The Complete Idiot's Guide to Amateur Theatricals

400 Pages·2006·2.15 MB·English

by  John Kenrick

Amateur
Theatricals
by John Kenrick
A member of Penguin Group (USA) Inc.

Amateur
Theatricals
by John Kenrick
A member of Penguin Group (USA) Inc.
This book is dedicated to Mary Pinizzotto Marotta and Frank L. Crosio, whose patience and
unfailing support made every page possible.
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Copyright © 2006 by John Kenrick
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ISBN: 1-4406-1473-3
Library of Congress Catalog Card Number: 2006924211
Note:This publication contains the opinions and ideas of its author. It is intended to provide helpful and
informative material on the subject matter covered. It is sold with the understanding that the author and pub-
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The author and publisher specifically disclaim any responsibility for any liability, loss, or risk, personal or
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contents of this book.
Publisher:Marie Butler-Knight Cartoonist:Shannon Wheeler
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Production Editor: Megan Douglass
Copy Editor: Nancy Wagner
Contents at a Glance
Part 1: Making the Decision—“Reviewing the Situation” 1
1 Doing a Show: “Let’s Start at the Very Beginning” 3
Consider the best (and the worst) reasons for putting on a
show, and discover the keys to doing it successfully.
2 People Power: “Getting to Know You” 15
Assess the talent available to you, take an honest look at your-
self, and consider the meaning of commitment.
3 Facilities: “What’ve We Got?” 27
Consider the facilities, equipment, and other physical resources
you have access to.
Part 2: Picking Your Project—“The Play’s the Thing” 39
4 Great Shows for Beginners: “We Can Do It!” 41
Dozens of plays and musicals neophytes can stage with style,
and tips on obtaining performance rights.
5 Writing Original Shows: “It’s Our Time” 55
Find out how to write your own play, musical, or revue, and
get a quick introduction to copyright questions.
6 Financial Realities: “A Mark, a Yen, a Buck, or a
Pound” 67
A step-by-step guide to building a sane, workable production
budget.
Part 3: Building Your Team—“Side by Side by Side” 81
7 Selecting Production Staff: “You for Me and Me
for You” 83
Put together a strong production team, find the right people,
and get them organized.
8 The Executive Team: “You Gotta Have Heart” 93
Detailed job descriptions for the producer, director, choreogra-
pher, and other top production staff.
9 The Design Team: “The Colors of My Life” 105
Know the qualities to look for in the people you choose to design
your costumes, sets, props, lighting, and sound.
iv The Complete Idiot’s Guide to Amateur Theatricals
10 The Support Team and Volunteers: “All You Need
Is a Hand” 119
Work effectively with volunteers, and learn about some of the
key positions they can fill in your team.
Part 4: Going into Production—“Putting It Together” 131
11 Production Calendar: “One Brick at a Time” 133
Create a solid week-by-week production schedule you can tailor
to your special needs.
12 Auditions and Casting: “I Hope I Get It!” 147
Select a great cast and run people-friendly auditions without
causing a lot of hurt feelings along the way.
13 Basic Stagecraft: “We’ve Got Magic to Do” 161
Come up with a production concept, learn traditional stage
geography and the art of blocking, and build the all-important
prompt book.
14 Working with Actors: “Playing Hide and Ego Seek” 173
Explore the art of acting, including the “Method” and other
useful techniques, and check out some useful pointers on deal-
ing with prima donnas, tantrums, and stage parents.
15 Rehearsals: “One Mo’ Time!” 185
Run productive, exciting rehearsals from day one, with ground
rules and techniques that will help keep everyone on track.
16 Sets: “Take Me to the World” 197
Learn to build basic set elements, with construction require-
ments and tips on how to avoid having too much or too little
set to work with.
17 Costumes and Props: “Give Me My Colored Coat” 209
Examine the why and wherefore of creating costumes and
props, from using the right materials to making the best use of
color.
18 Makeup: “Put On a Happy Face” 223
Discover how to buy and use theatrical makeup, and when to
avoid using it.
19 Light: “Show Me!” 235
Select and use the right lighting equipment for your project,
with suggestions on how to make do with less.
Contents at a Glance v
20 Sound: “Make Them Hear You” 247
Understand the technical wizardry of high-tech amplification,
and learn about sound effects and the art of vocal projection.
Part 5: Marketing—“Sing Out, Louise!” 259
21 Publicity: “I Gotta Crow!” 261
Let your audience know you’re there by planning and running
an effective publicity campaign with basic and advanced PR
techniques.
22 Tickets and Seating: “Join Us! Sit Where
Everybody Can See” 273
Lay out a workable seating plan, create and sell tickets, and
train your ushers to make audiences feel well cared for.
23 Programs: “Giving Credit Where It’s Due” 283
Design a professional-looking theatre program, and use ad
sales to turn it into a moneymaker for your production.
Part 6: Showtime and Afterward—“Another Opening, Another Show” 295
24 Final Rehearsals: “Will It Ever Be Right?” 297
How to survive and thrive during the whirlwind of tech and
dress rehearsals.
25 Showtime: “Cross Your Fingers and Hold Your Heart” 311
Make the most of opening night by simply letting go and let-
ting everyone do their jobs.
26 What’s Next? “After the Ball Is Over” 323
Clean up the loose ends, evaluate your efforts, and then take
your troupe (and yourself) to the next step.
Appendixes
A Glossary 335
B Suggested Reading and Web Resources 345
Index 353

