End of Year Show

Agenda and Meeting Minutes 11/10/2017


 Production: Currently Unknown

Date: Wednesday 11th October 2017

Time: 1.00pm

Venue: High Street

Attendees: Sue White, Lucy Sykes, Sam Loftus, Matthew Stephenson, Jason Shepley, Rosalin Cunningham, Steff Gibson, Chelsey Gill, Sean Gibson

From: Lucy Sykes


Agenda Points

  1. Talk through what has happened recently regarding the show – Sean Gibson, Sue White
  2. Lightings Requirements for Touring – Matthew Stephenson
  3. Sounds Requirements for Touring – Rosalin Cunningham and Jason Shepley
  4. Stage Managements Requirements for Touring – Sam Loftus and Steff Gibson
  5. Sets Requirements for Touring – Rosalin Cunningham
  6. Script – Lucy Sykes
  7. Casting and Deciding Roles – Lucy Sykes
  8. When are Rehearsals Happening – Lucy Sykes
  9. Meetings – Lucy Sykes
  10. O.B


  1. A discussion about what has happened recently with the licensing and anything else the production team should be made aware of.
  2. Lighting Designer/ Operator to discuss information they will require from every venue prior to shows.
  3. Sound Designer/ Operator to discuss information they will require from every venue prior to shows.
  4. Stage Management Team to discuss information they will require from every venue prior to shows.
  5. Set Designer to discuss information they will require from every venue prior to shows.
  6. What is the earliest point the script can be provided to the DSM and Designers.
  7. When will casting happen and is it feasible for the DSM to sit in on casting? When will roles like assistant directors be decided?
  8. When is the first rehearsal going to be? Is it possible for the DSM to start attendance from the first rehearsal?
  9. Discuss the requirement of a representative from the performance group attending the occasional meeting when necessary.
  10. A.O.B



Meeting Minutes for 11/10/17 @ 1:00pm 

 Attendees: Lucy Sykes (LS), Sam Loftus (SL), Matthew Stephenson (MS), Jason 

Shepley (JS), Rosalin Cunningham (RC), Steff Gibson (SG), Chelsey Gill (CG), Sean Gibson (SeG) 

Apologies: Sue White (SW) 

Venue: High Street Staff Room 


  1. Talk through what has happened recently regarding the show – Sean Gibson
  2. Lightings Requirements for Touring – Matthew Stephenson
  3. Sounds Requirements for Touring – Rosalin Cunningham and Jason Shepley
  4. Stage Managements Requirements for Touring – Sam Loftus and Steff


  1. Sets Requirements for Touring – Rosalin Cunningham
  2. Script – Lucy Sykes
  3. Casting and Deciding Roles – Lucy Sykes
  4. When are Rehearsals Happening – Lucy Sykes
  5. Meetings – Lucy Sykes




 Talk through what has happened regarding show 

SeGOriginally we were under the impression that we had the rights to First Date, this is no longer the case so currently in the process of securing a new show.  

CG: Zombie Prom and Dogfight look like they’re the main two options available to us currently. We created a huge list of potential shows, and most of these were ruled out due to copyright issues, cast size, most of them were just impossible. 


LX Tour Requirements 

MSMain issue, do the venue(s) in question have a rig? And if so, do they have lights we can use, and what are they, or do they have the ability to let us hang our own lights etc. 

CG: We have been to one school so far, Archbishop, which I took pictures of, their theatre is quite nice. They have a fixed rig at the front and back, to change these lights requires a scaffold to be erected and then they can be manipulated or changed. But currently their setup is pretty fixed. It is a proscenium arch theatre.  

MS: What is the power load for their dimmers, if we brought our own equipment, if allowed, what are their ring mains like etc. These are obviously questions that you won’t have the answer to right now, but they’re things that are important in the long run if this tour is to be a successful one.  

SeG: It was suggested by Archbishop when we visited them that we bring someone from the Technical department with us on future visits, so you can get your questions answered. 

LS: This has been discussed, it was decided that if that happened, it would be myself and RC that took on that role, as I can represent the Production side and RC can represent both Technical and Design.  

