THE WINSLOW
BOY
By Terence Rattigan
Non-Studio Submissions Pack
Chaplaincy, Term 3, Week 4
1. THE PRODUCTION TEAM
Our Production Team consists of a blend of first and second year students. So far, we
have had several meetings in which we have watched the two films made of The
Winslow Boy: the 1948 Anthony Asquith film with Robert Donat and Margaret
Leighton and the 1999 David Mamet film with Nigel Hawthorne, Rebecca Pigeon and
Jeremy Northam. The Director felt that these were appropriate to watch alongside
reading the play as it would help to fire the designer’s thoughts and also to look at
Terence Rattigan’s writing for the screen play of 1948. Other meetings have occurred
within departments and much communication has occurred between the whole team
and the Director and Producer. It is a group which already works well together and
incorporates a large number of first year English and Theatre Studies Students who
have a wealth or experience and enthusiasm for drama.
Director
Producer
Stage Manager
Assistant Stage Manager
Set Designer
Marketing Manager
Assistant Marketing Directors
Publicity Designer
Costume Designer
Assistant Costume Designer
Genevieve Raghu
Alexander Hutton
Radhika Ravi
Kate Richards
Kat Koch
Kim Atkins
Nikki Anderson
Kay Michael
Sam Chapman
Millie Marsh
Anna Tunnard
Genevieve Raghu (Director)
As a first year English and Theatre Studies student, Genevieve is thoroughly looking
forward to directing The Winslow Boy. Her previous directing experience at school
includes the pantomime Sleeping Beauty (1998) and (2005), her adaptation of The
Wizard of Oz (1999). She wrote and directed: Kind Hearts and Calamities (2001) and
Something New! (2002). Most recent direction experience has included excerpts from
Alice in Wonderland (2003), Nicholas Nickleby (winner of inter-house competition
2005) and the A-Level Drama production of The Beaux’ Stratagem. She has done a
large amount of Drama in Norwich and was a member of the Norwich Theatre Royal
Youth Theatre. With this company she performed in Nicholas Nickleby as Kate
Nickleby (2004), Skellig as a Narrator (2005) and Trojan Women as Helen (2006).
She has also worked at the Theatre Royal in professional productions such as the
musical Pickwick and Meet me in St. Louis and Pantomimes such as Babes in the
Wood. She provided the narration for the DVD Thelwell’s Pony Capers (2005).
Genevieve has taken and completed the LAMDA examinations in acting and has also
had much dance and music training. When leaving school she was awarded the prize
for ‘Drama and Theatre Arts’. Her experience as a Managing Director for Young
Enterprise and as a Company Captain at school alongside her previous directing and
acting experience will provide her with the skills and experience required for directing
and taking a central role in the Production Team of The Winslow Boy.
Alexander Hutton (Producer)
Alexander is a first year History and Politics student. He enjoys taking on roles of
responsibility in various capacities. Alex has written a collection of short plays
heavily influenced by his love of post-war playwrights Beckett and Pinter. He is
hoping to take these into performance at some point in the near future. He is also keen
to explore the earlier British school of post-war playwrights, which Rattigan
embodies. His interest in the theatre has led him to take on this role as theatrical
producer for The Winslow Boy. It is not a role which he has taken on before. His
interest in history and politics is an invaluable contribution to the team due to the
play’s period setting of 1912. It has been planned for him to deliver presentations to
help define the play within its historical context. Alex is an excellent communicator
and works well under pressure as his school performance shows - he managed a
UCAS application whilst competing at a national level in debating. Alex also has a
regular column in the Warwick Sanctuary. He looks forwards to producing The
Winslow Boy at the University of Warwick and is glad of the opportunity it has given
him to broaden his skills and interest in the theatre.
Radhika Ravi (Stage Manager)
Radhika has always been involved in drama and theatre onstage and off during her
schooling, college and now university days, which means that she is quite familiar
with the processes that take a production from script to stage. At the University of
Warwick, she has been involved in a few productions which has enhanced her
experience and given it a more professional edge. She was assistant stage manager for
The Night Heron, assistant costume and props manager for No Man's Land and
assistant stage manager for Illustrations of Madness. These studio productions gave
her the opportunity to work in the Warwick Arts Centre and operate within a
professional environment. It is this experience that will contribute profitably to The
Winslow Boy.
