set

• If audience enter inside, will need to move black flat in this scene/before Act 1 Scene 2

Everyone exits except Hermia and Lysander, who make a plan to escape Athens and marry at Lysander's aunt's house, where Athenian law cannot reach them. Helena, Hermia's friend, enters and says that she is heartbroken because she loves Demetrius, who does not return these feelings. Hermia Confides in Helena about their plan to run away. Hoping it will win her favour with Demetrius, Helena decides to tell him about the plan.

Notes:

• Takes place in lecture theatre

• Location: Athens

• Audience stood with some chairs for accessible seating

They plan to meet in the woods the next night to begin rehearsing the play in secret.

Notes:

• Takes place in lecture theatre

• Location: Athens

• After this, fairies direct audience to theatre through backstage door

Oberon, wanting revenge, tells Puck to fetch a magical flower. The juice of this flower, when placed on someone’s eyelids as they sleep, makes them fall in love with the first thing they see upon waking. Oberon plans to use it on Titania.

After they exit, Helena and Demetrius enter. Helena continues to follow Demetrius, despite his harsh rejection, as he searches for Hermia and Lysander. They leave, and Oberon, having overheard their conversation, decides to help Helena. He instructs Puck to also enchant Demetrius so that he falls in love with her.

Notes:

• Takes place in theatre

• Location: Woods

Target 1: Complete scene-by-scene summary up to act 3

Target 2: Check set design ideas with director

Target 3: Measure rostra

Target 4: Complete mood boards

Target 1: Completed scene-by-scene summary up to act 4 scene 1

Target 2: Discussed and confirmed all ideas with director

Target 3: Measured sides of rostra

Target 4: Mood boards completed and added to Padlet

Elsewhere in the forest, Lysander and Hermia decide to rest for the night, lying down separately. Puck arrives and, mistaking Lysander for Demetrius, applies the magic juice to his eyes and leaves.

Helena and Demetrius then enter, but Demetrius storms off, still rejecting her. Helena stumbles upon the sleeping Lysander and wakes him. Enchanted, Lysander instantly falls in love with Helena. Helena believes he's mocking her and angrily walks away. Lysander chases after her.

Hermia wakes alone in the woods, confused and afraid, and goes off to search for Lysander.

Notes:

• Takes place in theatre

• Location: Woods

Bottom returns to the group, unaware of his transformation. The other actors are terrified by his appearance and flee in panic. Left alone, Bottom begins to sing, which awakens Titania nearby. Under the enchantment of the flower, she immediately falls in love with him and orders her fairies to care for him and grant his every wish.

Notes:

• Takes place in theatre

• Location: Woods

Hermia and Demetrius enter. Hermia accuses Demetrius of harming Lysander, who is missing. She storms off to search for him. Demetrius, left alone, falls asleep. Oberon applies the love potion to Demetrius’ eyes.

Puck brings in Helena, followed by Lysander, who is still enchanted and in love with her. Demetrius wakes and, seeing Helena, also falls in love with her. Now both men pursue Helena, who believes they are mocking her. Hermia returns and is confused and hurt when Lysander says he no longer loves her.

The tension rises as the two men argue over Helena, and even Hermia and Helena begin to quarrel. The scene descends into chaos until Oberon instructs Puck to fix the mess. Puck lures the men away from each other by mimicking their voices, causing them to become lost and exhausted.

Eventually, Lysander and Demetrius fall asleep. Puck applies the antidote to Lysander’s eyes to restore his love for Hermia. Helena and Hermia also fall asleep nearby.

Notes:

• Takes place in theatre

• Location: Woods

Titania wakes, confused by the strange memory of loving something bizarre. She and Oberon leave peacefully with their fairies, harmony restored.

Soon after, Theseus, Hippolyta, Egeus, and Philostrate enter the woods and discover the four lovers asleep. Theseus is surprised to find them there, and Lysander admits he planned to elope with Hermia. Egeus demands the law be enforced against Lysander.

However, Demetrius declares he no longer loves Hermia and now truly loves Helena. Seeing this, Theseus overrules Egeus and declares that the two couples will be married alongside him and Hippolyta.

Everyone leaves except Bottom, who wakes up alone and believes everything he experienced was just a strange and vivid dream.

Notes:

• Takes place in theatre

• Location: Woods

Just then, Bottom returns. The group is overjoyed, and he keeps quiet about his strange experience in the forest. With Bottom back, the actors begin preparing to perform their play at the wedding.

Notes:

• Takes place in theatre

• Location: Athens

• Not moving audience to lecture theatre

The actors then enter to perform their play, Pyramus and Thisbe. The lovers watch and mock the overly dramatic and poorly performed play, making fun of the actors' mistakes and the exaggerated performances.

Notes:

• Takes place in theatre

• Location: Athens

Notes:

• Takes place in theatre

• Location non specific

Just wanted to make note and communicate some ideas brought up during rehearsals today.

Costume-

There were a few things discussed, so I will list the ideas character by character (and hope it makes sense). This can be discussed with Nicky and the actors further.

Theseus: Ronald Reagan, Cowboy, La Dutch from Red Dead Redemption 

Hippolyta: Margaret Thatcher, suit with skirt and a handbag 

Fairies: 1980s rollerblading, pop culture (stripy socks, illuminous gloves, leg warmers, fingerless gloves, etc)
Oberon and Puck: 1980s Goth (leather gloves, leather jacket, eyeliner, etc)

Mechanicals: miners (overalls, hi-vis, helmets w/torchlight if possible)

Titania: Madonna in Like a Virgin (lace fingerless gloves, flowy dress, etc)

Lovers: Preppy, rich vibes (think 1980s on a Gap Year) - Molly Ringwald in Breakfast club. Lacey has mentioned a power suit in peach with a white shirt for Helena.

Sound - 

Look at Madonna's Crazy for You (perhaps a karaoke version), as the instrumental for Titania's lullaby.

Set-

In Athens, Nicky would like the archway flat between 2 flats upstage (the archway would be an entrance), with 2 more flats either side, on a diagonal. 

Props-

In Act 1, Scene 1, Philostrate needs a clipboard.

Lighting-

Nothing further than what was discussed on Monday.

This is the first rehearsal, so ideas will flow through as the process runs its course and conversations are had between all parties involved.

Kind Regards,
Tommy"

Notes: This was misinterpreted by the stage manager, who thought 7 flats were needed, one of which being an archway. This was later clarified by the director to only mean 5 flats, one of which being the archway.

Just wanted to run over some notes from rehearsals today.

