3

Producing and
Appreciating Plays
CHAPTER 10 ◆ The Production Process 170
CHAPTER 11 ◆ Behind the Scenes 189
CHAPTER 12 ◆ Theatre Appreciation 225
CHAPTER 13 ◆ Your Future in Theatre 246

168 ■
■ 169
 The Production
Process
10

LESSON 1 ◆ Selecting the Play

171
LESSON 2 ◆ Selecting the Cast
174
LESSON 3 ◆ The Rehearsal
Process 177
LESSON 4 ◆ The Performance
184

◆ auditions ◆ line check

◆ blocking ◆ polishing rehearsals
rehearsals ◆ promptbook
◆ callbacks ◆ reading rehearsals
◆ casting ◆ rehearsals
◆ copyright ◆ royalty
◆ costume parade ◆ run-throughs
◆ developing ◆ strike
rehearsals ◆ technical
◆ director rehearsals
◆ dress rehearsal ◆ understudy
◆ floor plan

170 ■ Unit 3: Producing and Appreciating Plays ■

 our teacher or director has just announced that your class or drama
Y group is going to produce a show. It is to be a one-act play. The direc-
tor could have selected a three-act play, a series of scenes from several
plays, a readers theatre production, or even a show made up of a vari-
ety of “acts.” In each production, most of the preparation techniques
will be the same.
All productions require careful planning, weeks of preparation,
dedication, and hard work on the part of everyone involved. Your
teacher or director will be the person in charge of the production. In
educational theatre, a teacher is usually the director and is assisted by
students who are interested in theatre or enrolled in a theatre class.
These students assume the responsibilities for all jobs other than di-
recting.
In this chapter, you will become familiar with the entire production
process—from selecting the play to bringing down the final curtain
and dismantling the set.

Selecting the Play

LESSON OBJECTIVES

1 ◆ Recognize the role and responsibilities of the

director in selecting a play.
◆ Understand the process of selecting a play to
produce.

B efore the title of the production was announced, several deci-

sions had already been made. First, the play was selected. This was a
orking with your acting major responsibility for your teacher or director.
W company or class, list as
many play titles as you can. See
The director is the person in charge of the artistic production of a
play. Directors spend many hours reading and studying plays as well as
who can think of the most. attending theatrical productions to enrich their background in dra-
matic literature. Directors want to enjoy directing the play, they want
the cast and crew to enjoy working on the show, and they especially
director want the audience to have a rewarding theatrical experience. For
person in charge of the artistic those reasons, directors try to select plays that have good literary
production of a play. merit, that will challenge the actors as well as the director, and that will
offer more than mere entertainment to those attending.
There are many things to consider in selecting a play. Directors
need to know what type of show would be suitable for the school and
community. They also need to be aware of the budget, the availability
of the play, the talents of the actors, and their own directing capabili-
ties. Finally, directors must be aware of any special needs involved in
staging a particular show, such as the sets, costumes, stage facilities,
style of acting, and time needed to produce the show. For example, a
director might really want to direct the musical Peter Pan, but she
might also feel that the stage is too small to accommodate the cast, or
perhaps she doesn’t feel comfortable “flying” the characters across the

■ CHAPTER 10: The Production Process ■ 171

 stage. Each director must carefully consider these many different ele-
ments before selecting a particular play.
In some cases, a play might be selected by committee, or students
might vote on a favorite play, or the class could work together to write
a script. The method of play selection is determined by the director.

Obtaining Permission
After selecting the play, the director must secure permission to pro-
duce the play and purchase copies of the script. Any material protect-
ed by copyright should not be photocopied and requires permission
from the publishing company for production. A copyright is the regis-
tration of ownership of a piece of literature or music. In most cases,
there is a fee charged for each time the show is produced. This fee is
called a royalty . A portion of this payment goes to the playwright.
Writing is the playwright’s occupation, and receiving payment each
■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Most likely your drama teacher will

time the play is produced helps the playwright earn a living.
be the director of your first play.
Look to your teacher for guidance
since it’s the director’s job to
combine the roles of all the actors
and crew members to create a
successful production.

copyright
the registration of ownership of
a literary or musical work.

royalty
a fee required to produce a
play or musical.