MS: Timings, how long will we have to get in, rig, focus, programme etc. obviously we usually take around week to set up technical before you come in to do the dress, if we had long hours to complete, we may be able to push this down to two days, but if the hours are coming in at 9-4 it’s going to be about 4 days to set up, for each venue, and that doesn’t include time for shows and the get out itself.  

CG: We have spoken to other schools aside from Archbishop who have said things like “You can hire the space for so many hours.” But we can’t work like that so they’ve gone on the back burner, whereas Archbishop have been really lenient and accommodating about the sort of time we would need for all the stuff to get done, trying to work with us rather than serving themselves. We tell them what we need and they try to meet that, back and forth in emails and phone calls etc so it’s a case of us putting all of these things to them to get answers back from them. 

MS: Weighting rates for the bars in the rig, how much weight can each bar hold, obviously this is impacted by anything we have to hang from the rig, not just lights but sound equipment, projectors, tabs etc. Transport is a major thing for all of us, how are we going to get our equipment to the venue, not just lights but sound, set, props etc and ourselves as well. Hardly anyone on our team drives, and those that do aren’t licenced to drive vans or anything remotely like the size needed to transport what we need to transport. And if we have to hire these things, along with a driver as well, where is that money coming from? What are the rules in the other venues for atmospherics like Haze, Fog etc. as there are rules about smoke capping in an educational setting, for health and safety reasons. For any venue that is not Hull College, we need a ready made risk assessment, certified by the HSE, to be able to use sarges, ladders, lifters or scaffold. And at Archbishop, is the scaffolding they’re talking about tagged and rated, as we cannot climb scaffold that isn’t tagged for Health and Safety reasons, if they do not have a HSE certified risk assessment for working at heights that would cover us, are they willing to provide us with a rigger or similar for this purpose? As part of our course we can write risk assessments, but legally we are covered by the existing ones created by Hull College and certified by the HSE, this is because if any of the information in our risk assessments isn’t done correctly, obviously we’re students and have a learning process to go through, then we are still covered by Hull College if we, or any others get injured during the process of working at heights etc. so if we don’t have HSE certified risk assessments for all aspects of our process then if anything happened, the College is liable for any insurance claim made against us. Also, with regards to rigging, if we are completing the rigging ourselves in a school setting, is it guaranteed that students won’t have access to the space while the rigging is taking place, as that opens up a whole other world of Health and Safety issues. What is the plan for shows? Are we looking at two Semore clear with regards to what show and I begin my designs, there will be more questions to come, but for now these are the main things that I’m concerned with. 


Sound Tour Requirements 

JSBasically mine is a list of equipment, what do they have or will we need to provide it? Sound mixer, amps, speakers, monitors, cabling, microphones, radio mics, receivers, playback facility (laptop, CD Player etc.) location of power access points. 

SeG: One thing that they said they didn’t have was radio mics, there is a technical manager we are supposed to be being put in touch with that we can discuss this with, hopefully soon.  

CG: Yes, the man we spoke to at Archbishop wasn’t very sure about any of the technical side of things, so he’s told us we need to speak to this other person about all that. So we can arrange a meeting with him and then take a Techie with us to get all this information from him. 

RC: On top of what JS said, for sound, if they have the equipment, do we have permission to use theirs, if so, what is it, and if not, do we have permission to move their equipment so we can use our own? If we can’t use theirs or they don’t have it, transportation, again, how are we getting our equipment to the venue? With you saying they don’t have radio mics, or the person you’ve spoken to is under the impression that they don’t have them, are you aware that you need to have legal permission to use radio frequencies for broadcast? So, Hull College have legal permission to use a certain range of frequencies for our radio mics and the radio broadcasting side of the media course, our radio mics are set within those frequencies and if we used others without permission it would be breaking radio piracy laws. If this venue doesn’t have that kind of legal permission to use a range of frequencies for broadcast, we can’t use radio mics in that venue. Assuming they don’t have any radio mics, the chances are that they don’t have a licence to broadcast on any frequencies, which would be a problem.  