Costume:
There are a few quick changes with Egeus, Philostrate and the Fairy chorus within the first few scenes.

Sound:

https://youtu.be/S5PwZNmyhlw?si=Kag4ZR5hK_vKtt7- - the 80s music mix mentioned earlier 

Set:
The Athens set will need space behind the flats for props/costume, due to possible quick changes and entrances from behind the archway.

Props:
We will need scripts for Act 1 scene 2 in Quince's house

Lighting:

For the Lecture Theatre, it has been suggested to use the touring rig (may be discussed further on Monday).

More discussions will be had on Monday, after more rehearsals, in the meantime feel free to message or e-mail if there is any clarification needed.

Kind Regards,
Tommy"

Notes: I had already planned on having space behind the flats, assuming people would enter/exit from the archway. Will need to measure lecture theatre to see how much space will be needed behind the flats, and how big the stage will be.

Here's some notes from the rehearsals today:

Sound:

N/A

Costume:

Tail needed for Bottom (Donkey)

Set:

Definitely need a sheet for the mattress - Titania's bower

Light:

N/A

Props:

Robin is looking in the props cupboard, we need a prop box for rehearsals next week.

Hope this helps, see you all tomorrow.

Kind Regards,
Tommy"

Notes: This was discussed with the director on Monday 24th March. There is a mattress at the college that will be used when Titania goes to sleep. This will need to be covered with a sheet.

However, once in the woods, nothing goes as planned. The forest becomes a space of confusion, where characters get lost, both physically and emotionally. The presence of the fairies introduces magic and mischief that turns everyone’s intentions upside down. Puck’s interference causes characters to fall in love with the wrong people, and the rehearsal is thrown into chaos when Bottom is given an ass’s head.

Overall, the woods represent a world where normal rules are suspended. It allows characters to act on impulse, explore emotions, and make mistakes. It’s also a place of transformation. By the time the characters leave the forest, the confusion is resolved, and relationships are changed. The contrast between the structured city and the unpredictable forest highlights how space can influence behaviour and storytelling.

However, the Athenian system of law is often harsh and unreasonable. For example, Theseus demands that Hermia marry Demetrius, even though she loves Lysander, showcasing a society where emotions are secondary to social expectations. The Athenian approach to order seems out of touch with individual desires, revealing its limitations.

Ultimately, Athens represents a space of restriction where personal freedom is constrained. While its structured environment initially seems to offer stability, it is in this very rigidity that the tension lies, as characters struggle to fit their desires within the confines of Athenian law. The play suggests that while Athens may offer order, it lacks the flexibility and emotional truth found in more chaotic spaces.

It is important to consider the time period, locations, moods, and themes within the play.

An example of this within 'A Midsummer Night's Dream' is Peter Quince's house. Unlike Theseus' palace, Quince is a working class man, and his house would reflect that.

From there, mood boards are created for each key location, helping to explore ideas around shape, colour, and texture. This stage is useful for developing a consistent visual style and atmosphere that supports the story and characters.

I then created a new, more focused list of ideas and began identifying the resources and materials that would be needed to bring them to life.

Once everything was confirmed, I created a final, organised list of set pieces, sorted by location. For each item, I included details on what materials or resources would be needed to build or source it.

Target 1: Complete bibliography

Target 2: Figure out how to create/weave the moon

Target 3: Identify at least 4 production challenges and potential ways to solve them

Target 1: Bibliography completed

Target 2: 2 potential ideas to create moon

Target 3: Identified 8 production challenges with ways to solve them

Today in rehearsals we read through and blocked all of Act 3 Scene 2.

Props: N/A

Set: Possibly two blocks to be painted like tree stumps.

Lighting: N/A

Sound: Magical SFX for when Puck clicks their fingers.

Costume: Jasmine is planning to get fitting measurements from the actors. 

Thanks, Robin."

Notes: Tommy (stage manager) was absent today, so the email came from Robin (assistant stage manager). Will talk to director to confirm whether blocks are needed

Notes 31/03/25: 2 painted blocks needed, added to finalised set plan

To manage absences effectively, it has been agreed on that if a task must be done on a day; such as during a tech run, dress rehearsal, or during a show, someone else should do that task- either a colleague or staff member. To facilitate this, everyone is expected to keep their work well organised and clear, ensuring that someone else is able to understand it and take over if needed

Additionally, we have set up a shared calendar. Whilst the main goal of this calendar was not to track scheduled absences, it will also mean there is an easy way to inform everyone of a future absence. This gives us time to plan accordingly and ensure all necessary responsibilities are covered.

By having these plans in place, we can minimize disruptions and keep the production process running smoothly and efficiently.

This issue affected us most during the Monday and Tuesday of show week. Due to the lighting designer being away on these two days, another student from a different class had to fill in. This involved reprogramming all the scenes that take place in the lecture theatre due to less lights being available than originally thought.

To make it easier for the lighting designer on Wednesday 21st May, when he would return, I offered to control the LED light strips. This could be done from behind the flats using an app on my phone. This meant the lighting operator would have less to worry about during the show, and ensure everything ran smoothly.

To work around this, we aimed to use the theatre during breaks, lunch periods, or any time it wasn't actively in use. However, since these windows of time were short, I focused on completing only the essential tasks within the performing spaces and handling the rest in another room, usually the workshop. For example, measuring the sides of the rostra in the theatre took me less than five minutes, and I did so whilst it was being painted white for another show. This allowed me to gather the required information without disrupting anyone's work. I then left to complete the calculations in a separate room.

This production involves three spaces: the theatre, the lecture theatre, and the connecting corridor. My primary task in these spaces was to measure dimensions, which I managed to do quickly and efficiently. I constructed and painted the set in the workshop, with occasional visits to the performing spaces to ensure set pieces fit correctly.

Overall, I was successful in efficiently measuring each performing space without disrupting anything happening in there. This was less of a challenge in the lecture theatre and connecting corridor, as the lecture theatre is infrequently used for lessons, and therefore is unoccupied most of the time.

Due to the show the week prior to the tech week for 'A Midsummer Night's Dream', I will be unable to move the set into the theatre until our tech week. To make this more manageable, I will create a step by step list of what needs to be done, ensuring everything is put up in the correct order. This will involve discussions with the rest of the technical team, to figure out how to make this process as efficient as possible.

