Thursday, 22 May 2014

Evaluation


Evaluation


The role that I was given was the role of a Deputy Stage Manager (DSM).  The following things were integral to my job. They included:

·      Good Communication Skills
·      Good Knowledge of equipment
·      Free time for rehearsal
·      Understanding of Show
·      Strong Minded
·      Can take criticism

My Strengths were that I was in rehearsal most of the time and I was fully aware of what the musical was about.  I also liaised with the director so helped me with props and costume. Once I got props, which that director told me they needed, I went back to lesson and told the stage manager what props and costumes is needed. I also thought on the night it ran smoothly for technical and When speaking to the stage manager the show ran from the being to end.


My weaknesses are I should have been in rehearsal for longer and I should have communicated with the sound operator as he didn’t really know the show as they didn’t go to rehearsal before to understand the software.   

My Roles and Responsibilties


Job Description (DSM)

Rehearsal Stages

The role that I was given was (DSM) Deputy Stage Manager. The role included going into rehearsals and watching the performance to gain an understanding of the musical ‘In the Heights’. I liaised with the Director and the Stage Manager on matters such as costumes and stage Props. An example of this would be when the Director required stage lights I would then report back to the Stage Manager and then they would pass the information onto the Props Manager. I also operated the sound system ‘Sinfonia’. This helped me gain an understanding of the sound cues as on the night I would be cueing the show for lighting and sound. The show was ninety percent so in my own time I needed to listen to the soundtrack. Another reason why I was in rehearsal was due to the fact the cast were rehearsing in a different space, due to the set being built, so I had to make sure they knew their exits, entrances and spacing without the guidance of the set.

 

Tech Rehearsals

There were many different tech rehearsals throughout the week. The first rehearsal that I needed to attend was the lighting tech rehearsal. The reason why I was in the lighting tech rehearsal was to write down the lighting cues so that on the night I could cue the lighting operator.  I would write them down on the script with an arrow pointing to the line which the lighting should change on. The most lighting cues would be in the songs and not the dialogue as it would be realistic. Once all the cues had been written in my script then I highlighted the cues so they stood out. I would then go back to the beginning of my script and start writing the sound cues down. In the script most of the cues were already written in so it was mostly for the de-vamps and vamps. I had to write all of these cues in because I would not have remembered them all as there were hundreds.

The most important tech rehearsal was the Final tech which was for me. The reason why was because I had never cued lighting and sound together. If I thought something wasn’t right for example I had missed a lighting cue then I would stop the rehearsal and start again until I felt comfortable.

 

Show nights

On the night everything would be down to me technical wise. I would start the show off and everyone would take my word. I cued everything from the follow spot to the sound and lighting. I cued everything because then everything would happen at the same time such as lighting and sound going into a song. All the crew had to go off my word because say if a cast member wasn’t on the stage I would then have to wait for them to get into position and then cue the crew. If everyone went on their own accord then cues could be missed. Also everyone would know that it would be down to me.        

Hierarchal Structure

 

As you can clearly see on the Hierarchal Structure that my role is highlighted as the Deputy Stage Manager (DSM). I am just underneath the Stage Manager.

Photographic Evidence


Photographic Evidence 



 
As you can see here is my evidence of me cueing the show. On these pictures you can clearly see that I am sat in-between the lighting and sound operator which is the best place. Also I have nothing in front of me because I need to clearly see the stage so I can tell when cast members are imposition. As you can also see, me and the other crew are wearing Coms sets. The reason for this is because we can communicate if something's goes wrong and so all the crew can hear me cueing them saying 'Sound and LX stand by and GO'      

Tuesday, 1 April 2014

Meeting Minutes


Minutes – 1/4/14

Ashleigh Gow
Gemma Johnstone
Lucy Andrew
John McDermott
Sophie Brown
Jordi Williams
Drew Turner
Joel Murray
Jordan Simpson
Matt Elliott

·         The set goes up the first Friday back. 29/4/14.

·         Gemma, Me, Anna - We need to LX tape the size of set ASAP. Performers need to rehearse in the correct space / exits.

ASM – Jordi/ Matt : liaise with the Stage Management team.

John – Mike Granger. Work with set designer now to sort where speakers are. Use a lighting plan to rig. NOT Qlab. Very complex sound software –John must have sorted with Mike Granger and Sarah. Getting the tracks is the priority.

Lucy – costume, performers wearing on clothes and source their own stuff. Lucy will get group stuff. No personal costumes, today talking to Nancy.

Gemma has a script and will be in rehearsals from after the Easter break. She can film them and report back to show the others what is happening.

Drew- has thought about some of the props and where to source them. Mark can answer some of his queries e.g. about the fridge. SM need to make a list, priorities. We will meet separately to discuss this today / tomorrow.

Sophie -  FOH ideas have begun. PA will do programmes. We will make FOH look as authentic as possible. Need to speak with JPS for effective communication. Meet with SM to discuss deadlines asap.

Jordan – work with Anna & Lucy, effective communication and work to deadlines. He will have help from the SM team (join our meeting.)

Joel – helps with rigging, focusing, plotting. Can possibly attend some rehearsals with Gemma when possible. 

