| We produce four plays a year. Each play has a production cycle of ten weeks. Rehearsals usually run two per week for five weeks then three per week until production. In addition to our production schedule the Group works closely with the community taking half hour slots to clubs/ groups offering mini seminars when we are doing a relevant school production.
Our programme is devised by our Committee a year ahead. We aim for variety in our attempt to bring live theatre to our community. We must keep an eye on what other groups are doing and take into account current West End successes, what’s of contemporary relevance, costs, cast sizes, and so on. We try to include one contemporary play and a classic and one that would be relevant to A level students in our annual programmes. And not least of our worries is who in the Group is available to direct and when.
Two plays are in preparation at any time. As one play completes its week of production, so rehearsals for the next commence. At the same time readings and auditions for the play following the next production are held; planning for this play commences in earnest during the rehearsal period for the current production. Often the hardest part is finding the next willing construction crew rather than the acting team.
Shoestring is very much a team. As a member you are expected to contribute not only on stage but off. We all take on different roles, trying to vary our level of involvement play to play. We are fortunate in having among our members talented designers, light/sound technicians and costume specialists. If we run out, we train our own! A high level of commitment is demanded and given and of course it’s tremendous fun.
The Director is responsible for the artistic integrity and performance of the production and will run all rehearsals constantly liaising with all other areas of the production team.
The Producer takes the administrative heat from the Director in Shoestring productions and is responsible among many other things with getting our Saturday set building crews together.
Set building can be quite a tricky and technical business. The group has several able members who, when they are not on stage, are often to be found at the back of the Arts Centre constructing the next set.
The Stage Manager is a key role in any production. After the final rehearsal the director becomes redundant and the responsibility for running the show passes to the SM. He/she is usually assisted by an ASM.
Finding properties for Shoestring can be fun but quite challenging depending on the play. Tenacity and determination is required to source exactly the right piece of furniture or hand prop. The props person will also crew on the show.
Costume/MakeUp/Poster & Programme Design/Publicity/Front of House are all slots that the Director and Producer together will seek to fill for each production.
The rehearsal prompt: To prompt successfully you need to be able to sight read speedily, have a clear voice and not be put off by actors’ glares when you occasionally prompt when one is not required. Shoestring prompts work only in rehearsal, never in performance. Throughout the run if an actor drops a line the cast have to work their way out of it. Knowing there is no prompt in performance certainly concentrates the mind!
Young members Few of our plays offer acting roles to youngsters under say sixteen although at least one play a year will relate to the A level study curriculum. But when parts do occur for younger people we do our best to see that exposure is given to backstage tasks as well as treading the boards. |