Target 1: Calculate minimum number of boards necessary

Target 2: Cut out at least 1 large and 1 small board

Target 1: Managed to cut out half of large boards, and nearly half of small boards from what was originally planned

Target 2: Cut out 1 large and 2 small boards

Target 1: write out 2 sections for problem solving

Target 2: discuss with director on whether blocks are needed, following rehearsal notes email 27/03/25

Target 3: discuss paint colours for flats in lecture theatre

Target 1: Only managed to write out 1 section, as was busy with shared calendar

Target 2: discussed, 2 blocks needed painted like tree stumps

Target 3: took 2 flats from container (regular and archway), showed director possible colours and agreed on a colour, painted both flats

Just wanted to note some things discussed in rehearsals this morning - from blocking Act 4 scene 1 and 2.

Costume:
Nothing further discussed.

Sound:

Music over the transition for quick change of Oberon --> Theseus and Titania --> Hippolyta.

Magical sound for Oberon clapping his hands

Set:
Nothing further discussed.

Props:
Nothing further discussed.

Lighting:

Nothing further discussed.

More discussions will be had this afternoon, during the sessions in F.1.21. 

Kind Regards,
Tommy"

We agreed for each person to have an individual colour, as well as a colour for everyone, and a colour for the stage management team.

The only issue we faced with this calendar was that, to see new updates and 'events', we had to refresh the page. This was not a big issue, and was only a problem when the calendar was first created, as everyone was adding events at the same time and asking others if they could see it.

Stage management team: Green (Sage)

Stage manager: Dark blue (Blueberry)

Assistant stage manager: Yellow (Banana)

Lighting: Peach (Flamingo)

Sound: Purple (Grape)

Set: Orange (Tangerine)

Costume: purple (Lavender)

Unfortunately, there was only one light flat available in the container, with four others being used in a show taking place that week. I decided to take the flat and archway out of the container and paint them, with the intention of painting the remaining three on the Friday of that week.

There were limited colour options available, and I avoided mixing a new colour in case I ran out and couldn't recreate the exact shade. Originally, I intended to use a lilac, which wasn't available, so I chose a light blue.

The paint was too thick to apply with a roller, so I used a brush instead.

As the workshop was in use, I painted outside. The weather was sunny, and the paint dried quickly, which was a bonus. Painting the archway went smoothly. However, the other flat had a large number of staples, which I attempted to remove. I decided to paint over most of them as they were too difficult to remove fully. This flat also had symbols painted on it in thick layers. I attempted to sand these off for a smoother surface, but with limited success.

Once both flats were painted, I brought them into the workshop. Unfortunately, I cut my finger on a staple protruding from the back of one flat. After discussing it with the director, we decided not to use that flat for health and safety reasons, and to wait until Friday to paint the full set of four matching flats.

On Friday, I resumed painting. I thinned the paint with water, which allowed me to use a roller for quicker and more even coverage. However, after painting half of the first flat, it became clear I would not have enough paint to complete all four. As the director wasn’t available that day, I made the decision to switch to a different colour that had enough quantity to finish the job.

As the set designer, I recognised that it wasn’t essential for me to fully understand every single line. Instead, it was more important to grasp the key themes, mood, and locations in order to design an effective and accurate set.

To manage the collaboration needed with the first year students for the moon, I identified lessons we share, giving time to discuss and create the moon.

This structured approach allowed for clear timing and better coordination, ensuring the everything stayed on track and everyone knew what was happening

To manage this, I made sure to request materials as early as possible, ideally as soon as I knew they were needed. I also followed up regularly with teachers to confirm whether items had actually been ordered, to avoid anything slipping through the cracks.

Another solution I found helpful was sourcing materials from within the college. Using props, costumes, or set pieces already in storage meant I didn’t have to rely entirely on new orders, which saved time and reduced the risk of delays.

To solve this, we have planned clear direction and guidance for each transition. Whoever is helping with the front of house will direct the audience to the lecture theatre for the start of the play. At the end of act 1, the fairies will lead the audience to the theatre, where they will remain for the rest of the show.

Additionally, I can use the set decoration to guide the audience along the correct route by blocking off the alternative path using a lightweight stage flat and a signpost pointing to 'the woods'.

To manage this workload, I planned everything in advance, setting deadlines and goals to stay on track. I prioritised the elements of the set I felt were essential to enhance the story and atmosphere of the show.

While creating the set, I asked for support from peers and tutors when needed. I did this when cutting the wood boards, as this task requires more than one person for safety and efficiency. I also identified certain tasks, such as painting the blocks, that cannot be completed until tech week due to another show using them the week prior. To work around this, I will ensure everything else is completed by tech week, and that I know exactly what I need to do with the blocks.

Planning around these limitations has helped me to stay focused and realistic with my time, while ensuring I am as efficient as I can be.

To make up for this delay, I focused on working more efficiently during the early weeks. I ensured that all other tasks - such as writing my proposal and researching the responsibilities of my role - were completed during this time. I also read through both potential scripts before the vote took place, noting down initial ideas for each. This helped me feel prepared regardless of the outcome and ensured I could begin the design process immediately once the final script was selected.

I also measured and marked four large and small wooden boards, then proceeded to cut two of the measured large boards and one of the measured small boards.

Target 1: Finish painting flats

Target 2: Cut all wood boards available from 'dinner table'

Target 1: Will need to do another layer of paint, did not have time

Target 2: Measured and marked all wood boards, only cut 2 large and 1 small, leaving 2 large and 3 small remaining to cut

Notes: From a previous show, a large circular board of wood was used. It was two half circles that were used to make a dinner table. I was allowed to cut and use it, which involved measuring it to ensure I used as much square area as possible without waste, managing 2 large and small boards from each half-circle.

The theatre will feature a 5m² thrust stage layout, with the audience seated on three sides. The fourth side will have steel deck on the longest legs available, with a set of stairs on both sides to access it. This will only be used by Titania when she is sleeping. In front of the deck, there will be 4 blocks.

Furthermore, the theatre seating has been pushed back for three layers of tiered audience seating, with a central entrance on each side.

The lecture theatre will have the audience standing. This is both due to the fact they will only be in this room for 2 scenes, and a lack of chairs available. There will, however, be some seats available if anyone needs them.

This theme of contrasting environments is also seen is plays like 'As You Like It', where the Forest of Arden offers characters like Rosalind and Celia the chance to break free from the restrictions of court life and explore new identities and relationships.

Similarly, in 'The Tempest', the isolated island allows characters like Prospero and Miranda to confront their pasts and transform, away from the influence of courtly politics.

These plays highlight how nature and freedom act as a space for personal growth, while structured society imposes limitations that characters must overcome.

These complicated relationships are further complicated by the magical interference of the fairies. However, in the end, love triumphs, and the couples are happily united.

