EUTC Wiki - User contributions [en]

User:Admin

2009-04-28T13:07:16Z

Admin: New page: EUTC_Wiki:Administrators

[[EUTC_Wiki:Administrators]]

Life Members

2009-04-27T21:45:15Z

Admin:

The following people are life members of the EUTC.

*Al Broom
*Becks Whiteman
*Chris Mounsey
*Frank Turnbull
*Severine-Mia Davison
*Simon Wilkinson
*Steve Fryatt
*Natalie Adzic
*Bex Stackhouse
*Matt Gray
*Jono Ellis
*David Illsley
*Thom Tuck
*Paul Margrave
*Graeme Timms
*Richard Hogg
*Matt Ling
*Rachel Mountfield
*David Reed
*Humphrey Ker
*Victoria Tills
*Lord James Turner Inman
*Andy Field
*Tom Latter
*Miriam Raines
*N-e-i-l-space-E.-space-H-o-b-b-s
*James Mutton
*Cat Hoyle
*Michael Whitham
*Tom Paul
*Ishbel McFarlane
*Alex Engel
*Dave Larking
*Martin Cavannagh
*Idil Sukan
*Nicola Cross
*Helena Larkin
*Alexander McMillan
*Colleen Patterson
*Kate Wieteska
*Matt Wieteska

This article is locked to prevent abuse, please add comments on [[Talk:Life_Members]]

Committee

2009-03-08T17:43:44Z

Admin: /* Technical Manager */

The EUTC is administered by a permanent Committee of 14 members. They are; the [[Committee#President|President]], [[Committee#Secretary|Secretary]] and the [[Committee#Business Manager|Business]], [[Committee#Theatre Manager|Theatre]], [[Committee#Set Manager|Set]], [[Committee#Technical Manager|Technical]], [[Committee#Productions Manager|Productions]], [[Committee#Marketing Manager|Marketing]], [[Committee#Front of House Manager|Front of House]], [[Committee#Wardrobe Manager|Wardrobe]], [[Committee#Entertainments Manager|Entertainments]], [[Committee#Venue Hire Manager|Venue Hire]] and [[Committee#Fringe Venue Manager|Fringe Venue Manager]] as well as the [[Committee#Archivist|Archivist]]. It is the role of the Committee to administer the EUTC and to ensure the smooth running of the theatre. The Committee are elected at the AGM (usually at the end of February) to serve the period April 1- March 31st.

:See also: [[Non-Committee Positions]]

== President ==

It is the role of the President to chair meetings and to oversee the work of the committee and the general management of the Company. The President should remain impartial and always act in the best long term interest of the EUTC. The President is the Licensee and is also required to keep the Company Office tidy

2008-2009 Lauren McLeod

2007-2008 Lucy Jackson

2006-2007 James Mutton

2005-2006 Miriam Raines

2004-2005 Matt Gray

2003-2004 Rebekah Stackhouse

2002-2003 Natalie Adzic

== Business Manager ==

It is the role of the Business Manager to maintain the accounts and to facilitate communication between the EUTC and EUSAs Accounts department. The Business Manager is a cheques signatory. The oversee all spending and ensure that shows don't go over budget.

2008-2009 Colleen Patterson

2007-2008 Lara-Ann de Wet

2006-2007 Fran Rooney

2005-2006 James Mutton

2004-2005 Victoria Tills

2003-2004 Rachel Mountfield

== Secretary ==

The Secretary is responsible for all of the administrative leg-work of the EUTC. They keep minutes of all meetings and makes rehearsal schedules.

2008-2009 Amy Brewer

2007-2008 Fran Walker

2006-2007 Helena Larkin

2005-2006 Becky Hill (until Dec. 2005) Emma Drage (from Dec. 2005)

2004-2005 Emma Drage

2003-2004 Alex Howard

== Theatre Manager ==

The Theatre Manager is responsible for the day to day running of the theatre, They ensure that all sets are safe. The ensure that the theatre is safe and that there are no obvious fire/ health and safety problems. They also maintain the building, doing small amounts of repair work. They also facilitate communication with the works department over the more serious repair works. The Theatre Manager maintains a TM Handbook which keeps up-to-date info about the building. The Theatre Manager is named on the License as the 'Responsible Manager' as such legally, the buck stops with them.
see also [[Theatre Manager- Job Description]]

2008-2009 Cat Hobart

2007-2008 Kerry O'Herlihy

2006-2007 Dave Larking

2005-2006 Alex Engel

2004-2005 Tom Latter

2003-2004 Kati Hind

2002-2003 Jay Adriaanse

== Set Manager ==

The position of Set Manager was created at the end of 2007 to relieve some pressure from the [[Theatre Manager]]. The Set Manager is responsible for all communications with show [[stage manager]]s, responsible for all [[set]] (on the [[balconies]]) and tidiness and resources of the [[workshop]]. The Set Manager is directly responsible to the [[Theatre Manager]]

2008-2009 Alex 'Mal' Mead

== Technical Manager ==
The technical manager manages anything with a plug! They ensure that techies keep work safely and offers guidance on lighting and sound.