Contents
Part 1: Making the Decision—“Reviewing the Situation” 1
1 Doing a Show: “Let’s Start at the Very Beginning” 3
How Did You Get Into This?........................................................3
What Is Amateur Theatre?............................................................5
Amateur Does Not Mean “Amateurish”........................................5
When Amateurs Are “Amateurish”................................................6
The Key Steps to Putting On a Successful Show ........................8
Defining Your Motivations and Goals ..........................................8
The Worst Reasons........................................................................8
The Best Reasons ........................................................................10
2 People Power: “Getting to Know You” 15
Taking Stock ................................................................................16
Planning Production Staff: Basic Questions................................16
Putting Out a Feeler....................................................................17
Potential Cast and Crew..............................................................18
Overall Numbers........................................................................19
Level of Experience......................................................................19
Working with Children ..............................................................19
Working with Teens....................................................................20
Working with Adults..................................................................20
All-Male or All-Female Casts ....................................................20
Race............................................................................................21
Casting the Physically Challenged................................................21
Potential Production Staff and Crews ........................................21
Your Best Resource ......................................................................22
My Talents..................................................................................22
My Time....................................................................................23
My Health and Temperament......................................................24
Commitment: Don’t Kid Yourself................................................24
A Kind of Family..........................................................................25
3 Facilities: “What’ve We Got?” 27
Key Questions: Facilities, Equipment, and Other Resources......28
Rehearsal Space............................................................................29
viii The Complete Idiot’s Guide to Amateur Theatricals
Performance Space ......................................................................30
Likely Audience..........................................................................30
Types of Performance Space ........................................................31
Lease Agreements ........................................................................35
Insurance ......................................................................................36
Lights............................................................................................36
Hidden Space and Equipment ....................................................37
Sound............................................................................................37
Local Theatre Groups..................................................................38
Part 2: Picking Your Project—“The Play’s the Thing” 39
4 Great Shows for Beginners: “We Can Do It!” 41
Picking the Right Show................................................................41
Plays..............................................................................................42
Dramas......................................................................................43
Comedies ....................................................................................44
Musicals........................................................................................46
Gilbert and Sullivan ..................................................................46
Book Musicals ............................................................................46
Professional Revues......................................................................49
Children’s Theatre........................................................................51
Accompaniment: Live or Prerecorded? ......................................52
Keeping It Legal: The Only Option............................................52
Yes, You Can Afford It!................................................................53
Budget Saver: Fewer Seats..........................................................53
Change Is Not Always a Good Thing ..........................................53
Rights for Individual Songs ........................................................53
When Rights Are Not Available..................................................54
5 Writing Original Shows: “It’s Our Time” 55
Why Write Your Own?................................................................56
The New Basic Rules of Playwriting ..........................................56
Show, Don’t Tell ........................................................................57
Write About What You Believe....................................................57
Save Preaching for the Pulpit......................................................57
Maintain Tight Focus ................................................................57
Build to a Climax ......................................................................58
Keep Everything Clear and Logical..............................................58
Use the Mechanics of the Stage....................................................58
Premise..........................................................................................58