The Director’s Concept

Before the director begins to work with the cast, the director will
spend much time studying the play, developing ideas for interpreting the
playwright’s work. The director’s plan, or vision, is known as the overall

172 ■ Unit 3: Producing and Appreciating Plays ■

 concept of the play—the big picture. It is the director’s job to decide what
the play means. What’s more, the director must be able to imagine the
play being performed in its finished form. Thus, the final production re-
flects not only the work of the playwright, but also all of the choices the
hoose a good script . . . cast director has made regarding every aspect of the play—characterization,
C good actors—and you’ll
all be good directors.
movement, costumes, lighting, props, scenery, and so on.
There are as many different ways to put on a play as there are direc-
tors. The playwright may have included ideas for production in the
Harold Clurman script, but those aren’t the only ideas the director can use. To interpret
a play, the director will analyze it in much the same way you learned to
analyze characters, reading the play several times to study the style,
theme, dramatic structure, characters, and dialogue. The director
needs to thoroughly understand the entire play, and research may be
needed. The director will study the people and customs of the histori-
floor plan cal period as well as furnishings and clothing.
a drawing of the stage setting After determining the concept for the play, the director will work
as seen from above (bird’s- out a plan for the stage showing all the entrances and exits, levels (dif-
eye view).
ferent heights), and main furniture pieces that will be needed onstage.
This is called a floor plan . If the director has a designer or technical
promptbook
director, the two of them might work together to plan a suitable design
usually a loose-leaf notebook
for the play.
containing the script marked
with all stage movement,
Many directors continue at this point to plan the play’s blocking and
entrances and exits, technical begin the promptbook. The promptbook is usually a loose-leaf note-
cues, and special instructions book containing a script that is marked with all stage movement, en-
for the production. The stage trances and exits, and special instructions for the production. Many
manager is usually in charge of directors also include the phone numbers and addresses of cast and
the promptbook. crew members and any emergency numbers that might be needed.

1. Analyzing Scripts for Production. Look through a catalog from a

company that publishes plays. Select a play that you think you would
enjoy seeing produced onstage.
a. Make a list of the cast requirements (number of males and females)
for the play you selected.
b. List the number of scenes and acts.
c. What information about staging is mentioned in the play catalog?
d. Discuss your selection with your acting company, giving reasons for
your choice.

2. Paying Royalties. Suppose that your class wants to produce the

play you have selected. Determine the amount of royalty you will have to
pay if you present the play four times.

3. Calculating Script Costs. Determine how much it will cost to pur-

chase scripts of the play for all members of the cast and the director, as-
sistant director, and stage manager. Also include eight additional scripts
for the heads of the production crews.

■ CHAPTER 10: The Production Process ■ 173

 4. The Director’s Concept. Read a one-act play and imagine it being
staged. In one paragraph, describe your overall concept from a direc-
tor’s point of view.

5. Creating a Floor Plan. Draw the floor plan for the play you selected.

Selecting the Cast

LESSON OBJECTIVES

2 ◆ Understand the process of auditioning and

casting.
◆ Experience the audition process.

W hile analyzing the play, the director begins to form an impression

of the kinds of characters the playwright has created. With these charac-
ters in mind, the director’s next major responsibility is to choose actors
lay the game “Actor Wants
P a Role” (based on the game
“Kitty Wants a Corner”). The
that can bring those characters to life. Matching up characters and ac-
tors is called casting . In educational theatre, casting is usually accom-
students (pretending to be plished through a selection process called auditions , in which actors
directors) sit in a circle, and try out for the parts that they want.
one student stands in the center
of the circle playing the part of Auditions
the actor seeking a role. The
actor goes to one director and During auditions, actors try different parts for the director. Audi-
says, “Actor wants a role.”
tions are extremely competitive, so always come prepared. Reading the
Each director sends the actor to
play before the auditions will give you time to think about the play as a
another director, saying, “No
part, see another director.” whole as well as to pick individual roles that you think you might like
While the actor is walking from to play.
director to director, the directors Directors conduct auditions in different ways, depending on the
(players) try to exchange places. needs of the particular school or group. If the play is to be produced as
The objective is for the actor to a class project, the director might choose to hold auditions during
get a job by getting into one of class time; other times, auditions could be held before or after school.
the empty places in the circle. The auditions might be limited to only students in theatre classes, or
The person left without a place they might be open to the entire school.
becomes the actor wanting a During auditions, the director might ask all interested persons to
role. The director (player) can “read cold” (without preparation) for each part. This could be done as
call out additional playing
a private reading or a group reading. Or the director might ask each
directions, such as “Audition
actor to prepare (memorize) a speech from the play. Still other direc-
in character,” “Speak with an
accent,” or “Play in slow tors like to have actors improvise scenes from the play. Directors may
motion.” choose to use a combination of these techniques to audition actors pri-
vately or in groups.
When a production requires specific talents, such as singing or
dancing, the director might require songs or a short dance routine to
be included in the audition. Such important information is usually
specified in the audition publicity. If you are unsure, ask questions on
your own. To feel comfortable about the audition process, find out as
much as possible before the day of auditions.