They should know how to use all the equipment in the building and seem to spend all their time changing bulbs… Their two main jobs through the year are tech directing/managing the fresher’s play and getting everything [[#Test, PAT (Portable Appliance Test)|PAT tested]].

The Tech Manager also ensures that all the lanterns and technical equipment work.

2008-2009 Ewan Connor

2007-2008 Neale Dutton

2006-2007 Xander Macmillan

2005-2006 Ruth Wilkinson

2004-2005 Heather Hanshaw

2003-2004 Lord James "Evil" Turner-Inman

2002-2003 Mr Matt Grey

2001-2002 David Watson

2000-2001 Graeme Timms

1999-2000 Neil E Hobbs

== Productions Manager ==
{{ Merge me }}

The Productions Manager facilitates communication between individual shows and the company as a whole. They decide on which slots are available and chair the meeting which decided which slot each show gets. Additionally, the Productions Manager chairs the casting meeting and oversees auditions

They talk regularly with all the shows and should know exactly what’s happening in all shows. They communicate between shows and [[committee]] so that all shows should know what’s the [[committee]] is saying about them and take measures to stop us kicking their butts. They distribute [[Production Guidelines]] so that people have no excuse when they do stupid things.

2008-2009 Ben Davies

2007-2008 Fred Gordon

2006-2007 Ishbel MacFarlane

2005-2006 Alex Robertson

2004-2005 Timothy Goodwin

2003-2004 Miriam Raines

== Marketing Manager ==

The Marketing Manager oversees all publicated material and all external public communication, to ensure that the EUTC is always shown in the best-light possible. They proof all posters, programmes and fliers to enusre they are accurate and that they do not damage the EUTC or Bedlams Public image.

2008-2009 Alia Ainuddin

2007-2008 Nick Kay

2006-2007 Lily Kember

2005-2006 Chris Mounsey

2004-2005 Claire Glendenning

2003-2004 Idil Sukan

== Front of House Manager ==
{{ Merge me }}

The Front of House Manager makes sure that the Front of House area is tidy and looks good for arriving customers. They are in charge of staffing and ensure that every shows has the required number of staff. The make sure that the cafe has stock to sell. They ensure that the Committee know how to Committee Rep (v. important)

This person looks after the FoH areas including kitchen, they make sure the [[café]] and cleaning cupboard are kept stocked and that things get cleaned. They also arrange staffing but since producers are notoriously unable to make staff turn up (And their excuse is that they got them to sign up so them not turning up is not their problem). They tend to do their own maintenance if you prod them so that you don’t have to.

2008-2009 Chris Payne

2007-2008 Lauren McLeod

2006-2007 Hannah Myers

2005-2006 Heather Hanshaw

2004-2005 Lord James "Evil" Turner-Inman

2003-2004 Matt Grey

== Wardrobe Manager ==

The Wardrobe Manager has the glorious task of keeping the dressing room and costume cupboard clean and tidy. They also get to costume every show, with no notice and no budget. They often get locked in, as noone is ever aware that they are in the building.

2008-2009 Camille Acosta

2007-2008 Denise Wood

2006-2007 Colleen Patterson

2005-2006 Michael Whitham

2004-2005 Emma Allford (to Sept 2005) Michael Whitham (from September 2005)

2003-2004 Victoria Tills

== Entertainments Manager ==

The Entertainments Managers ultimate job is to organise the Bedlam Ball at the end of semester 2. In order to subsidise this they organise a number of events and parties throughout the year, which contribute to the funding.

2008-2009 Sam Hansford

2007-2008 George Thomas

2006-2007 Tom Paul

2005-2006 Kerri Hall

2004-2005 James Mutton

2003-2004 Natalie Raeched

== Venue Hire Manager ==

The Venue Hire manager facilitates communication between outside companies who wish to hire the venue throughout term time and the company. They organise contracts, dates and staffing for outside hires. They are also on hand to offer support to outside companies.

2008-2009 Fran Walker

2007-2008 Michael Whitham

2006-2007 Michael Whitham

2005-2006 Kati Hind

2004-2005 Idil Sukan

2003-2004 Jay Addriannse

== Fringe Venue Manager ==
{{ Merge me }}

The Fringe Venue Manager, is the only non- elected post. They are hired by the a panel comprising the Former Fringe Venue Manager, the President a EUSA accounts representative and the EUSA VP- Services. Their term is usually January - January. They are responsible for hiring the Fringe Managers. They are also responsible for programming and communicating with the outside companies. They assume operational control of the EUTC for the period June - August for the year they are hired and oversee the EUTC presence at the Fringe.
They are usually paid a small sum of money as compensation for the blood, sweat, tears and general loss of mental health. There are occasionally parties to attend.

This is the person responsible for running the building during the fringe. It is normally a job taken by people who have experience of producing and little experience of production. They advertise the building in the run up to the Fringe, chose the shows, appoint the staff and are technically in charge for the fringe. Remember that if your name is on the License when the shit hits the fan you make the decisions and can kick Fringe butt.

