Director’s Handbook

Fancy directing a SUDS show! ‘Course you do. Read on for everything you need to know…

PROPOSALS FOR AUTUMN TERM ARE IN WEEK 9

If you have any questions at all, please don’t be afraid to drop us a message! All of our contact info is on the “Contact Us” page!

Love,

SUDS

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SUDS Director’s Handbook

This is a set of guidelines for all those directing or considering directing plays with SUDS. It contains important information and must be read by all directors and kept as a resource during the directing process.

Proposing for a slot

The System

Under the current system there are 12 campus performance slots available per year in addition to the Brighton and Edinburgh shows; five in the autumn term (weeks 6-7) including the fresher’s play which is to be cast solely from the first years, four in spring (weeks 7-10), and three in summer in weeks 7-9. This is just a rule of thumb and subject to change according to the will of the committee. These slots are allocated in proposal meetings towards the end of the previous term so if you want to direct a play in the spring term you will need to propose it at the meeting in the autumn term, autumn term slots are decided at the end of the summer and so on. Times and dates of proposals meetings should be released via e-mail by the committee at least two weeks before.

Proposal Meetings

SUDS aims to facilitate and support the production of excellent theatre within the means available to us in a fair and democratic system allowing equal opportunities for all. Proposals meetings are open to all members and interested parties, however, only members may vote. Prospective directors should come to the meeting prepared to propose their play or performance in three minutes possibly supported by a producer, assistant/co-director and hand outs. Having heard all the proposals, the members present will then vote by closed ballot. The proposals with the most amount of votes will then be passed and the directors allocated slots (performance weeks) by the president according to need and practicality. Directors and producers may vote (as long as they are members) but will have one less vote and must sign their voting slip.

The Proposal

When proposing your production you need to give details of:-

-How many actors are required and of what sex.

-Where you want to perform it.

-How much it will cost to produce and a provisional budget breakdown.

-How the practical details will work, are you able to source everything you need?

-The production itself; why you want to do it, what it has to offer its participants and audience, why it is exciting/ promising/ fun/ important etc.

Below is a detailed explanation of each of these elements.

Actors

Bear in mind that SUDS normally has more female members than male by far. You are unlikely to be able to successfully cast 15 males in one play, you might even struggle for five. If you need a large cast you will have to put extra effort in ensuring you get enough auditionees through publicity, enthusiasm and word of mouth. Directing a play is a big task and the larger your cast, the more of an organisational nightmare it is going to be. You are also working to a tight time limit. You will not have time to individually direct members of a very large cast inside six – ten weeks. Try to be practical and realistic in the cast size of the play you choose. An ideal number would be between 4 and 8 but this is only a guideline and it would of course be very boring if we never had the occasional large, or indeed small, cast play.

Venue

There are currently very limited venues available to us and we have to share all of them. The Debating Chamber in Falmer House is the best venue available in terms of technical capabilities and versatility. It is also free. It has moveable seating/ staging blocks and a fully enclosable studio space. It has a capacity of about 60 depending on how you want to set it up. It is, however, subject to availability and must be shared with the drama department and other USSU societies and activities. (See later sections on room bookings and conduct.) There is also The Cube which may be hired at a reasonable price. However, this venue is difficult to light and less versatile. Directors are urged to think carefully about using this space; does it really suit what you want to do? Productions have also been put on in The Meeting House Chapel. This also only suits particular productions and has very difficult acoustics. Other venues have included InQbate innovation centre in Pevensy II, Mandela Hall, practise room 126 and somebody’s own house! Wherever you want to do your production YOU MUST HAVE RESEARCHED IT AND MADE SURE IT IS SUITABLE, AFFORDABLE AND AVAILABLE BEFORE YOU PROPOSE YOUR PLAY. You must check that the venue is suitably licensed

Questions you must ask of your chosen venue:-

-How much does it cost?

-Is it available for rehearsal and performance time?

-Can it be lit adequately?

-What is its audience capacity? Will the audience be able to see?

-Can the actors be heard?

-Does it have the technical facilities you need?

Contacts for particular spaces:

• The Debating Chamber, practise rooms, Mandela Hall – Rachel Snaydon, Reception & Information Worker – USSU Reception, Falmer House – reception@ussu.sussex.ac.uk – 01273 877641
• The Cube – Tarek Khalil: t.khalil@sussex.ac.uk. Venue Manager. Falmer Bar Office, Falmer House.
• InQbate – Dianne Brewster: d.m.brewster@sussex.ac.uk.

You can find out more about other on campus spaces and check availability for Falmer House rooms at www.ussu.info/roombookings

Budget

SUDS plays are funded through loans from the union which are all individually applied for. This will be processed with the SUDS treasurer a few weeks before your play goes on but you must give an idea of how much your production will cost in your proposal. An average budget for a campus show is between £200 and £300. This does not mean productions cannot be more expensive but you must be able to prove a) that you have good artistic reason for needing more money and b) that you will be able to make that money back from ticket sales and, if necessary, fundraising. The cheaper your production costs the better, as all profits go back into SUDS and allow us to improve the society for all.

Things that may cost money:-

-Venue

-Performance Rights

-Props and Costumes

-Publicity

-Set

-Equipment hire

Performance rights are royalty fees that must be paid to the holder of those rights. Some plays have not yet had their rights released, some are more expensive than others. Some may be unavailable due to professional performances happening elsewhere in the country at the time you want to perform. Details of performance rights normally have to be written away for and so must be considered early. You can find out who holds the rights for your play by looking at the publishing details on the inside cover or on the internet. As a general rule, the more recent the play is and the more famous/ fashionable the playwright, the more expensive the rights will be. They can, however, usually be negotiated. When applying for the rights, be sure to say that you are with a small, non-profit, university drama society. Rights are usually worked out on a nightly basis. If a play is over 100 years old, or the author has been dead for over 70 years, no rights are payable. Translated works may be more complicated. You need to enquire about the rights in good time so that you can be aware of any complications in time to change your plans, not propose or cancel your play if need be. Performance rights are a legal requirement. The union could be sued and SUDS could be shut down if we were discovered to be putting on productions without them.

Props and Costumes may already be available in our props cupboard. There is a full inventory on our website (www.sudstheatre.co.uk) or you can also contact the committee props and costumes officer for information. You are encouraged to be innovative and resourceful with props and costume. Usually there is no need to spend vast amounts of money on this aspect without having to sacrifice artistic vision.

Publicity usually costs about £50 although it can be less if you don’t use colour, chose to photocopy your posters/ flyers rather than get them printed, or are able to search out a bargain.