174 ■ Unit 3: Producing and Appreciating Plays ■

 Most directors distribute a proposed rehearsal schedule along with
an audition application to be filled out before you try out. It is very im-
portant to review this schedule with your family to make sure that you
can attend all of the scheduled rehearsals. If you foresee conflicts,
cting seems to be the write them on your audition application. Directors like to be aware of
A easiest of all the arts
because everybody walks, talks,
all conflicts as soon as possible.
If possible, fill out the audition application before you get to audi-
gestures, and makes faces. But tions. Audition applications will differ, but the sample in Figure 10–1
then he is just being himself on the next page will give you an idea of the type of information you
and one sees immediately how might be asked.
different that is from acting as
soon as one puts him on stage
and gives him a part to learn Casting
and interpret.
When selecting the cast, the director must consider each actor’s
August Strindberg ability to interpret the character and project the character vocally and
physically. The director needs to consider each actor’s physical attrib-
utes—gender, appearance, height, and size.
The director also looks for growth potential. In educational theatre,
a director wants an actor who will not just be good in auditions but will
continue to grow, giving the character depth as the rehearsals progress.
Dependability, cooperation, and attitude are other factors that a direc-
tor considers when selecting a cast.
Along with all these qualities, the director must also pay attention to
an actor’s attendance record at school as well as the actor’s grades. Ac-
tors must be able to attend classes and keep up grades in spite of nu-
callbacks merous rehearsals and performances.
After the first auditions, directors sometimes need a second or third
additional opportunities for
the actor to audition. “look” at an actor. These second and even third audition opportunities
are called callbacks . These callback auditions help narrow the selec-
tions by giving the director another chance to see and hear the actor.
They also give the director an opportunity to combine several actors in
scenes to see how they look and work together. After making the “final
■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Often the director must weigh

many factors and then choose just
one person, from the many people
who auditioned, for a particular
part. If you don’t get the part you
want, taking another part or
working on one of the crews will
increase your chances for success
at the next audition.

■ CHAPTER 10: The Production Process ■ 175

Figure 10–1
■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Audition Application Form.

Name
































Phone number






















Address


























Age






Sex







Grade









Height








Weight








Hair color

PLEASE COMPLETE THE FOLLOWING INFORMATION:

SPECIFIC TALENTS OR ABILITIES

CONFLICTS WITH PROPOSED REHEARSAL SCHEDULE:

CLASS SCHEDULE
PERIOD CLASS TEACHER ROOM NUMBER
1.














































































2.














































































3.














































































4.














































































5.














































































6.














































































7.














































































8.

ROLES FOR WHICH YOU WILL AUDITION:

DO YOU WISH TO BE CONSIDERED FOR ANY ROLE IN THE

PLAY ?







yes







no

WHICH ROLE WOULD YOU NOT ACCEPT?

WHY ?

CHECK THE AREA/S WHERE YOU WOULD BE WILLING TO

WORK:








SCENERY







PROPS







COSTUMES








MAKEUP







LIGHTING







SOUND/MUSIC








HOUSE/PUBLICITY







STUDENT DIRECTOR








STAGE MANAGER







TECHNICAL DIRECTOR

176 ■ Unit 3: Producing and Appreciating Plays ■

understudy cuts” (eliminations) and casting the show, the director posts the cast
a person who learns a part in list or announces to the actors their assigned roles.
order to substitute in a Many directors assign understudies when the cast list is posted. An
performance should the understudy is a person who attends all rehearsals and is prepared to
original actor not be able to perform if the original actor is absent from a performance.
appear in the show.

1. Getting Ready to Audition.

a. Copy the audition application on a separate sheet of paper and com-
plete it as though you were auditioning for a play.
b. Prepare a selection from The Playbook at the back of this text to use
in a real or simulated audition.
c. Participate in a simulated or real audition.

The Rehearsal Process

LESSON OBJECTIVES

3 ◆ Understand the rehearsal process.

◆ Understand the purpose of each type of
rehearsal.
◆ Recognize the ways the play benefits from the
guidance of the director.
◆ Demonstrate the ability to cooperate with a
director.

Once casting is complete, it is time for rehearsals to begin.

