Ideas, suggestions, and how-to information on all aspects of theatre, updated monthly

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February 2012

Lights On

Many theaters have hallways that lead from the dressing rooms or green room to the stage. During performance, the hall lights are turned off, often making the journey a hazardous one for actors in a hurry between costume changes. A simple way to light the path is the use of photoelectric night lights. These plug into any wall outlet and turn on automatically when the other lights are turned off. These lights also are useful in other places where ambient lighting is likely to dim during performance.

Hang It Up If you need something on which to hang lengths of cable, hose or rope, try an inexpensive wall-mount garden hose holder, like the metal and plastic ones shown at right.  As the photo illustrates, you can hang more than one thing on it, and some more elaborate models even include small shelves.  We found low-priced versions of this type of holder at garden supply stores and departments within box-box retailers.  [If you've got one handy, even an old car rim wheel mounted on a wall works--just be sure to clean it well first!]

Stand-Outs
When painting a set to represent a brick wall, make sure that some bricks are shown more clearly than others. To illustrate every brick equally makes for a overly busy or distracting wall unit. An overall impression is all that is really necessary.

Check It Out

If your theater uses rope for rigging, inspect it over its complete length on a regular basis. This is best done by unrigging it and inspecting, by hand or eye, its entire length. Replacing rope is expensive; replacing a life is impossible.

It's the Law

If you plan to design a new theater, note that laws may restrict your ability to borrow ideas from another theater or building. Architectural designs embodied in buildings qualify for protection under U.S. copyright law, which went into effect December 1, 1990, explicitly adding architectural works to the type of works protected by the Copyright Act. The little-known law explicitly entitles the owner of a copyright in original building plans--usually the architect or firm that designed the plans--to enjoin and recover damages from anyone who designs a building that is identical or substantially similar to a copyrighted design.  

Just Ask
Here's a way to find less expensive but high-quality papers for brochures, flyers and programs:. Ask your printers for swatchbooks of their house stocks. These are papers of equivalent quality to brand name papers, but far less expensive. You'll save ordering time as well.

Neatness Counts

To pour paint with less mess, clean a lid from a used-up gallon paint can.  Punch out a 1" x 2" hole about one inch from the edge of the lid, using a metal chisel. Use this lid on the can you're pouring from. When you're done, replace the original lid and clean the punched lid for the next time.

Proof Positive
When a proof of a brochure or flyer must be circulated to and approved by several people, don't circulate the same copy to each person in turn. This may result in people trying to "outdo" each other by finding "mistakes" and making suggestions. Instead, give each person their own copy and tell them you will coordinate their comments. You'll get fewer unnecessary changes. It's faster, too.

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January 2012

 
Shady Costumes

Costumes may be shaded or highlighted in order to give the garments more dimension and increase their sculpted effect--just as makeup is used for the same purpose on the actor's face. Shading may be done lightly and realistically so that the garments look completely natural, or with strong contrasts for a more stylized look. Some costumers use spray leather dyes, usually in brown or gray. Others use liquid fabric dyes in a spray bottle or atomizer. In small areas, you can use a brush or sponge, blending carefully for a subtle effect. 

Cold Fact

To get the sharpest possible point on an eyebrow or makeup pencil, put in in your kitchen freezer for about 10 minutes, then sharpen with a single-edged razor blade or small knife before putting it back into your makeup kit.

Information, Please

When holding auditions, it's a good idea to post information about the production at the entrance to the building or room where the auditions are scheduled. Try to anticipate what actors would want to know about your show, including the rehearsal schedule, performance schedule, what parts are being auditioned, and what pages of the script will auditioners be asked to read. Posting this information will save having to repeat it verbally throughout the audition period.  Better yet, have copies of this information in a handout at auditions, and posted on your company's website.

Walk the Walk

To capture the appropriate walk and posture of the character you are portraying, wear character shoes in rehearsal and make use of all costume accessories. They are part of the action and help define your character.

No Reflection on Your Show

You can tone down reflections from an onstage mirror by applying a light coat of Vaseline to the glass; the coating is almost invisible. (A thin layer of soap also cuts glare, but is obvious if the glass is in full view of the audience.)

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December 2011

 
Talent Scouting

If you attend a performance by another theater company and are impressed with an actor's performance or a designer's work, make a point of getting that person's name and contact information. Then write them a note--preferably on your company letterhead--praising their work. The contact may help in getting that person to work with your company in the future.

Dear Diary...
A rehearsal log is an excellent way to keep track of many things, including the answer the question, "How did we ever get ourselves into this predicament, anyway?" In a loose-leaf notebook--perhaps the one in which you keep the working script--dedicate a sheet of note paper for each rehearsal.  Or, if you use a laptop computer or tablet, start a running commentary. You might include such information as cast members who are late or absent, cast changes, scenes that were blocked or run and the number of times the scenes were run, delays and causes, any failure to run a scheduled scene and any out-of-the-ordinary event such as an accident, mechanical problem, argument, etc. You can also use the log to keep track of miscellaneous items for follow-up, such as a
needed prop or change in costume. A log also comes in handy when doing a post mortem on the production; it's easy to forget all the bits and pieces that go into making a show.