Set can be as ambitious or minimal as you like as long as it is practical and you can do it affordably.

Equipment Hire really only applies if you need something particularly high tech or unusual for your production. If you do, however, it is advisable to research it before you propose.

The Practical Details

Organising a production from a practical point of view is no mean feat and directors are highly recommended to make sure they have adequate support in the form of a producer. This should be somebody you can rely on and work well with who shares your excitement about the production. Their specific role must be up to the director but it is recommended that they take on practical responsibilities and provide support producing the publicity, set, props and costumes and organising the venue and rehearsals. They may also be invaluable during the auditioning and rehearsal process as a sounding board if there is only one director.

The Production

A successful proposal will be one that has considered all of the above in relation to an appealing, exciting play/ production. Members usually vote for things they want to be in or see. While individual criteria for these categories will of course vary greatly, it is fair to say that creativity and innovative thinking will be favoured. It might be a good idea to find out what has been done in SUDS in recent years so as to avoid repetition, details of this can be found on the website. This does not mean that the classics or the popular should be avoided, more that careful thinking about the problems within these texts and how to stage them innovatively is encouraged.

New Writing

In recent years a number of new writing productions have been performed in SUDS and we are committed to supporting student writing in whatever ways possible. If you are thinking of proposing a piece of new writing there are a couple of things we would ask you to bear in mind. Firstly, is it ready? It can be very difficult to get adequate distance from your work to be able to think critically about it. Work-shopping new writing can be incredibly helpful and the SUDS committee would be very happy to offer suggestions of how to go about this. Secondly, who is going to direct it? However much it may seem like a good idea, it is not always advisable for a writer to direct their own work. We would recommend finding a director who has some creative distance from the work, this usually benefits the production as a whole. It is also a very beneficial learning experience for a writer to relinquish control and see their work interpreted by a director. If you are thinking of directing your own work, we would strongly advise that you bring in outside eyes in some form or another. At the very least it is vital that your work has been read and critiqued by somebody you can trust and respect.

If your new writing proposal is unsuccessful we would recommend that you come to the SUDS committee and explore the possibility of putting it on as a fundraiser. This will, of course, depend on the size of the cast needed and the amount of money and time required. This is suggested because new writing tends to be cheap (no performance rights) and have smallish casts. We have, in the past, been able to support new writing fundraisers alongside the official play slots by putting them on earlier in the term or in the same week as another play. These arrangements are entirely subject to the discretion of the committee and must be negotiated on an individual basis.

Directing a Play with SUDS

If your proposal is passed you can then begin to plan your process. You can begin to gather any materials/ props, costumes etc that you know you are going to need as early as possible, you can also send away for your performance rights, the sooner these arrive the better. Planning and organisation are essential. Do not expect anyone else to think about these things for you.

A basic timeline of events and considerations is now followed by a detailed explanation of each stage…

Timeline: -

• Room Bookings
• Auditions
• Casting
• Crewing the Show
• Conduct/ The Rules
• Rehearsals
• Spending Money/ Budget
• Publicity
• Health and Safety
• Get in/ Tech and Dress
• The Performance/ Get Out.

Room Bookings

There are a number of rooms in Falmer House book-able for rehearsal from 9am- 10pm, Monday to Friday. These are, however, used by many other groups and are allocated on a first come first serve basis through Falmer House reception. You must book your rehearsal rooms early (room bookings normally open at 10 am on the first day of term) and for the whole of your process to ensure you have adequate rehearsal time and space. This can be done either at reception in person (recommended) or via email reception@ussu.sussex.ac.uk or by phone 01273 67 8152. You can also view room availability via the union website – www.ussu.info/roombookings. We recommend you use this facility to plan your rehearsals for viable times and to avoid trying to book a slot that is already taken. You will also be able to see your own booking on there and remind yourself of what you have got:

www.ussu.info/resources

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Resources and Facilities

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Room Bookings – Falmer House

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View Room Bookings Online

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Click on appropriate week.

If your show is in the Debating Chamber or elsewhere in Falmer House it will be booked for you for the week of performance by the president using priority booking in the previous term. You will be able to view its availability online. You will usually have access from lunchtime each day that week. Training Room One (which backs on to the Debating Chamber) will be booked for you from 7pm each performance night to ensure you are not disturbed and to provide space for people to get ready.

When you book your rehearsal rooms you will need to state that you are with SUDS and give the name of your play/ production and a contact name and number.

If you cannot get a room in Falmer House for a time that you need to rehearse there are still some options. You could try booking Lancaster House common room. This can be done at York House reception, they usually need two weeks notice. You could also try booking a seminar room or lecture theatre. This must be done by collecting a room booking form from the Activities Centre, Falmer House or by downloading the form from www.ussu.info/roombookings

Rooms for your initial round of auditions, under the current system, are booked by the president because, for the sake of publicity, we try to have initial auditions all at the same time. This is currently under review. You are responsible for booking rooms for your re-calls and all subsequent auditions/ rehearsals.

You will, of course, need to rehearse in your venue as much as possible in the run up to your production. Make sure you book time in your venue the week before your performance as well as for your tech and dress rehearsals. This said, try not to hog the venue for rehearsal time if there are other productions in there too or be prepared to trade rooms with other directors if you have a lot of time in the venue and they don’t.

When booking your rehearsals please bear in mind that rooms, particularly in Falmer House, are in great demand so don’t book any more than you need and intend to use and let reception know if you will be cancelling or shortening your sessions.

Auditions

Most people choose to have two rounds of auditions, initial ones from which you can draw up a shortlist and then re-calls from which you can make your final decision. SUDS auditions are normally non-preparatory. This means that people will be expecting you to supply them with an audition piece which they can look at whenever they turn up, prepare while they wait (or you wait depending on how busy you are at the time) and then go in and do. This is in the spirit of an inclusive and non-intimidating society. Auditioning is a very scary process and you are reminded that you will get the best out of your auditionees if you do all you can to put them at ease. Initial audition pieces should not be too long. They need to be challenging enough to allow the auditionee to show their skill but not so challenging they are too intimidated to perform well. It can be a good idea to have two contrasting audition pieces per character so that you can see more of the actor’s range if you need to. Initial audition pieces shouldn’t be too long however, you will have a lot of people to see (hopefully) and you need to be able to asses them fairly but also quite swiftly.  It is highly advisable to have a second pair of eyes in auditions. These can be the eyes of your producer, co/ assistant director or a trusted friend. You must remain professional at all times.