At its core, 'A Midsummer Night's Dream' is a play about love. Every major plotline - whether it involves the misadventures of Lysander, Demetrius, Hermia, and Helena in the forest, the dispute between Oberon and Titania, or the play-within-a-play performed by Bottom and his friends - is driven by love. However, despite the focus on love, this play isn't simply a romance. While romance plays a part, the play is a comedy, and from the beginning, it is clear that all will resolve happily. Instead of focusing on the overwhelming passion and tragedy of love, Shakespeare invites the audience to laugh at how love can make people blind, foolish, and desperate.

Love in this play is a force beyond the characters' control. The love potion, which forces people to fall in love against their will, emphasizes the uncontrollable nature of love.

However, despite all the chaos and absurdity love causes, the play ends with harmony; three marriages blessed by the fairy king and queen, Oberon and Titania.

The theme of love is a common theme within Shakespeare's plays. In 'Twelfth Night', mistaken identities and unrequited love lead to a series of comic misunderstandings before the eventual union of the characters. Similarly, 'Much Ado About Nothing' features a romance between Beatrice and Benedick, who are tricked into admitting their love for each other after a series of witty exchanged and misunderstandings.

One of the most famous examples of love within a Shakespeare play is 'Romeo and Juliet', where love between the two young protagonists leads to tragic consequences. Unlike the previous examples mentioned, which are all comedies, 'Romeo and Juliet' shows the more intense, serious side of love. Similar to the previous examples, this play also explores how love can drive people to act impulsively.

By exploring love as a central theme in many of his plays, Shakespeare reflects how unpredictable and messy love can be, making it a timeless and relatable theme.

Magic is a common theme across Shakespeare’s work. In 'The Tempest', Prospero uses his magical powers to control the island and influence events, ultimately creating resolution. In 'Macbeth', the witches’ prophecies spark Macbeth’s ambition and lead to his downfall, showing the darker and more dangerous side of magic. In all of these plays, Shakespeare uses magic not just for spectacle, but to explore deeper ideas about emotion, control, and transformation.

While 'A Midsummer Night's Dream' treats jealousy in a lighthearted, comedic way, it still highlights how jealousy can distort perception and cause emotional turmoil. In the end, the play uses magical resolution to restore harmony, while in other works, jealousy often leads to irreversible, tragic consequences. This is shown in other Shakespearean works

In 'Othello', jealousy is a destructive force, consuming the protagonist and ultimately driving him to commit murder, leading to tragedy rather than comedy. In 'The Winter's Tale', jealousy consumes Leontes, whose unfounded jealousy over his wife Hermione causes the collapse of his family and kingdom.

Set:

N/A discussed

Lights:
N/A discussed

Props:
Love Juice maybe being a pill of ecstasy, laced with something (??) - to be discussed further.

3 weeks to tech week.

Hope everyone's Easter was wonderful, and a productive start back.

Kind Regards,
Tommy"

Notes: Discussed paint colour of flats with director

I also managed to obtain the base for the signpost, which allowed me to measure and mark the wood for the directional arrows. I repainted the signpost base a darker shade of brown so that it would better match with the colour I was planning to use for the arrows.

I also managed to paint a base coat of dark brown onto half of the cut-out wooden boards

Target 1: Efficiently create a frame for the moon

Target 2: Cover the frame of the moon in cling film

Target 3: Complete at least 1 layer of tissue paper on moon

Target 4: Paint sign post base

Target 5: Paint at least 4 wood boards

Notes: Due to lack of steel deck available, 2 less large boards are needed

-            History of this play in college – performed every year/every other year for at least 20 years

-            Shakespeare not copyrighted

-            One of the most accessible Shakespeare plays

-            Comedy – easier to act than tragedies

Rehearsals:

-            Act 1 blocked

-            Page 16 of act 2, scene 1

-            Act 1 happening in lecture theatre

-            Productive mood in rehearsal room

Props:

-            Clipboard and scripts needed for rehearsals

-            No other props needed currently for rehearsals

Set:

-            Mood board

-            Will need to paint 6+ flats

-            Athens set ideas changed but still within ideas

-            Moon is priority – working timeframe for 1^st year show

-            Safety considerations for moon

-            Moon easy to remove, but safe

-            Moon taken down to put up camo net

-            Look at theatre and where camo net will be attached to bars6 flats for Athens palace – arch, 1 flat on each side of arch, 2 flats on each side of flat diagonal

-            Flats stay same for both palace and Quince’s house

Lighting:

-            Lighting rig same as 1^st year show

-            Sourced ideas and inspiration

-            Attached initial ideas to USB

-            Looked at script and have initial ideas

-            Conversation needed with director on what lighting is possible in lecture theatre – Monday

-            Will go through script with Josh G on Monday

-            Lecture theatre not rigged for lighting – internally wired bars in theatre, limited ways to control

ASM:

-            Scene by scene summary done

-            Props list – scrolls used in script, thinking of 1980s equivalent

Costume:

-            Decade decided

-            Initial ideas thrown about – roller skates for fairies (3/5 fairies can roller skate)

-            Stereotypical fishnets/neon for fairies

-            Email about costume ideas for every character/style of clothes

-            Will need to check costume

Sound:

-            Read through of script, highting locations

-            Initial ideas for woods

-            Prologue/epilogue not location specific

-            2 different soundscapes for different part of woods to create distinction

-            Music between room transitions – from Athens to woods

Stage management:

-            Noting rough blocking

-            Not received full single sided script

-            Plans to record rehearsals for blocking

Problems:

Sound – moving from lecture theatre to tech box to control sound – costume not doing anything, potentially can control lighting in lecture theatre

Sound – ceiling speakers in lecture theatre unreliable

Tasks:

Set – finalise set designs

Lighting – 5 cues

ASM – props list

Costume – complete scene breakdown, visit costume cupboard

Sound – complete scene breakdown, source sounds for at least 3 scenes

Stage management – be present at all rehearsals

-            Measured 4 actors before easter break

-            Measured 8 actors today

-            3 actors absent, unable to measure

-            Likely to order items in for fairy costumes – director doesn’t want them to be obvious fairies

-            List of items to order needed in as soon as possible

-            Costume profile for most characters completed

-            Thisbee dress and wig obtained from costume cupboard

Sound:

-            Sat down with director to complete what sounds needed in script

-            Most sounds sourced

-            Using ceiling speakers in lecture theatre

-            Forest sounds running before show starts

-            Will operate lecture theatre sound and go to theatre after

-            Focus on finishing cue sheets tomorrow

-            Focus on finishing forest qlab file tomorrow

-            Will set levels in theatre next Thursday at 3

Stage management:

