End of Year Show

Agenda and Meeting Minutes 30/11/2017


 Production: Zombie Prom

Date: Thursday 30th November 2017

Time: 2.00pm

Venue: AS002

Attendees: Lucy Sykes, Sam Loftus, Matthew Stephenson, Jason Shepley, Rosalin Cunningham, Steff Gibson

From: Lucy Sykes


Agenda Points

  1. Feedback about what happened at Archbishop School – Lucy Sykes, Rosalin Cunningham, Matthew Stephenson
  2. Feedback from Meeting with Jeremy White – Lucy Sykes, Rosalin Cunningham
  3. Technical Agreement – Lucy Sykes
  4. Discussion of what Lighting found in the script – Matthew Stephenson
  5. Discussion of what Sound found in the script – Jason Shepley, Rosalin Cunningham
  6. Discussion of what Set found in the script – Rosalin Cunningham
  7. Discussion of what Stage Management found in the script – Sam Loftus, Steff Gibson
  8. A.O.B


  1. Talk through all the information that was given from Archbishop.
  2. Any further information that was ascertained from Jeremy White to be given to the relevant department.
  3. What has been done so far and the plan for the rest of the day.
  4. Discussion of what Lighting found in the script.
  5. Discussion of what Sound found in the script.
  6. Discussion of what Set found in the script.
  7. Discussion of what Stage Management found in the script.
  8. A.O.B


Meeting Minutes for 30/11/17 @ 1:50pm 

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

Rosalin Cunningham (RC), Steff Gibson (SG) 

Apologies: Jason Shepley (JS) (woohoo) 

Venue: AS002 


  1. Feedback about what happened at Archbishop School – Lucy Sykes,RosalinCunningham, Matthew Stephenson  
  2. Feedback from Meeting with Jeremy White – Lucy Sykes,RosalinCunningham  
  3. Technical Agreement – Lucy Sykes
  4. Discussion of what Lighting found in the script – Matthew Stephenson
  5. Discussion of what Sound found in the script – Jason Shepley, Rosalin Cunningham
  6. Discussion of what Set found in the script – Rosalin Cunningham
  7. Discussion of what Stage Management found in the script – Sam Loftus, Steff Gibson
  8. A.O.B


Notes: For the purposes of these minutes, Sean Gibson is referred to as SeG and Sue White is referred to as SW, as per last week’s minutes. Leo is the tutor for Set Design. And Rich was a potential returning student, who has (between this meeting taking place and these minutes being written up) decided not to return, but may offer to help out with shows in the future. 



Feedback about Archbishop 

LS: (LS forgot the sheet with the feedback information, so gave it from memory)  

RC: Mental notes for set from wall to wall it’s roughly the same width as our theatre, which is really helpful, they’ve also got a loading bay to get the set in through, so that’s also massively helpful. They have built in wings, so the stage space is 10x10m. They do not have a crossover, so I thought, depending on how the set design progresses, that we could take the tripods/T-Bars and create a crossover behind the set if it’s needed, using tabs. 

SG: What about the DSM positioning, is that in the wings or somewhere else? 

LS: It will be either the wings or the balcony area.  

SG: Unless they have decent video feed, I would prefer the balcony so I can see what’s happening. Do they have Comms? 

LS: They have intercom ports, but no headsets, ours aren’t compatible, so we are going to have to figure that out as we come to it.  

MS: We could use the old Comms packs, which stand alone, no one will be using them when we are needed there. 

LS: We have to take our own risk assessments, so we need to find a time for SL to go and survey the space so that we can have our own. The school have generic risk assessments that cover students, but not for an outside performance.  

RC: Because their theatre is not too much different from ours, the risk assessments shouldn’t be that different from the ones for Riverside. I have to create them for the set, so they’ll be more specific than the ones for the actual space anyway, you should be able to adapt the ones you’ve written for Riverside to match Archbishop without too many problems. 

LS: We need our own Public Liability Insurance, so I have the email of a man named Gino, who he will know if we have college based PLI that we can travel with, or know who I need to speak to with regards to this. I will email him and follow up about it next week. We also need to get our DBS checks done ASAP as we don’t ‘have to have them’, but if we don’t want to literally be escorted by someone every time we enter the premises, it’s worth having them. We have the forms, let’s get them filled in and sent off so we can stop thinking about it. With regards to Fire Safety, they have their own Fire Marshall but it is the Site Warden/Caretaker, so we have to have a FOH team that’s responsible for ensuring the audience gets out safely. I’m looking into doing some Fire Safety and First Aid training over the Christmas holidays when I go home, so I can make myself that FOH member that can check everything properly and have the paperwork to back it up. This means it would be me that would be the last person out in the event of a fire or emergency situation, as I would be the one that has to check everything. SL would be responsible for evacuating the performers, SG would be responsible for evacuating the balconies and the gantry, LS would be responsible for evacuating the audience and FOH persons, and then LS would have to check all areas before signing them off as clear. 