Stage Management 


SG: I need to know if they use a cue light system, and if it is working with at least 5 cue boxes and a control. If not, are we able to install ours in their building as the cue light system is really useful for cueing the band in particular. Where will I be situated as a DSM as I’m used to cueing from the Gantry and have never cued from the wings or behind the audience in the seating etc. Do they have a DSM station with a video camera? If not, can we bring ours and set this up? Do they have a working Comms system, and if so, how many packs do they have? As I don’t particularly like the idea of relying on something like Skype to cue the show, which would be an absolute last resort. Where are you wanting to situate the band, and how are you wanting them monitoring, as this is important for me to know when DSMing. Is there going to be room for a Stage Management station (I.e. Props table) as obviously the one in Riverside isn’t ideal as it is, so any less room than what we have here and this could cause major logistical issues for us as a team. Fire protocols for different venues, for each venue we have to provide a visual map of the fire escape routes and a fire contingency plan for both crew during the tech and audiences during the shows, and these have to be completed and in my prompt before we can do any get ins or shows in any venue, this is more complex if you take the audience size over about 200. If these things aren’t in my prompt copy, we are breaking the law. The one at Hull College covers us, and we will have our own as well that would be specific to however the set is designed, but obviously different venues means different fire escapes and routes etc. As we are talking about schools, are we going to have to provide CRB checks and if so, who is paying for these as there are 6 of us and they come in about £200 each, considering that there is about a £600 budget on this production, this would cause some major financial issues. A general question for me is the audience target, whatever show you do end up doing, you have to consider the ethics of certain themes and language used in the show and whether it is going to be appropriate, obviously the ‘f’ word in front of an 11 year old isn’t really that appropriate, and I have to know this so I can put it into my Front of House Calls.  

CG: This was actually another reason why some of the shows were crossed off our list, for thematic content or explicit language etc.  

Stage Manager: 

SL: Does the venue have HSE certified risk assessments for outside performances coming in, if so I need to see these so we can recreate them for our grade. If not, I need to go to each individual location and risk assess everything that may happen in every location and attempt to get these signed off by the HSE, if they refuse, we aren’t allowed to do anything in that building that hasn’t been risk assessed and HSE certified. Are we visiting Primary Schools? 

CG: We are avoiding Primary Schools, target audience and lack of decent facilities mean that Primary Schools really aren’t ideal for what we want to achieve. We are looking at the newer schools or newly refurbished schools that have the kind of facilities we want, we don’t want to accept anywhere that we aren’t going to be able to get the best experience from, simply to be able to say we are going on tour. Obviously there are plenty of schools in Hull that literally just have like an Assembly Hall and they’re saying “Come to us.” And we are turning them down because it’s not really feasible.  

SL: Who is insuring us? When we do shows here we are covered by the College’s insurance, so will we still be covered by that, or are we covered by the venue? And if neither, we will have to get our own Personal Liability Insurance, which is about £49 each, and where is the money for that be coming from? Even this would be half of our entire budget, if we aren’t required to have CRB checks on top, and while it does cover third parties, there are a fair few exceptions on top of this that could leave us liable to being sued personally if anything is broken or damaged, or if another party is injured etc. Again, transport is an issue for our department as well, how are we transporting props to the venue(s)? If we are going on foot, bad weather can damage props, scenery etc. and the longer you carry something for, the heavier it seems, so distance is a factor. Human error of dropping things and them becoming damaged or broken increases when you transport items on foot. Depending on props requirements, going on foot may not even be an option, so then it defers back to the van and hiring/drivers etc. and where the money for that comes from. Every penny we spend on transport takes money away from every other department so it’s an important thing to consider. The bigger the audience, there is a difference in the risk assessments and are we covered for that? Is the venue safe to leave props/set/equipment in overnight if necessary, if not do they have lockable facilities, are they insured if anything does happen to our equipment for it to be replaced? Or do we have to transport everything back and forth day to day, as this is a logistics problem and depending on shows finishing times, if the college is closed that’s another issue in itself.  