-            Director made rehearsal call sheet

-            Some blocking changed

-            One actor already off script (theo- oberon/theseus)

-            Fairy scenes rehearsed today

-            Issue with actor absence

-            Contextual research tomorrow

-            Lovers and nobles next rehearsal – will check blocking

-            Most are not off book but close

ASM:

-            Most props sourced

-            Some not yet sourced/made (scripts, long scroll, toy dog, percussion instruments)

-            Percussion instruments to be obtained from music

-            Helped with moon today

-            Will be calling show

-            Will run through show before tech week to sort out book

-            Run through next Thursday at 3 in theatre

Set:

-            Moon started – need to finish current layer of tissue paper and add another layer

-            Painted base coat for signpost

-            Drawn shape for sign arrows, will cut, paint, finish tomorrow

-            Started painting base paint colour for wood boards side of rostra

-            Tomorrow will cut out rest of wood boards and paint

-            Moon up and rigged by end of day tomorrow

-            Camo net put up day after vampire story show

Lighting:

-            Finished cue sheet before easter break, yet to discuss with director

-            No lighting notes from director in rehearsal notes

-            Will discuss lighting cue sheet with director on Monday and email to her today

-            Finished programming everything but epilogue

-            EOS magic sheet non-functioning groups

-            Didn’t think time available to make groups so selected one at a time

-            Struggled initially learning EOS on mac, spoke to Robin (asm, experienced with EOS) today which helped

-            Clear cue sheet helped with programming

-            Programming complete by Thursday

Technical director:

-            Director completed EventBrite page

-            Wants moon rigged by end of day tomorrow

-            Poster completed and shown – need to add show time and QR code, then print

-            Tech and Show week timetable to be completed and finalised, will see on Monday

Using a technique we learned in a previous project, the plan was to use willow sticks that had been soaked in water to create a spherical frame which would then be covered in cling film. After this, the cling film would be covered in two layers of tissue paper.

Whilst hanging from the ceiling, the moon will also have a dimmable light bulb inside it.

We would use these to make the frame of the moon. To make them flexible enough to use without snapping, they needed to be soaked in water first. This caused a problem as there was not a large enough container in college to soak these. To solve this, they were soaked outside college and brought in. They dried slightly in this time, which made it more difficult to work with, but still manageable.

Masking tape:

This was the cheapest and easiest way to connect the willow sticks.

Cling film:

Once the frame is constructed, we will need to cover it in a layer of cling film so that there is a surface to stick the tissue paper to.

Tissue paper:

So that the tissue paper did not tear easily whilst using it, we used wet strength tissue paper. This was available to purchase online and was not too expensive. It is also more durable than regular tissue paper and is frequently used in carnivals and other events.

Glue:

To stick the tissue paper to the cling filmed frame, we mix glue with water.

We planned to do this after covering the shape in tissue paper.

The first issue was that the willow stick had started to split where the clip was hanging it from. This was solved by attaching the clip at a point where three willow sticks overlapped. This divided the weight among the three sticks which made it more secure.

The second issue was that some people who had not previously been involved in creating the moon had issues with the shape, and were planning to remake it. This was a constant issue, with people regularly coming up to us when we were working and pointing out issues with the moon. Whilst feedback was appreciated, it did not help morale to constantly hear people claim that they could make the moon better.

Instead of remaking the moon, we added some willow sticks to the outside, over the tissue paper. We attached these to the original frame by sticking the ends through the tissue paper and cling film, and taping them. We then put cling film over this extra stick, to make the shape more spherical.

We then added another layer of tissue paper.

Whilst the result was still not completely spherical, we were always aware there would be flaws with the shape, due to inexperience working with the materials, and a limited time.

First, we had to wait for the glue and tissue paper to fully dry, and for the theatre to be empty and available for use.

We transported the moon through the outside door of the workshop to the outside door to the theatre.

Then, using a genie lift, the moon was lifted up and hung from one of the lighting rig bars, making sure it was in the centre of the performing space.

To see how it would look completed, we hung the LED lightbulb inside it.

It was stressful watching the moon be put up, as I was worried it would fall or that something would break. Fortunately, nothing went wrong.

Due to this moon being needed in a show taking place before ours, we would be working with their time limit in mind, giving us two weeks less time than we would've had if the moon was only being used for our show. This did not cause a major issue, and the time was managed effectively.

Falling:

We knew we would have to figure out a secure and safe way to hang the moon from the lighting bar without being at risk of falling. This was a large concern due to the size of the moon. We solved this issue by attaching the moon using a clip and strong wire, and the clip was attached to the moon at a point where three willow sticks overlapped.

Fire risk:

We knew there was a small risk of the lightbulb inside the moon heating up the cling film and paper, potentially causing a fire. We managed this by using an LED light bulb, which does not get as hot as a regular lightbulb. We also made sure that the lightbulb hung in the direct centre of the moon, meaning it was not touching any cling film and was as far from any cling film as possible. We also made sure the lighting operators for both shows were aware of this risk and to make sure that the lightbulb was only on when necessary. We also did a test to see how hot the lightbulb was after being on for a few hours, and we concluded from this test that it was safe to use.

Moving the moon to the theatre:

When creating the moon in the workshop, our main concern was that it would not fit through the doors into the theatre. We knew it would not fit through the door to the corridor, so we used the door that went outside, doing the same in the theatre. We also measured the workshop door and regularly checked our measurements of the moon to ensure it would fit. When it came time to move the moon to the theatre, we faced no issues.

Once I found a link for this material on amazon, I had to figure out the most cost efficient way to purchase this. The link I found on amazon could sell 10 sheets or 60.

To calculate how many sheets were needed, I calculated the estimated surface area of the moon. I then doubled this number as we planned to do two layers.

My next calculation was to figure out the area of one sheet of tissue paper. I then divided double of the moon's surface area by the area of one sheet of tissue paper. This came out to be around 28 sheets of tissue paper.

Checking the amazon link, I found it only cost £1 more to purchase one pack of 60 compared to three packs of 10.

It is for this reason that we ordered one pack of 60 sheets of wet strength tissue paper.

Just wanted to note some things.

Costume:

N/A - everything seems great on that end. Check in with Nicky. Some dungarees have been sourced - we will look for more, or alternative options will be made.

Sound:

N/A - everything seems great on that end. Check in with Nicky.

Set:

N/A - please discuss with Nicky in afternoon sessions.