The Process/ Publicising your auditions

The auditioning process needs to take place as early as possible so as to give companies as much time as possible to rehearse. Under the current system the SUDS committee liaises with all directors to coordinate initial auditions all at basically the same time usually over two days for 4-6 hours on each day. This means that they can be publicised all together and hopefully ensures that more people audition for all the shows. Autumn term auditions normally take place in Fresher’s week while they will be in week one for spring and summer terms. Recalls should happen as soon after that as possible so that the casts can be decided and rehearsals can begin.

Currently, the committee publicity officer is responsible for making up flyers and posters for all the auditions jointly. They will also send e-mails out to the English, Drama and Media departments, the SUDS mailing list and the badger listings. In order to do this they will need a short synopsis/ description of the play and a tag line. This must be submitted to them as soon as possible and at least a week before the start of term. The social secretary will be responsible for making a facebook group for all auditions and inviting suds. They will need to be friends with you on facebook (assuming you use it) so they can make you an admin and you can invite all of your friends/ message out from the group.

The committee will help distribute some flyers but it is imperative that you do flyering and postering too. You are the person best placed to persuade people to audition for you. You are also the person with the most vested interests in a good auditions turn out. You must not leave the responsibility of auditions publicity up to the committee.

Mention your auditions in your seminars and flyer all your lectures. You can contact your own or other departments about getting e-mails sent out on other lists too.

*If you are directing in the autumn term it is essential that you attend the fresher’s fair in fresher’s week to encourage people to audition for your play, talk to people at the SUDS stall and hand out flyers. If you are directing the Fresher’s play this is absolutely mandatory. SUDS has a mass meeting of all interested parties, possible new members and old members alike on the afternoon of the Fresher’s fair to introduce the society and the term’s plays. All directors must be present at this meeting and be prepared to stand up and talk about the play they are directing. This is an important opportunity to sell your show to a completely fresh-faced audience.

Practicalities

Auditions are normally coordinated from Falmer House Common Room. You will need to find somebody (preferably a few people who do shifts) to manage your audition table. On the table you need:-

- A sign up sheet with at least 4 columns: Name, E-mail address, Phone Number and whether or not they would be interested in back stage work plus any other information you think is relevant.

- A sign saying what the show is and what time you auditions run to.

- Copies of your audition pieces, 15 of each should suffice.

- Pens.

The person manning your desk will need to be briefed with some key information about your show:-

- A brief synopsis/ description.

- When it is being performed

- Any relevant information on the characters auditionees will be reading for in the audition. While you will not want to be too prescriptive, it reassures people to have some information to go on.

- If you have various audition piece options you will need to brief you desk manager on what they should give to whom, whether the auditionee should prepare more than one, choose one but be prepared to read an alternative if you want them to etc. It would be sensible to write all this down for your desk minder.

As mentioned above, auditioning is a scary process even for old hands in the society but especially for newcomers. It is therefore very important that you and your team are as friendly, open and helpful as possible. It is imperative that the people manning the desks are welcoming and professional at all times, giving the larger part of their attention to the people who have come to audition rather than chatting to each other. They also need to be on the ball so that they know who is currently auditioning, when they have come back and whose turn it is next. You want to encourage as many people to audition for you as possible. An important part of this is a welcoming environment on the day as many people audition on impulse and will show up without having decided exactly what they are going for. From day one you need to be selling your show in order for it to be a success. This starts in the proposal meeting and continues through the audition process to the performance.

Recalls

Try to recall a sensible amount of people for the cast you need. You have to be decisive in your initial round. Don’t just re-call people for the sake of it. At the same time give yourself options where possible. You are aiming to finish you re-calls with a list of preferences for all characters.

Your re-call auditions will probably be a bit longer and more rigorous than your first round. Some directors like to do workshops as part of their re-calls so they can see as much variation from their auditionees as possible. Re-calls are often (although not necessarily) done in groups as you will have a smaller amount of people. You need to make sure that you have seen all you need to by the end of the recalls.

Casting

In the interests of fairness SUDS casts are decided at a casting meeting which will be scheduled by the president. This will take place as soon as possible after the last re-calls. All directors must be present (producers optional). This meeting will be chaired by the president or, if they are also directing, the next available committee member or neutral party. Every term directors have at least some overlaps in their ideal casts. As it is completely impractical and counterproductive to have one actor in two plays, YOU MUST BE PREPARED TO COMPROMISE ON YOUR IDEAL CAST. It is imperative that you draw up  a list with first, second, third and even fourth preferences for each role to be cast. The chair of this meeting will try to be as fair as possible and to make sure that both fairness and the best interests of the individual shows are kept in balance. Where a clash is irresolvable by all other considerations the actor in question will be called by the chair and given the option to choose the show they are in. This decision is then final. THIS IS WHY IT IS IN YOUR INTERESTS TO ENSURE THAT AS MANY PEOPLE AUDITION FOR YOUR SHOW AS POSSIBLE. THE MORE PEOPLE WHO AUDITION, THE MORE YOU HAVE TO CHOOSE FROM, THE MORE LIKELY YOU ARE TO GET THE ACTORS YOU WANT.

Please contact all of your re-calls to tell them if they have a part or not. We normally operate the initial auditions on a no-news-is-bad-news policy as there are too many people to contact individually. You must be clear about this from the start though, don’t tell people they will be contacted if you are not going to do it. It is, however, important to contact your unsuccessful recalls, usually by text. Also, it is always nice to let the people you were close to casting or thought were really good but just not right for the part know that this was the case. This is especially important if they are freshers or first timers to SUDS and have not been in anything before. They will be much more encouraged to come back to the society if they have received an e-mail saying that they were good! Tell them about up and coming SUDS fundraisers that they could be involved with.

You must give the props and costumes manager/ backstage coordinator a list of the people who said they would be interested in doing tech on your sign up sheets. Makes sure you keep this list.

