After experimenting and discarding ideas and taking inspiration from other shows, we settled on having an opening and closing puppet scene with the main body having a different style for each scene. As a team, we came up with ideas of different styles and Hope and Kay (director and writer) decided on the final five. As we already had the through line of the play, we decided what would happen in each scene, why and how it would contribute to the through line.
Once this was all sorted, it was just over 3 weeks until the performance and Kay managed to write us 2 new scenes a week, meaning we got the full script just over week before show day.
By this stage, there had been a lot of divergences from our schedules, even after revision and adjustment. We had agreed to have our script completed by the 21st of March, then by the 19th of April, then the 6th of May. We ended up with a full script, complete with edits and revisions by the 12th of May. This wasn’t anyone’s fault, as we were setting unrealistic dates. If we had no idea what we wanted to do or how to do it, how could we have a script that we were happy with? The fact it took so long to realise what we had been looking for since were started was frustrating to say the least as by the time we had finally decided on the dream structure with 6 different styles, we had 2 new scenes each week. If we had spent more time working out exactly what we had wanted rather than panickingly devising for the sake of devising, we would have had more time to enjoy the rehearsal process, rather than having to rush through it in order to have a show that was up to standard. Having said that, despite the long period of watching rehearsals and writing notes on things that never would be used followed by the short slighty-more-manic than it should be period before the performance, I don’t regret how we came about our show. Not least for 2 reasons.

Reason 1- When we finally realised what we wanted, that was when it all seemed to click.
Whether it was because we had all been through the same stresses and worries of having to change idea after idea or simply because through trial and error until we had reached an idea and style to suit that all and that we understood and wanted to be a part of (or a combination of the two) we, as a company, knew what needed to be done and how to do it. The writer, Kay, had a firm plot to go on with a clear message and wrote scene by scene with influences from the classic tale of Cinderella and conventions of each style. The actors and director were working perfectly in synch as both knew what the other had imagined and why.

Reason number 2- It showed that we were all capable of doing our jobs under pressure.
The full script was due for completion on the 6th of May and this was when my job started to get busy. I had been sitting in all rehearsals from the start and had kept summaries of what we’d been doing and what our aims were. I also kept feedback notes to refer to in our facebook group and rehearsals. This was also the case for meetings so there was a record of jobs that needed to be done and who by.
These notes, however, were moot without all the elements that create a show- lights, props and staging to name a few- and so it was necessary to keep records of and manage these.

The completed production book, in all its colour-coded glory

As we were getting new scenes twice a week, I made sure to record the props, costume and set used in each scene and checked with the director that my lists were correct. These were then put into several different spreadsheets. The first was the props/costume/set needed for each scene, in order for the actors and props to know what was needed and for when. The second was for sourcing them, organised through the traffic light system, green for free/owned by a company member, yellow for borrowed (including where from) and red for purchase needed (including price and receipt code for budgeting and claim forms). The third was the pre-set check list, detailing where they needed to be at the start with space to check them off once they were in place. The fourth was the scene order for stage left and stage right, detailing which scene and characters they were needed for and the cue that they had to be ready by. On the day, these last two sheets were very helpful in terms of organisation for making sure everything had been purchased and was present and had been placed in the right place for the scene needed and the actor using them. They were also reassuring for the cast and the stagehands helping with the transitions and passing the items onto the stage, as it allowed them to focus on getting the actors ready rather than working out what was needed for which scene.

One of my many spreadsheets, listing the required props and costume and which scene and characters, placed in SL wings

As we had several different scenes, each with expected conventions, such as costume (and props that appeared midway through a scene) the actors and stagehands only had a short period for the transitions. For each wing I wrote a list of the actors’ entrances and exits, props and when they were needed and, particularly for the puppet transitions, who was responsible for which jobs to ensure as fast and smooth transition as possible.

For lights, sound and other effects, I had to produce a technical rider for the technical team at Lincoln Performing Arts Centre detailing our staging, technical requirements and what we needed to borrow from the venue’s props and costume store. I also had to complete a risk assessment detailing the possible risks, how likely they were to happen, to whom and the steps we had taken to ensure that the risks were minimised. Drafts of these had been shown the technical team in our production meeting and were given the all clear and so changes to set on tech day meant only small changes were needed, rather than having to start from fresh.