Lighting:

N/A - please discuss with Nicky in afternoon sessions.

Props:

N/A - everything seems great on that end. Check in with Nicky.

Kind Regards,

Tommy"

Notes:

• Discussed set with Nicky in afternoon session, all good

Today in rehearsals we ran through Act 3 Scene 2 to the end of the play. 

Props/ Stage Management: 

• Noted blocking updates for Act 4 Scene 1 and the epilogue

• Actors started to rehearse with props, and the mechanicals picked their musical instruments.

• Need to look for another wooden sword.

• For the scene change into the epilogue, party hats, whistles and poppers might be needed. 

Set: N/A

Lighting: N/A

Sound: Possibly some sort of music (Jailhouse Rock- Elvis?) that puck can mumble in the background during Act 4 Scene 1 after Oberon and Titania leave and they have a tantrum. 

Costume: Moonshines costume - if possible, could there be something for a carabiner clip to clip onto which a tambourine can be attached to. 

Thanks, Robin"

Just wanted to make note of the rehearsal today.

It was the Mechanical Scenes focused on today - from beginning to end. 

Actors have rehearsed with props and costume today, and most are now off script. Thisbe now has a scarf to drop as a mantle, and actors have tried on their costumes (with all that has been found so far). 

Nothing further has been discussed this far.

Kind Regards,

Tommy"

I then measured the length of a willow stick. I calculated that it would take around 3 sticks to reach the circumference. However, it would be better to use 4 sticks and have them overlap more for strength

Once we had these hoops, we would overlap them to create a spherical shape.

We first decided to tape four willow sticks together to make into a circle. We made sure that, when attaching two sticks, the thinner end of one stick was overlapped with the thicker end of the other. This meant the thickness would be consistent throughout.

We repeated this step to make a second hoop. We then taped the two circles together.

To make it easier to work with, we hung this frame from the ceiling using a clip and some wire. The wire went over a pole attached to the ceiling, and the other end of the clip was attached to a sturdy pole that was part of a machine. We made sure the machine was switched off first. This also meant we could wrap the wire around the pole more if we needed to raise the moon.

We then made more hoops and attached them to the frame for a more spherical shape. We made two smaller circles which we added to the top and bottom of the frame to even out the shape.

Overall, we worked efficiently as a team through good communication and task delegation. We had one person responsible for ensuring there was always masking tape ripped off and available, and one person who made the circles. The other two people attached the circles to the frame.

By attaching the frame to the ceiling, this made it easier to manage as there was less risk of it rolling away or moving.

One issue we faced was that one person on the team did not want to touch the cling film. We managed this by asking this person to hold the frame still, so that it did not move. This made it easier for the rest of us whilst also accommodating personal issues.

Eventually, we figured out a system in which one person held the roll, whilst another person pulled it across and attached it vertically to the moon.

Using this system, we managed to efficiently cover the frame in cling film.

At first, everyone would cover their own sheets with glue and attach them to the moon themselves. We struggled with this due to the small space as it was difficult to walk past people.

We then came up with a system in which two people would cover the tissue paper sheets with glue, and the other two people put them on the moon. This managed the crowding issue, as the people putting the tissue paper on the moon could work at opposite sides and not run into each other. This system also meant that less time was spent travelling between the workbench and the moon.

By the end of the day, around 80% of the moon's surface was covered in tissue paper.

We were told in a production meeting that evening that our technical director wanted the moon to be up in the theatre by the end of the next day, which we all believed to be manageable.

There were some issues with the shape which we fixed by attaching willow sticks over the tissue paper, cutting through it to attach them to the original frame. Some minor issues were fixed using cling film. Once this was done and we were happy with the shape, we started covering it in tissue paper again, which we completed.

We let it dry out over our lunch break and then it was ready to hang in the theatre. I was not there for this process, as I was busy completing other parts of the set. However, the moon went up smoothly and efficiently.

I painted the rest of the wooden boards in the same colour.

I also cut out the arrows for the signpost, and painted them a dark brown to match the signpost base.

Target 1: Complete the moon

Target 2: Finish painting the base colour for the wood boards

Target 3: Paint both arrows for the signpost

My next job was to figure out which ways the arrows on the signpost would be pointing, so that the lettering was facing the right way. Initially, I struggled to visualise this, which I managed by taking the signpost and arrows to the corridor between the lecture theatre and theatre. This helped me to feel confident enough to start painting the lettering.

For Athens, I wanted the lettering to be uniform and bold, so I decided on using all capital letters and mostly straight lines, the exception being the letter 'S'. I started by measuring the arrow and dividing it by the number of letters I needed, so that they all fit. I then drew the letters onto the arrow using a pencil. I was happy with this so I began to paint it. I used a small brush to outline it first, then a slightly larger brush to colour it in. I went over some lines, but I managed to make it all look even and official.

Looking at the finished result, I noticed that the letters were difficult to read due to low contrast between the brown of the sign and the black lettering. I experimented with a few colours on the back of the signpost and, once happy with a colour, outlined each letter in a lighter brown. Whilst it is subtle, I think it makes the sign a lot clearer to read.

I then started on the 'forest' arrow. I was a lot more unsure on how I wanted the lettering to look on this so I drew it out a few times on paper. I knew I wanted the letters to be flowy and wonky, sort of like bubble writing. Once I was happy with the lettering, I began to draw it onto the arrow. I found my biggest problem during this to be overthinking, so I just went for it, not worrying about how the letters looked in the moment. I am pleased with how it came out.

I decided to paint the letters green, as if it had been grown with moss, to contribute to the natural theme of the forest and to further reinforce the contrast between Athens and the forest. I decided to use a slightly more vibrant green than is usually seen in nature, to fit the decade.

I painted the lettering by outlining them first and filling in the paint. Unlike painting the 'Athens' sign, I did this with the same larger brush, as I felt i had enough control. This allowed me to complete this layer of paint quicker.

Once the first layer of green paint had dried, I painted a second layer, adding some variation in the colour to make it seem more natural. I did this by mixing the green with some yellow and blue. I did a third layer of paint after this to smooth out the variation in colour.

Overall, I am happy with how these arrows came out, and I think it will add to the audience's immersion during the show.

I also attached hinges to the sides of the flats, so that they would be easier to connect during tech week, and so that there would be less space between the flats. To ensure, I remembered which order these flats went in, I numbered them.

Target 1: Paint another layer on the stage flats for a more consistent colour

Target 2: Paint the letters for the Athens signpost arrow

Target 3: Paint the letters for the Forest signpost arrow

I managed to add the wood grain texture to all of the wood boards, and put them aside to dry whilst I worked on other set pieces.