Crewing your show

This is when you recruit the people who will run/ manage the tech for your show and, ideally, should take place as soon after casting your show as possible. The Props, Costume and Backstage Coordinator will send you a list of people interested in backstage work and which areas they are interested in. This list should include the details of anyone who signed up in you initial auditions. This list should also include how much experience they have, although it won’t be a detriment to your show to have people who are inexperienced, and we encourage you to choose enthusiasm over experience. The list may seem long but it is worthwhile to email out to everyone on the list as you would be surprised how few will respond. You may think your show will not need a huge crew but most productions require at least a few of these roles:

• A Stage Manager – if you have a lot of complicated scene changes it might help to have someone there for the actual performances. Otherwise it helps to have someone whose specific job is coordinating your backstage work, finding props etc.
• A Lighting Technician – you may not necessarily find someone who is trained in lighting design, but this shouldn’t matter as the Technical Manager will be present at your tech rehearsal to set up the lighting rig. You will need someone, however, to man the lighting board during your shows. If you have a lot of complicated lighting states and changes you will need to find this member of your crew sooner rather than later and make them aware of when the changes happen in the script as well as giving them plenty of time to practice.
• A Sound Technician – again, this may not be someone who composes your sound effects, but it is useful to have someone separate to man the sound board as it is surprisingly difficult to man both sound and lighting at the same time.
• Costume – if you are going to require complicated costume for your play, then you will need someone in charge of finding it/adjusting it. I would advise, again, to leave plenty of time for this person to find you what you need, especially if you have a tight budget, as it is near impossible to find cheap clothes, of a particular style and a particular size. It may be useful if this person can sew.
• Props – although this could be the job of the stage manager, you may want someone separate to scout out your props.
• Makeup – depending on what you’re using in your show, you may want someone there who will do makeup on the nights of your performances.
• A Set Designer – another fairly self-explanatory role, but if you want a complicated set, this is someone you will need. It also helps to get the whole cast/crew/your friends there for big jobs such as painting flats etc. to make the job easier.

Around the same time as receiving the backstage list, the Props, Costume and Backstage Coordinator should also send you the SUDS props inventory. This should give you an idea of what we have, and what you will need to buy. This list can be made available before proposals as well. You can also ask the Backstage Coordinator to show you around the props cupboard at any point. You should, as with everything else, leave plenty of time for buying props and costumes.

The director’s key for the props cupboard is available to be picked up for the week of your show, from Jo Walters in the Activities Centre, Falmer House. There is information about props cupboard conduct below.

Conduct/ The Rules

While directing with SUDS there are certain rules and codes of conduct that you must abide by for the good of your show and the good of the society. The president has the constitutional right to cancel your show at any notice if they feel that these rules are being broken. These rules are in the interests of SUDS and the continuation of its ability to facilitate shows and operate within the union.

• All Cast, Directors and Producers must be fully paid up card-holding members of SUDS by the second week of the rehearsal process. This is a legal insurance requirement for the union as well as being only fair. SUDS membership costs £5 for a year and £10 for life. You can join at Falmer House Reception and collect your card to which you can add a photo yourself. SUDS membership offers you £1 off entry to all SUDS plays (fundraisers excluded), it also enables you to vote in elections and proposals.

• All shows must be health and safety approved before the first night. (See Health and Safety section).

• You must ask permission before you borrow anything for your play. Graham Pentecost the porter is extremely helpful and generous and will let you borrow anything he can as long as you ask him and return it as and when he says you need to. His office is on the ground floor of Falmer House opposite the reception desk. He is responsible for most of Falmer House so if you want anything (furniture/ seats etc) he is your first port of call.

-            Do not remove furniture from the common room without asking

-            Do not take any furniture from the advice centre

-            Do not remove equipment from the DC, staging included, without Drama Department permission and informing the president.

-            Put everything you borrow back each night exactly as you found it unless you have special permission to do otherwise.

• Respect the props cupboard. It is small and over-filled and we have to share it with the Union so it is imperative that it remains tidy. The props and costumes manager and the rest of the committee give up their spare time to sort it out and tidy it up, please make their jobs easier by putting all props back where you found them once you are finished with them.

-                    If storing a collection of props/ costumes up there, be sure to store it tidily and out of the way.

-                    Do not obstruct the door to the right as you walk in or the doors of the cupboards at the back on the right.

-                    The area at the front left is all union property. Do not put props in this area.

-                    Always inform the props and costumes manager of what you are using from the props cupboard.

-                    If you buy props/ costumes/ set and claim the money back, they are then the property of SUDS. You must inform the props and costumes manager of what they are and how much they are worth so they can be added to the inventory. You must return them to the SUDS props cupboard clean and ready to be re-used after your production.

Do not assume that your production is the most important thing going on in Falmer House. It will certainly feel like it is to you but others will not see it that way. You must be polite, respectful and considerate to all other users of the building ensuring that you leave practice rooms in a fit state with the lights turned off and masking tape removed and all cups and plates taken back down to the bar.

• The Hallowed Ground of the Debating Chamber. The recently re-fitted Debating Chamber was paid for and is regularly used by the University Drama Department and other USSU societies. SUDS has a cooperative relationship with the Drama Department and is allowed use their equipment on a number of provisos which, if broken, have very serious consequences for the society. SUDS has a signed agreement with the department that if these rules are breached it will result in the two subsequent shows being denied the use of the Debating Chamber. Therefore the following are completely essential:

1. After using the DC everything must be packed up and tidied away immaculately, regardless of what condition it was in when you got there. Staging must be stacked vertically by the doors on the right (as you go in).
2. All technical equipment must put away properly (see tech section) and LOCKED up in the right cupboards.
3. All staging/ seating used for performances must be constructed according to health and safety standards. (see health and safety)
4. The scaffolding tower must be chained to the wall at all times unless in use. Use of the scaffolding tower/ technical equipment must be supervised by a trained member of the committee/ Union staff.
5. Equipment must not be removed without permission.
6. All equipment moved must be put back as soon as possible.
7. You must ask permission from David Barnett (Head of Drama), D.J.Barnett@sussex.ac.uk, to have access to the technical equipment in the locked cupboards, or to store any set in the DC during the week of your performance. Or to do anything out of the ordinary in there e.g. hang set from the scaffold, use the scaffolding tower as set/ part of the performance etc. Any set you are storing must be tidied out of the performance spaced and stored in the most compact, unobtrusive way possible (usually by the door on the right as you go in) after every use.
8. It may sometimes be possible to leave your set up in the space on one of your performance nights but this is only if you are sure that nobody is in the room the next day. Check on the online room bookings system – www.ussu.info/roombookings. The grey sections indicate space initially allocated for Drama Department teaching and mean the space may be in use, you can check at Reception to make sure.
9. Your get out must be done by 9 o clock on the Monday following your last night (assuming it is a Wednesday- Friday run). At the end of your get out there should be no trace of your production in the Debating Chamber. It is advisable and usual to do this immediately after the performance on Friday night.

10.  The committee understands that get-outs are often hectic and it is difficult to put everything back in the props cupboard neatly at the time. You must return to the props cupboard as early as possible the following week – preferably Monday- to tidy all your props away properly/ return anything that was taken home to wash. The next weeks show and the union will need to use the cupboard so, as ever, please be considerate and responsible.

