Text Breakdown and Initial Cue Sheet

A text break down is the lighting designers initial response to the script when first opening it. It is the information gained from reading through the script that will help you make an initial cue sheet. An initial cue sheet can be made when attending rehearsals and more detail is gained. It is best to have an initial cue sheet when plotting a show to keep a record of the ideas you had for throughout the play. For Spring Awakening, I have combined the two using the details from the script and the details I came across when attending rehearsals.

Production Meeting Minutes NO.1

Spring Awakening

Production Meeting #1

Minutes

Wednesday 26^th March, 11:30 – 12:00 PA135

To: L4 & L5 SMTT

Cc: Carly Woodhouse

Present: Hannah, Adam, Bryony, Alisienne, Jamie, Vicki, Sam, David, Marc, Simon, Nicky, Adele, Lucy, Nick, Chris, Darren, Charlie, Kristy, Carly

Apologies: Jessica

1.     Action Points

·       Everyone introduced themselves to Adele and Lucy

·       Went through the action points from last PM Meeting

o   Alisienne – has found leaves which are to be autumn colours and rose petals which are to be red and white, they are packs of 150 for 39p. The leaves are £16.98 for 1000 and are from China so need to be purchased as soon as possible.

o   Adam – Soil 10l for £1.20 at B&Q and Chalk Paint 3 for 2 £16.89

o   Marc – Mic Plot has been started but no recordings have been booked

2.     Rehearsal update

·       Easter holidays Monday – Thursday 10am-4pm W/C 14^th April

·       After holidays the schedule hasn’t been made

3.     Set / Props

·       Alisienne and Adam have now met with Matthew and have a copy of the props list so far. It is now their responsibility to keep in touch with him and make sure all the props are ready for the show

·       Paper Aeroplanes – Week of Easter rehearsals try out the paper planes in the theatre. There is no access to the theatre on Thursday the 17^th due to tension grid inspection.

·       The 2 graves, Chris has suggested using trap doors in the deck to lift up for them that way the support will be there and then use Darren’s idea of the deck underneath lined with the tarpaulin with the soil on.

·       Nick has said why use chalk paint when we can just chalk on the deck as it is

4.     AV

·       The AV will not be used during the songs

·       Carly will make final decisions on the Cyc and full blacks the week after Easter

5.     FOH

·       Ticket prices, £7 adults, £5 concessions & £2.50 college students

·       The Balcony seats need to be taken out, this may be an issue as they are awkward to put back and need to be signed off before used again.

·       Using the front two rows AA and BB

·       Need FOH to usher the audience out of the auditorium in the intervals

o   Put an announcement about the interval in the programme – Adele has been informed about this

o   Signs pre warning audience about the interval

o   Record an announcement

o   Matinees need FOH to look after schools (having a meeting with Fiona Wednesday 26^th March about staffing)

·       Door Signs telling audience about references in the play, age restriction 15 and leaving at the interval, Carly will inform the schools of the references and they will attend on the understanding of it being an educational performance.

6.     Budget

·       There is NO budget so the Musical Theatre students are going to fund raise

7.     Schedule

·       Show times are 1pm and 7pm with a 20minute interval.

·       Running Time approx. 2hrs 20mins

·       Carly requires spacing time in the theatre

8.     H & S

·       Kristy to send Hannah the fire watcher forms and Fire Isolation forms.

9.     Lights and Sound

·       Need to have a separate meeting with Carly during the Easter holiday rehearsals

10.  Questions/AOB

None

11.  Schedule Next Meeting

·       23^rd April 2014, 11:30am-12pm

Action Points

What /When/ Who?                         

Bryony – to keep the tarpaulin from the Widows set                                                            

Hannah - Have a meeting with Fiona and discuss FOH issues, Give Craig the ticket information, Make signs for the doors

Alisienne – can you oversee the purchasing of the leaves and the rose petals and send Hannah the receipts?

Adam – Can you speak to horticulture in Trevelyan about getting some soil from them?

Marc – Can you arrange a recording session with the cast; liaise with Adele to arrange this.

All Crew - To attend Rehearsals when possible

Introduction

This module is to produce and show the development process of lighting pre - production. The show that I will be lighting for my summative lighting design is 'Spring Awakening' which is going to be performed by students ranging from the ages of 18 - 21 over 6 performances. My initial thoughts on the production after learning that the play was set in the 19th century Germany, was that it would be difficult to create a realist lighting state that portrays the time the play is set in . The script indicates the lighting was the 'thing' after the acting itself. I therefore had to create the two different worlds the script created; the realistic 19th century Germany in the scripted play and the very idealistic modern world in the song world. This meant having to create a lighting design that initially had to support two totally different states. The lead creative on this production had her own initial thoughts on how she though the play should look. We both agreed that both states (song and scripted) should look totally different however there was some difference that we came across in our opinions for example she wanted there to be a smooth transition between these two states however I felt due to the genre of the music in the production (rock) I felt it would be better so have an almost snap between states indicating to the audience that these two states where in fact different as one was real life and one was an inner monologue the characters had. When productions meetings started it became clear that there would be some sort of raised staging on the actual stage. This meant the set design went from a flat 2D black box to a 3D area with different levels. Because of this I needed to show that the raised area was the performance would take place and the flat area around it was like a spectating area for those characters who weren't involved with the current scene.