RC: I need to know the dimensions of the space, and the height and width of the doors that a set piece is going to need to go through so I have a maximum build size to work with, the best way to get this is if the space has a floor plan I can have access to, if they don’t I’m going to have to visit it myself and take all these measurements in good time. I need to know where the access points are, including fire exits, so they don’t get blocked by set pieces. Size of stage area, backstage area and wing space. Audience capacity and preferably a seating plan for sightlines. If they have any staging? If they do, can we use it? If so how big is it, how is it put together etc. Because if I do design a set that uses staging blocks, and they don’t have any, or we can’t use it, we will have to bring ours with us. Can we screw into the floor? If not we are going to need stage weights, and currently as a course we have two, so that could be an issue. Transport, again, how are we transporting the set? In what vehicle? Who is driving? The set will not be able to be transported in a car, so I need to know the dimensions of the transportation so that when it comes time to transport it, it will fit in that vehicle. Do you want AV in the show? If so, I need to know if they have projectors, screens, the positioning of these, will I need to build a projection screen separately into the set, and if so can the projector be repositioned to project onto this? If they have a projector in the rig, this affects the rig weight. And if they don’t have one and you need one, will our cradle fit, and can their rig take the weight of it on top of lights and speakers etc. Do they have tabs? If not and we need them, can their rig take the weight as they are really heavy? If they do, are these fixed or movable, and if movable, how do they move, how do we go about moving them if necessary?  



LS: I was going to take this agenda point out, but I’ve left it in just to reiterate to you that as soon as we know what show we are doing, we need a script ASAP so that we can get it copied up by reprographics, as the designers need it for ideas and research, and the Stage Management team need it for their Props Lists and Prompt Copy. So the sooner we can get a copy to get it reprinted and distributed to all of us, the faster we can progress from a Production point of view. 

CG: As soon as we get a script, you will get a copy. No problem at all. 


Casting and Deciding Roles 

LS: Would it be possible to have a representative from Production to sit in on your casting, like they did last year? Just so that as it happens, we know about it. Would that be okay with you? It would probably be SG, if she isn’t available it would be myself. It’s not us asking for an input in your casting, that’s nothing to do with us, we would literally be there to take notes on who is playing which role. 

SeG: I don’t see that being an issue. It should be fine. 


When are Rehearsals Happening 

LS: How soon are you starting rehearsals? 

SeG: January is when we will probably be casting, and the rehearsals would start pretty much straight after the casting is done. 

LS: Are you happy for SG to attend rehearsals from the get go? 

CG: Yes, that’s not an issue. 

SeG: Absolutely. 

SG: Would it be possible to get Directors Calls for this? I know it’s always subject to change but usually I end up having to write my own and it gets a little complicated. If I can get Directors Calls I can submit them at work to make sure that I’m available for as many of your rehearsals as possible. 

SeG: We can give you a copy of our rehearsal timetable when it’s written up, that’s not a problem. 



LS: We have weekly meetings as part of a requirement for our course. We aren’t saying you have to attend them, but if you wanted to join us once a month or something just so we can touch base as a full team, then you are more than welcome and you can get in touch with me if you want to attend one, or I can let you know when they are and add in any agenda points you may have as performers etc. Most of our production meetings do centre around what has happened in rehearsals, so you probably don’t really want to be in all of them, but if you have issues with anything, or with any of us, the Production Meeting is a really good place to bring it up, as we are all there and notes can be made so you can get the feedback in a formal written format rather than just a phone call or an email here and there. We also have a rewards system in place for achievements so if you attend, you’re in with a chance of winning the reward, usually confectionary based. Just to put that out there. So we will have Techie of the Week, Proddy of the Week and then if one, or both of you attends, we can have Director of the Week or something like that. 

CG: Yes, we can do that. If you let us know when and where and we’re free, we can attend. 

SeG: Yes, don’t see that being a problem. If we want to add anything to the agenda, we can let you know beforehand.  