2009 Sam Hansford

2008 Colleen Patterson

2007 Matt Wieteska

2006 Charlotte Jarvis

2005 Claire Glendenning

2004 Miriam Raines

2003 Cat Smith

2002 Graeme Timms

2001 Morven Pack

2000 Chloe Darlington

== Archivist ==

The Archivist, is resposible for maintaining records off all EUTC productions. S/he is responsible for collecting all the P&P of each show, taking pictures of builds/dress runs/after-show drunken bashes, etc. This is really helpful to stage managers in later years who may be looking to do something similar to what has gone before as well as giving us stuff to look back on and to show impressionable young freshers of all the amazing things that get built in Bedlam.

see also [[Archive]]

2008-2009 Rebecca White

2007-2008 Richard Dennis

2006-2007 Cat Hoyle

2005-2006 Graeme Wright

2004-2005 Adam Millard

2003-2004 Lucy Kirkwood

Lighting Hire

2009-03-08T17:42:52Z

Admin: /* We tend to hire lighting from: */

[[Category:Equipment]][[Category:Lighting]]
==We tend to hire lighting from:==

* '''Blacklight'''- "Scotland's lighting company" The tech manager will normally deal with them as they are the only ones who can put things on the Bedlam account. A useful source of gaffa and flamcheck and lights. They are located on West Harbour road and really helpful. They charge for delivery so make friends with someone who has a car to take you down.
** Website: http://www.black-light.com
** Tel: 0131-551 2337
** Fax: 0131-551 6827
** Email: hire@black-light.com 
 

* '''Neale & Dave Audio"' - Neale Dutton, ex fringe tech and tech manager, and Dave "dad-jokes" Moffat - have a lot of lighting, sound and rigging kit and will discount heavily to fit budgets. The tech manager will need to confirm any orders with them.
** Tel: 0777 341 9976 / 0796 937 5889 / 0752 871 6233
** Email: hire@ndutton.co.uk / DJMoffat@gmail.com 
 

==Less commonly used hire companies:==

* '''Stage Electrics'''
** Website: http://www.stage-electrics.co.uk

* '''Finix Productions'''
** Website: http://www.www.finix.co.uk/

* '''Northern Light'''
** Tel: 0131-553 2383
** Website: http://www.northernlight.co.uk/

==Other==

*'''SKL'''
::Simon Kennedy Lighting
::we used to use them but have since ceased trading.

Lighting Hire

2009-03-08T17:42:23Z

Admin: /* We tend to hire lighting from: */

[[Category:Equipment]][[Category:Lighting]]
==We tend to hire lighting from:==

* '''Blacklight'''- "Scotland's lighting company" The tech manager will normally deal with them as they are the only ones who can put things on the Bedlam account. A useful source of gaffa and flamcheck and lights. They are located on West Harbour road and really helpful. They charge for delivery so make friends with someone who has a car to take you down.
** Website: http://www.black-light.com
** Tel: 0131-551 2337
** Fax: 0131-551 6827
** Email: hire@black-light.com 
 

* '''Neale & Dave Audio"' - Neale Dutton, ex fringe tech and tech manager, and Dave "dad-jokes" Moffat - have a lot of lighting, sound and rigging kit and will discount heavily to fit budgets. The tech manager will need to confirm any orders with them.
** Tel: 0777 341 9976 / 0796 937 5889 / 0752 871 6233
** Email: hire@ndutton.co.uk 
 

==Less commonly used hire companies:==

* '''Stage Electrics'''
** Website: http://www.stage-electrics.co.uk

* '''Finix Productions'''
** Website: http://www.www.finix.co.uk/

* '''Northern Light'''
** Tel: 0131-553 2383
** Website: http://www.northernlight.co.uk/

==Other==

*'''SKL'''
::Simon Kennedy Lighting
::we used to use them but have since ceased trading.

Lighting Hire

2009-03-08T17:41:31Z

Admin: /* Other */

[[Category:Equipment]][[Category:Lighting]]
==We tend to hire lighting from:==

* '''Blacklight'''- "Scotland's lighting company" The tech manager will normally deal with them as they are the only ones who can put things on the Bedlam account. A useful source of gaffa and flamcheck and lights. They are located on West Harbour road and really helpful. They charge for delivery so make friends with someone who has a car to take you down.
** Website: http://www.black-light.com
** Tel: 0131-551 2337
** Fax: 0131-551 6827
** Email: hire@black-light.com 
 

* '''Neale & Dave Audio"' - Neale Dutton, ex fringe tech and tech manager, and Dave "dad-jokes" Moffat - have a lot of lighting, sound and rigging kit and will discount heavily to fit budgets. The tech manager will need to confirm any orders with them.
** Tel: 0777 341 9976 / 0796 937 5889
** Email: hire@ndutton.co.uk 
 

==Less commonly used hire companies:==

* '''Stage Electrics'''
** Website: http://www.stage-electrics.co.uk

* '''Finix Productions'''
** Website: http://www.www.finix.co.uk/

* '''Northern Light'''
** Tel: 0131-553 2383
** Website: http://www.northernlight.co.uk/

==Other==

*'''SKL'''
::Simon Kennedy Lighting
::we used to use them but have since ceased trading.