Rehearsals are preparation sessions for the production. Rehearsals
provide an opportunity to discuss and analyze the play, to learn lines
rainstorm with your class
B about the various types of
rehearsals that will be needed to
and blocking, and to perfect every aspect of the play.
How much rehearsal time is needed will depend on the abilities of
produce a play. Set up a the actors, the length of the play, and the difficulty of the play. Your
rehearsal time line. group will probably have four or five weeks to put together a one-act
production, six to ten weeks for a three-act play or musical. That really
isn’t very long, considering all that has to be done. Therefore, re-
hearsals are extremely important, and your full cooperation is needed.
rehearsals
Before rehearsals begin, everyone involved in the production should
production sessions in which
take time to review the Actor Etiquette guidelines featured on the next
the actors and technicians
prepare by repetition. page. These guidelines are helpful reminders of good production eti-
quette, which is appropriate behavior and common courtesy.
Each rehearsal is planned for a specific purpose. Although your direc-
tor may call the rehearsals by different names, most rehearsals follow a

■ CHAPTER 10: The Production Process ■ 177

 NOTICE
ACTOR ETIQUETTE

and classroom rules.

1. Abide by all school .
reh ea rsals and performances
2. Be on time for .
missed
3. Leave only when dis special permission to
be
Att en d eve ry reh ea rsal, unless you have
4.
absent. an emergency.
t the director in case of
5. Immediately contac red to wo rk. Bring a pencil,
willing and prepa
6. Come to rehearsal s required. Learn
er items the director ha
your script, and any oth
possible.
your lines as soon as of the cast before,
mo n cou rtesy to other members
8. Observe com
rsals.
during, and after rehea you—including
tou chi ng an yth ing that doesn‘t belong to
9. Av oid nery.
p, lights, mikes, or sce
costumes, props, makeu pu t aw ay your props and
a reh ea rsa l or performance,
10. At the en d of dressing rooms for
the backstage area or
costumes. Also check
ssessions.
any of your personal po not see you in
in cos tum e or ma keu p, the audience should
11. On ce tains.
out from behind the cur
the theatre or peeking ea rsa l an d pe rfo rmances.
e durin g reh
12. Be quiet backstag g cue s or entrances.
. Lis ten wh ile ba cks tage to avoid missin
13
the lines of others.
14. Avoid “mouthing”
ed a prompt.
15. Call “line” if you ne w if you are having
de s. Let your director kno
16. Keep up your gra
academic difficulty. of the show.
your part during the run
17. Continue to study ls, wo rk ses sions, and
at all rehearsa
18. Give 100 percent
performances.

similar pattern: reading rehearsals, blocking rehearsals, line checks, de-

veloping rehearsals, run-throughs, polishing rehearsals, technical re-
hearsals, costume parade, and dress rehearsals. You are now ready to
learn what happens from the first rehearsal all the way through until you
put away the show.

Reading Rehearsals
reading rehearsals Reading rehearsals are rehearsals set aside for reading and under-
rehearsals for the purpose of standing the script. These are the first rehearsals after the show is cast.
reading and analyzing the script These rehearsals can take place in the classroom, in a rehearsal room, or
as well as discussing and on the stage. The cast is usually seated informally in a circle, if possible
understanding around a large table. Some directors like to have everyone involved
characterization. They can be in the play attend this first rehearsal. This is a good opportunity to
referred to as read throughs.
introduce everyone, briefly go over job descriptions, pass out any revised
rehearsal schedules, and make any general announcements. At this
time, all changes or cuts should be made in the script in pencil.

178 ■ Unit 3: Producing and Appreciating Plays ■

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

At the reading rehearsal, you will

have an opportunity to see how
your character interacts with the
other characters in the play. You
will begin to get a feel for the
theme and mood of the play.

Everyone should bring a pencil, a notebook, and a copy of the script.

(Some crew members may not need to have a script.)
The director’s purpose in the first reading rehearsal is to briefly ex-
plain the theme of the play, to describe how the playwright tells the
he director must not use story, and to share his or her plans for telling the story onstage. The di-
T his actors as instruments
to make his own music, but
rector might also describe the characters, show a drawing of the floor
plan, explain any problems in staging, and share other relevant ideas
orchestrate theirs until it about the production.
becomes one song which he can Next the cast reads the play aloud, carefully considering pronuncia-
then share in singing. tion and interpretation of lines. Reading rehearsals provide the actors
time to ask questions and to develop a clearer understanding of the
Robert L. Benedetti
characters and the play.
Reading rehearsals can take several days, depending on the play.
During these rehearsals, the director may assign research assignments
pertaining to the play’s time period, culture, or customs. An individual
character analysis may also be assigned. Refer to Chapters 7 and 8 for
help with such assignments.

Blocking Rehearsals
Blocking rehearsal are used for planning all stage groupings,
basic movement, body positions, crosses, entrances, exits, and stage
business. For ease in blocking, the director will divide the play into
workable units, or scenes. Next, most directors will ask the actors to
disregard all stage directions in the script. Those directions probably
will not suit your director’s interpretation of the play or the floor plan
for your set.
The stage manager will have taped the floor plan on the stage floor
with masking tape, marking all entrances and levels. Chairs may be
blocking rehearsals placed onstage to represent other pieces of furniture. The director will
rehearsals for planning stage guide the cast through each scene. Be sure you understand the motiva-
movement and groupings. tion behind each move you make.

