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@lilys-asm-logbook
Unit 2 (core) – performing arts production workshop
Roles in a production team:
The director –
The director in the theatre oversees all production. His responsibilities are to direct the show, interpret the script, oversee and run all rehearsals, plot the show, and block the show. They need to have a relationship and understand all roles in the theatre in depth so they can lead all departments to make sure every element of the show is all in the same theme.
The stage manager –
The stage manager runs the show during production and is responsible for all the other stage management roles. They can be asked to do a multitude of roles, such as cueing different elements. They also manage the budget and schedule. They communicate with all departments to make sure everything is running on schedule and the show is out and ready on time.
The deputy stage manager –
The deputy stage manager cues the show and organise the props along with the asm team. Along with the stage manager they organise the other departments to make sure everything is running smoothly and efficiently and communicate any problems, advances, or queries with the director(s).
The assistant stage managers-
The asm is there to assist and take dictated jobs from the dsm and stage manager if needed. They are present and watch the rehearsals and make sure actors are present in the times needed. They also make and organise and source props with the rest of the stage management team. They can also have cues for some of the show and keep the corridor quiet during the show.
The set designer –
The set designer and their team design a set for the production following the directors theme and ideas. The set needs to be useful to the play and serve a purpose to the feeling in the theatre. They make a model which is then approved by the director. They direct the construction crew on how they want it built and they paint the set once its built. The set is made very early on as most other departments need it to plot.
Construction crew –
The construction crew build the set once it is designed and approved. The construction crew need to be efficient and accurate to the scale so the design team can paint the set and the get in can go forward.
The lighting crew –
The lighting crew lighting crew control the mood of each scene. They job is to make the lighting fit the play’s theme and make sure the attention of the audience is in the right place. The lighting crew need to communicate with the director clearly so the lighting plot can happen quickly and correctly so that any changes than need to happen have time to do so.
The sound crew –
The sound crew is in charge of all music and sound during the show. This sometimes includes a live band in which they have to communicate with the musical director to make sure the band have the correct cues and theme. The sound set up and run all mics during the show, this means micing up actors and the band (if present). Once the acted have a mic on the sound team does a shouch check with all the actors, and turn up and down mics during a show. If this is not done properly the focus of the play can be deterred and ruin the experience.
The costume team –
Costume has to design or source all costumes. This can mean making a costume from scratch, putting a costume together from the store/wardrobe, or renting a costume. Once they have designed a costume there is a meeting with the director to ensure the right feel of the play is portrayed and to ensure the importance of some characters. If the director approves the costumes are made and fitted. After the costumes are ready there is a costume parade where the actors where their costume and the director says if he/she wants anything changed. Once the show is out the costume department work backstage to fix any rips/changes on actors.
Prop Eel (Black with closed mouth) Material (muslin) tube thinner at both ends Layer latex Half way through latex make the upper and lower fins Finish shape latex (Cut out) mould the eyes, nose, and mouth indent Paint plain black with dark grey/green underneath the fish Whilst it dries make facial fins Do thin layer of latex (or pva glue) as top coat Stick on facial fins
Stalingrad - rehearsals.
Stalingrad was the t.i.e piece for the first year acting company at the miskin. As an ASM my duties were to be there as assistance for the DSM, the SM and the directors. At the start of the rehearsals my main responsibilities were to sit in rehearsals and maintain and work the sound board and Projector. This includes making sure they don't blow the speakers during warm up, that they respect the place they're working in and move and work the projector correctly. As rehearsals progressed my main roles included communicating with the directors, DSM, and SM to resolve any prop and general queries. We started by making a list of props from the recording of the last show, 11 years ago. This list ended up being completely accurate and aided us in most of the props. All of the other props were decided as rehearsals progressed.
Giggidy gig
Giggidy gig was a music show in the second term in which the first and second year musicians put on a show of original and covers of songs. This was a standing gig.
To set up I fixed the red velvet curtain which had fallen down from where it was hung and safety pin it to the other curtain so it covered up the gap in between curtains and the wiring of the speaker.
During the show there was not any mishaps and so it was easy sailing throughout.
After the show we swept the floor, and cleaned up all the drinks containers. the next day we mopped the floor and brought in the chairs and tables for the sitting gig the next night.
Transporter
Transporter was a music show in the first term which transported you though time by performing music from different decades in the 20th century. As an ASM we had to set up the union for the show, supervise the show, and pack/clean up the union after the show.
Setting up involved changing the main stage and adding a new acoustic stage. This involved angling the seating and moving the deck so that the audience could turn and see all the stages and performers at ease. Then before the gig we put out tea lights in the candle pots on each table to set an atmosphere for the audience and performers to work with.
During the show we had to be on hand to dissolve any mishaps that happened. The only that happened was a chair broke just before the interval so we had to get another chair for the audience member.
After the show swept the floor, clear away all the cups and bottles from the audience and blew out all the candles.
Job information
Where to look for jobs as an ASM
- stage jobs pro (Internet)
- art jobs (Internet)
- ideas tap (Internet
- guardian (Internet)
- music jobs (Internet)
- contacts
- recommendation
- the stage (newspaper)
- stage management association (newspaper)
- BECTU freelance (newspaper)
- ABTT (newspaper)
- equity (newspaper)
- PMA (newspaper)
Equity union
Salaries a week -
- rehearsal ASM - £363
- performance ASM - £410
- exceptional minimum - £323
- opera/ ballet ASM - £321
Theatre Types
Producing house -
- own company
- produce own shows
- example;
- miskin
- Birmingham rep
- Festivals
Receiving house -
- MISKIN has a receiving house often
- let's other in hire agreements
- example;
- orchard
- music venues
- Bromley Churchill theatre