Kate Richards (Assistant Stage Manager)
Kate is a first year English and Theatre Studies student with a keen interest in stage
and production management. It is her ambition to study stage management at postgraduate level after gaining her degree and she aims to build up as much experience
as possible. Although this will be her first show at Warwick, she has been active in
drama at school and as a member of an independent theatre company for several
years, gaining experience in various backstage and technical positions as well as
onstage. She thinks The Winslow Boy is a fantastic text, perfect for the chaplaincy,
and can’t wait to be a part of the production team.
Kat Koch (Set Designer)
Kat Koch is a second year Art History and French Studies student. She received an A
for her A-Level art and is the Liaison Officer for the Art Society. She has been
involved with several theatre productions at Warwick such as designing and painting
the set for Dr. Faustus and working as set designer and painting the set for
Illustrations of Madness. She is very enthusiastic about putting together the set for
The Winslow Boy!
Kimberly Atkins (Marketing Director)
Kimberley is a first-year English Literature student. Before coming to Warwick she
had been actively involved in amateur dramatic productions, in both a performing and
technical capacity. She has also had some previous marketing experience within her
job at a leisure centre during her gap year but is looking forward to undertaking the
new challenges and opportunities necessary for her role as marketing manager in The
Winslow Boy.
Nikki Anderson (Marketing Team)
Nikki Anderson is a first year English and Theatre student. She has vast experience in
acting in professional and amateur productions in theatre, television, film and live art.
As a result of working with companies such as the BBC and Tiger Aspect she is very
aware of the collaborative nature of a production team as well as the great
organisation it requires. Since starting her course at university Nikki is learning more
about and becoming increasingly interested in all types of the production process. As
most of her experience is in acting, Nikki is excited to widen her understanding of
other areas of production through being a member of the marketing team. Her work
with the touring company of Andrew Lloyd Webber’s Joseph and the Amazing
Technicolour Dreamcoat as well as acting in “Progress” at the ICA in London has
helped Nikki understand how a successful marketing team affects all others involved
in the production. Marketing was also an obvious choice for her to become involved
in as she has some experience in this field. She was public relations manager in her
award winning Young Enterprise Company, as well as being involved in many
publicity events for her part time job as an Explore Learning Tutor. Nikki was also
involved in publicising many events for the Young Theatre at Beaconsfield, forming
an advertising link with other theatre companies of Buckinghamshire. Nikki therefore
wants to utilise the skills she already has in marketing and her knowledge and love of
drama to contribute to the creation of an exciting production.
Kay Michael (Marketing Team)
Kay is a first year student of English and Theatre Studies and has performed in the
WUDS Weekend Show, No Man's Land, Watching The Clouds Go By and was
involved in assisting Pugilist Specialist for One World Week. Although not holding a
position of publicity/marketing before within a production, she is enthusiastic about
taking on this role as it will broaden her skills. At school she was Marketing Director
for her Young Enterprise company which won several county awards. This
determined team provided her with valuable experience which will be of use to her in
the marketing team for The Winslow Boy. Being involved in several plays already at
Warwick has given her the insight into what is involved for the marketing position.
The ideas of involving the Warwick media (TV and radio) as much as possible within
the publicity for the play excite her and she thinks it will be something unique in
comparison to anything she's done before.
Sam Chapman (Publicity Designer)
In his second year at Warwick University studying English & Theatre Studies, Sam
has been actively involved with 13 student productions. These include acting roles in
Merchant of Venice, Spring Awakening, No Man’s Land, The It Girls, Catastrophe
and Ohio Impromptu. His first taste of marketing came during the summer of 2006
when he designed the flyers for Agito Theatre’s Metamorphosis, a play that was
performed at the Edinburgh Fringe Festival, and sold very well in an especially
competitive market. Since then Sam has successfully marketed performances of
Ghosts in the Chaplaincy, Illustrations of Madness in the Warwick Arts Centre studio
theatre, I Love You You’re Perfect Now Change in the Cooler, and Clockheart Boy
also to be performed in the Warwick Arts Centre studio theatre. His main project so
far has been marketing for the main theatre show Copacabana at the Warwick Arts
Centre. In between school and Warwick Sam spent a year studying for a Foundation
Diploma in Art & Design. This has helped enormously with the designing of flyers,
posters and publicity clothing for all of the shows.
