First of all...thank you to  the builder(s) and participants of this site...you are providing a beautiful community service...and secondly, I apologize for writing a book.

 

Long story short...been doing a play a year for 15 years - mostly at the junior high level.  Mostly Tim Kelly - Pioneer Drama scripts - lots of farce and lots of fun to teach the fundamentals....and this was a volunteer position that I thoroughly, thoroughly enjoyed...I think it was because of the fun and the essence we shared with the audience that....

 

I have been 'hired' to direct (only me - for a musical!!!) a high school musical in a different town...don't know the kids - the stage is HUGE - and they expect a no-stops performance.  (You are probably wondering why I would accept this...well, it is a risk...and with risks a person grows...and they wanted me...I try never to close a door...take the opportunities as they come)...BUT!  I have a few questions that are causing me great stress...I know I can do the directing...it is some of the other stuff that comes with directing on this different level that I am worried about.

 

First, I am used to purchasing scripts and realize that I will have to 'rent' them if I do a classic musical...Someone tell me I can purchase them...somewhere???  If renting, I am scared to death that I will need them longer than the 8 weeks allotted...I need time to figure out what I am doing before we start rehearsing...I realize I can get an extra couple weeks by ordering perusal copies...but I was hoping to have everything before Christmas for a show that we are hoping will be mid-April...am I dreaming??  Since there are no costs in a catalog...and no one will give me a price until I complete a performance license...what is an estimate?  A thousand dollars?  I realize this depends on the number of scripts...but what about royalties???

 

Second, because the stage is HUGE, I know I have the privilege of building the set the size I want...my question is about height...I would like to know what the average height of a flat is....8 ft?  10 ft?  This school actually builds flats to tear them down and throw them away every year!!!!  I would like to build them to reuse - that is if I get rehired!!!  The reason I am questioning this is that I have always used 8 foot flats, but we were performing on a small gym stage...this is a HUGE auditorium stage - will 8 foot flats look too small??...and I cannot remember what we did in college...I think we built them different sizes.  Any feedback on going with 10 foot flats - as a base for a set???...or stick with 8's?

 

Lastly, something dawned on me as I was reading all this stuff...I only used a piano on the occassion that we did a musical...and once in awhile, if a student needed a different key, the piano player just changed the key, so the student could sing all the notes.  Was this breaking copyright? This is one of my biggest fears...getting all the rules right!!  And doing a musical with kids I don't know.  If we choose a musical and find that no one can sing the parts...and we have a full orchestra...does anyone have any ideas what to do? 

 

Old soul in a new world....

 

I've used 8', 10' and 12'.  These sizes aren't too surprising because they are related to lumber sizes.  Most places create a small frame for the flat out of 1" x4" lumber and stretch canvas over it, glue and staple the canvas in place, then size and paint the canvas.  Some use Luan (thin mahogany plywood stapled to the front of the frame instead of canvas.  Luan is a great painting surface, but is of course heavier and limits you (usually) to 4' x8' flats.

 

8' flats  look a little small, but you can get over that in about 2-3 seconds if the set is well done.  If you don't believe me, try measuring the height of most ceilings--8' right?  So for interiors of houses, 8' is ok.  For Daddy Warbuck's mansion, I'd go bigger.   Remember that with larger flats comes larger cost, and bigger storage area--traded off against the time to make flats.  Consider borrowing flats from other groups and schools--to save costs.

 

Also consider renting drops if the auditorium has fly space, to make the transitions instantaneous.  Flats on wagons or other movement techniques take loads of time to change.

I can address the scripts rental issue. If you want the materials for more than 8 weeks, for a small fee, a couple hundred bucks you can get the scripts and music for an extra month. I usually do that. It just gives me the wiggle room that I need. For a nominal fee you can get a perusal script ahead of time. I don't think you want to buy materials. They are really pricey. The last time I had to replace a libretto (The dog ate it. Really.) it cost $25. In a musical there a lot more things I would like to spend my money on. As far as royalties go the reason you  re not getting an answer is because it depends on the show, the number of performances, the size of your house, and the cost of tickets. It is mathmatical equation I have never understood. We have 125 seat theater and do a 2 week run. We  budget between $2500 to $3500 for materials and rights, but like I said every situation is different.

 

The next thing you need to do is get a music director. A good one. Really and truly they will be able to take care all the musical questions you have. You don't need to use all the instruments that are available for a performance, but the music director will tell you which ones you have to have. You should ask permission if you need to transpose a song. There are wonderful computer programs that can do it very easily these days.

 

Vickifrank is right on with her advice about flats and staging. I would say if this your first musical on this stage see if you can do something with a unit set. It will make your life easier.

 

Good luck.

Linda

THANKS!  WOW!!  I was way-off on my cost estimates, so I really, really appreciate your assistance.  Everyone says that MTI, RnH, and TAMS are easy to work with, but for a first-timer, I have not found them easy.  I decided that I am looking for different, more definite information before I decide details on my end - for example, I would see what my costs are, then set the ticket prices:-)...there is a blind faith thing that goes on that I am not comfortable with...yet.