You must remember that your conduct while directing a play has a direct affect on the reputation of the society and the success of your own and other people’s projects. As a director you also have a duty to ensure that your cast are aware of and abide by the rules above as you will be ultimately held responsible for anything done in the name of your show. For example, you must ensure they are members or SUDS and that they return their props and costumes.

If you have any doubt as to what you are allowed to do, ask the president. Do not just assume that it will probably be OK.

Rehearsals

Practicalities

It is normal to do between 12 and 16 hours rehearsal per week in the run up to your show, this amount of time increasing in the week of and the week immediately preceding the show. Most people choose to do this in the evenings in 4 hours sessions 3-4 times per week as the evenings are when most people are free.

There is however, much to be said for day time rehearsals, if it is possible to coordinate them with people’s timetables, as there is usually less competition for practice rooms during the day. It also minimises the large amount of time (and inevitably money) that you end up spending on campus while doing a play.

It can be possible to get in to certain practice rooms at the weekend (namely 228) but you will need permission from the Activities Centre and from Graham who can give clearance for the York House porters to come and unlock it for you. This should not be relied on however and it is better to do your rehearsals in the week. It is impossible to rehearse in the venues at weekends so make sure you book enough time in there in the week before your show.

There is no set structure to SUDS rehearsal patterns and directors are of course free to schedule rehearsals as they see fit. However, you must be clear with your cast what kind of commitment you expect from them from the start. You must draw up a rehearsal time table as early in the process as possible so you cast know when they are needed. You must consult your cast before finalising this so that they can let you know of any problems or concerns they have. You cannot afford to let your cast get away with missing rehearsals or not giving due notice if they have a problem attending a particular rehearsal. Be clear about this from the start, lead by example and be organised and professional yourself, this means you can be firm but fair about expectations.

Important Points to Consider

Essay deadlines are not an excuse to miss rehearsals, tell your cast to be aware of when their deadlines are and to prepare for them well in advance. Once your cast has accepted the commitment required to make the show the best it can be, they must fulfill that commitment. If they are not prepared to do that then they shouldn’t be in a play and you need to know it about them before you start rehearsing (preferably before they even audition) so that you can get in another actor.

Establishing and maintaining a good group dynamic during the rehearsal process is key to things running as smoothly as possible. In your conduct and approach you are recommended to do all you can to make sure your cast respect your authority as director and also feel encouraged and supported in their role. Remember:-

- They auditioned for you! They committed themselves to your play. They are getting an opportunity to do something challenging, stimulating and really fun. Therefore you have every right to ask them for their very best. Don’t feel guilty about asking them to turn up to rehearsal, learn their lines on time or shut up and take things seriously.

- Nobody responds well to having their time wasted. You have to be organised. Of course there will be times when some of your cast are waiting around with nothing to do, but if you make sure that this is kept to a minimum and also that you are making the best possible use of everyone’s time, you will find your cast are prepared to give a lot more of themselves than if they are at a loose end. Give them things to do while they wait like run their lines or put up posters or give them a proper break.

- Try to strike a balance between hard work and fun, taking authority and being reasonable. Listen to the needs and mood of your cast and remember to give regular, well structured breaks. Nobody works well on an empty stomach but again, breaks must be time-managed properly.

- Don’t tolerate lateness, it will only get worse and will eventually have a detrimental effect on your rehearsals and show.

- Plan your rehearsals, especially the first few. If you are a first time director this will probably help you feel less nervous and make you feel more in control. It is essential that your cast have confidence in you as a director and at least 90% of this is in looking like you are confident in yourself! Time management, planning and authority are integral parts of this.

- Motivation and concentration are the keys to productive rehearsals. As director you need to take responsibility for this. This will definitely involve pretending to feel more motivated than you actually do sometimes. If you don’t nobody else will.

- The committee and the other directors can and will help you! Directing techniques, exercises, warm ups and the like are things that can and should be passed on and shared. You may want to help your cast find their physicality more or use their voices more effectively, you might need to get better concentration out of them or just learn some good warm up games or simply want somebody else’s input. There are many people in the society who will be able to offer help advice and expertise on many of these fronts. There can be tendency towards insularity within companies but this does not have to be the case at all. People usually love being asked for their advice so don’t be shy about seeking it. There are also a number of directing books in the library that you might find useful/ interesting.

All the above will help you create a rehearsal environment that is pleasant and productive. It is really important that you and your cast enjoy your process, that is why you are doing it after all.

The Budget

You must submit a finalised budget to the treasurer of the society via e-mail about four weeks before your production date. The treasurer will e-mail you about this. The categories they will ask you to break your budget down in to will be:-

-Venue

-Publicity

-Props

-Set

-Costume

-Other

-Capacity*

There is no set figure available for SUDS shows. A budget is, in its most basic sense, the amount of money you need to spend weighed up against the amount of money you are likely to make. SUDS shows are fundraisers for the society and so we want them to make as much money as possible. However, the purpose of the production is not solely profit; we do understand the idea of artistic value too!

The budgets are worked out by the SUDS treasurer by adding up all these costs against your projected ticket takings. Your projected ticket takings are 2/3 of your capacity paying the cheapest ticket price. Standard SUDS ticket prices are £5 non-members £4 members and £1 less on the first night. YOU MUST WORK OUT EXACTLY WHAT YOUR CAPACITY IS by actually laying out the chairs/ seating blocks wherever they are going to be for your performance and counting how many spaces there are. This is not just how many chairs you can fit in the space, people have to be able to see as well! It is very easy to over-estimate your capacity and this can result in completely unrealistic budgeting. This should be something you do at the first available opportunity.

Your budget must be flexible. If your projected ticket taking are less than your costs we will ask you to cut back on your costs. This is why it is imperative that the budget is worked out in good time. Responsible budgeting means that you cannot become attached to particular elements of your creative vision if you cannot find a way to afford them. Any problems must be realised in enough time for plans to be adapted and changed.

The budgets are not passed by SUDS; they have to be put to the Union’s Activities Committee which is made up of reps from different clubs and societies and full-time USSU Sabbatical Officers. Bear in mind that these people do not necessarily have any interest in theatre. As they will be granting you (and therefore SUDS) a loan, they want to see that the production is not going to lose money.

Spending Money

Until you budget is passed by the union you should not officially spend any money on your production as you have no guarantee you will get it back. The money works on a claim back system. Once your budget has been passed, anything you buy for under £50 can be claimed back with full receipts from Jo Walters in the Activities Centre You must keep fully itemised receipts for everything you buy. Card receipts alone will not be accepted. Any number of individual receipts may be submitted in this way as long as no single payment exceeds £50. That said, you should not spend £200 in one shop and just pay for everything individually. This will be noticed! If you are spending a lot of money in one shop this should go through the purchase order process described below. If you cannot afford to pay for things up front please let Jo know as she will be able to arrange another payment method for you.