Millie Marsh (Costume Designer)
Millie is a first year English and Theatre Studies student. She has been involved in
theatre design for three years. She has previously produced costumes for the musical
La Cage aux folles set in the 1920s, designed marketing and advertising for Rockage
and designed lighting for the anti-naturalistic play Equus. During her studies of I.B
Theatre arts in Singapore she also completed a detailed project in costume design for
Japanese Kabuki theatre, and Beijing opera.
Anna Tunnard (Assistant Costume Designer)
Being a first year English & Theatre Studies student, Anna has always taken an
interest in theatre and has been involved with many productions, both on stage and
behind the scenes. Although The Winslow Boy is the first opportunity Anna has had
to work specifically on costumes, she has been involved with them before, both
sourcing and helping to create them. Having some experience with art has also
allowed Anna to design costumes and develop ways of easily and quickly making
changes to costumes so as to fit the feel and mood of a specific scene. Anna is
looking forward immensely to being involved with this project, due to the people, the
play itself. The period setting of the play allows for exciting costume exploration
which she is highly looking forward to.
2. THE WINSLOW BOY
The Winslow Boy is considered by some to be Rattigan’s finest work. It is a play
which provides a detailed insight into the social attitudes of the early 20th Century.
Young Ronnie Winslow is accused of theft and is subsequently expelled from the
Royal Naval College at Osborne. Ronnie protests his innocence to his father and
Rattigan's play goes on to follow the father's determination to clear his son's name and
protect his family's honour. The case however is thwarted from the very beginning
due to the impossibility of taking action against the Crown. Osborne’s inclusion as
part of the Royal Navy meant that this was of a particular focus to the Winslow Case.
The only other option is to acquire a Petition of Right, hoping that it will be granted
and then taken to court. It is the father’s fight to ‘Let Right be done’ that captivates
and enthrals the audience, and the family’s adamant struggle for truth in the face of
injustice which we sympathise with and admire throughout the course of the play.
Great acclaim has been given to the scene involving Sir Robert Morton’s crossexamination of Ronnie at the end of Act II just preceding the interval was described
by B.A.Young as ‘one of the best coups de théâtre of modern theatre’.
The play is based on the case of George Archer-Shee who had been expelled from the
Naval College at Osborne in 1908. In Geoffrey Wansell’s Biography of Terence
Rattigan he comments on how moved Rattigan was by the details of the case:
‘The facts of the Archer-Shee case… had so fascinated and moved me that unlike
many ideas that will peacefully wait in the storeroom of the mind until their time for
emergence has come, it demanded instant expression,’ (Terence Rattigan A
Biography, 152)
3. WHY THE WINSLOW BOY?
The Winslow Boy is a play which would be of interest to a wide variety of people:
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Historians keen to examine the attitudes and behaviour of a Britain on the
brink of World War I
Law enthusiasts due to the play’s grounding in the Archer-Shee case of 1908
and the tactics of Sir Robert Morton
English students for Rattigan’s charming manner of writing, his sensitive
lines and well crafted characters
English and Theatre studies students who are taking / have taken the first year
core module ‘British Theatre since 1939’. The Winslow Boy was first
performed in 1946 and it is Rattigan’s style and nature of writing which the
writers studied in this module rebel against. It would be of great interest and a
benefit to these students to watch and examine Rattigan’s play to understand
the contrast between his style and that of other post-war writers such as
Osborne and Beckett.
Drama students and all with an interest in theatre because of its dramatic
interest, structure, characters and as an excellent example of a well-made
play.
The Winslow Boy is a play which had delighted audiences for years. The success of
the recent David Manet film highlights its sustained appeal.
As Geoffrey Wansell puts it, Rattigan explores:
‘The human condition, and the complexities of human emotion, remains every bit as
real today as they were then, and it is those that Rattigan’s play address. To ignore his
plays, simply because they appear to come in an old-fashioned wrapper, is to ignore
the importance of those emotions to every member of their audience.’ (Terence
Rattigan A Biography, 405)
We feel it is important to break through this idea of Rattigan’s plays appearing in such
an ‘old-fashioned wrapper’ and to re-introduce The Winslow Boy to an audience at
Warwick who can recognise the strength and power the play holds. Rattigan presents
strong characters masking their emotional vulnerability. The characters are shown to
struggle against a world in which the King’s government provided the overriding law.