 

I agree with you about finding a music person...my dilemma is that I am being paid - no one else will be - which complicates things...I am used to saying...If I can do this, so can you!  Cannot use this line anymore...thought about splitting up my salary and personally paying key players - a music person, a costume person, and a set person would be heaven!!!....just don't know what the school would say if they found out...This is a hobby (that I kicked up about ten notches by agreeing to do this) so money is not an issue for me.

 

Forever grateful for your tips!!!!

And, I frequently will take on projects that are a challenge where the money sure isn't THE motivator.  In these cases, I literally ask them to donate my 'pay' to a charity in my name.  The reason is that reporting some minor income is not worth it, but then on the other hand not getting paid can end up abusive--where people expect work that takes away from well paid jobs.  Usually people recognize this as a relatively 'classy' way to accept an interesting project for a good cause.  And it allows me to donate my real skills--I'm useless at serving soup in a soup kitchen, but I'm a good designer!  I'd rather design a wonderful set for hours of commitment, than serve soup.  Even a small salary is a big donation to a soup kitchen!  And I don't have to pay accountant fees, taxes, etc..

 

I'm going somewhere with this.  Since lots of folks are in similar situations, perhaps you can work a trade with some of your folks.  They help you with this show, and you help them for free with another project that they have.

 

Second idea, since this is a school show maybe you have the students paired up with an advisor.  Ex: The student designs the sets, but your advisor reviews and tells them what won't work and what will.  The advisor's time will be far less.  In a high school you can even run a contest for the best design--and essentially the art teacher recruit the designers.

 

For some it will be a credential, or reference.  And in some cases you might find it leads you to new opportunities, just as your previous direction took you to this opportunity.

 

I love your ideas!  Thank you for your input...your words speak highly of your wisdom...you've got me thinking in new directions:-)

 

Tammy,

 

Thank you for putting my mind at ease...that makes me less freaked out if I get into a similar situation in the future.

 

Best regards,

Here is my first few suggestions, start looking for a show now.  Or if you have a show that they school wants you to do read it many, many times to get the idea how to put it together.  (If a show as not be choosen, I would look at a simple set show like "Your a goodman, Charlie Brown" which uses simple suggestive set pieces.  Avoid major set musicals like "Hello Dolly". 

Put together the the production team.  If it is in a school are you working with the music teachers?  Send out letters to the students parents (You'll be surprised at who will come out to volunteer).  Then start working on your show. 

As always this forum has some very knowledgable people, don't hesitate to ask for help.

 

 

Linda

 

Then you should be prepared to write a letter for each to put in their high school portfolios so they can use this to get scholarships and summer jobs.  The high school-college transition has changed a little over the years.  Those letters from adults saying what a kid is capable of and how they've shown leadership can be worth real scholarship money.

 

My second oldest daughter's favorite essay for scholarships was something like "How being a stage manager taught me to lead and work with teams."  That and being second in her class translated to a free ride through a bachelor's degree in Mechanical Engineering.

 

 

We all know that the arts take real work--its nice that such a simple thing as a letter can be used to help kids that contribute to the arts to thrive in life.  Sort of a 'you give and you receive' win-win situation.

 

If you mention this letter of recommendation as your intent to the teachers, they will understand and probably weigh in, because it in turn connects the kids to school effort and makes for more motivated students.

 

----

 

And Linda is exactly right.  These folks in the schools originally started working there because they liked learning and helping kids to learn.  If you ask, you sometimes do them a favor by letting to get away from bureaucracy, school non-sense, daily troubles and back to what they used to love. 

 

You do this because --despite the hassles--at the core of it, it is fun.  Part of directing in high school is involving the school community in that fun.  Our local high school has a genius director.  This guy does wonderful art, by seeing what kids can do--and letting them do it.  The artistic quality is top rate, better than many colleges I've seen and better than many pros.  But if you watch this genius, he's also 'saving' kids who got turned off by school.  Kids are drawn to him because he lets life (and the arts) be fun again.  So the creativity just soars and kids start feeling good about living.  If I could clone him I would, because a few of him in schools would fix a lot of what is wrong with American education.

 

I think the royaty houses are good about explaining things to you.  I have found that if I lay my cards on the table and ask all the questions on my mind, they'll be happy to explain.  I also always try to deal with the same person each time.

 

I also have some great ideas about how to get kids involved...afterall, this is a 'student' production - although parents and staff will be our number one resource!!!

 

Forever grateful,

Linda

 

Thanks also to the person (Joe, I believe) who mentioned checking out the balcony when determining blocking.  I hadn't thought of that either...in fact I totally forgot there was a balcony until you mentioned it!  I have never blocked with a balcony in mind...and I thank you for the tips.  I don't know how many seats are up there - I don't recall there being many...but I will know soon enough:-)

 

I have a lot of work to do - I hope someday to repay the  kindness all of you have shown me...and I will let you know how things end up!