'Unoriginal Sin' Autumn 2010 - Production Manager's Report

Not wanting to re-iterate what Peter has already mentioned in his “Director’s Report”, I will just add a few words from my own perspective.

As initial calls for help with the production had not produced results, I originally offered my services as stage manager. Peter asked me whether I wouldn’t combine that with the task of production manager, as that position was also vacant. He pointed out that as our publicity task force were dealing with the marketing of the production, I wouldn’t have to worry about that side of things, and so that was a considerable load off my shoulder.

I agreed, with a small amount of trepidation at combining two quite demanding – and time-consuming tasks – but I attended a couple of rehearsals to get a feel for the play and what I needed to contribute and the ball began to roll.

In terms of manpower, I was in the happy and, I might say, pleasantly unusual position of not having to solicit help. At both Semi-Circle and Panto events, Semi-Circle members offered their help, as did a couple of others by e-mail, as well as some ISB students who offered to help as part of their course work. The only time I had to actively ask for help was when a make-up lady had to cancel her attendance for one performance, at short notice, and I asked Carol Rees to stand in, which, thankfully, she did.

So I was able to make out rosters for front-of-house, bar and make-up staff without having to make any begging phone calls! As the play had only one basic set, there were not any complicated scene changes. They mostly entailed collecting empty glasses and mugs, as the characters seemed to spend the major part of their life drinking! I therefore only used one stage hand, Scott Holland, with whom it is always a pleasure to work both on stage and back stage.

Colleen Dunkel, on costumes, Helen Baldomero, as chief make-up lady and Penny Tuckwell, as bar manager, also deserve mention, for the time and effort they invested, coupled always with good humour. In fact, this good humour permeated the whole production, and so I would like to thank all of the helpers for their co-operation, flexibility, and for giving up their precious time to be involved.

We have received many compliments about the production and, as the last of the bills are paid, it appears that not only are we likely to break even on this production, but we might also make a small profit for the first time in quite a while.

Susan Aeschbach-Jagger