It therefore seems impossible for one person to stand up for what they believe in and
what is right to make a difference. This is backed up in part by Catherine’s following
of the suffragette movement. This crucial theme can be easily contrasted by today’s
audience watching the play. Similar problems are faced; an overwhelming task of
taking on the authorities, the media and the general publics opinion to clear ones
name. However, nowadays it is not out of the ordinary for someone to challenge the
authorities, in the period of which this was play set this was considered an almost
futile task. Today however the fundamental idea of allowing what is right to
overcome wrong is still feverishly applicable. Its principle concern is therefore of
great relevance to a modern day audience who can reflect on incidents in which the
truth has become obscured or denied to us by higher authorities. The play inspires us
to search for the truth and to ‘let right be done’ at all costs.
4. EDITING
Recently we contacted Samuel French about the possibility of editing our script by
using elements of Rattigan’s excellent ending of the 1948 film. They explored this for
with the principal agents of the author and the film company. We were delighted to
hear a few days ago that they would accept our request despite this not being
something that they would usually do. They also agreed not to charge us further for
this.
5. ACTING STYLES
To truly convey the human qualities Rattigan so deftly captures in his writing, the
intention is to apply a naturalistic style of acting to The Winslow Boy. The characters
address emotions that the audience share and invite both our sympathy and respect.
This style of acting will therefore be highly suitable as it will help the audience to
empathise with the characters. This acting style will be achieved through the rehearsal
process by scheduling workshop sessions with the actors to develop their characters
and to highlight particular emotions.
6. SET/PROPS
We decided to stage the play in period in order to retain the realistic presentation of
the drama and to sustain the naturalistic acting styles. Rattigan was fascinated with
characters and this is evident in his sensitive and humane quality of writing. It is
therefore the individual characters which we wish to emphasise rather than the set
itself. We have therefore decided to have a few large pieces of furniture to depict the
period and a number of props to indicate the interior of the family home. We intend to
create a simple impression of an Edwardian house. The costumes however will be
intricate and detailed to heighten the sense of character in the play and to coax each
character into becoming a fully believable person to the audience.
The play is set in the drawing-room of the Winslow’s house. This environment will be
created through the use of a piano, a writing desk, comfortable armchairs, a coffeetable and various objects such as a gramophone, a photograph of Ronnie, flowers and
a clock, etc. to add a personal touch. Curtains, rugs and a piano cover will be added to
enhance the interior design. Throughout the play the more saturated and balanced
aesthetic of the drawing room will be disrupted through influx of clutter in the form of
objects that document the trial such as newspapers and pamphlets. This inundation of
papers will take over the living room and consequently change its colour scheme
transforming it into a lighter but more frenzied environment. The intimacy of the
Chaplaincy will be used effectively to invite the audience into the private home of the
Winslow family. As the audience enter the maid Violet will over to hang their coats
up on the coat stand and will usher them to their seats taking them through the
drawing room. This will encourage the audience to feel as though they are part of the
play and allow them to experience the turmoil the trial creates in their family as well
as their home. In the interval newspaper articles will be placed around the chaplaincy
to sustain the audiences feeling of involvement with the play and by the end of the
play when leaving the chaplaincy it will be full of articles and press coverage for the
Winslow Case. The audience should leave feeling as swamped by the case as the
Winslow’s.
The director wishes to emphasise the struggle the Winslow family have to endure by
their taking on of Ronnie’s case through the set. Act I Scene I will present a scene of
clean lines, smart furniture and props conveying an expensive taste and well respected
style of living. As the scenes continue this will gradually diminish as the case
becomes more of a burden on the family and their comfortable lifestyle is threatened.
The most affluent props, for example the silver tea will not be included on stage in the
closing scene of the play.
7. WHY THE CHAPLAINCY?
The Chaplaincy provides the perfect location on campus for our production of The
Winslow Boy. When looking for a location we wanted to avoid a typically theatrical
space due to our interest in displaying the warm interior of the Winslow family house.
With its carpets and light painted walls the chaplaincy lends itself deftly to the
appearance of a drawing room with the appropriate addition of period furniture. The
close proximity of the actors to the audience was also exactly what we were looking
for as it will prompt the audience to feel a part of the drama and to empathise with a
greater strength to the characters on stage. We hope to sweep the audience up in the
media attention of the case. The chaplaincy will help us to successfully create this
atmosphere by its enclosing both the actors and audience in the same room in which a
striking distance between the two groups of people is avoided. The intention is that
the audience, welcomed into the Winslow house unite with the characters in their
hopes and fears.