As with any show, tech day was an important day for us. For the actors and director, it was their first chance to try out their work in the performance space and make sure they were happy with it. For costume it was a chance to see if their work worked with the aesthetic and atmosphere of the show. It was also a chance to see the new stage design and if it would work with the lights. Due to the new set design, props (as they were the same person) were not available for the actors to try out.
Tech day, however, was probably the biggest day for myself and the sound and light designer, Laura, and so it was important that she and I knew we wanted, could explain her ideas and we were organised appropriately. This meant that cue sheets for light and sound were needed to be completed in advance and a draft prompt script in case there was time for a cue to cue.
Doing the light cue sheets was definitely easier than sound as once lights are in a state, they stay in that state until the next cue. Sound, however, either stops as the track has run out or has to be stopped manually based on the action on stage. The volume can be increased and decreased and sounds faded in and out with more than one sound playing independently of others, rather than contributing to the state as a whole (which is the case with lights).
We met up to take notes of what lights she wanted and when and the same with sound. Neither of us had written cue sheets before but I had seen others do them and had the process explained to me. I took this as a chance to try my hand at cue sheets and so drafted (and redrafted) the sheets in preparation for going through them with Laura. This was when I discovered that sound was harder and so made sure to triple check my drafts. When I met up with her to do the sheets, I realised that even after triple checking I had missed off some sound cues or got confused, and so changing those took a fair while. Now that I had the sound and light cue sheets, I could work on the prompt book for the show in time for the programming.
When it came to programming the lights and sound, the tech team at LPAC were their usual fantastic selves. Although we managed to get all the lights and sounds programmed onto Q-lab, there wasn’t enough time to group them. The structure of the script meant that each scene ended with a duologue and a monologue that led into music and a scene change meaning that around 5 light and sound cues could be grouped together. The tech day was a delight, the set went up without a hitch and the swing looked great, both on stage and in the tech box, especially when Chloe was just sat there for certain techie’s amusement….

A view of the puppet scene set and lights from the tech box

On a high from tech day, we went into the final rehearsals with new enthusiasm. The actors had experienced the lights and sounds in the performance space and got to get familiar with the set. Props were also brought and after a final showing to Dom, costume changes were made and the actors learnt to have more fun with their characters. Not only did the cue sheets make sense and work, but I had begun to get my head around the idea of both light and sound being run off Q-lab, which meant me using a Mac, which, if I’m honest, was probably the most daunting thing for me.

When show day arrived, as stuck up as it sounds, all that was left for me to do was to print the necessary spreadsheets and lists, such as the transitions sheet and the pre-set list for checking off. The new light and sound combined cue sheets had been drafted the morning of performance day as the programmed cues were grouped. After printing off a fresh script and adding the prompts, all that was left to do was the fun stuff- cue to cue and a first full run through with costume, props and effects followed by a dress run with photographer Phil Crow.
A few small changes were needed after these. Chloe, who played Cinderella, hadn’t done stage combat before and so wasn’t comfortable with a heavy bat. A quick change to the fight routine followed the bat becoming a knife and the swinging of it became playing with it as though it were a brush or a wand. The approaching train that needed a whistle at the start was magicked in by Tom the techie.
The transitions worked, even if the tabs proved hard to stop at the right place and the props and costumes were all used to the credit of the actors. With two good run throughs under our belt and nervous poos to be done, we re-set the stage and wings, checked the stage and wings and broke for tea. The doors were opening at 7:15 with a 7:30 show start. At 6:45 the 30 minute call went out, followed by the 10 minute, 5 minute and beginner’s call. We’d sold 137 tickets and had 10 reserved. Notices about the hazer and strobe lighting had been placed and with the cast onstage and me in the tech box, the doors opened and the audience came in. 15 minutes later, we got clearance and started the show, interrupting Laura’s great choice of house music.

A calm 30 minute call

I’d been told by a friend and stage manager that the mark of a good stage manager was that the show could continue with just the production folder and no stage manager. I’m not sure if I completely agree with this. Yes the production folder should be so that it can be passed on and the show continue, but my experience taught me that the book couldn’t be completed without everyone working as a team. Wonderful though a colour-coded folder with spreadsheets is, it’s not quite the same as a member of the company. Yes, there were surprises that popped up and last minute changes that could have been avoided with better communication within the company as a whole, but we still managed to work as a team.
I will admit that were several occasions when I was doubtful if we’d reach the 45 minute mark, or have a show that was of a good enough standard to be seen by audiences or if I was even needed as a stage manager, as my company hadn’t worked with one before.
These doubts were quashed as in the end, the final show was great. The actors were the funniest they’d been and I found myself laughing at old and new bits with renewed laughter. Before the show there were no last minute panics with costumes breaking or props gone missing, everything ran smoothly and we got a great audience response both during and after the show.

I don’t think I’ll be forgetting this experience in a hurry, even if just for our little bios in the programme.

It’s all true!