MS: Lighting will be quite hard because if we set up the rig the night before, we have to take it all down, as they use the auditorium during the day, and can’t have anything from outside in there for H&S reasons while the students are in there, which means we literally have an hour to set up, this is not really conducive to having a really good LX Design. They’ve said we can use their rig, but they’re doing a show of Hairspray before ours goes in, *inaudible mumbling* and they’re using a wash which I am allowed to use for this too. They have three bars, and a couple of floods. If we have any specials, they have agreed to rig them after Hairspray has finished, at the moment, I want to be able to wash the stage in the colours I want to use, even if it means taking my own LED Pars in and asking them to rig them.  

LS: With regards to sound, they have head mics with receivers. 


Feedback from meeting with Jeremy White 

RC: (RC shows a set of 2 Post-It notes with some scribbles on, that concertinas into different formations) This is the idea that JW gave to me during our meeting, (RC explains how it concertinas) there are a few issues with this that I’m working with Leo to solve to come up with something that is like this, but that flows better and causes less logistical issues for us. Where the window is on this, he wants to use AV to play a video of the beginning section, like a comic book breakdown of the story to introduce the characters. Then in the door he wants a silhouette of Miss Strict in this window part as well. He wants to isolate Toffee’s bedroom with lighting, which is why the bedroom isn’t included in this set design. And SL and SR sections that are defined by light. 

MS: Well that’s good to know… That’s not even going to be possible at Archbishop… Is any of this lighting design going to be mine when he’s finished? 

RC: He wants the Nuclear Plant scene, I’ve written down ‘Set Pieces’ but I can’t remember why.  

LS: Tables and chairs to discern places, but he doesn’t want a bed for the bedroom… 

RC: Yes. That. His idea is to concertina the flats, he wants a 1950’s, Lichtenstein sort of vibe, so I’ve been researching that. He wants cheesy and out there and all that stuff. Finally, the lockers need to be able to open. That’s all I wrote down. 

LS: There was a discussion of us being graded on the tour, which we are sorting, so that we’re not being graded on the tour. It’s not feasible. It’s not happening. I did ask the question ‘what are your expectations from us?’ and got a lot of awkward, sad faces, which makes me think that they assume that we’re not bothered and not interested if we are asking about their expectations. Which is the complete opposite of my reason behind asking, but never mind, we know that we are going to put the effort in, because it’s us, and we don’t do anything halfway, but they don’t really know us that well, so it can be forgiven for them thinking that. We can prove them wrong in the long run. The gist of this meeting is that they want the whole shebang. There was a discussion about transport, as Estates have a van, so they make deliveries with it and pick stuff up with it, so we spoke to them. 

RC: Leo and I went this morning, to see if we could use this van, it’s a 2013 Ford Transit. I’ve taken the measurements for height, width, length etc. so I can make the set to fit the van. The only issue is, they haven’t yet got it booked out on those dates, but we need to get it booked in if we are going to need it, because obviously estates use it for various things, and it needs to be pre-booked. As it’s next year, he said he doesn’t see it being an issue. The biggest problem we have is driving it, the person we spoke to isn’t going to be there much longer, so it depends who replaces him as a driver. So we may need to butter someone up to drive it for us if necessary. We have to get ourselves to the venues, I don’t mind picking some people up from town if necessary. It is on the 3 bus route, the one that’s heading towards Greatfield. 


Technical Agreement 

LS: SL has gone through the draft of the Technical Agreement and written down his issues with it, I haven’t gone back through it yet, as I wanted SG to second check it, so we can do that after the meeting. I’ve added in some parts on different sections to try and cover more bases than we have already. Also, we need to add in things that will be tour specific, as we didn’t focus on that when we wrote our original pieces.  

RC: I did ask JS to check our Sound section when I first wrote it, as I’ve never written a sound section before, and he hasn’t yet so… We are sharing the role, and I have a lot of paperwork to do for Set. He’s a third year, and he needs the paperwork to back it up. I need him to take the reins on the Sound stuff. I want to be the back up and operate on the show, I don’t want to be the one to take charge, I need him to be in charge, and for me to be his assistant. 

LS: I’ll speak to JS when he’s next in to see if he has any notes. If any of you do not know what to do this afternoon after the meeting then look through your sections on the Technical Agreement, if you need me to print you a copy, I can print you a copy, I just ned to get this pinned down as soon as possible so we can get it signed and back so we have a proper structure of our expectations and theirs that we can work to. 


