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This document includes information that may be especially helpful
to new members of the Archangel Players. It is intended to provide as much basic
information as possible, so that everyone is brought up to speed quickly with
how our group works. If you're new to musical theater in general, then you'll
want to start with the General Information
section. Otherwise, you can skip down to the
Players Information section.
Theater Information (in General)
The Participation Experience
The experience of
participating in an Archangel Players production (or any theatrical production, for that
matter) is supposed to be fun and educational. We want everyone to have a great
time, but we must remember that putting on a production of this size requires a
considerable amount of work from everyone involved.
What is expected of a
performer
 You
will be expected to attend all required rehearsals and to show
up on time ready to get to work. In addition, it is your responsibility to
learn and practice your dialogue, music and staging. In some cases,
this means homework!
During rehearsals, you can expect to have
blocks of time when
you are not actively working on stage. These are opportunities to contribute to
the show in other ways, such as studying your lines or helping with set,
costumes, or business functions of the show. If none of those apply, then
watch and listen (quietly). You can learn very much from watching
the director work with other actors. Who knows... you might be a director
yourself some day!
What you can expect to
receive
 In
return for your investment of time and effort, you will receive an
experience that will last a lifetime. Ask any performer. He or she
will have plenty of fond memories of his or her earliest stage appearances.
A 2003
Time Magazine survey found that the greatest fear of 40% of Americans is
public speaking. (This more than doubles the number of people who fear death
the most!) By participating in theater, you
will become accustomed to appearing in front of an audience and be able to
conquer these fears very quickly. This can help to improve your
confidence and self-esteem. Best of all, public speaking
skills are highly sought after in all walks of life. When you stop and think
about it, those who don't have theatrical experience are still
afraid to speak in public in their professional lives... and are only too
happy to pass important opportunities on to someone else.
  You'll
be spending a lot of time with these people. In many cases, lifelong
friendships are started in community theater groups. Each new show
brings new surprises and experiences that help to reinforce these bonds of
friendship.
Who's Running the
Show?
Performing on stage is tons
of fun. But at the same time, a lot of people are working behind the scenes to
assure a successful production.
Producer
The Producer's job is to
manage the financial aspects of the production and assure that logistically,
everything is in place. This usually involves overseeing fundraising
activities, facilities planning, working out royalty contracts with the music
library, etc. The best producers are skilled at delegating such
tasks.
Director
The Director is the person who brings all of the artistic pieces of the show
together. The presentation of the story being told is the director’s
interpretation of the written word in the script. At a minimum, the Director
works with the actors to learn their lines and blocking. But (s)he might also
help the actors interpret some of their lines and discuss their motivation in
a scene. Often, the actors gain new insights into their roles and ultimately
become better at their craft.
Assistant Director
The role of the Assistant
Director is to help the Director with his/her job. Duties might include
following the script to verify the accuracy of the actors' lines and blocking,
and perhaps even running a rehearsal if the Director is unavailable. The Assistant Director
also works as a "buffer" -- answering questions from the
actors, taking attendance, etc. -- so that the Director can concentrate on the show
itself.
Music Director
The Music Director makes
sure that all of the cast members know the music from the show by rehearsing
them, usually in separate music-only rehearsals. The Music Director often
conducts the orchestra during performances.
Choreographer
The Choreographer is
responsible for any movement that takes place on stage that is set to music.
The Choreographer works with those actors who have dancing ability to provide
active movement, especially during instrumental interludes.
Set Designer
The Set Designer is
responsible for designing the scenery for the stage. (S)he works closely with
the Director throughout the preparation of the show to assure that the set is
consistent with the Director's vision.
Costume
Designer
The Costume Designer is
responsible for planning and executing a costuming scheme to complement the
Director's vision of the show. This does not necessarily mean
the Costume Designer is a seamstress or tailor. (S)he will acquire costumes by
whatever means (make, borrow, rent) and usually has volunteer help for what
sewing is done. The most important work done by the Costume Designer is the
up-front planning and research. (S)he will work with the Director and Set
Designer to decide on the best color schemes for the show; decide on the level
of complexity in the costuming; and research what people wore in different
historical periods and parts of the world. Appropriate costumes are critical
to a successful production.
Prop Master
This individual works with
the director, identifying the items (other than costumes and scenery) that are called for
to tell the story. Telephones, candlesticks, guns, even fake money are
examples of props that an actor might need on stage.
Stage Manager
The Stage
Manager takes control of the show once performances have begun. The
Stage Manager is responsible for organizing the backstage chaos in order to
ensure a successful performance on stage. This includes directing stage hands
in handling props and scenery, making sure actors are in position for
entrances, and perhaps calling lighting and sound effects queues.
House Manager
The House is the part of the
theater where the audience sits to enjoy the show. (S)he, then,
is responsible for keeping the seating area presentable, double-checking
restroom supplies, etc.
Glossary of
Theatrical Terms
A
very good interactive theatrical
glossary can be found at
TheatreCrafts.com.
Archangel Players Information
Auditions
For a singing audition, it is by no means necessary to sing a song from
the show, or from any show, for that matter. People have auditioned with pop songs, church
hymns and even "Happy Birthday."