EUTC Wiki:Administrators

2008-11-18T22:22:01Z

Admin:

Ok so the wiki admins. AFAICT this was just a list of anyone who wanted to be an admin at some stage. Anyway these folk can add new users and change protected pages.

* [[User:Admin|Admin]] - Whoever can remember the password
* [[User:AlTheTechie|AlTheTechie]] - Al Broom
* [[User:Amar|Amar]] - Alistair Marshall
* [[User:AmyB|AmyB]] - Amy Brewer
* [[User:Colleen|Colleen]] - Colleen Patterson
* [[User:Dave|Dave]] - Dave Moffat
* [[User:Gtewright|Gtewright]] - Graeme Wright
* [[User:MarkGerrard|MarkGerrard]] - Mark Gerrard
* [[User:Neale|Walkerfm]] - Neale Dutton
* [[User:Walkerfm|Walkerfm]] - Fran Walker
* [[User:Xander|Xander]] - Alexander Macmillan

Constitution

2008-11-18T22:18:18Z

Admin: /* 8.0 Ethical/ Legal Status of the EUTC */

=== 1.0 Introduction ===
1.1: This constitution supercedes all previous constitutions. Any retyping of the constitution and standing orders must be passed by a General Meeting of the company, where the President and Secretary shall sign it as a true and fair record of the current constitution and standing orders. 
1.2: The constitution and standing orders shall be available at all times to any member of the Company. Any motion passed without access to this document is invalid. 

=== 2.0 The Company ===
2.1 The Company shall be known as the Edinburgh University Theatre Company, hereinafter referred to as the EUTC. Edinburgh University Students Association shall be referred to as EUSA. All references to academic dates pertain to those of the University of Edinburgh. 
2.2 The aims of the company shall be: 
2.2.1 To maintain and encourage interest in all aspects of dramatic Art within and around the University and otherwise as shall be decided on by the Company’s members. 
2.2.2 To maintain and encourage new writing and the performance of productions written by members of EUTC. 
2.2.3 Dissemination of theatrical knowledge through workshops and on hand learning. 
2.2.4 To foster links with the community through a children’s project and hire of the venue. 
2.2.5 To where financially and practically possible take theatre beyond the confines of the Bedlam Theatre and into the community. 
2.2.6 To perform varied and regular productions in a variety of theatrical genres, to be decided on by the company. 
2.2.7 To operate and run the Bedlam Theatre. 

=== 3.0 Membership ===
3.1 Anyone may become a member of the company, provided at least 75% of all members are currently matriculated students within the University of Edinburgh. 
3.2 An Honorary President, as many Honorary Vice Presidents and up to 10 Life Members per year may be elected at a General meeting by simple majority. 
3.3 Retiring presidents of the society shall become life members. 
3.4 Membership shall be open to all matriculated students of Edinburgh University. 
3.5 All members who are not matriculated students of Edinburgh University shall pay at least twice the annual subscription paid. 

=== 4.0 Committee ===
4.1 The EUTC shall be administered by a permanent committee of thirteen members: President (who shall also act as Friends of Bedlam & Alumni liason officer), Secretary and the Business, Productions, Venue Hire, Fringe Venue, Theatre, Wardrobe, Entertainments, Technical, Marketing & Front of House Managers as well as the Archivist. The company may designate any additional members of the committee and positions may be created as seen fit by the company at a general meeting. The president shall hold the casting vote in all balloted decisions. 
4.2 Additionally, the Previous President, until the end of the academic year for which they were elected, shall act as a non-voting committee member. 
4.3 The term of office for all committee members shall be from April 1st- 31st March inclusive. In the absence of a committee member, all other committee members will fulfil the task until a person to fulfil the role is found. 
4.4 If a committee member is absent from 3 committee meetings in succession, or fails to attend more than half of the committee meetings in a term, the chair of the committee meeting may declare (at no fault) that the position is vacant and may hold an election for a new committee member at any meeting of the company. Any committee member who fails a vote of confidence is considered to have forfeited their post. 
4.5 The President, Secretary and Business Manager of the society shall all be matriculated students of Edinburgh University. 

=== 5.0 Fringe Committee ===
6.1 A Fringe Venue Manager, Fringe Technical Manager, Fringe Theatre Manager and Fringe Marketing Officer shall be ratified at a meeting of the EUTC. They shall form a Fringe committee responsible for appointing additional Fringe staff as required and running the EUTC’s presence at the Fringe in the best long-term interests of the EUTC. From 1st June to no later than Freshers’ Week, they shall have operational control of the EUTC and such building(s) as it occupies. 

