Theatre Icebergs

I have been backstage in many theatres and have a fairly good idea on how they work. However it is plainly obvious to me that most architects have only ever sat in an audience and have no idea what goes on backstage, and some I doubt have done even that. So, here are the steps that most theatre companies would go through to put on a show. This is how Julie Bray and I ran a theatre company, others will be different, but the principles are the same, if not the principals!

First a committee will determine which play to perform, decisions are made on various levels. The play must fit in with the philosophy of the group. Ours was always about quality and less about popularity and we didn't want to put on Benny Hill type farces, door slammers and so on. We wanted to use our resources to present plays that challenged us and sometimes our audience. Plays must have the right mix of genders and ages, for example, there would be no point in starting work on Twelve Angry Men as men are in very short supply. We did a few plays in which we changed the gender on a part, simply because few men want to act. We would try to balance out the season with a comedy, a drama, a Murder Mystery and sometimes (if we were feeling brave) we'd do a musical. More on those later.

Then we would go in search of a director for each play and sound them out to see if they were willing to take on the work. Sometimes directors would come to us with ideas or pet projects and if we could, we would oblige and use that play instead. We would then determine the season, choosing the times and numbers of performances, usually eight or nine shows. As soon as we knew what plays we were doing (usually four per year) we would write to the rights holders and ask formal permission to perform - and send them a cheque of course!

We would then schedule rehearsal times and dates, sometimes choosing a special rehearsal location and then we'd advertise for a cast. Before auditions we would decide on the crew. The director would advise as to his/her requirements and anything extra. The principal decision is the Stage Manager (SM) and the director often has a view on who that should be. The lighting rigger/designer and operator (who was often Mansell Wellings) was chosen and the set builder and designer too.

At auditions each aspiring actor would come along and 'read' the desired part, sometimes alone and sometimes with others. Once the cast was decided they would get a script and be sent home to start learning. The director would be aided by a Production Manager whose job was to liaise between the Director and the management committee. PMs kept the show on budget and allocated what resources were available and start hunting for those that were not. The director and the PM would have meetings with the costume person, set designer and sometimes the program designer, so that everyone is on the same page and working toward the same theme.

The set designer would do a few drawings and once they are approved talk to the set builder to see if it can be done. Sometimes a scale model would be built and shown to everyone, cast included. The lighting director would look at the design and discuss any problems, the set builder would also talk to the director to finalise a few details, like the height of a platform (stage speak = rostrum) or which way doors open and what can and should not be seen through them when they do open.

At rehearsals the Stage Manager (SM) attends and makes notes as to what props are required where, by whom and when. Most SMs attend most rehearsals. The first stage of rehearsals is just reading through the lines, getting a feel of the show and what happens to whom. Then a little basic blocking is introduced. This is telling each actor where and when to move and what props to use. Costume designers would come in and fit each actor with their various costumes, some may change several times during a show.

The set builders will start on the set and actors will often be dragged in to help build and paint. Once the set is substantially complete the Lighting Director would start setting the lights on the various bars above both the audience and the stage. These are plugged in to the 'board' and a rough lighting plot is worked out. The director and SM would be shown the proposed plot and adjustments made.

Meanwhile the Sound Director (SD) would be searching for various effects (phones ringing, cars screeching etcetera) and putting them together on a CD in the required order. Sometimes music was especially written for us, which made a tremendous difference to the show. The program person (often me) would come up with an idea for the program and also design the poster. Short bios are collected from the actors and directors often want to write a little too.

Photographs are taken, advertising booked and the posters distributed. The mail out is then organised and final touches put to the set and costumes. The schedule for ticket sellers finalised and the person running the tea coffee and wine appointed (Front of House, FOH) By this stage rehearsals are at the Full Dress point, all props used and lights are gradually being worked out - lighting is harder than it looks, like most of this stuff!

Actors have had their lines memorised for a couple of weeks now and should only stumble a little. In the last week before opening night the tech run is performed. This is where the LD and the SD do all of their magic. Actors are asked to 'top and tail' which is them performing just bits of the show, where the lighting and sounds change. This is usually the beginning and end of each scene. At the final dress rehearsal a full performance is done without an audience but exactly as the audience would see it.

The stage manager then takes full control of the show from the second the final dress is finished. It is his/her job to reproduce the final dress every night and matinee. This control is absolute for as soon as the handover is made, the director needs the permission of the SD to even talk to any cast or crew member. And after all of this is done and a lot more I have omitted, then and only then can the audience see the show.

As I said... it is an iceberg!