The entrances and exits provided by the Chaplaincy are appropriate for The Winslow
Boy. The garden-doors in particular will be especially useful as they are an important
element to the play especially in Act I, Scene I, in which Ronnie runs out into the
garden.
We will use the entrance of the Chaplaincy to issue tickets and will convert this into a
press office. The layout of the Chaplaincy will also allow us to truly attempt to create
the Winslow household by decorating the Chaplaincy simply to give the impression of
various rooms within the house, for example the entrance hall.
8. COSTUMES
Our designs differ from character to character, but the overall feel of the costuming
will reflect the Winslow family's unity. This will be expressed as each family member
wears similar colours, where as other characters will be dressed in an opposing shade
– e.g. When the Winslow’s are in dark shades (black suit, brown shawl or black hat),
others will be in light pastels (cream trousers or powder pink blouse). At the end of
the play we will evoke dignity through the use of long lines, height and dark colours,
for example the men will wear long dark suit jackets and the women floor length
skirts to create a linear feel. The sense of gravity that this will express will reflect the
family’s struggle in the court case.
The family’s journey throughout the court case will be represented by the harmony, or
discordance between costumes and sets. In the first scenes, the family will appear
harmonious with their environment, as both set and costume are in light colours.
Later, this will be altered, as the family wear darker colours (a dark jacket, shawl or
hat can make this change) yet the set will remain light - this creates a visual tension
and will be used at the height of despair in the court case. The characters through
costume will be shown to visually rebel against their environment and the restraint
which society places upon them as they stand up for what is right and fight to win the
case.
The changes between dark and light colours in the costumes will not require a full
costume change. Instead, the effect will be achieved by adding lighter or darker
accessories to the outfit. This is demonstrated by the sketches of Catherine, where the
first sketch shows a light pastel blouse and the second demonstrates how a jacket and
hat create a dark, dignified appearance.
We have spoken with a number of theatre companies in the area regarding costume
hire. Our primary source will be the Priory theatre, who rent costumes for ten pounds
a piece (i.e one jacket or one skirt). For what we cannot find to hire, we plan to have
made. This will only be the case for a select number of pieces such as Ronnie’s
uniform jacket. Anna, a member of the costumes team will be enlisting the help of a
dress-making relative to achieve this. With 7 male characters in the play we also hope
to make use of the actors’ own suit trousers and shoes where possible to reduce costs.
We hope to be able to hire costumes for as many characters as possible, but for
smaller roles and simpler costumes, we will source alternatives from charity shops
and our own wardrobes. One example of this is Fred, the photographer, who appears
briefly and requires simple trousers and an old, weathered shirt. We have already
sourced some items in the WUDS cupboard.
Initial artist’s impression for
Catherine Winslow
Initial artist’s impression for
Catherine Winslow in outdoor
costume
Ideas for individual Characters:
Arthur Winslow – A long dark suit jacket with well-starched shirt and waistcoat.
Walking stick. Adorning features such as watch chain from pocket, handkerchief in
top pocket, bow tie.
Grace Winslow – Described as a fading beauty. A lacy period dress in a light blue,
with a dark shawl and gloves for required scenes
Catherine Winslow – A suffragette with an air of masculinity. Long dark suit skirt,
with pale blouse and dark jacket. Wide belt, and dark hat (can be adorned with cheap
ostrich feathers).
Dickie Winslow – Dark trousers, cricket vest, shirt and a dark jacket. Boater.
Ronnie Winslow – Dressing gown, Osborne academy uniform jacket and hat, trousers
and shirt.
Sir Robert Morton – Smart black suit jacket (must appear new), black trousers, top
hat, white scarf, gloves.
John Watherstone – Dark suit, light shirt, adoring features as with Arthur Winslow.
Desmond Curry – Same as Watherstone. Monocle, gloves and top hat.
Violet – Simple servant’s dress – old and weathered. Shawl, and hat if budget allows.
Miss Barnes – Plain dress and hat. Colours should oppose that of the Winslows in the
interview scene.