Any single payment over £50 (this often includes performance rights) must be applied for using a purchase order. The union will need an invoice from the company/ shop/ person to be paid. They will then be able to pay that amount directly from your budget without you laying out any money. You will need to provide Jo with details of what you’re buying, from who, where from and how much it is. You should check whether or not this figure includes VAT It should be noted that cheques are currently only processed by the Union once a week so organise your payments in good time, emergency payments can be arranged but are entirely dependant on the good will and availability of the Finance Office team

If you know you have a large payment which needs to be arranged in relation to your production and which may take some time, such as performance rights, then let the president know so that every effort can be made to get your budget passed early. By the same token if, for some reason, you need to purchase something of significant cost a long time before your production you must inform the president and they will either submit your budget early or talk to the finance office and make arrangements. Don’t just leave it and hope it will be ok.

Publicity

Publicising your show effectively is absolutely essential. You want the most amount of people possible to come and appreciate your hard work and you also want to make as much money as possible. The SUDS publicity officer will send e-mails out to the drama, English and media departments as well as the SUDS mailing list and SUDS facebook group, the badger listings and the Sussex homepage for you. In addition to this you must…

• Poster for your show. At least 100 posters placed in key areas around the Union and University buildings the first of which should go up 2 weeks before your first night in the most obvious places (Falmer Common Room, Falmer Bar etc.) You posters must be attractive, eye catching and clearly display the following information:-

- Name of Show

- Dates and Times (Doors 15 mins before start time)

- Venue and location

- A descriptive tag line that gives an idea of what kind of show it is.

- The SUDS logo (available on the website or from publicity officer)

- The USSU logo (as above)

- The words ‘This event is a Fundraiser for Sussex University Drama Society’ this is extremely important as without it the show will not be VAT exempt and the profits will be considerably smaller. This must appear on all of your publicity.

-‘Tickets available from Falmer Reception from’…whatever date they will be available from – see later bullet point.

Posters to go up around campus will need to be stamped by Jo in the Activities Centre, you can bring 11 copies for her to stamp and she will give you a list of locations they can go up in. You must also leave a copy of your poster with Rachel at Reception

The visibility of your show should increase in the two weeks that run up to your show until you eventually have so many up that nobody who set foot in Falmer House could miss it! You will be competing against other events being publicised in the same way so you must make sure you posters stand out. Put them up in blocks of three next to each other for impact (within reason!). Remember the backs of toilet doors. You may also need to go back to places to check your posters have not been taken down/ postered over and replace them.

Many people use vivid designs in the North Lanes for printing as they are reliable and quite reasonable. You are encouraged to research the best deal for your posters though. People have saved money by choosing not to use colour, photocopying their publicity themselves or searching out bargains from other sources.

Please take down your posters once your play is over and recycle them.

• Create a facebook event for your show in good time (about three weeks before your first night). Invite all your own contacts, get the cast to invite all theirs and very importantly, invite the publicity officer and make them an admin so they can invite the SUDS facebook list. Message out from this group regularly to remind people to come. You can also use this group to provide information about when tickets are available, how many are left and any changes that have been made.

• Write a preview article for the Badger and submit it in time for the printing deadline. This should normally be about 300 words which describe and sell your show. Have a look at the Badger online entertainments section for examples of previous SUDS previews. The publicity officer should e-mail you about this.

• Raise the profile of your show by word of mouth. Make announcements in your seminars, get your cast, producer and crew to do the same. People are much more likely to come and see something if somebody has mentioned it to them in person. Be enthusiastic and positive about it. Get your cast to do the same.

• Print the correct amount of tickets for each night (according to the capacity you have worked out) and make them available for sale at Falmer House reception at least a week before your first night by giving them to the receptionist. The tickets must have the following information:-

-Name of Show

-Performance date and day (preferably tickets will be a different colour for each night- this makes life easier for reception and door staff.)

-SUDS logo and ‘fundraiser for Sussex University Drama Society’ again.

-USSU logo

-Price of ticket: £3/4 on weds, £4/5 on thurs and fri.

You must collect your remaining tickets from reception on each day of your performance and give them to whoever is on the door. Reception closes at 4pm (and 1.30pm on Thursdays), don’t miss it but don’t get them before or people may try to buy tickets and be unable to.

To better promote your show you could consider also…

-                    Flyering in Library Square/ Residences/ Lectures

-                    Performing taster sections at relevant events such as ‘I Can’t Believe it’s not Published’ for original writing.

-                    Performing in Library Square.

-                    Targeting specific groups who might be interested in your play in particular. For example is it a play that is being taught on any courses? You could consider offering special promotional deals to those students.

The Lucky Director’s Guide to Health and Safety!

Obviously, you don’t want anyone to get physically damaged by your production, but remember that as the director, you are responsible for the play, and therefore ensuring that no harm comes to yourself, your cast, your crew or your audience, which could have been avoided…

1) In the directors meeting you will meet the current health and safety officer, and get their contact details. Keep this person in touch throughout the rehearsal process, as letting them know last minute about any risks just causes stress, which you don’t need!

Important things to inform your health and safety officer about early:

- Use of fire of any sort: matches, candles, etc. They will need to supply you with sand buckets to have in the wings, to ensure that everything is properly extinguished.

- Any smoking on stage: to have smoking in your play, you must have the permission of whoever is in charge of that building, (David Barnett, in the case of the DC.)

- Anything unusual in the staging of the play which could present a risk… From fish bowls beside electrics, to smoking over petrol tanks, it can be sorted, as long as the Activities Centre know about it soon enough, and have time to go through it all with you.

- The date of your Get In, so that they can arrange to come and check that everything is in order before the show.

2) Once casting is complete, it is a good idea to enquire as to whether your cast have any health issues that you should know about – no need to have people filling in questionnaires, just make sure that you are aware of anything, so that you don’t get any nasty surprises!

3) In the event of an accident during a rehearsal, there is always one member of staff in Falmer bar who is First Aid trained.

4) The dreaded Health and Safety forms! These are not as scary and/or bureaurcratic as you think. You have a duty of care towards your cast, crew and audience and these forms show how you will ensure it is sufficiently demonstrated. If there is an incident during your play they show that you did everything you could to control the risks involved in your production. They protect, you, SUDS and USSU so please take it seriously.

