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IMPORTANT INFORMATION FOR STUDENTS
Introduction
These notes form part of an information pack given to every student show. Please read the contents of this pack very carefully, and distribute them to the relevant members of your company. The other components of the pack are listed in the left menu. A Contact List is also available: please complete and return it. We will also need a name for the company presenting your show which will appear on the cheque/invoice you will receive approximately two weeks after the run (you will therefore need a bank account in this name). The name should be finalised at the first Production Meeting.
Studio Manager Availability
The Studio Manager, Robert Bristow, is responsible for all aspects of running the BT. He can be contacted on (01865) 305350, or by dropping by in person. Please note, however, that he only works on Mondays, Tuesdays, Wednesday afternoons and Saturday nights, and also that most of his time is spent in the Studio (ie: away from the phone), working on shows. You will not be able to contact him at all on Thursdays, Fridays or Sundays. Bad times to phone or drop in will obviously be Monday mornings (when there is a fit-up), and from 18:00-20:00 or 21:00-22:00 on performance evenings (when there is a show about to go up). Good times will be Monday evenings, Tuesday and Wednesday afternoons and at 20:00 on Tuesdays and Saturdays.
If you phone and get the answerphone, please leave a message and a number where you can be contacted; he will return your call as soon as possible, although this may not be for a few hours if you phone at a bad time.
Fire Regulations
The BT is a no-smoking building. This applies throughout the building at all times, with the exception of smoking on stage during a performance. Your attention is drawn to the Fire Notices displayed throughout the building.
Fire exit routes must be kept clear of all obstructions at all times, including props and bits of costumes. These should be arranged on props tables that do not obstruct the fire exits, or kept in the dumpbins provided in the Dressing Room. The entire back staircase is a fire exit and must be kept absolutely clear; you can not keep props or costumes there, particularly during a performance. Storage space in the BT is extremely tight and your use of props and scenery should bear the limitations of the space in mind.
Smoking On Stage, Naked Flames, Pyrotechnics
Permission to use any special effects (including stage smoke) must be obtained in advance from the Licensing Authority. The application must be made by the theatre management at least three weeks in advance of the show, so if you want to use any effects you must let us know at the first Production Meeting. There may be an inspection by Environmental Health and/or the Fire Service on the day of your Technical Rehearsal. They will want to see the effects as they happen in the show, with the actors in costume. You must fit your schedule around them (we normally ask for them to come at 15:00).
Smoking on stage will generally be permitted; this requires ashtrays (filled with water/damp sand) on stage and a nominated Duty Fire Officer (eg: the Stage Manager) in clear view of the stage and able to use the theatre's fire fighting equipment. Lighters are preferred to matches. Non-safety matches are expressly forbidden. Pyrotechnics and other theatrical effects obtained from approved suppliers (eg: Le Maitre) and employed using the recommended release/firing system will also generally be permitted (when used with restraint). Lit candles or other naked flames may or may not be permitted. If in doubt, ask advice.
Licensing And Other Laws
Much of what you do in relation to your production will be restricted by law. Such laws include those concerning Health &Safety at Work, Electrical Regulations, Obscenities and, of course, the Theatres Act - along with various local regulations.
We will do all that we can to advise you of the legalities of something you propose - without prejudice to our own legal position. In particular you should be aware that you will need special permission to use children or animals on stage.
The laws concerning obscenity and offence are complex, so you must seek advice on nudity, swearing, violence and sexual acts in your production, or indeed on your print (you can be prosecuted for distributing unsolicited pornography if you use certain words on your posters or flyers).
You should also consider copyright laws - you will clearly need to obtain performance rights for the script or the score, but you may also need permission to use material such as photographs, slides or film. The Playhouse holds a PRS licence (recourse to which is included in the venue hire), so you will be able to use most pre-recorded music without extra cost.
If you are in any doubt as to whether or not something you are planning to do will be legal, please seek our advice!
