As I am writing the script I always have a video image running through my head of what I expect to see at the end and although this goes through vast changes along the way, it is that video that is my initial 'vision' from which everything else transpires.
For the production of Beauty and the Beast, I was responsible for several specific design/creative aspects though and these included:
Movement Chorepgraphy:
I blocked and then detailed characters movements with and around one another during the entire performance. I feel this falls within the realms of design as the movement must flow naturally, characters must have parts of the stage to relate to ie, it is tradition (origins and reasons why unknown) that stage left is the bad side and stage right is the good side of the stage so I try to stick to this as much as possible. It is also important to create interesting shapes and relate the audience to certain areas by using certain entrances and exits.
Script Direction:
I blocked and detailed characters interaction with each other and the audience during the entire performance. Direction is very important and quite artistic because it is effectively the bringing to life of the written word. How does one convey what they read? I find I work very like Charlie Chaplin, I show the performers what I want them to do - I do not include much stage direction in the actual script. Directing is also something I find impossible to prepare in advance, it is just something that I feel as I watch or listen to the dialogue between characters, I put myself in their place and think about how I would act in that situation.
Costumes:
I worked on original designs for bespoke costumes ordered with 'No Eyed Theatre'. I designed all the other costumes as adaptations of regular clothing. I sourced the clothing for this and worked jointly with a seamstress to their conclusion. I also designed, made and/or sourced all personal props. To convey my vision I used pictures of other Beauty and the Beast costumes plus sketches of any extras I required.
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I designed the posters, leaflets and tickets used for the show. I also put together the programme which was sold at each performance and consisted of 12 pages. Within that were the cast pictures also used for the main lobby display - all of which I photographed, edited, arranged and printed for both the programme and display. I use Microsoft Publisher, Adobe Illustrator and Adobe Photoshop to produce these items.
Lighting:
I provided the Lighting Technician with an 'emotional' lighting plan which included colours, moods, atmospheres and positioning. From this a formal technical lighting plan was developed and then rigged, but final plotting per scene was done jointly.
Sound:
I chose all the songs and sound effects used throughout the show. I re-wrote the lyrics for about 4 tracks to make them funnier and more relevant - this works well especially if the track chosen is well known because people will recognise the lyrics are different so tune in and listen - this then makes the songs an extra story telling tool and another way to have fun with the characters. I find the limit for live singing especially within a panto is about two and a half minutes so I used Cool Edit to create the shorter tracks and mixes.
The Beast is preparing for the big dinner date with Beauty - He is being assisted by Cogsworth and Lumiere but he decides nothing suits him with all that fur!
Set to the track of 'Sexyback' by Justin Timberlake:
I’ve got a hairy back (Yeah)
An it don’t matter if I shave or wax (Yeah)
It just keeps growing, baby that’s a fact (Yeah)
I’ll turn around so you can start a plait
(Take him to the barbers)Curly babe (Aha)Or straight, or crimped or just a demi-wave (Aha)All makes me look like I live in a cave (Aha)So now you see why I just have to shave(Take him to the barbers)
Even with years of experience I still manage to find at least one major problem which for some reason I seem to overlook until the last minute!
During Beauty and the Beast it was a scene change in Act 1 which I hadn't accounted for.
Whilst writing the technical cue scripts for lighting and sound (only 2 days before a paying audience!) It dawned on me that I was using the full stage for scene 3 and then the full stage again for scene 4 with nothing in between and with a complete scene change from one place to another!
Why I had only noticed this now I had no idea but anyway I needed a solution and I needed one fast!
I set it aside in my mind and carried on with the job in hand realising that I needed a track off you tube for sound so I logged on and sat there with the little blinking circle waiting for it to load up....
BINGO! That was it! The answer to my problem - do an open scene change as if its a video loading - I was in that second scene so was available to do it as I think it would have been unfair to drop a complete new thing onto someone else so last minute and considering it was my fault anyway.
The plan - I would hold a loading sign with something to make a red line on the left as I progressed across stage to the right to daft supermarket music - simples!
I found the perfect backing track and printed a self-made sign that night, attached 2 handles to the rear and used a third with wrapping paper innards to construct a roller. Onto that I attached some red 1.5" bouquet ribbon we had acquired from somewhere several years earlier (I never throw anything away!) and wound about 30ft of ribbon onto it then secured it in place with gaffa tape. The first and only rehearsal I had was during dress and my original securing plan didn't work properly so I organised a backstage helper. Therefore the first time I actually did it properly was during the first live performance!
It turned out to be a bit of a show stealer mainly because it was daft and funny but I'm more proud of the way it linked in, was derived from a major problem only to become one of the audiences favourite parts!
Result 8 )
N.B. I am available for private parties for a small fee!
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