Lighting notes from the Script 

MS: I have a few, I’ll try and be quick. There are lots of different lighting notes in the script, every area has a different definition with light. So different places are determined by different lighting states, whether that’s colour or intensity etc. I have these ideas:  

  • School (different parts of the school will be different intensities) 
  • TV Studio (when ‘On Air’ the studio lighting will become more lively) 
  • Bedroom, obviously JW has ideas about that 
  • Specific lighting for Jonny when he’s dead (green) and alive (bright) (contrast/juxtaposition) using smoke/haze etc. 
  • Enrico Fermi song at the beginning to be all bright, happy and colourful, then as the show goes on for it to get darker and darker, like the show themes 
  • Sections for the first part (like Grease, when it flips from the café tables to the bleachers during “Summer Lovin’”) so the cues for that are going to have to be hit every time, really snappy and on point 
  • Miss Strict, I’d like specific lighting for her, so that as her personality changes throughout the show, the lighting can change with her 
  • The Nuclear Plant, when the siren goes off, I thought about some kind of green light, like an air raid light, to go with the sound of the siren, I considered red and orange, but green is more like a nuclear reaction colour, so I’ll have to think about it a bit more 
  • Noted the silhouette light for Miss Strict, thanks RC 
  • When Jonny appears from the lockers, I want to go very horrible green, but as the group start to accept him more, even though he’s still dead, the green will be less, like, still noticeable, and relevant, but not as green as when he first emerges. 
  • When Jonny first encounters Miss Strict after he reappears through the locker, I want to split the stage with lighting, so that she can have her specific lighting and Jonny has his green lighting, to show the contrast between her being dead inside, and him actually being dead, and I’m hoping that they block it that way, or it’s not going to make sense and it’ll ruin the whole thing 
  • I had an idea for the TV studio, to use moving tank traps (literally just an idea right now) like PAT24’s we can wheel on during the TV scene, to try and set the scene a little more, also I want to use an ‘on air’ light for when the show is live 
  • We are going to use the mirror ball 

I’m trying to show the subtle changes and themes throughout using light, taking inspiration from Virginia Woolf from last year, the depth and character development that LS and SG studied for their lighting designs last year were kind of what I am trying to do with this design.  


Sound notes from Script 

LS: RC and I had a discussion about notes for Sound, and she asked if she could concentrate on Set, I said that was fine, so I wanted JS to talk about Sound notes today, but as he’s not here, we can put a pin in it and come back to it in the next meeting. 


Set notes from Script 

RC: I found nine main areas which I broke down into cafeteria, lockers, chemistry lab, study hall, Newsroom, TV studio, Toffee’s bedroom and Miss Strict’s office. I broke that down into less areas; Newsroom/Miss Strict’s Office, TV Studio, School, Toffee’s Bedroom. I did ask JW about Toffee’s Bedroom, he said he’s ‘not really bothered’ and that he is going to define the area with light, but I feel like it needs to be an area, so I’m trying to fit that into my design. We won’t get the definition with light on the tour, and the space needs to be defined for the show to work properly. I think it needs something, even if it’s just two flats that can be wheeled on, with a bed, or a desk with a lamp, a door with ‘Toffee’s Bedroom’ on it, just something. I’ve created a storyboard to show how the areas need to flow together, so move, spin, and what I’ve replaced in his ideas. I’ve drawn it all up, I just need to finish making all my notes and annotations for it, which I will finish off today. Apart from that, I haven’t got a lot else, it’s just storyboarding and pulling ideas out of my head at the moment, also researching 50’s and Lichtenstein.  


Stage Management notes from Script 

SL: I have created a draft props list, with dressing, personal props, area specific props etc. that I’ve found in the script that I can add to and edit as required. There’s always something that someone has to mess with or play with. I need to speak to RC to discuss what we are classifying as dressing and what we are classifying as props. I want to reiterate that according to the script that there is only one corsage that is handed over from one cast member to another, so that’s the only one I’m saying is a prop, if the other performers want them, it’s classified as costume, and therefore not my department.  

SG: I’ve written the character frequency chart, from that I can write my Character List to be added to after Casting.  



LS: Set budget is £400, Stage Management is £50. Also, I mentioned to JW about SeG and CG saying SG could attend the Casting, and JW did not seem to agree with it. So we may just have to wait to be updated about the Casting, by SeG, CG or JW, after the fact. 

MS: My LX Inventory is not on the G-Drive. 

SL: I need the Fire Marshall information, because there are cigarettes in this script, in the break for the TV Studio. 

LS: We can discuss that another time, as if they’re going for a cartoony, cheesy theme, they might be more than happy with talc cigarettes, so we can wait and see. 



  • LS to email Gino about PLI 
  • ALL to complete DBS forms and hand in at HSAD reception before we break up for Christmas 
  • LS to speak to Lee about Fire Safety & First Aid training 
  • RC to continue ironing out the Set Design 
  • RC to sort out the booking of set transport with Estates 
  • SG to second check the Technical Agreement 
  • JS to check the Sound section of the Technical Agreement and make necessary changes and additions 
  • LS to make changes to Technical Agreement 
  • MS, JS & RC to extend their sections in the Technical Agreement 
  • ALL to add in tour specific points to the Technical Agreement 
  • MS to continue with Cue Synopsis and LX Design ideas 
  • JS to study the script and make Sound notes for the next meeting 
  • RC to continue storyboarding 
  • SL to discuss set dressing vs. props with RC 
  • SL to discuss corsages with performers 
  • SL to discuss cigarette lighting with JW 
  • SG to discuss casting information with JW 

Review: To be carried out in next Production Meeting 


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