Lighting Up
If you are designing lights for a production, drop by rehearsals from time to time rather than sitting through one entire rehearsal. A series of short random visits will gradually build up a feeling for the whole production as rehearsals progress, rather than remembering the play frozen at the moment of one long visit. You'll also find that frequent visits inspire confidence in the director and actors--and forgiveness if things don't go smoothly in technical rehearsal.

Go For It
When an actor upstages you in an audition reading, use it. Register your awareness--with humor--of the situation. Then be willing to compete. If the actor invents some bit of business or an imaginary prop, acknowledge it and work with it. Otherwise, all attention will be diverted from your performance.

In the Spotlight
Choose one member of your company to be media spokesperson, and refer any questions from electronic or print media to that person. That way you can be certain that you will have a consistent profile and that facts are given accurately. Obviously, your spokesperson should be chosen with care. You will need someone who knows the company well, understands the dynamics of your
membership, and is accessible.

Special Attention
Sometimes it's best to rehearse an actor separately when introducing complicated bits of business. Working out such details in public can cause feelings of inadequacy and undermine confidence. It can also hold up rehearsal.

Help When You Need It
Maintain a contact file (on cards or your computer) with names, addresses and phone numbers of people who may be helpful in your theater work. The names might include actors, directors, designers, technicians, costume builders, equipment suppliers and prop sources. For example, each time you hear that someone has a particular item that might be useful as a prop at some point, put it in your file. A file of potential actors is another possibility; every time you see a play locally and are impressed with a particular actor, get his or her name, address and phone and enter them into your file, along with comments on why you were impressed. You'll find this extremely useful when trying to cast a show.

Shifty Work
Make sure that all volunteer stage hands know that they are not to shift sets without prior briefing. Often, sets are complex and potentially fragile. In other cases, rigging or drapes may be torn by someone who doesn't understand the steps that must be taken before shifting.

Made to Break
When making breakaway furniture use just enough white glue to hold the joints together. Use butt joints only, no nails or screws. If you want a specific joint to break on a chair for example, build the prop out of balsa or basswood and make all joints strong except the one you wish to break. For the weak joint, glue wooden match sticks to hold the two pieces together. This makes it fast and easy to reset them and use the prop again.

Here Comes the Crash
If you need an offstage crashing sound of some sort, don't suppose you can drop anything to get the effect. We saw a production where someone supposedly tried to hang himself from an offstage tree. According to the plot, the limb broke and he fell to the ground with the branch. However, while the sound effect certainly was loud enough, it was also obvious that what we were hearing
was the metallic sound of several folding chairs being knocked over. A prerecorded effect would have provided the crack of the limb, followed by the thud of the branch and the would-be victim.

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October-November 2011

Absolutely Floored

If you use microphones at the front of the stage, note that the higher off the floor, the more they pick up reflected sound from the stage. If the microphone is placed at floor level, the direct and reflected sound waves arrive at the microphone at almost the same time, producing a tighter sound.  Transmitted foot noise can be corrected by mounting the mike on a shock mount, available from audiovisual supply houses. You can also make your own mount from a piece of foam rubber (or any other dense, non-rigid foam). The foam piece must be large enough to cut out a tunnel sideways through the center that will hold the microphone horizontally suspended at least 1/2" off the floor.

Realistic Fake Salad
Here is one way to make a convincing prop salad. For lettuce, use pieces of heavy-duty white single-ply paper toweling. First tear pieces of the appropriate size, then soak in a mixture of white glue and green dye. A little yellow dye can also be applied here and there with a brush and allowed to merge with the green for a more realistic effect. Let the somewhat crumpled towel dry on waxed paper. Sliced tomatoes can be approximated from slices of a natural sponge (although a cellulose sponge will do in a pinch). The open-hole texture resembles that of a tomato, especially when you soak the sponge in a mixture of white glue and red dye and allow to dry.

Styrofoam Tip
A Styrofoam surface can be protected from damage and made easier to paint by coating it with white glue and cheesecloth, muslin or paper, or even thick paint. Once coated with a protective layer, you can use almost any paint as a final surface, even those that might otherwise damage the material.

Vocal Calisthenics

One of the best and simplest ways for an actor to improve vocal projection and characterization is to read aloud. Create opportunities for yourself by reading aloud to young children--your own or those of relatives or friends. Or donate your time to offer a story hour at your local library. Reading aloud allows you to step outside the narrow tracks of your ordinary voice as you provide different vocal characterizations and sound effects. Until you have experimented a lot you don't know the capabilities of your voice. You can risk sounding foolish in front of children--they will love your enthusiasm and your willingness to entertain.

