Preproduction: Plots

[oso_te_great]

What plots should I make as soon as I get the script?

I am working a school production of Stage Door, which is an after school activity in the fall.  I have recieved the script, and have made a character-scene action chart.  I have read that I should make other plots, such as lighting, props, clothing, carpentry (which i assume is the set), and sound.  I am wondering if it is good for me to wait, until I have understood what the director wants, or should I just fill it out based on the script?  For things like lighting, is it better to wait as well, since that is not a definite thing?

Thanks in advance

[loebtmc]

I always start a rough prop list, based on what is physically mentioned in the script - and do a second read for wardrobe quick changes and any gags or tricks AND SOUNDS we need to prepare (I have known sets or lights or costumes to miss these and make sure they are asked abt in production meetings - but if they have plans for it, I leave it alone until I determine the crew or actors need to deal with it).  

Often, this will all change when we start rehearsal and see what reality is in THIS production, but it does allow for things like tracking props and exits/entrances right off the bat.

Lights gets a rough layout prior to the paper tech, based on what I've seen in rehearsal, so if the LD hasn't seen the show or I am meeting w them sans director it's thought out. Of course, I always defer to the LD and director. But that list, again, comes FROM that dept. and I adapt it to my script.

Similarly, Costumes hands me a plot when it's done. Sets too, gives a groundplan so I can tape the rehearsal floor and make sure we have stand-ins for the set pieces/furniture. FYI, you want to be in regular communication w all depts so they all know when the direction affects their concepts.

make sense?

[Mac Calder]

I do 'script extractions' (fancy name for a plot with all departments), which get handed out @ production meeting #1 as a "these are the things I found when reading through the script, you may wish to base your designs on this."

[KFullerton]

I typically do...

-Scene Breakdown by page (unless the script is retardedly long and then I might do scenes, but I typically stick to pages), proves invaluable in helping directors plan rehearsals/calls and it aids the LD and Costume Designer too.

-Rough Prop List: I never to a props plot until the rehearsal process is under way and I can track things, doing it early without the official list just seems like a lot of extra work to me.

-Sound Cue List: Just of what's mentioned in the text

-General Mic List: Approx. how many you might need vs. how many the space/company has

and then I just take notes, like others said, about weird gags we might have, or tricky scene shifts etc.

[KC_SM_0807]

This is what I do:

First, I make sure that my whole script is copied one-sided on the right hand side.

Then, I have made myself a sheet that I print off and put on the left hand side.  (I copy it double sided, and it just separates each page of the script)

On this page I have a copy of the stage I'm working in (proscenium, thrust, etc.) where I can draw in things for myself, and then I separate Blocking Notes (I do a number system for blocking..where I do a 1. on this worksheet and write the blocking, then write a 1. on the script where the blocking takes place so that if the blocking moves, I can just change/move the number... and it actually works really well!!)  I then have a place for costume notes, props notes, lighting notes, scenic notes, and miscellaneous notes.  It also shows the characters involved on this page as well as the Act, Scene and Page Number at the top.  This helps when a Director wants to know who is in a part.. you can just simply look at this sheet and voila!  (Of course you do an Actor/Scene Breakdown, etc., but this could just save you some time if you are on that page!)

If you would like to see a copy of the sheet I use so that you can have some general ideas, feel free to PM me and I'll be glad to email it to you.. it could be a tool to help you find a nice medium as to what works well with your style.

[Rebbe]

I find that filling out paperwork based on the script is a good starting point, and helps you get familiar with the show.   It will tell you what questions you need to ask the rest of the production team, and get you thinking about solutions for potential problems (things like how much water to fill a bottle with so the actors can finish it onstage each night, or how to accomplish the office-to-beach set change with only two crew members…).    

If you’re working on this play as an afterschool activity, how much support will you have from props, costumes, etc?  If the answer is not much, than it’s quite likely a good idea to create your own preliminary plots, especially for props and costumes, so you can pull items for rehearsal.    Ideally, you can talk with the director and designers during preproduction about where they think they’ll be going with the show, and adjust your plots based on their input so they contain the info you need to work efficiently.  Even if you’ll have a lot of help getting your show on it’s feet, it’s good to do your own prepwork in case you pick up on something others haven’t thought about (where can we keep the actor’s offstage bathrobe so she won’t have to walk back to the dressing room naked after the bath scene?).

Understanding what the director wants is an ongoing process; they will probably change their minds a dozen times during the rehearsal process.  But if you both start on the same page, you’ll be ready to adapt with them as the play develops.  

I don’t necessarily plot lighting and sound ahead of time, but I do make notes for myself so I can help the director stay aware of them (you have that actor running SR…the script calls for a blackout here), and stay in communication with the designers.

[ljh007]

As soon as I begin a show, I draft preliminary documents:
- A props list
- A scene breakdown
- A who-what-where (an early sketch)
- A summary of special light, sound, rail, or effects ques
- I try to get my hands on a ground plan ASAP
- I learn about the wardrobe designs and draft a wardrobe breakdown (who wears what in which scene) and an inventory (what costume pieces exist and how are they grouped together in outfits)
- A master contact sheet
- First entrances (early guesses)
- Of course, all my standard paperwork and forms (sign-ins, next calls, rehearsal report forms, call board signage)

All this paperwork is completely preliminary and goes through several drafts. Some documents are important to get in final version early (the schedule and contact sheet), others might not be finished until the show opens (the who-what-where and all running sheets). Sometimes welcoming changes to these documents is difficult (when they've been formatted so nicely...!), but updates are inevitable and necessary as the show evolves. I am a paperwork-heavy SM, and in order to have all the charts and summaries I want, I need to start early.

[ESM_John]

A definite first thing, is get yourself set up. By that i mean, make preliminary forms for props, sound, LX, costumes, etc. Pencil in information as you get it, then usually, i retype it/fill in the info and give them out at production meetings.

Its a great way to stay current and organized. Also, it forces you to look back and check yourself if you know youre giving something to the entire production staff

Good luck with your show!