Producers

The Plays are currently allocated to Producers as follows:


Here's some thoughts about the rôle I envisage the producers will play in organising the Marathon. I've gone into nitty-gritty details in some places but please don't let that put you off - these aren't rules, they're just issues that the actors will probably be happier about if someone has already thought about before they have to walk on and start performing. And the producers are best placed to think about them.

The main point of the Marathon is that people should enjoy themselves doing it –  that includes the producers.  I happen to be an obsessive control-freak, so that's reflected in my approach to production, but that doesn't mean I have to impose the same approach on you if it doesn't suit you; and that's not my intention.

Here's the meat:

The key to producing is not to get too bogged down in "directing". At a minimum you should seek to ensure that when your cast walks onto the Podium to perform:

1. They know which scenes they're supposed to be in and have some sense of the story so far.
2. They can recognise when someone else is speaking to them (i.e. they should know the various versions of their character's name and titles - particularly tricky in the Histories), and can pronounce the names of other characters they have to speak to. Ideally, they should be facing the right actor at the time. (We may have to wear name badges)
3. They should some sense of their relationship with other characters – son, uncle, ally/enemy, ex-lover... 
4. If they have to refer to or use a prop (like a letter, or a decapitated head), it should be available to them on stage by the time they get to the line where it's needed.
5. If the text indicates that they are going to use a different performance level (balconies, castle ramparts, arcades: usually indicated in the SD by "Enter x, above") there is a designated upper level or platform which they can confidently and safely get on and get off.
6. Ditto lower levels (graves) and entrances or off-stage speeches from backstage interiors or caves (often indicated as "within" in SDs) – we'll seek to use the tent for those. 
7. If they are involved in a fight they know what to do, and don't just improvise wildly.
8. If they have to sing a song, there's been some attempt to teach it to them.
9. Ditto dances
10. If a scene involves mute characters who don't have lines, make sure there's at least one or two extras on stage to give some credence to the king having entered with an army - don't let him just walk on by himself. Indicators to watch out for in the SDs are "Enter x, attended", "Others", "in force". Also in the Histories keep an eye open for any SDs which mention "Excursions". An Excursion is where people come on fighting, cross the stage and exit fighting without any dialogue.
11. Identify sound cues like "Alarums", "Tuckets", "Sennets" etc - usually in battle scenes.
12. Make sure there are enough scripts available, if not for the whole cast then at least to cover the scene with the maximum number of characters on stage at the same time. Currently we have King Johns on order through inter-library loan, but raid the University Library and any Complete Works that the cast may have, just in case ILL doesn't deliver in time.

I've created Excel files of the scripts which identify a lot of these issues. I'll make these available either on-line or as email attachments.

Other points to consider in regard to 1-12 above:

1. "Plots" identifies who speaks lines in particular scenes. Note: Mutes not included.
2. and 3. I have a few books which give character notes for all the characters in all the plays, including whether they change names from one play to another (Histories - won't affect either AYLI or KJ). Also a book which provides details on how Shakespeare's names are pronounced. All the cast should pronounce names the same way, unless you're going for comic effect in some instances. A good resource is http://www.shakespeareswords.com which has a page for each play with "Dramatis Personae & Circles" - the Circles show the way characters are grouped and relate to each other. 
3. as 2. above
4. The Excel files ("Plots") have a list of props referred to in Stage Directions [SDs] so may not be comprehensive. Also -a prop marked with "^" means that someone refers to it but it's not particularly clear from the SD who brought it on - so needs follow up to identify.
5. Entrances "above" at higher levels are identified in the "Script" sheet in the "Note SD" column (I) - they're not identified in the "Plots" sheet, sorry.
6. Ditto entrances/speeches from "within"
7. Canavan will be running some fight training workshops - he's nominated Sandy as someone to carry on the good work when he's not there....
8. Music cues are identified in "Plots". I have mp3s for a lot of the songs - so we can try to teach those at the workshops.
9. No idea how to handle the dances. We need to give some thought to this.
10. Extras are often flagged in the "Note SD" column of "Scripts" worksheet - not necessarily comprehensive.
11. We'll try to cover SFX through the techies.
12. If you're producing a play for which we few copies or none, get your cast to get as many scripts they can lay their hands on from the Library (or from 2nd hand bookshops if they're made of money) - ideally in the same edition so we don't have too many variations in text.

General points regarding the workshop sessions:

• We've got two seminar/lecture theatres booked in Attenborough 9-12 and 1-4 each working day from Wednesday 6th to Friday 15th. We can seek to book others if required either on campus, or use your own resources if available. 72 Howard Road is available if needed every day - garden for gatherings, or study for one-on-one sessions. San would like to have a room to herself when she needs it so please don't treat it like Poland and just move in for the duration.
• The Attenborough rooms have video facilities, so we can show recordings of the plays where available (Library has most of the BBC versions); I also have some good tutorial sessions on video (as has Keith).
• There will be a number of exercises which we repeat daily – acting exercises are like physical exercise; if you're in training you don't do a set of press-ups and then say, "Right... now I know how to do press-ups !". You repeat them regularly until your muscles have got them ingrained and can use them as skills naturally in any context.
• My default system for the workshops would be to do group exercises on acting technique and production brainstorming in the morning, and research and props/costume sourcing in the afternoon. That's open to suggestion and change so feel free to advance considered alternatives. Some producers are arranging "rehearsals" or at least readings of the plays for which they are responsible. I would argue that that is a counsel of perfection for which we do not have time - at least not for each of the 40 plays in the Marathon - not enough hours available, and co-ordinating it so that we're not double booking the ALLs will be a nightmare. I would suggest that we get producers and actors who are playing leads to research a play and then have a session of half an hour to an hour where they tell the story and lead discussion. Show clips from the BBC videos and from the last Marathon as examples of scenes. Try to get the cast to understand their character's relationship to the other characters. If there's time – in the evenings and closer to the Marathon – it may be worth reading whole plays, but concentrate on the lesser-known ones - the Early Histories, and the Late Romances. There's less benefit in holding a reading of Macbeth, or Midsummer Night's Dream – fun though it may be.
• I'd encourage every member of the cast - in so far as we know who they are; certainly all the leads - to identify one speech in each play which is central to their character,  a crisis point typically around 2/3s of the way through the play. Get them to really get to know that speech so that they're confident about what it means and what they're doing with it. Then, in performance they can build towards that point, however unfamiliar they may be with the rest of their part – they'll have assurance when they finally arrive at their key speech, and make the rest of their performance a journey on from that point. Have some one-on-one sessions to help them where necessary - I'll be happy to help with this if you feel it would be useful.
• Above all we need to give the actors the tools (physical and intellectual) to be able to just pick up a part and deliver it convincingly and with enjoyment.  They need flexible skills that they can apply to any speech rather than detailed acquaintance with whole plays. That way they can adapt and explore as they go along which is much more exciting for everyone. 

That's it. Hope it's useful - don't be daunted. People need to feel confident about what they're being asked to do. Identify the minimum which is necessary and provide a foundation for improvising the rest if needed.