Sticky Situations

When gluing on a white surface, such as taping a joint between newly canvassed flats, mix enough paint into the glue so that it is obvious if any area has been accidentally skipped. You don't need much paint--just enough to distinguish the glue from the white surface.

Figure It Out

In order to heighten a figure on stage, consider "rim lighting." Overhead back lighting is used, usually from high-intensity instruments mounted above and slightly behind the acting areas. These instruments are angled downstage but not enough so that their light passes over the edge of the stage. The results vary, depending on what other light is on stage, but at its best the effect is of a rim of light around the upper part of the figure. Rim lighting is most pronounced with light-colored costumes and hair, emphasizing the main outline of the figure with some loss of detail.

History Lessons
Hiring a consultant is much like hiring an employee. Never take someone's credentials on face value. Some "experts" coast on an outdated reputation.  Others may present slick, canned materials unsuited to your needs. Always check references, particularly those from companies similar to your own, and ask for history and a frank appraisal of the consultant's services.

Rehearsal Space
When stage time is not available for rehearsals and scenes must be rehearsed in other spaces, preset stage diagrams drawn to scale allow you to lay out the exact dimensions of a scene using a measuring tape and masking tape. However, physical objects such as furniture are best used to indicate flats or walls. Actors tend to move closer to the taped lines or even step over them, and later feel cramped when they move onto the actual set. Care in setting up the makeshift rehearsal area helps avoid the frustration of re-blocking on the actual stage set.

In Good Graces

If you do touring shows that occasionally perform in a church, remember that those who run the church may wince at the thought of techies with hammers and wrenches descending upon a religious sanctuary. You'll raise fewer concerns if you design your sets as fully free-standing units that don't need to be attached (especially nailed!) to anything. Since the church also provides the overall setting, scenery and platforms should be designed so they do not appear out of place in the sanctuary.

Shirt Logic
Always fit the actor in a shirt with the correct neck size, especially if he must wear a necktie or a detachable collar. Sleeve length can be altered; cuffs and collars can be turned and refashioned; and body fit can be adjusted. But the neck size in a man's dress shirt is virtually impossible to change. Also note that some shirts are cut more skimpily than others and that a size 15 neck in one brand is equal to a 15 1/2 in another. Don't guess--have the actor try the shirt on first.

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September 2011

Cheap Effect

Here's a good technical effect that's simple and cheap. Sprinkle Mylar (not paper) confetti into a 12" or larger balloon. Inflate the balloon and tie off with a slip knot. A yank on the knot will send a jet of air and sparkly confetti hurtling in every direction. The balloon can also be hand-held and released with the fingers.

It Doesn't Hurt to Ask

When buying theatrical equipment from any supplier, ask if any previous years' models are available at a reduced price. You can often purchase brand new pieces at considerable savings.

A Good Read

The job of a lighting designer can be made somewhat easier by three close but different readings of the script. In the first reading the designer focuses on the characters, setting, period, locale, season, time of day and other general details. The second reading provides an opportunity to look for specific moments or incidents in the text that produce strong visual reference points for a lighting concept. The third time through, the designer makes note of the specific requirements of the script, including special effects. Many novices begin with this latter step, but in actuality even required lighting effects need to be part of a coherent design.

Term Limits

A key question in board development is length of service. Most experts agree that membership should be limited to three-to-five years, although many nonprofit organizations impose no limitations. But this risks stagnation and the inability to change policies when that is desirable or necessary. Also, once trustees have tapped their best contacts - especially potential contributors - they are less and less likely to repeat this effort. Term limits, therefore, are often best for everyone.

Firelight Idea 

Here's a way to get the effect of a flickering fire, using several strings of Christmas tree lights of the  twinkling (not flashing)
variety. In these, each light flashes independently of the others on the same string. Use a cluster of the lights hidden behind logs, underneath gels of orange and yellow. This produces no visible flames, but it does give a fairly realistic effect of a glowing fire. You can adjust the effect by replacing some of the flashing bulbs with non-flashing types.

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August 2011

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Get Behind It

If you are planning to build a theater or remodel an existing space, consider having sufficient clear space directly behind the playing area to permit effective rear scenic projection. This can sometimes be handled by creating a funnel-shaped recess in the rear wall. A projector can be placed into the recess--the further from the projection surface, the larger the image produced.

Take Note
Even in this era of e-mail and text messaging, it can be a good investment to have note cards made up with the company logo on the front. These can be used for thank-you notes, sympathy cards or other uses where letterhead would be too formal. A number of online stationery suppliers will print cards, letterhead and other supplies with your logo--and at a considerable savings. However, not all offer a wide variety of paper and inks. Shop around before making a choice.