I attached the directional arrows to the signpost. I used 2 screws on the 'Athens' arrow to ensure it was sturdy. I also used a set square so that it was level.

For the 'forest' arrow, I only used one screw, and loosened it slightly so that the arrow could be tilted slightly. I did this as a subtle contrast between the order of Athens compared to the chaos of the forest.

Target 1: Add the wood grain texture to all the wood boards

Target 2: Attach the arrows to the signpost

I also added the final hinge to the flats, so that they will now be easier to put up during tech week.

Looking at the archway, I felt something was missing and it looked less official as an entrance. There was an electric blue paint available, which I planned to use to paint a strip around the archway to emphasize it more. However, looking at the paint, I thought it would be too vibrant compared to the flats. To solve this, I mixed in some orange which dulled the colour enough. I then measured a 7cm strip around the arch and painted it.

-            Put on show to pass assignment criteria

-            Develop skills in chosen roles and gain knowledge related to technical theatre

Recap of assessment criteria:

-            Portfolio split into 7 different parts

-            Each part with different criteria attached

-            Research: use research and add how research applies to practical work

-            Problem solving: solve practical, technical, and theoretical problems

-            Practical – physically doing something

-            Technical – involving technology

-            Theoretical – speculative/thinking about – thinking about a problem you may come across in advance

-            Planning and production: show ability to plan, organise, and produce

-            Include evidence through video of show, go pro video, designs, photographs

-            Evaluation: what was and wasn’t effective and why

Acting updates:

-            Most are off book

-            Full run of show completed

-            Bows blocked

-            Some line and cue learning needed during weekend

-            Rehearsing with props

Costume:

-            2 fairies fully costumed

-            Philostrate costumed

-            Wall costume and chest plate found for play – chest plate repaired with twine

-            Kai brought in dungarees for mechanicals, will be tried on Monday when actors are in

-            Actors need to bring in clothing items for tech week

-            Need to find own jacket for Puck

-            Used own/lended clothes in a separate box

-            Costume found in costume cupboard in separate box

-            Need to make quick change cue list

-            Will organise costume rail

Assistant stage manager:

-            Most scripts sourced

-            Director to print out scripts for mechanicals

-            Director to buy party favours and hats – give time for some actors to change for bows at end of play

-            Need to make props checklist for setting up and resetting props tables

-            Need to mark props tables

Set:

-            Signpost completed – will add green paint to bottom if time allows

-            Camo net going up tomorrow – potentially in morning

-            Flats fully painted – hinges attached to make it easier to put up

-            Will need to check when lecture theatre is available during tech week and that putting up set will not disrupt any lessons

-            Will need to paint 2 blocks

Sound:

-            Cue sheet almost completed – some cues added today

-            Actors rehearsed with sound past two days – laughing at magic potion sound

-            Will set levels during tech week

-            One actor requesting sound but not told tech team what sound yet

-            Need to catch up on production logs

Lighting:

-            Worked with assistant stage manager – went through cues and noted when they occur in the show

-            Increased intensity of face lights

-            Updated cue sheet

-            First 5 cues in lecture theatre, following cues on EOS desk – changing to 2 separate cue sheets so easier to understand

-            Will need most access and time during tech week – director and tech director to approve each lighting state

Stage management:

-            Has had to cover for actors a lot due to absence

-            Need to complete risk assessment tomorrow or during tech week

-            Will need to make cue sheet to set/retrieve props

-            Responsible for ensuring actors are ready and in place for scenes during show

Timetable:

-            Friday 9^th May – unofficial fit up – put up camo net and moon

-            Monday 12^th May – Complete fit up, run through lights and confirm with director, setting sound levels, setting up costume rails, setting up quick change area, setting up props tables

-            Wednesday 14^th May – Stop start rehearsals

-            Thursday 15^th May – Stop start rehearsals

-            Friday 16^th May – Solving any problems that have occurred

-            Monday 19^th May – Dress rehearsals, someone to cover for lighting operator (ASM or Kai), problem solving in afternoon

-            Tuesday 20^th May – Dress rehearsals, problem solving, notes

-            Wednesday 21^st May – Dress rehearsal in morning, notes after, matinee show at 13:30, evening show at 19:00

I did this by using an online research source which summarised each scene, paired with the small summary given in our script. By reading my script along side these summaries, I was able to accurately and efficiently write this scene by scene summary and understand the play fully.

We then put the moon back up.

I painted 2 blocks to look like tree stumps. I did this using the same technique as I did when painting the wooden boards.

We then also attached the wood boards to the sides of the audience seating in entrances and exits.

As per the director's wishes, we started the day by removing both pieces of steel deck upstage. We removed the long legs and replaced them with mid sized legs. The director only wanted one piece of steel deck upstage, so the other was removed.

Because of this, we had to remove the stairs from the audience seating and place them either side of the upstage steel deck.

Following a discussion with the director, I took two chalkboards/mirrors and put them in the corners downstage right and left. This was so that the actors had a place to hide before entrances/after exits.

I then wiped down and cleaned the blackboard, planning to draw vines and flowers on it. I did not complete this, however, as the colour did not stand out.

We attached more camo net upstage above Titania's bed so that it touched the floor. This was the director's request to ensure the space felt more hidden/immersive.

Going back to the chalkboards, I researched 80's wallpaper designs and started drawing that onto the chalkboard, only completing one before checking with the director as to whether she liked it.

I then started drawing the pattern on the other chalkboard, yet was not able to complete this before the end of the day.

Due to the stairs being moved for Titania's bed upstage, I made a note that another painted wood board will be needed on the side of the audience seating upstage right where the audience enter. I am unable to do this today so I will do it friday.

I watched the rehearsals, noting any set related issues. The main issue faced was that the actors on roller skates struggled to enter upstage right and left due to little space between the blocks and audience seating. We could not move the blocks, as people needed space on the other side of them. To solve this issue, a chair was removed on each side, giving the actors more space.

I also made a full checklist of everything I will need to complete tomorrow.

I also collected a box of fake flowers from the props cupboard to attach to the camo net in an arch over Titania's bed.

We also fixed the camo net, as it drooped slightly in some parts.

With help, we managed to put up the flats in the lecture theatre and attach the LED light strips to the edge.

I started by attaching the fake flowers to the camo net in an arch over Titania's bed. I didn't use anything to attach them as the flowers stayed in the camo net by sticking them through.

I also attached a string of vines to the fabric under Titania's bed using safety pins. If I had more time, I would've found a more secure way to attach it as the paperclips bent easily and were at risk of falling during the show.