However, if you hope to land a lead or featured role, it may help to
audition with one of that character’s songs. For live accompaniment,
we will need you to bring sheet music. You may choose
instead to
bring an accompaniment on tape or CD.
Finances
The budget for an AP production regularly exceeds $10,000. As a group, our
financial goal is to at least break even, if not earn a thousand or two for
the parish. Usually, tickets finance about 50% of the production. The
remainder comes from ad revenue. We strongly encourage all participants to
keep ad forms handy and to solicit donations from employers, in
addition to your favorite restaurants, styling & tanning salons, insurance
agents, lawyers, politicians, etc. (Forms are available at the
Insider's Corner and can be faxed directly
from the information line, 832-2242.) Although we do a bulk mailing to area
businesses, the message is much stronger coming from a regular customer.
If a company doesn’t accept an ad form, ask if you can place a
poster in their window to inform the public.
Each cast member must submit some flat fee of (usually $25) for
participating in the show. Your
fee might be waived if you sell an ad for the same amount.
Please invite friends and family to see the show!
All too often, people who would love to see the show wind up missing it simply
because they weren’t informed.
Materials
At the first meeting, you should receive whatever rehearsal material
(script, vocal score) you will need. You must return this material in
good condition. Material can be returned to the librarian any time
before the closing performance, once it is memorized. If material issued to
you has been lost, you will be required to pay for its
replacement. (The fee varies, but usually runs around $15.)
If you need to make notations in the material please do so
in pencil. We are charged by the music library if they discover
notations or markings when the material is returned.
You must erase any notations before returning
the material to the librarian.
Rehearsals
Ideally, the rehearsal schedule is available at audition time so that you
have a chance to let us know about any expected absences. At the first meeting, you should be provided with a rehearsal schedule and
list of character appearances. (These are also available at the
Insider's Corner.) Using this information, you can determine which
specific rehearsals you are expected to attend. Of course, rehearsal
attendance is critical for a successful performance.
Our most enthusiastic members will
avoid scheduling vacations during rehearsals.
This may be a requirement for some major roles.Chorus rehearsals are
usually held once or twice a week for the first several weeks
of the show. Your rehearsal schedule will tell you when attendance at other
rehearsals is required.
Alcohol is strictly forbidden
in the gym during all Archangel Player activities. (We certainly do our share
of imbibing -- elsewhere.)
At your first staging rehearsals, you will learn your
blocking.
By the last couple of weeks, we should have a running show with lines, blocking and songs.
We then begin to
layer in other elements -- props, costumes and tech (lights,
sound). Each new element adds another challenge for the performer. Therefore, a solid
foundation -- knowing lines and blocking extremely well -- is important for dealing with these
new hurdles.
Tech, Props, Costumes
Our set designer can always use lots of help
to build the best set possible.
Costumes present a wide
range of challenges from year to year. This may involve tasks other than
sewing -- buying material or pre-made costumes, adding trim and accessories,
etc. Being handy with a needle and thread helps, but isn't necessarily a
requirement to help out with costumes.
A list of props will be generated during rehearsals. Anyone
buying materials for props or costumes should be sure to have a
tax
exempt letter handy, as the church does not pay sales tax.
Tech Sign-up must be
done early enough for names to be included in the program. This includes set
construction, lighting and sound, House Manager. Generally, 3 weeks prior to
performance is our target for collecting these names.
Tech weekend occurs one
week before performance. Much of the final set construction and painting goes
on this weekend, along with getting lights and sound in place. Saturday is the
primary work day, although we usually begin on Friday. All adults in the
production (and parents) are encouraged to help out.
We usually need a volunteer to videotape a
performance, if we have contracted for the rights. If you’re handy with a camera and would be willing to handle a
performance, please sign up!
Performances, parties
Performances traditionally occur the second or third weekend in July. They are usually
at 7:30 on Thursday (if the run is for 4 performances), Friday and Saturday and
2:00 PM on Sunday. Your call time (expected time of
arrival) will usually be 90 minutes prior to performance. Most
people prefer to put on make-up and costumes at school, where we generally
arrange for the use of classrooms or the cafeteria. (Costume changes can be
done in the restrooms.)
After each performance, we traditionally hold a cast party
at a cast member’s house. This is a cover-dish affair, and we usually have a
sign-up sheet by the spotlights during the last week of rehearsal. These
parties are lots of fun! We hope everyone (including parents, of
course)
can attend. It’s a great opportunity to unwind after a performance and to have
some fun singing songs from past shows. While alcohol is
available, we are very careful about not allowing anyone under 21 to drink.
After the last performance (and before the party), we are
able within a couple of hours to strike (remove) the set.
All adults in the cast are expected to help in striking the set.
(Parents, too.) Children can help by doing lighter cleaning tasks, erasing
notes out of scripts, etc. The cast party does not begin until the set has
been struck! If you do not wish to help in striking the set, that’s OK… as
long as you don’t attend the cast party afterwards.
Map & Directions
to the Archangel Players theater.
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