■ CHAPTER 10: The Production Process ■ 179

 The English Restoration: Theatre Returns from Exile
n 1649, Oliver Cromwell and his followers, the reli- William Congreve (1670–1729), who wrote The Way
I giously conservative Puritans, beheaded King
Charles I, and for over eleven years England was
of the World, which is still produced, and Sir Richard
Steele (1672–1729), who wrote The Conscious Lovers,
ruled by Cromwell. In 1658, after Cromwell died, also wrote the sentimental comedies that were so
the royal family was asked to return to England from popular during this period.
France, where they had been living in exile. In 1660, These comedies of manners usually made fun of
Charles II became king and the monarchy was “re- members of the upper class and nobility, and of
stored” to power, which is why this period of time is their preoccupation with appearances, reputation,
called the Restoration Period. and piety. These characters were always shown to be
When the English royalty and nobility returned greedy, vain, and obsessed with flirting and ro-
to England, they brought with them a taste for the mance. The audience members, most of whom were
French theatrical practices that they had enjoyed as from the upper class and nobility, used the plays as a
audience members in France. This pleased the En- way to laugh at themselves and their neighbors.
glish because the Puritans had closed all theatres in Going to the theatre during this period usually had
1642. With the Restoration came a resurgence of as much to do with “being seen” as it did with enjoy-
theatrical activity. As you may recall, English theatre ing the play.
during the Renaissance had not been like the the- Theatre companies were changing drastically
atre popular in Italy and France. English playwrights during the Restoration. For example, for the first
and producers did not use painted perspective time in English history, women were performing the
scenery, for example, but had continued to use very roles of the female characters. Another change was
few furnishings to suggest a location for the action. taking place in the way actors, both male and fe-
After the Restoration, the Elizabethan practices and male, were being paid. Prior to the Restoration, the
the Italian and French stage arrangements were Elizabethan companies of actors were paid by col-
merged to form a unique, new kind of theatre. This lecting a share of the profits of the production. Dur-
combination of styles affected the form of the plays, ing the Restoration period, outside investors began
the organization of the theatre companies, the the- to own the buildings and finance the productions,
atre buildings themselves, and the use of scenery on keeping the profits, if there were any. The actors
stage. were contracted at a set fee for a set period of per-
The Restoration was not a period of great tragic formances. This change marked the beginning of
plays. Most of the Restoration tragedies were heroic today’s commercial theatre.
tragedies about extraordinary heroes who did extra- The theatre buildings were also changing. The
ordinary deeds. While entertaining, these plays were Elizabethan theatre buildings had been circular,
usually too far removed from reality to have much open-air structures. The new Restoration theatre
credibility. The really popular plays of the period, buildings were enclosed with a roof. They merged
the ones still performed today, are the comedies, the popular Italian and French staging practices,
which are known as “comedies of humours” or which included a proscenium stage opening, and an
“comedies of manners.” Thomas Shadwell (1642– apron. This apron was an extended platform that
1692), who wrote The Sullen Lovers, was a popular spread out in front of the proscenium arch, upon
playwright during this period and one of the first to which much of the play’s action was performed. The
write comedies of manners. His plays focused on ec- apron was a lasting reminder of Elizabethan staging
centric characters in modern-day settings. Other im- practices that focused on the use of an open plat-
portant playwrights include John Dryden (1631– form. Another addition to the stage in this period
1700), Sir George Etherege (1634–1691), and was a “raked” or slanted floor. This type of floor im-
William Wycherley (1640–1715), who wrote The proved the audience’s ability to see the action on
Country Wife, a very popular play from the period. the back of the stage.

180 ■ Unit 3: Producing and Appreciating Plays ■

 The audiences at Restoration theatres had a hands who shifted the wings to change the set. Un-
choice of pit seating, box seating, or gallery seating. like the Italians, who used a complicated system of
The pit (the floor space closest to the stage) was un- ropes to move the wings simultaneously, the English
like the French pit in that it was furnished with depended upon stagehands to slide the flats out of
benches. The boxes, which offered the most comfort the way, revealing the new setting behind them.
and privacy to the wealthier audience members, pro- By the end of the Restoration period, in the late
vided eye-level viewing. The galleries were rows of 1700s, society was changing and the middle class
seating recessed into the side and back walls of the made up of merchants and traders was emerging,
theater building, rather like balconies. becoming increasingly powerful financially and po-
Restoration scenery was much like the Italian litically. As a result, theatre changed, reflecting this
Renaissance scenery. The scenery was painted in cultural change by dramatizing the lives of people
perspective on wings, shutters, and sometimes rolled from the middle class. ■
backdrops. Painted boards were added to hide stage-

Look closely at the facial expressions and postures of these four characters from a 1957–58 Broadway production of William
Wycherley’s The Country Wife. What adjectives would you use to describe these stock characters from a Restoration comedy
of manners?