The main focus of today was sorting out the lighting in the lecture theatre. This was because our lighting designer was away so another student had to fill in and redesign and program all of the lighting. To help out, I offered to control the LED lighting strips. This is because the lighting designer will return on Wednesday and will probably be occupied with learning the lighting states and cues.

To control these LED's, i downloaded an app on my phone which easily allowed me to change the colour and intensity of the lights. The lighting designer told me what colour he wanted at what scenes and I made a note of that and practiced during the dress rehearsals.

I practiced putting up and taking down the flat to ensure I could do this as quickly as possible for the shows.

I also put a mirror/chalkboard on each side of the flats in the lecture theatre to enclose the backstage area more and allow more privacy to the actors when changing. I decided to put the mirror side facing the actors so that they could check they looked okay before scenes. The chalkboard side was covered in black fabric so that it looked better and more professional.

I also put up the signpost in the corridor, ensuring it would not be in the way whilst the audience were moving to the theatre, whilst also being visible. I also made sure it did not block the gap to the right of the flat, as the actors used that gap to access one of the changing rooms as well as the props tables.

In preparation for the show, I made a list of the tasks I would be completing, specifically for the lecture theatre and after the audience move to the theatre before act 2. I did not make a list for the rest of the show, as my main responsibility was following along the play with the script and letting actors know where we were in the play.

I was quick and efficient in setting up the corridor but struggled slightly due to the actors standing in the way.

Lecture theatre

The LED lights were all on time and there were no issues. I was quick in taking down the set in the corridor.

Theatre

During the rest of the show, I followed along with the script and let actors know where we were in the play and when they were next on. One flower fell off the camo net during a scene, but this did not cause any disruptions to the play.

Before the show, I was quick and efficient in setting up the corridor. By doing this quickly, I had time to check the flowers attached to the camo net and ensure none of them were at risk of falling.

Lecture theatre

During the first act of the show, there were no issues with me controlling the LED lights. Once the audience had left, I was efficient in turning the audio and lighting off, opening the blinds to give the room enough light to see. I prioritised moving the flat in the corridor, which led to a slight delay of around half a minute for the actors to access the changing room due to the camo net. Fortunately, none of them were needed immediately, and this did not cause a disruption to the show.

Theatre

During the show, there were no major concerns backstage. I spent most of my time following where the actors were with a script. This meant I could let the actors know when they were next on, and how long they had, which was helpful for everyone.

Before the show, one of the actors playing Hermia had injured her wrist, which meant she wasn’t able to assist with the Hippolyta-to-Titania quick change at the end of the performance. I offered to step in and help with the change to make sure everything ran smoothly.

I was efficient in setting up the corridor and ensuring everything was ready for the performance.

Lecture theatre

Due to the show being sold out, there were a large number of audience members, which made it difficult to fit everyone comfortably inside the lecture theatre. Some audience members ended up slightly over the taped lines, though this wasn’t a major issue as they still couldn’t see backstage. Backstage, I had to help calm an actor down after she nearly fell onto an audience member. Quick changes went smoothly and there were no issues with moving the audience into the theatre. I prioritised removing the flat from the corridor, which caused a slight delay for actors accessing the changing room, but it didn’t result in any significant problems.

Theatre

Because the actor playing Hermia was injured, I offered to stand in the wings with an ice pack during her scenes, ready to give it to her as soon as she came off. I was able to manage this while also assisting with the quick changes I was responsible for. At the end of the show, during the Hippolyta to Titania quick change, I briefly struggled with the zip on the costume, but the costume designer stepped in to help and there was no major delay.

The blue on the right is what I used to paint the strip around the arch, however I dulled it slightly with orange paint.

We made this shape by attaching 4 sticks together with masking tape then taping the ends to form a circle. We then overlapped 3 circles to form this spherical shape.

The plan was to add more to the actual structure for shape and support.

I managed to get two large and two small from each.

We started by covering the top of the frame in tissue paper as it was easier to access.

We also figured out a system in which two people covered the tissue paper in glue, and the other two people would attach it to the moon. This meant less time was wasted walking to the moon and that we were more organised.

To find the books needed for research, I looked at the college library's online catalogue and made a note of any book I thought could be helpful, as well as its number.

I then rewrote the list, sorting the books into their decimal group. I made this a checklist, so that I could tick off any books I found and planned to use.

The first step of this process was to attach parts of the camo nets together to make a larger joint camo net.

We noted that we would have to take down the bars and tie the camo net with a shorter rope to the lighting bar, so that it hung down less. It would also be attached in the centre to another lighting bar.

To fix this, we attached the end of the camo net to the top of the theatre seats.

We took down the lighting bars to tie them closer to the bars. I went under the camo net and fixed any gaps where two pieces of camo net had not been attached fully.

The reason I mixed a new paint colour instead of using one of the already available paint colours was that none of those colours looked good for a tree stump.

I managed this by painting the other block whilst waiting for the first one to dry. I also used the open back side of the block to help rotate it.

This was done by drilling a hole through the board, sticking a bolt through it, and screwing it in with a nut.

On the floor, you can see the wooden boards that had not yet been attached.

I painted above and below the hole separately, starting with small strips above the hole, then painting below it.

I tried my best to make the shape not perfectly circular. I also varied slightly in the thickness of the circles.

In the bottom right corner, you can see the can of paint I used.

You can also see the newspaper which I used to wipe excess paint off of the rubber wood graining tool. Above that, you can see the tool.

One issue faced was the lack of space for the actors on roller skates to safely enter. To solve this, we removed the chair at the top left of the image on each side.

I took this before we attached the camo net upstage.

We started by untangling the largest pieces and laying them out on the floor. It was relatively easy to figure out which pieces to attach where.

Drawing this shape helped me to check with the director whether she was happy with the shape. Her only note was to make sure the arch went around the stairs.

We made sure the camo net was hanging behind the matress.

I attached the flowers by sticking them through the nets, which did not require any other way, as they stayed there.

On the floor is fake vines and flowers I planned to attach to the fabric under the mattress.

There is a black cloth taped over the archway entrance so that the backstage is better hidden.

On the right of the image, you can see the chalkboard covered in black fabric. We did this on both sides for more privacy backstage.

The taped line you can see to the lower right of the image was done to make it clear to the standing audience where not to stand.

You can also see the LEDs around the flats which I controlled during the shows.

As you can see, I positioned the signpost so that it was visible to the audience whilst also not obstructing the gap for the actors and crew to walk through.