Security
Your attention is drawn to the additional information on the sheets Signing Out The Keys and Door Keys.
The door at the bottom of the back stairs is for emergency use only. It does not close automatically, and leaves the building open to walk-through thefts. You must make sure that none of your company ever use it.
Theft from the Dressing Room is the most significant risk for you (it is locked during the day, but is readily accessible while the audience are milling about just before a show). It is a good idea for your Stage Manager to collect valuables from the cast as they arrive and hang on to them for the performance.
Safety
Safety must be your prime consideration in all production decisions. We reserve the right to prevent you from doing anything we consider to be unsafe, or that poses a threat to the public, employees of The Oxford Playhouse or yourselves.
Insurance
It is a condition in the Terms Of Hire that all members of your company are covered by suitable Public & Employee Liability Insurance. You may also wish to arrange cover for your set, props, costumes, and lighting and sound equipment - especially hired items - as they are NOT covered by The Playhouse policy. All current Oxford University students are covered by the University, to some degree, in both instances. If you need further cover, the University Drama Officer will be able to advise you. You should ensure that your Liability Insurance covers any special risks, such as sword fighting, that are involved with your production.
Marketing
Marketing will be discussed in detail at the Marketing Workshop referred to in the letter of acceptance, however to prepare you for that workshop and your production, there is an additional set of notes - Marketing: Questions To Be Addressed. Also the Logo Strip for your show, which should be used exactly as supplied.
We recommend that you produce the following print:
- Posters: 100 to 250; A3 size (preferably portrait); 1- or 2-colour; printed on gloss paper of at least 115gsm
- Flyers: 500 to 1000; A5, A6 or DL size; double-sided; 1- or 2-colour; printed on paper or card of at least 115gsm
- Programmes: 250; A4 folded to A5 size; double-sided; photocopied on paper of at least 80gsm; supplied to the audience free-of-charge
We also recommend that you provide Box Office notes to help sell your show (2 copies) and send press releases to the student papers and main local press. You should also consider The Playhouse/Burton Taylor website in your marketing campaign.
All print (including mailing letters and press releases) must be proofed - in its final pre-press state - by the studio manager. You must not use the venue's logo or name on any publicity unless it has been proofed. We reserve the right to refuse to display publicity that has not been proofed, and in extreme cases we may insist that you withdraw it. If this seems like censorship, just ask yourself if you would be willing to give people a free hand to put out any image or copy they fancied with your name on it without clearing it with you first.
We are able to display print as soon as it becomes available; you should bring it to the venue immediately it is printed, even if you do not start putting it up elsewhere. Bear in mind that 300-550 established theatre-goers pass through the BT each week! In any event, your print must reach here by the Monday before your show opens.
We recommend that you will need approx. 15 posters and 100 flyers for display in the BT and The Playhouse. You should add more flyers as the numbers in the racks drop; it would be unwise to leave a large number initially as they can be used more effectively elsewhere - people tend to read flyers and put them back while waiting for shows here.
We recommend that you also bring Reviews for your display as and when they become available.
In production week each show is entitled to:
- one side of the front door
- a section of the exterior display cabinet
- one clip frame for the Box Office area
You may put up a clip frame display in advance if there is room in the building.
Set, Costumes And Props
Set and props must be of a safe construction. Nails should not be used in holding together wooden structures, and all wooden and scaffolding structures must be adequately braced. You are advised to discuss any construction required with the Studio Manager before proceeding with it. The theatre has absolutely no tools at present, so you must obtain any you will need for the fit-up in advance. Similarly, we do not supply any cleaning materials, except brushes and a mop.
The relevant fire regulations are particularly strict since the BT has an open stage and no safety curtain. All sets must be fireproofed. All sheet timber - hardboard, chipboard, plywood - must be bought Class 1 fireproofed at source. Timber over 25mm nominal thickness is considered too thick to easily catch fire and need not be fireproofed, thus most wooden chairs and tables are acceptable.