Please be as honest as possible about everything, rather than to skip things out if you are worried about them not allowing it. USSU’s philosophy is that ‘the show must go on,’ however dangerous it is, and they will be happy to dedicate time to find all sorts of ingenious ways to overcome anything that initially doesn’t seem quite safe!

a) The Synopsis and Contacts form: Just a brief, ‘blow-by-blow’ account of the staging is required. Be sure to mention any use of flames, knives, stage combat, gymnastics, lifting performers or any heavy set, or anything else unusual that you may have up your sleeves!

b) Three Risk Assessment forms:

A risk assessment is simply that, a look at the things that could be hazardous and a record of how you will control/reduce those risks. A risk assessment will help you in the preparation of your show as it will remind you of things like ensuring there is enough space for your cast to access your stage and that they won’t spoil your play by tripping over stuff.

SUDS have generic risk assessments that cover get-in, performance and get-out which will be supplied by the Health & Safety Officer. You must read these carefully and ensure that you comply with them by doing the things it says, e.g. ensuring a wide enough gangway for the audience. If you are doing anything else that isn’t covered by them, e.g. unusual props/scenery/action, you must produce a supplementary risk assessment. You can download a blank risk assessment form and more guidance from www.ussu.info/riskassessment

c) The Health and Safety in the DC form (created at the request of David Barnett!!) Please print off this sheet, and have it handy during your get in. It is a set of instructions and safety checks to help you use the equipment in the DC properly. Do make sure you remember to use it – your health and safety officer will be looking out for ticked boxes during your get in!

Technical Information

A really good production considers every single aspect of the show thoughtfully and innovatively, not just the acting. Think about what sound you want and how to achieve it. You could get somebody to write you an original score or compose bits of music, you could have live music incorporated in to the show. Universities are full of talented interesting people its just up to you to find them and get them involved. So many amazing things are possible and most directors just don’t take them into account or if they do it’s not with enough time or energy to realise them. Good sound effects can be found on a multitude of free downloading sights on the internet or you could record your own. Similarly lighting is often taken for granted by directors. The committee technical manager is there to help you realise your technical ambitions and they can best do that if you are able to describe to them what you want in terms of mood and affect. So you need to have thought about that rather than saying ‘err I need some lighting… help…’! There now follows a breakdown of the technical capabilities available.

There are a number of spaces that you can use to stage your play.  The Debating Chamber, the Cube, InQBate, the Meeting House, Room 126.  The Debating Chamber is by far the best, as it is very versatile, has a 24 light rig, plus the use of staging for audience or actors.  The Debating Chamber is shared with the Drama Department and USSU, they own all the technical equipment in there, and, as detailed in the ‘rules section above, there are strict rules for its use.

The Debating Chamber

• The rig generally has between 15 and 24 lights on it.  There is the opportunity to patch in more lights, should you require them.
• The lights are operated by the Drama dept.’s lighting desk, which is a Zero88 Jester.  An operations manual can be easily found on the internet.  SUDS has a smaller version of the same desk, so if you or your technicians want to get a feel for lighting operations before you do the tech, there is the opportunity to do so.
• The lighting desk can be plugged into the rig at three points around the space.  They are the Downstage Right, Upstage Left and Upstage Right corners.  The desk is connected with a DMX cable and it will be in the cupboard with the desk.  There’s a port for the cable on the truss in each of these corners.
• All around the truss (silver coloured scaffolding frame), there are 15amp sockets with numbers on them, between 1 and 45.  These correspond to the plugs that are in the tech area, to your left as you enter the DC.  These can be plugged into the wall-mounted dimmer packs.  On the lighting desk, the channels correspond to the numbers on the dimmer packs: 1-24.  Lights can be paired, and put into lots of different combinations.  You will need to inform the technical manager if you intend to move any of these things around.
• There is a teaching rig permanently set up in the DC.  This provides a general cover of the space, so that with all the lights on, everything is lit.  If you don’t have many technical requirements, the focusing of the lights shouldn’t take too long.
• Before your technical rehearsal, you will need to speak to the SUDS technical manager about what you intend to do with the space, in regard to lighting.  There are three types of lights on the rig: profiles, which are spotlights; fresnels, a type of spotlight, but with a soft beam (these are good for providing general cover of the stage); PAR cans, which are large, unfocusable lights and are useful for lighting large spaces.  These can be arranged in any way you see fit, but you must inform the technical manager of your intentions before you do so.  This is because the technical manager has to contact the space technician (Geoff Hense) and let him know of any changes to the rig in advance so that it can be put back to how it was.
• If you need to focus lights or move them around, there are a few important factors to consider.  Very few people in the society are trained to use the scaffolding tower, which is the only way of reaching the rig.  The technical manager should be trained in its use and should also be present at your technical rehearsal.  If you are not trained to use the tower, please DO NOT use it, as the drama dept. will go basilistic when they find out and you risk your own safety.
• The sound is operated by a Denon sound desk, with built in amplifier. It is encased in a flight case, the top and front of which come off.  It uses a big grey cable to plug into the speaker ports, situated on the standing truss Downstage Right and Upstage Right.  There are two CD players built into the desk, and iPods or laptops can be connected to the desk.  There should be a phono/mini-jack cable attached to the desk, but it’s worth having one with you just in case.  Make sure the amp is switched on, as sometimes people forget and can’t work out why there is no sound coming out.
• There is a projector in the DC.  It should be wired for sound by the time you are directing, but if not, your laptop can also be connected to the sound desk, as well as the projector.  If using Windows, the projector should sync up automatically, but if not, use Windows Mobility Centre (in Control Panel).  Some versions of Windows don’t work with the projector, so check first.  The screen is on the Upstage wall in the centre.  The screen can be lowered or raised by a control next to it.  The screen is covered by the curtains. Careful when moving the scaffolding tower, because the projector is quite low and can easily be knocked.
• There are blinds on the windows which are operated by controls to the side of them.  Careful not to obstruct them or they’ll break.
• The platforms are easily put together, using the fold-out bases and grey tops.  They should slot on easily.  If not, DO NOT force them into position, as this can damage the platforms.  Check that the corners aren’t locked before you put it on and that the top is positioned correctly.  The tops are locked into position with an allen key.  The allen keys must be kept safe.  They are in a box with joiners for the platform legs, if two platforms must be joined together of a different height.
• The lighting desk, sound desk and allen keys are kept in the cupboards to the left as you enter the DC.  There is also a laptop in the cupboard, but this must not be used.  All equipment must go back into the cupboard at the end of performances/rehearsals, in a neat fashion.  All cables must be coiled correctly and neatly.  The keys to the cupboards and the scaffolding tower padlock can be obtained from the DAY porter (that means you have to get it before the day porter leaves at 4pm).  They are on a lanyard and it is essential that you don’t lose them.  They are your responsibility (or your producer’s) and so you must take care of them.  Before you get the keys from the porter, ensure that you have emailed David Barnett (details on Sussex Direct) to request permission to use the equipment in the DC.
• If you misuse any of the equipment, or don’t lock up the equipment properly, the drama dept. will ban SUDS from using the DC for the next two shows.
• When you think about lighting and sound for your show, feel free to be adventurous.  The technical manager’s role is to help you make it possible.  If it won’t work, you’ll know in advance.  The technical manager’s details are easily available on the SUDS website, so email them with questions.  Your technicians can probably receive some basic training in the use of the equipment, so do what you want to make it exciting.