=== 6.0 Finances ===
7.1 EUSA shall operate a bank account specifically on behalf of the EUTC. The signatories on this account will be the Business Manager, and EUSA’s Vice-President (Services), with the EUTC President and EUSA’s permanent secretary as alternative signatories. The EUTC’s Fringe Venue Manager shall be competent to act as signatory on cheques from 1st June of each year they are appointed. 
7.2 The Business Manager and President of the EUTC shall be responsible for the direct administration of any approved spending, reporting to meetings as appropriate. They shall at all times behave in an open, fair and transparent manner in this regard. They shall receive all monies and have the authority to make any expenditure decisions necessary in the long-term interests of the EUTC. 
7.3 Any expenditure not approved by the Business Manager, Fringe Venue Manager (cf.5.1 and 6.1) or President in advance shall be the liability of the person(s) making it. The President or Business Manager may waive this rule if the expenditure is adjudged (by them) to be in the long-term interests of the company. 
7.4 The Business Manager shall be responsible for presenting a set of accounts audited by EUSA’s current auditor, together with a draft budget for the financial year, which shall then be subject to approval by the Committee. 
7.5 The Alumni Liaison Officer is responsible for planning Alumni fundraising and the allocation of these funds, in conjunction with Friends of Bedlam (FOB), through the University of Edinburgh Alumni and Development Fund. Any application to the University of Edinburgh Alumni and Development Fund to access these funds must first receive the consent of the FOB committee. 
7.6 Only the president, or their nominated representative shall make any application to the Development and Alumni fund on behalf of the EUTC. No application shall be made without the approval of the EUTC and FOB organisations. 

=== 7.0 Meetings ===
8.1 There shall be three kinds of meeting: Committee, Company and General. The quorum for Committee and Company meetings shall be three members of the Committee and two additional members, five in all. The quorum for General meetings shall be 10% of the current membership or 30 members; whichever is lower. There shall be weekly meetings of the company and committee during the duration of the semester. There shall be at least one general meeting per semester. There shall be one General Meeting between weeks 7 and 11 of semester two; which shall be the Annual General Meeting. Additional general meetings can be called by the committee, or by a petition of members equal to the quorum of a General meeting. All meetings shall be non-smoking. 
8.2 Committee and Company meetings shall occur at as consistent a time and place as circumstances will allow. The Secretary and President shall use reasonable endeavours to publicise the meetings to the membership. In the case of a General Meeting this shall take place no later than two weeks before the scheduled meeting. 
8.3 Decisions of meetings are proposed in the form of motions. These motions shall be within the law, only General Meetings shall be deemed competent to contradict or alter the constitution or standing orders, and committee members may only be elected at a general meeting. If a committee post has been offered at a general meeting and remains or becomes unfilled, an election motion may be proposed at a subsequent meeting of the company. 
8.4 Voting rights are as follows:
Committee Meetings: All committee members present.
Company Meetings: All members present not in debt to the company
General Meetings and a meeting of the company where shows are selected: all members who are not in debt to the company. 
8.5 Proxy Votes: those members absent with unavoidable reason and not in debt to the company may appoint a proxy to vote on their behalf on the notice of no less than one week to a meeting of the company. A proxy vote may be requested by electronic or other remote means. All proxy votes must be recorded separately as such when they are exercised. Any member may raise an objection to a proxy vote, if so a motion in favour of granting the proxy vote must be proposed and put to a vote. These may only be exercised at a general meeting of the company. 
8.6 All members must receive at least 14 days written notification of the Annual General Meeting and elections not held at the Annual General Meeting 

=== 8.0 Ethical/ Legal Status of the EUTC ===
9.1 The EUTC’s activities must, at all times, remain on an amateur & legal basis. 
9.2 The EUTC shall pursue its goals regardless of gender, sexuality, race, colour, nationality, ethnic origin, marital status, disability, socio-economic background, age or religious belief. In short the EUTC shall provide equal opportunities to every member to take part in its activities, to the best of its abilities. 
9.3 Intellectual Property, when created by members of the company, has copyright vested with that member, and not the company. Its creator must approve all changes to this material. In the case of new writing, the producer and director of such productions must be approved by the writer, as must any later changes to these two positions. 
9.4 Anybody conducting activity prohibited under this constitution shall be held responsible for their actions without fault on the part of the company. 

----

'''DISCLAIMER: This version of the Constituion has not been authorised by the Company, as such they cannot be taken for accurate or current.'''

Youth project

2008-05-03T17:23:48Z

Admin: Youth Project is EUTC's community outreach scheme.

Youth Project or Bedlam Theatre Youth Project is EUTC's community outreach project as stipulated in the constitution. The youth project holds voluntary free workshops for young people of school age on a range of theatre based subjects.

Since 2006 there have been changes in legislation that have caused problems with holding workshops with young people in the building.

http:www.bedlamyouthproject.org.uk

This server

2007-12-16T21:52:50Z

Admin:

= This server =

wiki.eutc.org.uk (aka www.wiki.eutc.org.uk, aka bedlam.valleyt.co.uk) is hosted on a Xen virtual Debian server on a datacentre server owned by [http://www.valleyt.co.uk Valley Technology].

