ABOVE: Two pages of prompt script from THE HOUR. The actual script used to call the show (and given to the designers) was actually written out blocking notes from our seven week rehearsal process. Due to the heavily devised and Brechtian nature of the show, our final product strayed too far from that of the original script for us to find it useful. Thus, in this script one will find charts to indicate order and/or location, section titles that would use the same names used in rehearsal, and the occasional emoji (as seen in the first page with the appearance of a bag). This was such an interesting experience as I had to create and electronic short-hand that was quick and understandable by myself, my SM team, and the whole design and directorial team as well. The "Middle Portion" (also called the composition) was the largest and quickest portion of the piece to call, involving live sound busking, as well as lighting, video, and fly cues. You can listen to me call a tech rehearsal of this piece here: https://youtu.be/sCxv1KOLbG4
Right: Twelfth Night Plot. Taking place in J Studio at the University of Rhode Island, this plot demanded fun, dance club lighting mixed with outdoorsy settings to accomodate the artistic vision of the show and help guide audiences through our different locations in one set.
J Studio also has some very unique architecture to plan around, such as trusses, only two booms, and no low hanging positions for instruments.
LEFT: A schedule from La Traviata. Due to the international nature of the performance, schedules and rehearsal reports were sent out in Spanish and English, as seen here.
This production took place at the Centro Nacional and as such had big investors and interviews the soloists and producers were required to attend.
Creating the schedule meant juggling rehearsals, important meetings, personal schedules, transportation (two available cars), as well as any language barriers that came up.
Lifted by Charlie Thorston. Photo by Erin X. Smithers
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