178
A PRACTICAL GUIDE TO STAGE LIGHTING
HOKEY: A MUSICAL MYTH
PRODUCTION SCHEDULE APRIL 2010 v3
Date: 2/20/10
APRIL LOAD-IN
HYBRID THEATRE
8:00A 1:00P LOAD-IN 8:00A 1:00P DECK LOAD 8:00A 1:00P FOCUS 8:00A 10:00ACUE LIGHTS8:00A 9:00A WALK THRU 8:00A 12:00N TECH TBA
ELEC & RIG FLOOR LOAD W/WORKSWALKERS 9:00N 1:00P Q2Q-SPACE
PROPS LOAD 12:00N 1:00P LUNCH 12:00N 1:00P LUNCH
10:00A 1:00P DRY TECH
1:00P HALF HOUR 1:00P HALF HOUR
1:00P 2:00P LUNCH 1:00P 2:00P LUNCH 1:00P 2:00P LUNCH 1:00P 2:00P LUNCH 1:30P 5:00P TECH A1 1:30P 5:00P TECH A2
LAY FLOOR TUNE PIANOSTOP & GO STOP & GO
2:00P 7:00P ELEC FOH 5:00P 6:00P DINNER5:00P 6:00P DINNER
RIG AS NEED 2:00P 7:00P TRIM 2:00P 7:00P FOCUS DONE 2:00P 7:00P DRY TECH 6:30P 10:00P TECH A/A2 6:30P 10:00P RUN
SCENERY IN FOCUS FOHCUE LIGHTSSTOP & GO
WALKERS 10:00P 11:00P NOTES 10:00P 11:00P NOTES
11:00P END OF DAY11:00PEND OF DAY
PREVIEW
HYBRID THEATRE
8:00A 12:00N TECH TBA 8:00A 12:00N TECH TBA 8:00A 12:00N TECH TBA NO MORNING CALL 8:00A 12:00NTECH TBA8:00A 12:00N TECH TBA
12:00N 1:00P LUNCH SET PIT 12:00N 1:00P LUNCH12:00N 1:00P LUNCH 12:00N 1:00P LUNCH
SOUND
1:00P HALF HOUR 12:00N 1:00P LUNCH 1:00P HALF HOUR 12:30P SHOW CALL1:00P 4:30P NOTES/TECH1:00P 4:30P NOTES/TECH12:30PSHOW CALL
1:30P 5:00P PIANO TECH 1:00P 5:00P ORCH SITZ 1:30P 4:00P ORCH DRESS 1:30P HOUSE OPEN 1:30P HOUSE OPEN
(INVITED) 2:00P PREVIEW 22:00P PREVIEW 6
PHOTOG
4:00P 4:30P NOTES
5:00P 6:00P DINNER 5:00P 6:00P DINNER 4:30P 5:00P NOTES/CLR4:30P 5:00P NOTES/CLR 4:30P 5:00P NOTES/CLR
6:00P 6:30P HALF HOUR 6:00P 6:30P HALF HOUR 5:00P 6:30P DINNER 5:00P 6:30P DINNER5:00P 6:30P DINNER
6:30P 10:30P DRESS TECH 6:30P 10:30P PIANO DRESS 6:30P SHOW CALL 6:30PSHOW CALL6:30P SHOW CALL6:30P SHOW CALL 6:30P SHOW CALL
10:30P 11:00P NOTES 10:30P 11:00P NOTES 7:30P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN
11:00P END OF DAY11:00P END OF DAY 8:00P PREVIEW 1 8:00P PREVIEW 38:00P PREVIEW 48:00P PREVIEW 58:00P PREVIEW 7
PRESS OPENING
HYBRID THEATRE
8:00A 11:00A TBA NO MORNING CALL
11:00A 12:00N LUNCH
12:30P SHOW CALL DAY OFF 12:00N 3:30P NOTES/TECH 12:30P SHOW CALL12:30PSHOW CALL
1:30P HOUSE OPEN 1:30P HOUSE OPEN 1:30P HOUSE OPEN
2:00P PREVIEW 8 2:00P PERF 22:00P PERF 6
3:30P 4:00P NOTES/CLR
4:00P 5:00P DINNER
5:00P SHOW CALL 6:30PSHOW CALL6:30P
SHOW CALL6:30P SHOW CALL 6:30P SHOW CALL
6:00P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN 7:30P HOUSE OPEN
6:30P PERF 1 8:00P PERF 38:00P PERF 48:00P PERF 58:00P PERF 7
12 13 17
18 19 20 21 22 23 24
10
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
7
15 1614
SUNDAY
456 89
11
TEMPLATE PRODUCTIONS 212.555.1212NEW YORK, NY 10025www.fieldtemplate.com
Figure 6.1 The Hokey Production Schedule, Version 3
This is yet another time that the lighting designer
may not be involved in this portion of the process.
Meetings with the management team may provide
enough information so that the lighting designer
many not have to become involved in this level of
negotiation or deal with these kinds of changes. For
the purposes of this text, however, that’s not the case,
and the lighting designer and production electrician
have been given the task to do whatever it takes,
without the intervention or support of the manage-
ment office, to get what’s needed for the show but
still come in under the newly reduced number.
In addition to all of those announcements, Figure
6.1 shows the new production schedule being distrib-
uted. Thursday, April 10, which had been originally
scheduled for the completion of focus and cueing
time, has now turned into a dry tech starting at 10:00.
Friday, April 11, which had been an afternoon tech,
has now turned into a full 10 out of 12”; that
means the performers can rehearse 10 hours in a
12-hour period. Basically, the overall amount of prep-
aration time available before performers are added to
the stage has been reduced by 12 hours. An already
tight production schedule just got tighter. Obviously,
this news dramatically impacts the load-in and labor
for the installation of the light plot. While the light-
ing designer might initially be considering tactics to
use in order to be ready for the technical rehearsals,
there’s no doubt that it’s going to impact every work
call before that as well.
Initial Analysis
Receiving either one of these announcements is a
shock. Every carefully projected scenario or plan has
been thrown into the air like a handful of Pick-up
Sticks. Being presented with both announcements
back-to-back on the heels of one another can double
the shock. While it’s easy to feel daunted or over-
whelmed, having both of these incidents simulta-
neously take place is a hidden blessing. Dealing
with either a budget cut or the compression of the
production schedule is an extreme challenge. But
reacting to one of them, making a plan, and then

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