This Xen host also hosts the Friends of Bedlam website www.bedlamites.co.uk

In addition to the EUTC [[Webmaster]], Al Broom (07974 696 502, abroom@valleyt.co.uk) and Chris Fleming (07980 214 061, me@chrisfleming.org) have administrator access to this machine in the event of failure.

The data in the wiki database, and the php mediawiki software are backed up nightly to another Valley Technology server.

The domain eutc.org.uk is registered through [http://www.1and1.co.uk 1&1] and the DNS is hosted by [http://www.zoneedit.com ZoneEdit.com]

Current events

2007-10-17T15:16:55Z

Admin: /* Regular Events */

== Regular Events ==

*Company Meetings - Mondays @ 6.30pm 
A meeting of anyone involved in the company. Shows should all be represented and most of the committee will be present. The best first contact point and best way to keep in touch, ask or offer help.

*Creative Company Meetings - Mondays @ 7.30pm 
A meeting designed to allow people to discuss, offer ideas or criticial peer review of bedlam shows past present and future. This is the best place to bring your idea for live fire hamster dancing or generally offer input to the artistic direction of the company.

*Committee Meetings - Thursdays @ 6.30pm 
A meeting of the committee. General housekeeping and dicussions/arguements about how the company is run. The best place to bring complaints or to discuss things before bringing them to the company on Mondays.

*[[Improverts]] - Fridays @ 10.30pm

*'''Improvisation Workshop - Saturdays @ noon'''

*'''[[Maintenance|Tech & Theatre Maintenance]] - Sundays @ 12-2pm'''
maintenance sessions are every Sunday from 12 till 2 because no one wants to reherse during this time. It is difficult to persuade people to get up for this time on a Sunday, bribing people with breakfast occasionaly happens. The maintenance session usualy involves fixing small things and doing a general tidy.

== Non-regular Events ==

* None at present

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</div>

Main Page

2007-07-10T11:58:40Z

Admin:

[[Image:IMGP0219.jpg|thumb|250px|The Bedlam Theatre]]Welcome to the EUTC Wiki. It is hoped that this will become a valuable resource for all EUTC and Bedlam Theatre matters.

----

'''How does it work?'''

Basically this is an online resource which is editable by anybody.

''' I have now make the whole wiki private from the rest of the Internet. This should reduce spam levels. Simply [[Special:Userlogin|login]] to use as normal''' --[[User:Amar|amar]] 20:28, 14 June 2007 (BST)

Simply click EDIT at the top of the screen to edit an article.

If an article doesn't exist then you can create it - simply search for an article - if it doesn't already exist you will be invited to create it! Easy!

Here are a few links to look at...

* [[Practical Theatre]] - Aiming to be the place to go for all your "How???" Questions.

* [[Technical]]

* [[Lighting]]

* [[Sound]]

* [[Staffing]]

* [[A to Z]]

* [[Management of the Bedlam Theatre]] - resources for the committee

* [[The Game |Click me]]

A full index of pages on the EUTC Wiki can be found [[Special:Allpages|here]].

----

'''Self Moderation'''

Please be aware that this online community does not speak for, or on behalf of the Edinburgh University Theatre Company or individuals with current, previous or past responsiblitity or any of current, previous, past or life members. Any comments contained within are purely those of the author and not of the company or of any individual.

There is no restriction nor moderation on this Wiki - if you see a mistake, please correct it. If you see something inappropriate / libelous then please remove it.

'''Have you got any suggestions? Email [mailto:webmaster@bedlamtheatre.co.uk the webmaster]'''

Theatre Evacuation Procedure

2006-09-15T15:27:11Z

Admin:

[[Category:The Building]]
== Important notes ==
* In event of a fire NEVER try to tackle the fire if it will endanger you or anyone else.
* Never attempt to move a suspicious device.
* DO NOT re-enter the building until it is safe.
* You must tell the Theatre Manager if there is a fire, no matter how small.

== Duty Manager ==

* Notify the tech box and staff that you intend to stop the performance
* Choose which exits are to be used, this will depend on the situation. These exits are back stage, stage left and through the main doors.
* Make sure the doors to the auditorium are open.
* Enter the auditorium and announce in a clear and calm voice something along the lines of ‘Ladies and Gentleman, at this time it has become necessary for me to ask you all to leave the building. Please make your way out of the exits as indicated by my staff and assemble outside the building’.
* Remain in the auditorium until everyone has been evacuated. Check the rest of the building if it is safe to do so.
* If there is a fire or suspicious package blocking any of the escape routes, position a member of staff to prevent members of the public endangering themselves.
* You should always be aware of how many members of the public are in the auditorium by checking the number of ticket stubs.
* Once everyone is assembled outside do a headcount of members of the public and staff members. The Stage Manager and Tech Manager should be counting cast and crew. Check that they have everyone.
* Report to the emergency services giving them as much information as you can and tell them if you think anyone is left in the building.

== Committee Rep ==

* Make sure the Box Office has called the Emergency Services
* If there is a disabled person in the building please be aware of how you will evacuate them in an emergency and be responsible for their safety.
* Call the Theatre Manager and the President to let them know what is going on.
* Proceed to the evacuation point and assist the other members of staff.