All drapes and other fabrics must be fireproofed. Some materials can be bought fireproofed at source, or you can use a recognised flame retardant approved for use on the kind of fabrics you are using (eg: Flamecheck - which we can provide at a small cost, taken as a contra). Please note that synthetic and natural fabrics may require different sorts of treatment.
The use of plastics, rubber, paper or cardboard in sets poses special risks. Where possible, materials should be purchased fireproofed at source. If you use a recognised flame retardant it must be approved by the manufacturer for the material it is used on.
Costumes and hand props brought on and off stage by the actors do not necessarily have to be fireproofed, although this may be required if special risks are involved.
The BT has no facilities for the storage of bits of wood, etc, not used in the construction of your set, and no facilities for the disposal of your set afterwards. The theatre must be cleared of all your set, props and costumes on the Saturday night of your get-out. Similarly, nothing should arrive before the Monday morning of the get-in.
Lighting And Sound
Any electrical equipment that you bring in or hire must have been PAT tested in the last year, and will be subjected to a visual inspection at the theatre. You are advised to discuss any such items with the Studio Manager in advance; with sufficient notice we will almost certainly be able to accommodate your requirements in-house, or locate a cheap supplier. Your attention is drawn to the Technical Specification, which lists all the equipment available in the BT, some of which may surprise you (there aren't many studio theatres in the world with scrollers!).
Front Of House
The BT will provide a House Manager for each show, but you must provide a dedicated ticket seller for each and every performance. The sheet Selling Tickets details what they will be expected to do; please make sure that they have seen a copy before the week of your show.
TopNOTES FOR APPLICANTS
Introduction
The Burton Taylor Studio is run by The Oxford Playhouse, and is made available for supervised use by Oxford University students during certain periods of the year. Although the University Drama Officer is based at the BT, they have no direct involvement with the theatre beyond assisting in the programming of the student seasons. The Studio Manager with the support of other Playhouse staff undertakes the actual running of the venue. There are 14 slots available to student productions each term: an 'early' and a 'late' slot in each week of Full Term, except First Week - which is given over to a week of workshops and pre-production technical work (only available to people working on BT shows). The whole of Fifth Week Michaelmas Term is given over to the annual OUDS Drama Cuppers Festival, and is hence also unavailable.
There is no distinction between the importance of the two shows - both perform once a night from Tuesday to Saturday and each has equal recourse to the venue's facilities. The 'early' slot is at 7:30pm; the 'late' is at 9:30pm. The two shows effectively run in rep, with a changeover in between. This fact is clearly of enormous importance to the staging of either production. One of the main consequences is that an early show must last no more than 90 minutes. A late show is similarly restricted to no more than 60 minutes. We reserve the right to impose fines on shows that overrun.
Other important considerations when choosing a piece are the severe lack of storage space in the building (aggravated by the presence of two shows simultaneously) and the absence of any quick-change facilities.
The venue itself, although small with only 50 seats, is extremely well equipped, offering 70 lanterns (and all associated fittings), 6 DMX scrollers, 24 channels of digital dimming, an ETC express 24/48 lighting console, 2 Shure SM58 microphones, 2 MiniDisc players, a CD player, 2 cassette decks, a Soundcraft 12+2:4:2 Spirit Live mixing desk and 2 x 225W of Front Of House PA via 2 Martin CT2 full-range speaker cabinets. A full Technical Specification is available upon request for reference only.
The Theatre is available to fit-up, tech and dress both shows from 10:00-14:00, 15:00-18:00 & 19:00-22:00 on the Monday and from 10:00-14:00 & 15:00-18:00 on the Tuesday of the Performance Week. It is not available on Sundays. The Studio Manager for Health and Safety reasons must supervise all technical work.
Box Office
Ticket prices are now fixed at £5.00 full-price and £4.00 concessions (including students). Advance ticket sales are handled by The Oxford Playhouse Box Office. Door sales are from the Burton Taylor Box Office, which the production must staff from the Half.
