PRE-PRODUCTION: Noises Off! How to be Prepared?

[itsDani]

Hi all!

First off, thank you all for helping me so much. I only joined smnetwork a few days ago and I love being here

That being said, today I met my new director/theatre teacher and we discussed our first show this year: Noises Off and announced that I am to be stage manager! While I have been stage manager for a few of our shows in the past, as well as been a PA at my local professional theatre over the summer, this particular teacher and I have never worked together before.

We don't start school until next week, and auditions aren't until mid-September.. but I'm just so excited I can't handle myself, so I would love some advice to help me be prepared! I'm already planning on watching the movie and a few stage recorded versions on youtube before school starts.. but what do you all recommend to be prepared for a production like this? I have heard this this show is a beast, but I also know that it is set in all one setting so I don't quite understand why it should be so difficult.
What should I know about this particular production so that I can hit the ground running? And what sort of research do you do about your shows before you start work on them?

Also, I have been searching through the other forums, but if anybody has any tips on how to make my high school work seem as professional as possible that would be very helpful!

Thanks again!
Dani 

[planetmike]

Hi, and welcome to SMNetwork,

Don't watch the movie adaptation of a stage production. It is very likely different in script, execution, effects, etc…..

Read the script. Make tons of notes on the script. Each time through the script look at a different technical area. First time through, just read it to see what happens in the show. For example, Noises Off has a huge set change issue that happens twice; and another set issue that happens multiple times in each act. Read through it again, and look at props. List out each prop that is mentioned, where does it appear on stage, where does it come from, where does it end up? Are any props used multiple times? Read it again, and make note of costume issues. Read it again, and make note of actors' entrances/exits. Read it again, look for any odd blocking (for example, maybe a character will make an entrance or perform from somewhere not on stage). Read it again, look for and note any lighting or sound effects. Read it again, and look for ...

Now, you're not going to be actually doing anything directly with most of those lists. But each reading of the script and list you create will teach you the show. And then when Designer X comes to you and asks a question, or when you're sitting in a design meeting, you'll have a sense of how their concern/idea fits into the show.

Best wishes on Noises Off. It is a bear of a show, and done well it is a great show. Rehearsal can be tough, as props require a ton of attention to detail.

[MatthewShiner]

I disagree with Planetmike, this movie adaptation you can watch.  Although not the play script, it will give you a sense of what you are in for with the lines, characters, prop pre-set, and set are difficult.  The movie's "set" of "Nothing On" is pretty much what the script demands.

Noises off is NOT one set . . . it's one "theater set" that for act two has to turn around.  The prop pre-set is insane on the show.  Blocking is a bear.  And comic timing is insane.  (It's one of those show where you need to run it a lot).  I think the publish play script has a prop lay on included since it's so important.

Also, learn how to open sardines . . . you will use a lot.

[megf]

I'm with Matthew on this - the movie is good research. The published play script is packed with detailed stage directions that you'll want to understand thoroughly - because these become as important as spoken words to telling the story.

Also... try to use anything other than sardines. They are called for (in several iterations) in the script, but nothing is more disgusting than cleaning them out of costumes, hair, off the floor, off furniture, etc. It's not too hard to create fake sardines from of jello, mashed potatoes in a mold, even slices of cheesecake with some creatively colored frosting... and the cleanup is far less smelly and greasy.

(I did a production where the director purchased a case of sardines, and insisted we use it.... ugh!)

Have fun, and keep us posted!

[planetmike]

Not to get too deeply into specifics, after all Dani is learning here, but when I worked on Noises Off, we used fishing lures with the hooks removed. And we found our "sardines" everywhere at final strike. In the furniture, under the set, crushed into the gaps on the stage floor, in costumes.

Maybe the Noises Off video is ok, but it may be the exception rather than the rule (guideline). Unless you're looking at a film of a stage performance, most movies "based on the play" have significant differences. And that's a different thread from Dani's original question.

[Jessie_K]

I've done Noises Off twice. 

Use fake sardines, we had rubbery realistic looking fish from a fishing shop.  No hooks to remove.  We had hundreds.

Number your doors.  "Doors, doors, doors."

When you tape out your set (assuming it rotates), tape once-- move your table for Act 2.

Also don't lay out (in tape) the second story right on top of the first story, shift it upstage a yard or so.  People will be on both levels at the same time.  (If that doesn't make sense--watch the movie)

Follow the blocking notes in the script.  Farce is pretty much the ONLY time you will do this.

Be prepared for some backstage goofiness on your closing night.  Don't try to stop it.  Just be prepared.

[itsDani]

Thank you all!