■ CHAPTER 10: The Production Process ■ 181

 Some directors draw the plans on a chalkboard, others talk and walk
the cast through, and still others let the actors experiment through im-
provisation. However your director directs, you should make careful
notes in your script in pencil. Blocking can change as rehearsals
progress.
After each scene is blocked, the actors walk through it several times
to clearly establish the movement and business in their minds. That is
also the actor’s signal to memorize lines for that scene in the play, un-
less told otherwise. Blocking rehearsals continue until the entire play
is completed. Meanwhile, all actors are memorizing their parts. When
an actor has completely memorized his or her part, that actor is said to
be “off book” or “off script.”

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

In developing rehearsals, your

Line Checks
director will continue to work with
you and your fellow actors to To make sure that the entire cast is off book, a director may call a
refine and improve all aspects of line check, or line rehearsal. During a line check , the cast sits in a cir-
your performance.
cle performing only the lines, without any movement or action. The
purpose of this rehearsal is to be sure that all the actors have memo-
rized their lines. Provided everyone is off book, the director may also
line check use this opportunity to time the run of the show from opening line to
a test run of the show’s closing line.
dialogue to ensure that all lines
have been memorized; also
called a line rehearsal. Developing Rehearsals
developing rehearsals Developing rehearsals are also called working rehearsals because that
rehearsals in which the actors is exactly what happens. The director and cast are working as they go
work under the director’s over and over the play, making changes and adjustments as needed. As
guidance to prepare the show the play develops, sometimes new action or stage business is added to
for performance; also called help the audience understand what the characters are doing and how
working rehearsals. they are doing it. Props are added during these rehearsals so that the
actors can become accustomed to their use. During this period,
directors often work individually with actors or with small groups of
actors to strengthen their scenes without rehearsing the entire
company.

Run-Throughs
run-throughs Run-throughs are rehearsals without any stops. These rehearsals
rehearsals conducted without should take place after all actors are off book and the blocking is
any stops. firmly established. These rehearsals must take place at least two weeks
before the production. Run-throughs give the director an opportunity
to see the strengths and weaknesses of the show.
During the run-throughs, both the assistant director and the direc-
tor make notes. Some directors use a small tape recorder to “talk” their
comments. The tape is then played at the critique session. Many direc-
tors like to videotape these rehearsals and view the tape with the cast at
the next rehearsal. At least two run-throughs are beneficial to the
performance.

182 ■ Unit 3: Producing and Appreciating Plays ■

polishing rehearsals Polishing Rehearsals
rehearsals used to correct
problems that occurred in the Polishing rehearsals are used to smooth out all the rough spots dis-
run-throughs. The rehearsals covered during the run-throughs. The play is now in the final stages of
give the actors the opportunity the rehearsal process, and it is important to continue to improve.
to fine-tune character These rehearsals often stop and start, focusing on problem areas and
believability, vocal projection, strengthening the weaker scenes. These rehearsals also give actors
and “picking up cues.”
time to fine-tune characterization, vocal projection, and “picking up
cues”—qualities that contribute to a well-polished production.