Tuesday, 25 March 2014

Title of Play, Name of PlayWright and Premier date

In The Heights The Musical

 
 
 
 
 
Lyricist: Lin-Manuel Miranda
 
Playwright: Quiara Alegria Hudes
 
Composer: Lin-Manuel Miranda
 
 
 
 
 
 
 

 
 
    In the Heights aired on the 20th April 1999
Broadway Premier 9th of March 2008
Cast recording released June 3rd 2008


 
 
 



Synopsis of Play

Act 1

At the crack of dawn, on the hottest day of summer, Usnavi chases away a graffiti artist from his tiny bodega in Washington Heights, opens the store, and introduces the major characters. Last to appear is Nina Rosario, back at last from her freshman year at Stanford University. Alone, Nina ponders her struggles at college and readies herself to give her parents some bad news.
Meanwhile, Nina's parents, Kevin and Camila, seek an emergency loan to keep their struggling taxi dispatch afloat, temporarily leaving Benny, a young employee and friend of Nina's, in charge. Meanwhile, at the hair salon across the street, Vanessa, Usnavi's potential love interest, dreams of escaping to a studio apartment in the West Village, remaining optimistic despite her own financial insecurity. When Vanessa stops by Usnavi's bodega, Usnavi's younger cousin Sonny asks her out to a romantic evening on Usnavi's behalf, and she accepts.
When Nina's parents return, she reveals how she lost her academic scholarship and dropped out of Stanford. Nina's father, Kevin, is devastated that he cannot provide for his daughter. Nina seeks comfort from Vanessa, but the salon owner and local gossip, Daniela, sits Nina down for a makeover, coercing Vanessa into admitting that she cares about Usnavi's sexual decisions; Nina then reveals to the salon that she has dropped out.
After Usnavi discovers that he sold a winning lottery ticket worth $96,000, everyone on the block dreams of how they would each spend the small fortune. Later, Abuela Claudia the beloved neighbourhood matriarch who "practically raised" Usnavi as a young orphan reflects on her childhood journey from Cuba to New York in 1943, showing the audience that she secretly holds the winning lottery ticket.
Nina and Benny take a tour of the neighborhood and reminisce, gradually sharing romantic feelings. At a dinner party, Kevin announces that he has sold the family car service to pay for Nina's tuition. Vanessa and Usnavi enter a dance club for their date, followed by a furious Benny, who is now out of work, and an apologetic Nina; tensions rise on the dance floor because Vanessa and Usnavi are attempting to make each other jealous, while Benny drunkenly hits a man dancing with Nina. The entire club breaks out into a huge fight when, suddenly, the power goes out throughout the city, probably due to the intense summer heat. The neighborhood erupts into chaos and Usnavi, Vanessa, Nina and Benny all look for each other in the darkness. Meanwhile, Sonny and his mischievous friend from the opening of the show, Graffiti Pete, attempt to distract the bodega from any potential looters by setting off fireworks; at the same time, Abuela Claudia reveals to Usnavi that she won the lottery, while Nina and Benny find each other, argue, and then kiss.

Act 2

Benny and Nina have spent the night together and, the next morning, Nina teaches Benny some Spanish phrases, while he shares his stress over what Kevin will think of their new relationship. Down on the street, Usnavi's bodega has been looted. Abuela Claudia convinces Usnavi they should use her lottery winnings to move to Usnavi's homeland: the Dominican Republic. Usnavi agrees to pursue this lifelong dream at last.
Nina's parents have been searching for her all night, and when they learn that she has been with Benny, Kevin is furious. Kevin vows that Benny will never be a part of the Rosario family because he is not Latino, but Camila ends the family fight. It is high noon and all are frustrated by the extreme heat and continuing power outage. The locals, led by Daniela, muster enough energy for a last celebration before the bodega, salon, and dispatch shut their doors forever. Usnavi publicly announces that Abuela Claudia won the lottery, and he and she will soon leave for the Dominican Republic; the neighborhood celebrates, though Vanessa is heartbroken. Kevin makes a sudden announcement over the taxi radios: Abuela Claudia has suddenly died. The neighbourhood holds a vigil for Claudia, while Usnavi, attributing her death to a "combination of the stress and the heat," makes an impromptu eulogy. Usnavi and Nina rummage through boxes of Claudia's keepsakes. As Nina discovers photographs from her own high school graduation, she decides to accept her father's sacrifice and return to Stanford.
Across the street, as Daniela closes her salon, she reveals one last bit of juicy news: she will co-sign on Vanessa's dream apartment in the West Village, thanks to a little convincing from Usnavi. Vanessa brings a bottle of champagne to thank Usnavi and, though she flirts with him, he is so flustered by Claudia's death that he is unable to appreciate Vanessa's attempts; Vanessa finally kisses him and leaves. Meanwhile, Benny worries about his relationship with Nina, since her decision to go back west, and they stand together while the sun sets, uncertain of their future.
The next morning, Usnavi wakes up early to begin closing up shop. In just a few weeks, Usnavi imagines that the block will be completely changed. Sonny, however, has commissioned Graffiti Pete to paint a mural of Abuela Claudia on the bodega's grate. Sonny now rolls down the bodega grate in front of Usnavi, revealing the memorial. Usnavi is stunned that they completed this all in one night; he tells Sonny to spread the news that he has changed his mind to stay, promises to pursue Vanessa, and realizes that this block is his true home.