I have not had a chance to talk to our director about what she plans to use for the sardines but I will mention all those ideas to her

Yes I do know that the set turns around, but since that is in between acts I'm not exactly worried about it too much. We'll have to see how it works when our set is built.. since all our sets are student built they tend to vary from the general idea.

Also, I am going to watch the movie. I definitely know that plays and movie adaptations all differ (just like books and movie adaptations) but I still plan to watch it to give me a sense of the story. I also just discovered that a local community theatre is opening with a production of it in a few weeks so I'm going to try to round up my crew and go see it

[loebtmc]

Also, go to the BTDT listing and email SMs who've run it. They will share the traps and surprises they found (like the sardines discussion) that you won't think about until it's too late. And after you've read the show several times, ask how they solved problem x or y (props, costumes, set shifts, whatever).

[On_Headset]

One major piece of advice that hasn't been covered: be cool.

This is a difficult show and it's one you should take very, very seriously. But because it's difficult, you're going to need to try extra-hard to be cool: approachable, at ease, comfortable, soothing, calm. Be the SM you think the actors need you to be; try, at all costs, to avoid becoming a stresspuppy or an automaton.

[SMeustace]

A good first step, that was probably most likely mentioned before, is to meet with the director. For me I like to get business out of the way (schedules, needs, ideas for costumes and such) before I ask them their "vision" for the show. I like to get to know my director, so It will be easier for me to work with their new style as well as anticipate needs.

Next I read and re-read the script. I make note of technical needs of the entire show, page by page. It's a good start so I can pull rehearsal props and rehearsal furniture for the future. I sit down with my director to discuss the needs I found in the script and if he has any early decisions for cuts. If theres a set, costumes designs at that time, I look at it and note whats in the picture. This helps me know what may be needed as well

When auditions are around the corner, I ask about audition needs and how he wants the audition forms. This is also a good time to talk about what to give to the cast on the first rehearsal.

[itsDani]

Thank you all so much, this has been helpful beyond belief!

[Delia]

This is some really great advice! I'm working on Noises Off! at my high school too, and we've just started rehearsals. Dani, if you'd like you can feel free to pm me and we can bounce ideas/commiserate/etc

[carmond]

Hey Delia...Our local community theater is going to be doing this play, Noises Off, in the fall and I do the lights and sound for the club...Can you please tell me what sounds, etc..I should be preparing to have ready come rehearsal time...I have 4 plays to get ready for and I like to start early getting ready with no surprises.....Thank you very much

[KMC]

Hey Delia...Our local community theater is going to be doing this play, Noises Off, in the fall and I do the lights and sound for the club...Can you please tell me what sounds, etc..I should be preparing to have ready come rehearsal time...I have 4 plays to get ready for and I like to start early getting ready with no surprises.....Thank you very much

The sound effects / foleys used for the show should come from your sound designer.  In terms of rehearsal props/effects, the best way to gather this list would be to give the script a good read through yourself (you should be doing this anyway, I hope) prior to rehearsal and have a discussion with the Director about what s/he expects to have available in the rehearsal room.  From there you can coordinate with the various creative departments to make these resources available.

As a general note, the community here is very willing to help you, offer advice, suggestions, etc. - what we're not willing to do is to complete your work for you.  You may find better response in the future by asking a question like "Noises Off - in your experience, what are some key things the director is likely to ask for in rehearsal?" as opposed to "What is a list of sound effects I need for rehearsal?".

Seeing as this is your first post, the staff would encourage you to introduce yourself on the Introduction board as well as read through our community standards.  Welcome and happy posting!

[Tigerrr]

When I did Noises Off several years ago, I asked the director to break the show down into beats or units for scheduling purposes, then my team and I made "beat presets" from our props tracking spreadsheet. That way, regardless of which beat we started on any given day, we knew exactly which prop needed to be where and where it was at the end of the beat. (Each beat was 3-5 pages - we ended up with over 70 presets.)

What this did was allowed the director to begin pretty much anywhere in the text he wanted so he could focus on specific acting work, and we never had to waste any time figuring out what was where. It was great while we were in the early stages of rehearsal and when we had to go back after doing some work, we'd go to the top of the beat and never wasted time trying to figure out what was where. Then, when we got later in the process, he could work on beats 5, 18, 22, 40 and 61 (for instance) and stage management could pre-prep the stuff needed for the next bit. Don't get me wrong, this show needs a TON of run throughs to get the timing right, but it was great for detail work.

Also, in your tracking sheet, number the doors, but also make sure you note if the door is open or closed.

Attached is my who-what-where. The colour coding is: purple for entrances & exits, yellow for when things got picked up or put down, blue for doors, and white for "other" (mostly if something simply got moved). Filtering is on, so you can track, say, just Door 3 or whatever.