== Box Office ==

* Dial 999 and ask for the Fire Brigade
* Tell them the nature of the fire if possible
* Tell them our address – 11b Bristo Place
* Hook back the toilet corridor and café doors
* Check the toilets for any members of the public and direct people out the building through the toilet corridor.
* Assemble outside the building and report to the Duty Manager

== Café ==

* Turn off all the equipment in the café. Leave the lights on.
* Direct members of the public through the café and out of the main doors.
* Once the café is empty assemble outside the building and report to the Duty Manager.

== Indoor Halkeeper ==

* Open the auditorium fire exit and direct people outside unless the Duty Manager directs you otherwise.
* Once everyone is evacuated assemble outside the building and report to the Duty Manager.

== Outdoor Hallkeeper ==

* Open the door from the café to the auditorium, and the disabled access corridor door.
* Stay in the auditorium and direct people out into the café.
* Once everyone is evacuated assemble outside the building and report to the Duty Manager.

== Stage Manager ==

* Ensure that the cast and backstage crew are aware of the situation.
* Evacuate them using the nearest safe exit
* Assemble outside the building and check everyone is accounted for.
* Report to the Duty Manager and inform them if anyone is missing.

== Tech Manager ==

* Ensure that the crew and others on the balconies are aware of the situation.
* Evacuate the balconies using the nearest safe exit.
* Assemble outside the building and check everyone is accounted for.
* Report to the Duty Manager and inform them if anyone is missing.

----

This page has been protected to prevent editing

Committee

2006-08-11T21:06:13Z

Admin: /* Wardrobe Manager */

== General ==

The EUTC is administered by a permanent Committee of 13 members. They are; the President, Secretary and the Business, Theatre, Technical, Productions, Marketing, Front of House, Wardrobe, Entertainments, Venue Hire and Fringe Venue Manager as well as the Archivist. It is the role of the Committee to administer the EUTC and to ensure the smooth running of the theatre. The Committee are elected at the AGM (usually at the end of February) to serve the period April 1- March 31st.

== President ==

It is the role of the President to chair meetings and to oversee the work of the committee and the general management of the Company. The President should remain impartial and always act in the best long term interest of the EUTC. The President is also required to keep the Company Office tidy

2006-2007 James Mutton

2005-2006 Miriam Raines

2004-2005 Matt Grey

2003-2004 Rebekah Stackhouse

== Business Manager ==

It is the role of the Business Manager to maintain the accounts and to facilitate communication between the EUTC and EUSAs Accounts department. The Business Manager is a cheques signatory. The oversee all spending and ensure that shows don't go over budget.

2006-2007 Fran Rooney

2005-2006 James Mutton

2004-2005 Victoria Tills

2003-2004 Rachel Mountfield

== Secretary ==

The Secretary is responsible for all of the administrative leg-work of the EUTC. They keep minutes of all meetings and makes rehearsal schedules.

2006-2007 Helena Larkin

2005-2006 Becky Hill (until Dec. 2005) Emma Drage (from Dec. 2005)

2004-2005 Emma Drage

2003-2004 Alex Howard

== Theatre Manager ==

The Theatre Manager is responsible for the day to day running of the theatre, They ensure that all sets are safe. The ensure that the theatre is safe and that there are no obvious fire/ health and safety problems. They also maintain the building, doing small amounts of repair work. They also facilitate communication with the works department over the more serious repair works. The Theatre Manager maintains a TM Handbook which keeps up-to-date info about the building. The Theatre Manager is named on the License as the 'Responsible Manager' as such legally, the buck stops with them.
see also [[Theatre Manager- Job Description]]

2006-2007 Dave Larking

2005-2006 Alex Engel

2004-2005 Tom Latter

2003-2004 Kati Hind

== Technical Manager ==

The technical manager manages anything with a plug! They ensure that techies keep work safely and offers guidance on lighting and sound. The Tech Manager also ensures that all the lanterns and technical equipment work.

2006-2007 Xander Macmillan

2005-2006 Ruth Wilkinson

2004-2005 Heather Hanshaw

2003-2004 Lord James "Evil" Turner-Inman

== Productions Manager ==

The Productions Manager facilitates communication between individual shows and the company as a whole. They decide on which slots are available and chair the meeting which decided which slot each show gets. Additionally, the Productions Manager chairs the casting meeting and oversees auditions

2006-2007 Ishbel MacFarlane

2005-2006 Alex Robertson

2004-2005 Timothy Goodwin

2003-2004 Miriam Raines

== Marketing Manager ==

The Marketing Manager oversees all publicated material and all external public communication, to ensure that the EUTC is always shown in the best-light possible. They proof all posters, programmes and fliers to enusre they are accurate and that they do not damage the EUTC or Bedlams Public image.

