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Production Paperwork

THE NEW MEL BROOKS MUSICAL: YOUNG FRANKENSTEIN

Call Script

In YOUNG FRANKENSTEIN, Jackie called over 300 light cues, 60 sound cues, 60 projections cues, and 40 rail, deck, and actor entrance cues. Shown to the left are pages from Jackie's call script for the Act 2 tap dance number, "Puttin' On The Ritz" and below are production photos of dance number, showcasing the different lighting effects created by lighting designer, Shawn Boyle. This number alone featured 32 light cues and 2 projections cues. "Puttin' On The Ritz" also featured a strobe sequence of lights and projections.

Fly Rail Cue Sheets

YOUNG FRANKENSTEIN featured many moving scenic pieces that came in and out of scenes on the fly rail. Jackie worked with the director, scenic designer, and lighting designer to choreograph these sequences. Jackie was responsible for creating all fly rail paperwork and keeping the fly crew up to date on changes to cues and sequences.

 

To the left are examples of version 6 of the Fly Rail Cue Sheet that Jackie created and below are production photos featuring some of the scenic pieces.

BASKERVILLE: A SHERLOCK HOLMES MYSTERY

Wardrobe Paperwork

BASKERVILLE: A SHERLOCK HOLMES MYSTERY was a show driven by its costume changes. Three of the five actors portrayed thirty-four different characters, each with different costumes to distinguish the different characters. The production had fifty-four quick changes. Shannon Peters portrayed thirteen of these characters (some of which are featured below) and had a quick change nearly every time she exited the stage. 

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One of Jackie's main jobs as Assistant Stage Manager was organizing these costume changes. She worked witht he costume designer, director, crew, and actors to organize and choreograph them. She also performed the majority of Shannon Peters' quick changes during each performance. To the left you can see page 3 of the Costume Arc Plot that Jackie created for the show. It lists all of the costume changes for the show, with each piece that is included in the change because many of the costumes had others underessed with it.

SINGIN' IN THE RAIN

Scene By Scene

SINGIN' IN THE RAIN's scenic design, by Spencer Potter, featured six panels that were moved along their tracks into different positions to compliment the scene. Each panel had two sides: a barn door side and a neutral side. The neutral side was often used for projections. Each panel could be rotated, moved along its track, and often were rotated at an angled position.

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Jackie was responsible for tracking the panel movements for each scene: marking their locations for the scene, what side they were on, if they were to be at an angle, and who was moving them (an actor or a crew member). She created a Scene By Scene document for all scene transitions for the entire show. Pages from it can be seen to the right and production photos correlating to those pages can be seen below.

LYRIC REPERTORY COMPANY

Change-Over Checklists

Each summer, the Lyric Repertory Company in Logan, Utah produces four large scale productions that perform in rolling repertory with one another. Each show has its own set, props, and costumes, with a few things shared between shows. Once all of the shows are open and running, a change-over occurs after every performance to prepare for the next show.

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As Assistant Stage Manager, Jackie was responsible for overseeing many of these change-overs, making sure that all props and costumes were loaded in and out of storage and to give the final okay once the next set was put up. She created check lists, which can be seen to the right. Below is a time-lapse video, taken by Master Carpenter, Jamie Marshall, of a BASKERVILLE into ARSENIC AND OLD LACE change-over.

THE DIVINE SISTER

Backstage Tracks

For THE DIVINE SISTER, Jackie worked with the other Assistant Stage Manager, Christina Miller, to create Backstage Tracks. Each crew member had their own track, which consisted of prop hand-offs, costume changes, and scene transitions. 

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To the left you can see the second page of the backstage track paperwork that they created, which shows first four scenes and what was happening backstage during that scene. Below is a production photo from Scene 4.

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