A Practical Guide to Stage Lighting, 2nd Edition

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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