Gross Box Office returns (less the venue contra) are forwarded to the promoter as a cheque, usually within a fortnight of the end of the run. You will need to arrange to collect this from the BT. The venue contra consists of a fixed venue hire of £225 (Inc VAT) - charged on behalf of Oxford University - and any other charges incurred by the production.
Venue Brochure
Inclusion in the Burton Taylor Brochure now costs £23.50 (Inc VAT). The print run should be 6000; c2000 are distributed to the OUDS mailing list, c200 to the BT mailing list, 2000 to MAX city centre sites, and the remainder through the BT, The Playhouse, the Old Fire Station and the Tourist Information Centre.
Budget
Most student shows now take between £600 and £900, i.e. an average audience of 30-45 per show, with the bulk of the audience coming at the weekend. It is important to consider carefully your expected attendance and budget accordingly, remembering to include the venue hire as a production cost as it has to be covered even in the event of no sales whatsoever. Remember also that only productions backed solely by University or College societies are allowed.
The Application
- Fill in the cover sheet. The first thing any potential audience and we will read is the 30 words at the bottom, so these are quite important! Please make every effort to secure the performance rights before applying!
- On one side of typed A4 explain:
- What the show is about
- Why your team wants to work on it
- Why the BT is the best space for it
- Why anyone will want to go and see it
- Return both bits of paper to the BT
- Be prepared to talk about casting, direction, set design, lighting, sound, budgeting and marketing at the interview
- A FULL SCRIPT OR COMPREHENSIVE SYNOPSIS MUST ACCOMPANY NEW WRITING
Application forms available in Fourth Week will carry details of the deadline for applications for the following terms' slots.
Interviews will be held on Wednesday & Thursday of 6th Week. Please sign up for a time when you bring your application in. If you want to discuss your ideas or need help or advice then please contact either: The University Drama Officer, (at the BT on 791577), or the Studio Manager, Robert Bristow (at the BT on 305350)
TopGET IN / FIT UP SCHEDULE
| Monday | |
|---|---|
| 10:00 - 13:00 |
|
| 13:00 - 14:00 | Lunch: All Break |
| 14:00 - 15:30 | Early Plotting Session |
| 15:30 - 18:00 | Early Technical Rehearsal; first call for Early Cast |
| 18:00 - 19:00 | Tea: All Break (End of day for Double slots) |
| 19:00 - 19:30 | Technical work as necessary |
| 19:30 - 21:30 | Early Dress Rehearsal |
| 21:30 - 22:00 | Technical work as necessary Early clear stage, moving Late set onstage as necessary (unless the change-over will require practice to work in time; in which case the set is left until Tuesday morning) |
| 22:00 | Lock Up: All Break |
| Tuesday | |
|---|---|
| 10:00 - 11:00 | The stage is dressed for Late. Focus Late specials. |
| 11:00 - 11:30 | Late Plotting Session (can become part of Technical Rehearsal) |
| 11:30 - 13:00 | Late Technical Rehearsal; first call for Late Cast |
| 13:00 - 14:00 | Lunch: All Break |
| 14:00 - 15:30 | Technical work as necessary |
| 5:30 - 17:30 | Late Dress Rehearsal |
| 17:30 - 18:00 | Technical work as necessary Late clear stage, moving Early set onstage as necessary |
| 1800 - 1830 | Tea: All Break |
| 18:30 | Call for Early |
| 20:30 | Call for Late |
| Saturday (Get-Out) | |
|---|---|
| c2230 | Curtain down on Late Both remove all scenery and props and costumes Both LX teams reset Auditorium as required. All Display boards must be cleared |
Double Slots
Double slot shows can schedule get-in, fit-up, focussing, Plotting Session, Technical Rehearsal and Dress Rehearsal within the slots 10:00-13:00 & 14:00-18:00 Monday, and 10:00-13:00 & 14:00-18:00 Tuesday as suits the particular needs of the show.