Fred – Simple loose shirt (weathered) and brown trousers.
Due to the nature of the period performance, set in a wealthy family’s household we
anticipate that the costumes will not come cheaply. The cast of 11 characters, many of
which require costume changes will also pose economic challenges. Instead of
requesting the budget for all costume changes necessary (the play spans over 3 years,
with instances of ‘evening wear’ etc in stage directions) we have requested allowance
for accessories to change the appearance of the base costume.
9. MARKETING
The marketing for The Winslow Boy is a crucial process for this performance both
within and outside of the play. The marketing team will not only be responsible for
advertising auditions for the play and, later, the actual performances, but will also be
important within the production itself. Due to the subject matter of the plot and the
fact that the actual Archer-Shee case, on which the play was based, was so well
publicised and captured the media’s attention to such an extent, we have decided to
accentuate this idea within our own production. Publicity for the show will be themed
as though the fight for Ronnie’s justice is a relevant and current cause, with posters
and flyers designed to appeal to the students as though they will be participating
within the case. Marketing will therefore also become part of the play, with posters
advertising the court case becoming key props within the production and the
Chaplaincy performance will be themed as though the audience are actually present in
the court, with the programmes designed as flyers advertising the case. This merging
of the real and the imagined will not only centre the play more realistically within a
historical context, but will additionally allow the audience to participate within the
performances, thus making the production both more effective and memorable.
10. TECHNICAL
The Winslow Boy features very little in the way of sound and lighting effects, save for
the phone ringing at the beginning of Act II Scene ii, and various gramophone
recordings. The lighting will be very basic so as not to detract from the characters or
distract the audience from their examination of Rattigan’s characters. The Chaplaincy
has an area for the technical crew to sit and view the stage without interfering with the
view of the audience.
For the few effects that are required, the Tech Crew have offered to train one of our
stage managers for the simple use of light and sound which for the production. Music
will be used at the beginning of the play to establish atmosphere. Feverish music
expressing Ronnie’s turbulent emotions will open the play. This will be quickly
juxtaposed with the stately sound of church bells which sound as the music dies out.
The audience is immediately grounded in the tone of the play. The church bells bring
us into the world of the Winslow family, one of tradition and restraint. It also helps to
set the scene that the family are away at church hence this opportunity we now have
to examine Ronnie’s behaviour, alone. Ronnie is presented with the aid of the music
setting such an atmosphere, as fearful of the news he brings his family which is
implied by the initial dark music which contrasts sharply with the sound effect of
church bells bringing us into an everyday environment. It is the news which Ronnie
holds in his hands which will disrupt this display of routine within the family
symbolised by the steady church bells. Moments such as this have been added by the
Director to evoke atmosphere and setting and to highlight particular characters
emotions as she feels that music is an integral part of creating the atmosphere, and
will also heighten the realistic nature of the production. All pieces of music will be
carefully chosen to reflect tastes of the time, giving the play a genuine pre-WWI feel
by using composers such as Edward Elgar.
The Winslow Boy is set entirely indoors. Basic lighting devices will be placed on stage
for example, table lamps that would be found in any home, will be strategically placed
to highlight certain parts of the room at various points during the play.
11. SPREADSHEET OF BUDGET
Timetable
12. ITEMISED BUDGET
Copyright
Via Samuel French’s £80 per production x 3= £240
Set Design
To define performance space we wish for curtains and drapes £15 (high significance
to the play- commented on several times)
Billboards and placard £30 - (part of the marketing too, to press the media influence
in the play, and to act as an introduction.)
We are therefore allocating £45 to cover the few pieces of set design we need and
cannot otherwise obtain from WUDS
Costumes
£10 x 14 for costume hire (underlined items in character descriptions. This excludes
deposit of 10 pounds per item)
£25 for additional pieces to dress suits (watch chains, handkerchiefs)
Total £165
Marketing
1000 x gloss art full colour A6 flyers
(www.flyer24.co.uk)
£61.55
100 x Audition posters A4 black and white photocopying
(Copyshop on campus)
£4.00
25 x full colour A3 posters gloss paper
(www.urbanprinting.co.uk)
£18.75
150 x Black and white photocopies of A3 posters
(Copyshop on campus)
£10.50
30,000 x Facebook Flyers over 3 day period ($15.00)
£7.62
Total
£102.42
For use in production:
50 x black and white A3 posters
(Copyshop on campus)
£4.00
Miscellaneous costs for creating publicity material for use in production
£13.58
Total
£17.58
Marketing Budget
£120.00
Photocopying
15 copied scripts= 62 A4 single sided pages x 4 pence x 15 copies £27.90
13. TIMETABLE
Term 2
Week 1
Assemble production team- Meeting 8th, 9th
Wednesday 10th visit to discuss use of Chaplaincy
Week 2
Production team meetings: Watch films (Sunday, Tuesday),
Extra meetings:
Monday15th Marketing And Publicity Meeting
Thursday 18th Design Team Meeting
Friday 19th Set Design Meeting
Week 3
Definitive decisions as to approach, budgeting, writing submissions pack.