The Cube

• The Cube isn’t an easy space to put on a play but it can be done.  If given the choice between the DC and The Cube, the DC is by far the best option because with the staging, it is a transformable space and a neutral space.
• The Cube has a sound system with control from a tech desk.  It is more complex than the DC’s, but still useable.  For lighting, you will need to use the SUDS lighting desk (the Cube has a dimmer that you will need to borrow, unless you have a substantial amount of budget left over and fancy buying one.  Or you can ask the drama dept. technician very, very nicely) and cables from the props cupboard.
• There are some scaffolding poles on the ceiling to hang lights from, but the ceiling is so low that this makes it very hard to light anything.  Far more useful are the lighting stands that SUDS keeps in the props cupboard.  These are T-bar stands.  The lights are hung from the cross bar and can be raised to a fairly tall height.
• Acoustics are very bad in the Cube and so are audience sight-lines.  Bear this in mind when directing something in there.  You must not assume that you will be able to use the platforms from the DC to create raked seating as David Barnett may well not be amenable to your request and they may be required in the DC at the same time, so think carefully about how you will allow everyone to see.  It is possible to hire steel-deck platforms, but this can be expensive.
• On the walls of the Cube there’s some decorations that look terrible during a performance, so make sure you cover them there is some blacking available in the props cupboard or you could budget in buying some from a fabric shop.
• Get-ins and get-outs will be at the discretion of Tarek, the manager of the Cube and whether there’s any events booked in there the week of your performances.  You’ll have to speak to him anyway when organising its hire, so check these details with him too.
• Do not leave anything that belongs to SUDS in the Cube, unless you have express permission and can ensure that everything will be safe and returned ASAP.  Also bear in mind that often on a Friday, the Union offices (and access to the props cupboard) are locked up fairly early (around 10ish) so make sure that you schedule your performance in order to finish with sufficient time for a get-out.

Other Venues (The Meeting House, Room 126)

• In much the same way as the Cube, SUDS will have to provide the lighting.  This will require the lighting stands and a dimmer pack.  Ask the technical manager about getting hold of these.
• The Meeting House has a PA system but other spaces might not.  SUDS has a portable PA speaker that can be used with an iPod.  You will need your own mini-jack/jack lead for this.  Enquire with whoever runs the space what they have or haven’t got in terms of tech.
• If using these spaces, be aware that you might have to do a get-in and get-out every night, in not much time, so overly complex tech might be a bad idea.

InQBate

• They have their own technicians who will instruct you on how to use the space.

The Performance/ Get Out

Front of House

So you have done all the hard work, your shows are sold out, the actors are fully prepared, its all ready to go. All you need now is to get your audience in and back out again. However, this must also be planned and there are a number of things you must consider…

©     The desk. One member of the SUDS committee will sit on your desk every night. They will be responsible supplying the SUDS cashbox, float and looking after the money during and after the show. You must supply a second person to sit on the desk with them. This person probably shouldn’t be you as you will want to be with you with your cast/ rushing around like a maniac until the last minute. This second person will help with tallying up the audience/ tearing tickets etc.

©     The tickets. You must pick up the remainder of your tickets from reception at 4pm (1.30pm on Thursdays) and give them to the person doing the door so they know how many more they have to sell. It is essential that you know how many more places, if any, are available for your performance before the door times. You can check with reception how many tickets have sold for each night. Keep people updated on ticket availability via facebook and e-mail.

©     Reserves. Please be clear if you have reserved tickets who they are reserved for (names on the back) if they are paid for or not and if specific seats have been reserved with them. All of this information needs to be communicated as soon as the people doing the door arrive. This should be half an hour before door time.

©     Programmes. Are you having them? If so SUDS would appreciate it if you could include a ‘watch out for..’ section somewhere in there detailing what plays/ fundraisers/ events are happening with SUDS for the rest of the term. Do they need to be handed out at the desk or will they be on people’s seats?

©     Are you having an interval? How long is your show? Front of house need to know this so they can tell the audience. Will you be admitting latecomers? Will people be able to leave if they need the loo during the performance etc? It is a good idea to send out a facebook message to all attendees with this information in the week of the show also.

The Performance

©     Before the show starts you need to make a couple of announcements to the audience. This has been done in a number of interesting ways, however you are doing it the audience needs to know:-

-                    Where the fire exit is

-                    To turn off their mobile phones

-                    What next week’s show is/ any other important SUDS promotions

-                    If there is an interval, how long it will be, and if they must leave during it (because you are re-setting etc.)

©     When doing your announcements don’t forget that you are talking to a whole range of people, not just SUDS members. Don’t assume everybody knows who you are/ everyone else in the show.

©     Think carefully about the atmosphere the audience comes in to. What music are you playing, if any? Are your characters on stage already? How do you signal the start and end? All of these things are very important to communicate to your audience the right messages about your show.

©     Don’t forget to coordinate your curtain call if you are having one. The way people come out and bow can take a surprising amount of thought.

The Get Out

©     You must be clear by checking with the person in charge of the venue (DC = David Barnett) and the tech manager/ president how much of your set etc has to be packed away on each night of your show. Normally in the DC you will need to store everything as neatly and compactly out of the performance area as possible leaving the wooden floor totally clear each night. This will only change if you are sure that it will not be in anybody’s way the following day.

©     Make sure that your cast and producer stay behind and help you do this after every night. If this is a particularly big job you may want to ask the people on the door/ friends from the audience to help too. Be clear about this before the show starts.

©     Security will want to lock the DC up at 10. You need to be done by then.

©     On the final night you will need to do a full get out, restoring all props, costume and set to the props cupboard/ taking them home.

©     Please return your props cupboard key promptly. The president will advise you who to return it to according to who’s key it is and who next requires it. Please ask them for this information and don’t just hang on to it until somebody phones you up needing it urgently. If in doubt return it to Jo Walters in the Activities office.

The End