Production Plans
 In the weeks before rehearsals began, the producers and director put together their tech team: Scenic designer, Lighting Designer and Costume designer. A Publicist is engaged, and together we begin to develop our graphic materials. A typeface for the title is chosen: The Microsoft Publisher font CurlsMT: Appropriate, attractive, and cheap.
  Designer John H. Binkley shows Director Maryedith Burrell a model of his design for the Patience set.
 The concept is based on a Victorian paper pop-up book -- the set will serve as a screen for the introductory slideshow, then transform into an abstract cutout of a Victorian garden
  
  The new theatre in the John Anson Ford Amphitheatre, now called [Inside] the Ford, is finally ready. Lights are hung for a test of the electrical system.
 The tension grid, a huge steel box hung over the audience, designed to facilitate the hanging and focusing of lighting instruments without the use of ladders.
  
  Executive Producer Dakin Matthews begins a preliminary schedule assigning the cast roles and performances for the run of the show -- and with 22 working actors sharing 17 roles for 34 performances, how complicated do you think this job is?

You have no idea.
 The entire set will be clad in corrugated paper as part of our "cardboard aesthetic" for this production. John Binkley fireproofs a few linear miles of paper.
  
  Antaean volunteers show up for a work call at New Place to load up the rent-a-truck and move into the Ford theatre.
 The materials for the set are loaded in and assembly begins.
  
  Tech Director Terry J Evans and Philip Proctor put together one of the wheeled block assemblies for the chorus of Dragoons. In a few hours we'll begin our first rehearsal onstage.

On To REHEARSAL Phase Two
BACK TO FIRST PAGE