Technical Rehearsals
Technical rehearsals focus on all of the technical aspects of the
play, including set changes, lighting, sound, music, and special effects.
Once the scenery is in place, the first technical rehearsal may be held
with just the stage crew so that they can get the feel of moving the set
pieces without the cast. Some directors have similar rehearsals for
lighting, sound, and special effects, with the assistant director reading
the cues.
All technical elements must be completed for a full technical re-
hearsal. During rehearsal the actors walk through the play delivering
only lines that are cues for a technical effect. Doorbells ring, lights go
up and down, scenery changes, doors open and close—all at the prop-
er time. Enough of these rehearsals must be scheduled to have the
■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■
technicians feeling comfortable and all the technical elements run-
Several technical rehearsals will be
held, with and without the actors,
ning smoothly by dress rehearsal.
to solve problems and perfect the
timing for lighting, scenery, sound,
and all the other technical parts of
the play. Costume Parade
The costume parade is an informal modeling of all costumes under
technical rehearsals the lights. The director and costume crew sit in the audience and view
rehearsals emphasizing the the costumes, making notes about possible changes. Holding the cos-
performance of the tume parade a week before dress rehearsal gives the costume crew time
production’s technical to make the needed changes before the first dress rehearsal.
elements—prop changes, If your director plans to have the cast take a curtain call, this is a
scenery shifts, light changes, good time for blocking and rehearsal. If you are performing your show
sound effects, and so on.
during the school day, you may just have time for one curtain call.
When the lights fade or the final curtain closes, the cast should line up
costume parade
along the proscenium line, alternating males and females. Your direc-
actors modeling costumes
tor may wish to place the principal characters in the center of the line.
under the appropriate stage
lights. This parade gives the
When the curtain opens, the cast should smile and bow graciously in
director and costume designer response to the audience’s applause. After the bow, the lights fade as
the opportunity to evaluate the the curtain closes.
costumes and make any There are other ways to take a curtain call, and your director may
needed changes before the wish to block it differently. If time permits, several curtain calls can be
production opens. taken. The first call is the entire cast, the second is usually the sec-
ondary parts, and the third is reserved for the principal actors. If there
is a fourth call—and in educational theatre there can be—this curtain
call can be for all of the crews, the stage manager, the student director,

■ CHAPTER 10: The Production Process ■ 183

 and anyone else who has played an important part in the show. On the
night of the performance, the curtain call is a good time for the actors
to acknowledge and thank the director.

Dress Rehearsals
dress rehearsal A dress rehearsal is a rehearsal that is conducted as though it were
a rehearsal conducted as if it an actual performance. The crews are in place. The actors are cos-
were an actual performance. tumed and in complete makeup. The show runs without stopping un-
less there is a major problem. After the rehearsal, the director will
gather the cast and crews and go over any problems that need to be
corrected before the next dress rehearsal.
At least two dress rehearsals are required, and three are usually
needed. The final dress rehearsal should be completely under the di-
rection of the stage manager.

1. Evaluating Your Rehearsal Time Line. Working with your acting

company, compare the rehearsal time line you developed at the
beginning-of-the-lesson warm-up with the suggestions given in the les-
son. Discuss your findings with the class.

2. Organizing Rehearsals. You are the director for the next production.
Prepare a chart for the cast, showing what will be done at each re-
hearsal.

3. Reviewing Types of Rehearsals. Summarize, in one sentence, the

purpose of each type of rehearsal.

The Performance
LESSON OBJECTIVES

4 ◆ Demonstrate an actor’s responsibilities before,

during, and after a performance.
◆ Explore performance as an actor.
◆ Reflect on and form opinions of the performance
experience.

T he day you have waited and worked for has finally arrived. Excite-
ment is in the air! Everything has been planned, rehearsed, and pre-
pared for the moment when the curtains will open to a real live
audience. Even if the play is to be performed in the morning or after-
noon, during class or after school, for classmates or paying patrons,
you will experience the feeling of “opening night”!

184 ■ Unit 3: Producing and Appreciating Plays ■

 Before the Performance
Everyone should arrive at the school or theatre early—your director
nder the guidance of your will tell you how early. Be sure you have made arrangements for trans-
U teacher or the student
director, physically stretch and
portation so that you won’t be late. Once you arrive, you will need to
report to your assigned place for makeup and dressing. Always check
warm up your body to the music your own props to be sure that they are in place and ready to go. Once
of a Broadway musical. Warm you are in makeup, you should begin relaxation exercises and vocal
up vocally, repeating the letters
warm-ups. These can be done individually or as a group. Some direc-
of the alphabet with a variety of
inflections. Breathe deeply and
tors ask the assistant director to plan and lead these activities.
relax the body as well as the Thirty minutes before “curtain,” the stage manager will call “half-
vocal mechanisms. Think hour,” announcing 30 minutes remaining before the show begins. Five
about your role. Begin to get minutes before the curtain opens, the stage manager will call “places,”
into character. and all cast members should report to the areas designated by the
director.
This is a most exciting time in an actor’s life. The hours of training
and rehearsal will now pay off in the performance. It is time to take a
deep breath, swallow, and think about your character. As you go onstage,
you must become your character rather than being just an actor playing
a part.
Beginning with the stage manager’s signal, the performance should
go as rehearsed. This is not the time to try something new. If a prob-
lem should arise or a line is missed, follow the guidelines that your di-
rector has instilled in you to keep the show moving.

After Each Performance

After each performance, you will be exhilarated. But you must re-
member to put away your personal props, hang up your costume, and
take off your makeup. Although you may be tempted, don’t ever go out

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

You will want to arrive at the

theatre in plenty of time to
prepare for the performance. You
will be part of the team, and every
member of the team must be
ready if the show is to be a
success.