Monday 22nd Design Team Meeting
Tuesday 23rd Marketing Meeting 6-7, Exec meeting Tuesday 7.30
Wednesday 24th Set design meeting 2
Friday 25th Submissions pack sent to the director to approve and edit.
Week 4
Submissions meeting
Friday 2nd February Marketing distribute audition posters and start to advertise
the auditions via email etc.
Week 5
Wednesday-Thursday Auditions 5-7pm (text based audition aiming to see how
well the actor responds spontaneously and also to direction. The texts chosen
for the audition will include one speech from The Winslow Boy which will
probably be unfamiliar to them and also a speech which they should
recognise.)
Thursday 8th February: recall list sent out. Scripts put in WUDS pigeon hole
for preparation.
Friday 9th recalls 1-2:30 pm.
Cast on Friday evening
Sunday Production team meeting.
Week 6
Monday 12th February: Full cast/production team day in the Chaplaincy for:
getting to know each other and presentations delivered by the production team.
NB: Alex’s talk about the historical context of the play. Read-through. Notes
given on characters and areas to workshop.
Week 7
Monday 19th February 7-10 Block and work through Act I Scene i
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Thursday 22nd February 6-9 Block and work through Act I Scene ii
Thursday- Production Team meeting (full) TBA
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Saturday- 12-3 Workshop Act I
Week 8
Monday 26th February 7-9:30 Act II Scene i. Take rehearsal photographs.
Wednesday 28th February 7-9:30 Act II Scene ii
Thursday 1st March Production Team Meeting
Saturday 2nd March 12-3 Workshop Act II
Week 9
Monday 5th March 7-10 Act I
Wednesday 7th March 7-10 Act I without books. Take Publicity Photographs
in basic costume.
Thursday 8th March Production Meeting. Final publicity designs confirmed
and sent to print.
Saturday 10th March 12:00 – 3:00 Act II
Week 10
Monday 12th March 7-10 Act II, books down
Wed 14th March 6-9 Run
Term 3
Week 1
Monday 23rd April 7-10:
-
-
Full production team and cast meeting
Workshop with Actors.
Social
th
Tuesday 24 April Advertising Campaign for the play begins. RAW, WTV,
newspapers and display boards (Union North, Chaplaincy, Humanities) of
rehearsal photos. Display boards should be checked twice a day.
Wednesday 25th April 6-9
Act I
th
Saturday 28 April 12-3
Act II
Week 2
Advertising continues.
Technical rehearsal 7-9:30 in the Chaplaincy
Wednesday 2nd May 6-9 Act I
Saturday 5th May 12-3 Act II
Sunday 6th May 12-3 Run Act I and Act II
Week 3
Advertising Continues. Photos in costume up.
Monday 7th May. Chaplaincy available to us all day. 6:30 – 10 Dress/Tech
Rehearsal in Chaplaincy
Wednesday 9th 6:30 – 10 Work on any problems from Monday. Dress
Rehearsal
Act I
-
-
Thursday 10th May 6-9 Dress Rehearsal Act II
Saturday 12th May: 12-2:30
Areas with problems
2:30-3:30
Break
3:30-6:30
Run
6:30-7:00
Notes
Sunday 13th May:
12-2:30
Areas with problems
2:30-3:30
Break
3:30-6:30
Run
6:30-7:00
Notes
Week 4: Performance Week
Final Photographs up. Placards and billboards advertising the play go up.
Monday 14th May 7:30 pm start
Thursday 17th May show 1:00 pm (get out by 4pm)
Saturday 19th May show 2:30 pm (get out by 6pm)