RC: I need to start designing this show as soon as possible, so can you please, as soon as you know what show we are doing, let us know so I can start. I have a lesson tomorrow where I’m supposed to start researching and coming up with ideas and, I know it’s not great for you not knowing what show you’re going to be doing, but I have to present a set to you all in January and I have a model box, and a digital drawing to complete before then, with all the research, build plan and scaled drawings to back them up, so the sooner I know, the better really. 

SL: Obviously the questions we have brought to you today are ones that have come up over one week, so the list probably will grow as we move closer to the show, just to make you both aware of that. 

MS: Just to clarify about the copyright, if you get copyright for a show, does that only cover one venue or would you be able to use it for more than one venue, as we aren’t sure how that works. 

SeG: That’s why it’s a bit more difficult, but yes, the copyright would cover each performance at each different venue. 

MS: Are you planning on doing some shows in Riverside still? 

CG: Yes. We still want to be in the theatre. It would be two shows in one day in Riverside. 

LS: If the tour doesn’t happen, would this then move to the usual, one week for tech, one week for shows? 

SeG: Yes. Yes it would. 

LS: That’s okay, because we have two Sound Operators, and for their grade they have to do two shows each at a minimum. So we need to have at least 4 shows for us all to be graded accordingly. 

SeG: We should have at least 6.  

MS: How far are we planning to go with this tour, because we heard rumours about Leeds? 

CG: No. Hull. Leeds was mentioned very early on, but we dismissed it as a logistical nightmare, so we are looking at schools and venues in Hull. 

LS: If you can work out how many venues, and the dates and the shows/times etc. that you want to do and let us know so we can start planning the other things and meeting with other venues and their technicians, because the sooner you decide, the sooner we have a deadline. We have to have a deadline to work with.  

RC: I am currently looking at whether I am going to have to build two separate sets, one for Riverside and one for touring, or one set that can be partitioned up so that it can downsize to go on tour. Probably only going to have the budget to build the one set and then downsize it, but we will see. 

LS: So when we do the mark out, be aware that there may be different colours on the floor, these would be the two separate sets, or the full size and the touring set laid down for you, but we can discuss that more when it’s all been decided and designed.  

MS: Has any of this opened your eyes to the issues we’re facing about going on tour? 

CG: I think out of our group, myself and SeG were probably the most clued in on how difficult this was actually going to be. We were just told we were touring and now we are having to try and make that possible, so we can see why all these things are important, I think the issue is that some of the other cast members etc. possibly aren’t as aware of the scale of the issues facing us to be able to tour. We were originally looking to go to bars and clubs, but we really don’t want to do that. Places like Kardomah are great for assessment purposes and things like that, but this is our end of year show and we wanted to do it quite big, so we need to find venues to accommodate that if possible.  

MS: Obviously places like Kardomah don’t give us the scope and opportunity to truly show what we can do as a Production team, if we only have two shows in the theatre to be able to make changes to improve upon what we’ve already done, it won’t end up being as good a show as it could be, both for our grades and yours, so the venue thing is important. 



  • For SeG/CG to inform LS when they know what show we have the copyright for 
  • For SeG/CG to keep in contact with LS about RC & LS visiting other venues to ‘talk tech’ with them. 
  • For SG to be informed of when casting is taking place and attend 
  • For LS to ensure a copy of script is procured ASAP 
  • For RC to start thinking about whether two sets or one detachable set. 
  • For LS to inform SeG & CG of future Production Meetings with time, date and venue 
  • For SeG/CG to provide Directors Calls to SG 
  • For SL to think about contingency plans with regards to Stage Management stations 
  • For RC & JS to think about what we can do if there is no opportunity for radio mics 
  • For everyone to research Dogfight and Zombie Prom so we have an idea of both 
  • For most of, if not all, these questions mentioned today to be answered before we can say whether we can tour or not 
  • For MS to think about what he is going to do if we cannot change the lighting rig at Archbishop 
  • For SeG/CG to inform RC about AV requirements if necessary 
  • For SL to look in props store after research of both shows to see if we have any existing props that may be useful 
  • For LS to email a copy of these minutes to SW, CG & SeG ASAP 

Review: To be carried out in next Production Meeting 


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