Noises Off

To run a rain or wind effect throughout a scene at a fixed volume is seldom a good idea. In real life we tend to hear the start of a rainstorm, and then tune it out until the storm increases in volume or our attention wanders. In the theater it's best to start the sound effect loud enough to be heard and then fade it under dialog. This gives the audience the chance to recognize that it is raining and then turn their attention back to the important action onstage. The sound effect can then be brought back from time to time to
punctuate the dramatic effect, or to remind the audience that it's still raining outside.

Just the Ticket
Here's an audience development idea which could be adapted to theater groups. The Minnesota Orchestra often targets a particular geographic area and finds a local group to sponsor a performance by the orchestra. There is no charge to the sponsoring group for the orchestra, and the group can re-sell tickets as they please. However, in return for the free performance, the group must provide the orchestra with the names and addresses of all those who attend the concert. Obviously, most of these names are new ones to the orchestra, and they are added to the organization's mailing list for regular concerts in the future.

Doorway to Success

When you attach a door to a door frame, always begin at the top hinge, then the middle hinge and finally the bottom hinge. The reason is simple: If you attach the bottom first and the door should get knocked ajar, the weight of the door as it falls could tear the hinge completely off. When removing the door during strike, reverse the process by unfastening the bottom hinge first.

Keep an Eye On It
If you own your own theater, consider installing a one-way viewing hole in the doors between the auditorium and the lobby corridors. This will allow house staff to keep an eye on the progress of the show without having to open the doors constantly.

Wigged Out

After washing synthetic wigs in detergent, oil soap or in a synthetic wig wash, rinse them in a solution of water and fabric softener to help combat static electricity. To dry, place the wig in a net bag and run it through the dryer on the air fluff (no heat) cycle. Important: These instructions apply only to synthetic, not natural hair, wigs.

Sharp Idea
Even with proper care, cutting shears in a busy costume shop will need to be sharpened every two or three months. It's best to take them to a professional for re-sharpening; modern cutting scissors are assembled with great precision, they are easily damaged. One tip: many cutters claim that gently rubbing the blades the palm of the hand every now and then helps protect the blade by depositing some of the skin's natural oil on the metal edge.

Light On the Subject
When lighting with the same color from both sides, use a slightly different shade on each side to add interest.

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July 2011

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Get Organized

Give some thought to organizing your makeup kit, keeping like items together as much as possible. If it's not easy to determine what color or type an item is, print a one-word description on a small adhesive label and attach to the item. You can also use small color dots (blue, red, yellow, etc.) to label a series of makeup products that go together (for example, cake, lipstick, eyeliner, etc. in the same color family).

Word to the Wise

According to the newsletter of Washington State Community Theatre Association, one of its member companies doesn't use the word "auditions." Instead it has "readings" for casting the next play. Perhaps a way of making the experience sound less threatening?

Classic Comedies Need Thought

Sometimes 17th and 18th century comedies are mistakenly directed as if they were pure old-comedy farce. This may indicate a lack of research on the director's part. Moliere's plays, for example, are farcical, but they are also social satires. His characters may at times act ridiculous, but he also means them to be believable, multidimensional human beings. Likewise, Restoration or Georgian comedies reflect a time when people took their social pursuits very seriously. People gossiped, flirted, gamed and dueled with a vengeance. At the same time, both masters and servants prided themselves on the gracefulness of their behavior; bawdy behavior in public was considered boorish. One could, however, say bawdy things in private, if one did it cleverly--note the difference. Fashions in clothes, social manners, music, art literature, drink and food are all well-documented. Much of the fun in creating characters in these plays is learning about these elements and working with them.

In a Flash
When using a stroboscope to create a series of jerky movements similar to early silent movies, use the effect sparingly. It can induce nausea or even trigger brain seizures in some members of the audience. To avoid these problems, most authorities advise that flash rates not exceed eight per second.

No Muss, No Fuss
If possible, leave the center back of all costumes open to the hips, to be fastened after the actor is inside. This way, the actor can just step into the costume. Even if some of the clothes have to go over the head, there is still plenty of space so makeup doesn't rub off and hairstyles aren't mussed.

Checking In
You've spoken to a newspaper or television reporter, found there was some interest in your story, sent materials, but you've heard nothing after three weeks. Do you call? Write again? Contact someone else? There is no universal answer, but if you haven't had a response after several weeks, it's a good idea to call and ask if the reporter got the materials and still has an interest in the story. Sometimes the material has not made its way to the reporter's desk. Sometimes it has, but has got buried. And sometimes, the
reporter has changed his or her mind. It's always better to know where you stand. If they say no, be sure to thank them and tell them you'll get in touch again when you have something you think they can use.

Sitting Pretty
Among the perks of membership of one theatre company is "a free cushion for all performances."

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