TopTHE PRODUCTION TEAM
Introduction
These notes are intended to give a brief outline of the key personnel required to stage a non-touring production. They are given in terms of the main responsibilities associated with the job titles used in professional theatre.
For this venue it is not essential that there are as many people on your team as there are job titles listed below. What is essential is that all of the jobs described do actually get done. There are two ways to go about distributing them amongst the team: the first being by actual jobs and the second being by job titles. The second way is clearly the best, not least because professional theatres (and this includes the Burton Taylor) deal solely in terms of these job titles.
A typical team here will consist of:
- Producer/Production Manager/Marketing Manager
- Director/Designer/Deputy Stage Manager
- Lighting Designer/Production Electrician/Lighting Operator
- Sound Designer/Sound Operator
- Stage Manager/Wardrobe Supervisor
- Assistant Stage Manager
- Various assistants/crew to help distribute publicity, rig lights, etc
- The Acting Company
Administration Team
Producer
most senior member of the Production Team (has final say in all production decisions, over-ruling the Director if necessary to stay within budget/limitations of team and venue) together with Director, chooses piece and appoints Marketing Manager, Designers and Production Manager applies for rights liaises with venue's Programming Committee to book a run of performances draws up budget, obtains backing and settles accounts at the end of the run organises regular meetings with the Marketing Team to discuss progress and problems assembles programme contents for Marketing Manager liaises with venue's Front Of House Manager over matters of licensing liaises with venue's Administration and Box Office Manager to obtain Box Office returns and the end-of-run settlement
Marketing Manager
Ensures production is properly marketed to obtain sufficient audience to cover costs will sometimes be assisted by a Publicity Officer to distribute the print sends out Press Releases and arranges photocall, previews and reviews liaises with venue's Marketing Department.
Design Team
Director
Vrranges auditions, casting and rehearsals works with Producer, Design Team and Production Manager on appearance of production attends Plotting Session, Technical Rehearsal and Dress Rehearsal.
Musical Director
Only required if there is music to be played or recorded arranges score and musicians.
Publicity Designer
Designs all print and produces artwork according to printer's requirements.
Set Designer
Designs set and builds model if necessary works with Production Manager and Production Carpenter to produce construction plans.
Costume Designer
Designs or chooses costumes.
Lighting Designer
Works with Director and Production Electrician to produce a lighting plan instructs LX Crew on focusing lights plots lighting states at Plotting Session.
Sound Designer
Designs production soundtrack makes up sound effects tapes (and rehearsal tapes if necessary) sets levels at Technical Rehearsal.
Technical Team
Production Manager
Most senior member of the Technical Team, solely responsible for ensuring that the production's technical needs are met on time and within budget appoints Technical Team organises and runs regular Production Meetings to discuss progress, designs and problems controls production budget draws up production schedule organises set construction arranges equipment hire runs get-in/fit-up and get-out liaises with venue's Technical Department.
Production Electrician
Together with an LX Crew, rigs and strikes all lighting and sound equipment turns the Lighting and Sound Designers' plans into a real, working rig.
Production Carpenter
Only required if there is set/scenery to be built constructs and erects set/scenery.
Stage Manager
Most senior member of Stage Management Team ensures information from rehearsals reaches relevant parts of the Technical Team controls props budget schedules and runs scene changes and set dressing runs Plotting Session, Technical Rehearsal and Dress Rehearsal liaises with venue's Front Of House Manager to run performances.
Deputy Stage Manager
Maintains the prompt script (or 'Book'), entering all cuts and changes, stand-bys, cues and cue lines attends all rehearsals cues Operators at performances (larger venues only) produces Performance Reports for the Production Team.
Assistant Stage Manager
obtains, manages and returns all props (including for rehearsals)
Wardrobe Supervisor
Obtains, manages and returns all costumes (including for rehearsals).
Lighting Operator
Operates lighting board during focusing and at Plotting Session, Technical Rehearsal, Dress Rehearsal and performances uses prompt script (small venues only: see D.S.M. above).