■ CHAPTER 10: The Production Process ■ 185

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

When the curtain comes down, it

will be time for celebration and
congratulations. You will enjoy the
feeling of having been part of a
team that has worked hard to
entertain and enlighten an
audience.

into the audience or crowd dressed in your costume and makeup—un-

less your director has planned a “meet the cast” time. Your parents and
very closest friends will probably come backstage to congratulate you.
Crews will carefully check for any repairs or replacements that need
to be made before the next performance. Everyone should help clean
up to make sure that everything is ready for the next show.

After the Final Curtain

It is sad, but every show has to end and be “put away.” In theatre,
putting away everything that was used in the performance is called the
strike strike . This part of the production process is also a team effort. Your
take apart the stage setting, director will plan the best time for the strike.
remove it from the stage, and To strike the set means to disassemble the scenery. The stage crew will
store all parts of the be responsible for the majority of the tasks, but the cast must also help.
production for future use. Besides striking the set, there are many things that need to be done.
Costumes must be cleaned and returned to the wardrobe closets.
Props must be put in their proper places. Letters of appreciation must
be written to anyone who was not part of the company but extended
their help. All persons or companies who loaned props or furniture
for the show should also receive thank-you letters. All of the posters or
advertising should be taken down, and the theatre area must be
cleaned. Every director has a special plan for what needs to be done
and when it needs to be completed, so be prepared to do your share.
ny great work of art is
A great because it creates a
special world of its own. Closing Traditions
Leonard Bernstein Theatre groups often have special traditions that take place after all
of the performances are over and the show is struck. Casts sometimes
gather to discuss the show’s success or to enjoy viewing the videotape

186 ■ Unit 3: Producing and Appreciating Plays ■

together. Classes usually complete an evaluation or a self-critique. Last-
ing memories of the show can also be created by autographing pro-
grams, scripts, or cast shirts at a cast party. Your director will have a
special way of “putting the show away.”

1. Describing Your Theatre Experience. Using colored markers on 3-

by-5-inch index cards, write one word or a short statement summing up
your response to being part of a performance. Share your comments
aloud or post the card on a bulletin board for all the cast members to read.

2. Appreciating a Team Member. Write a note of appreciation to an-

other member of the cast or to a member of one of the production crews,
expressing admiration for something in that person’s performance.

3. Thanking the Person in Charge. Write a short letter to your director,

assistant director, or stage manager, expressing appreciation for that per-
son’s role in the production.

■ CHAPTER 10: The Production Process ■ 187

 CHAPTER
10 REVIEW
■ ■ SPOTLIGHT ON TERMS ■ ■ 2. If you were the director, how would you audition
twenty female actors for a play with only three fe-
An important part of theatre is understanding the male parts?
terminology, or vocabulary, used. Add the new 3. Your theatre class has $200 to produce a one-act
terms and definitions to the vocabulary section of play. How will you spend the money?
your theatre notebook or folder. 4. Which warm-ups would you choose to prepare
your own voice and body before a performance?
5. What specific ensemble or team growth did you
■ ■ FOCUS ON FACTS ■ ■ see in the cast of this play during the production
process?
1. What are four responsibilities a director must
complete prior to rehearsals?
2. What is a royalty? Why is it paid? ■ ■ THEATRE IN YOUR LIFE ■ ■
3. What is a copyright?
4. What is the purpose of filling out an audition ap- 1. Discuss aloud or in your journal what you liked
plication? best about being part of the production.
5. Outline the rehearsal process from reading re- 2. Pass around your scripts to be autographed by
hearsals to dress rehearsals. Explain what hap- members of the cast and crew.
pens at each type of rehearsal. 3. Suggest a tradition you feel would be a meaning-
6. List the actor’s responsibilities before a perfor- ful way to close your next production.
mance on the night of a show.
7. What are an actor’s responsibilities following a
performance? ■ ■ ENCORE ■ ■
8. What is meant by “off book”?
9. What is meant by “striking the show”? When 1. Prepare a promptbook for a production.
does this “strike” take place? 2. Design an appropriate audition application for
first-year theatre students.
3. Design a self-evaluation form to be used by the
■ ■ REFLECTIONS ■ ■ cast of a one-act play.
4. Write a letter to a publishing company request-
Discuss the following questions with your class or ing the right to perform a play at your school.
answer them on paper as instructed by your teacher. 5. Check on plays and scripts available from your
school library. Ask your librarian for help in se-
1. Why do you consider it important to prepare a lecting these plays.
promptbook for a play?

188 ■ Unit 3: Producing and Appreciating Plays ■