2006-2007 Lily Kember

2005-2006 Chris Mounsey

2004-2005 Claire Glendenning

2003-2004 Idil Sukan

== Front of House Manager ==

The Front of House Manager makes sure that the Front of House area is tidy and looks good for arriving customers. They are in charge of staffing and ensure that every shows has the required number of staff. The make sure that the cafe has stock to sell. They ensure that the Committee know how to Committee Rep (v. important)

2006-2007 Hannah Myers

2005-2006 Heather Hanshaw

2004-2005 Lord James "Evil" Turner-Inman

2003-2004 Matt Grey

== Wardrobe Manager ==

The Wardrobe Manager has the glorious task of keeping the dressing room and costume cupboard clean and tidy. They also get to costume every show, with no notice and no budget. They often get locked in, as noone is ever aware that they are in the building.

2006-2007 Colleen Patterson (Gossip Queen)

2005-2006 Michael Whitham

2004-2005 Emma Allford (to Sept 2005) Michael Whitham (from September 2005)

2003-2004 Victoria Tills

== Entertainments Manager ==

The Entertainments Managers ultimate job is to organise the Bedlam Ball at the end of semester 2. In order to subsidise this they organise a number of events and parties throughout the year, which contribute to the funding.

2006-2007 Tom Paul

2005-2006 Kerri Hall

2004-2005 James Mutton

2003-2004 Nat Raeched

== Venue Hire Manager ==

The Venue Hire manager facilitates communication between outside companies who wish to hire the venue throughout term time and the company. They organise contracts, dates and staffing for outside hires. They are also on hand to offer support to outside companies.

2006-2007 Michael Whitham

2005-2006 Kati Hind

2004-2005 Idil Sukan

2003-2004 Jay Addriannse

== Fringe Venue Manager ==

The Fringe Venue Manager, is the only non- elected post. They are hired by the a panel comprising the Former Fringe Venue Manager, the President a EUSA accounts representative and the EUSA VP- Services. Their term is usually January - January. They are responsible for hiring the Fringe Managers. They are also responsible for programming and communicating with the outside companies. They assume operational control of the EUTC for the period June - August for the year they are hired and oversee the EUTC presence at the Fringe.
They are usually paid a small sum of money as compensation for the blood, sweat, tears and general loss of mental health. There are occasionally parties to attend.

2006 Charlotte Jarvis

2005 Claire Glendenning

2004 Miriam Raines

2003 Cat Smith

2002 Graeme Timms

2001 Morven Pack

2000 Chloe Darlington

== Archivist ==

The Archivist, is resposible for maintaining records off all EUTC productions. S/he is responsible for collecting all the P&P of each show, taking pictures of builds/dress runs/after-show drunken bashes, etc. This is really helpful to stage managers in later years who may be looking to do something similar to what has gone before as well as giving us stuff to look back on and to show impressionable young freshers of all the amazing things that get built in Bedlam.

see also [[Archive]]

2006-2007 Cat Hoyle

2005-2006 Graeme Wright

Black Techie

2006-08-11T19:54:43Z

Admin:

[[Image:blacktechie.jpg|thumb|250px|A Black Techie Ceremony]]
A tech initiation drink and tastes nicer than you might think.

==Ingredients==

#Pint 80/-
# Short Vodka & Coke, no ice or lemon

==Method==

#Drink from pint of 80/- down to just below the bulge in the glass
#Add Vodka & Coke
#Techie tool<nowiki>*</nowiki>, in order of tech superiority, stir drink
#Last to stir must suck the residue from the tool.
#Grandfather Tech (generic phrase for either techies with or without bumps) then recites an appropriate blessing
#All technicians must then down three fingers.
#Drinking continues until finished.
#Redo from 1.

==Footnote==

<nowiki>*</nowiki>The tool of choice is the Maglite for a number of reasons

*your maglite will taste nice for the next couple of days.

*It also proves that maglites work underwater

*Gives a pleasing lighting effect (Especially as you will be drunk before you try this).

'''See also:''' [[D.B.O., The|The D.B.O.]], [[Tequila Club]]

Black Techie

2006-08-11T19:54:14Z

Admin:

[[Image:blacktechie.jpg|thumb|250px|The Costume Cupboard]]
A tech initiation drink and tastes nicer than you might think.

==Ingredients==

#Pint 80/-
# Short Vodka & Coke, no ice or lemon

==Method==

#Drink from pint of 80/- down to just below the bulge in the glass
#Add Vodka & Coke
#Techie tool<nowiki>*</nowiki>, in order of tech superiority, stir drink
#Last to stir must suck the residue from the tool.
#Grandfather Tech (generic phrase for either techies with or without bumps) then recites an appropriate blessing
#All technicians must then down three fingers.
#Drinking continues until finished.
#Redo from 1.

==Footnote==

<nowiki>*</nowiki>The tool of choice is the Maglite for a number of reasons

*your maglite will taste nice for the next couple of days.

*It also proves that maglites work underwater

*Gives a pleasing lighting effect (Especially as you will be drunk before you try this).

'''See also:''' [[D.B.O., The|The D.B.O.]], [[Tequila Club]]

Black Techie

2006-08-11T19:53:45Z

Admin:

[[Image:blacktechie.jpeg|thumb|250px|The Costume Cupboard]]
A tech initiation drink and tastes nicer than you might think.

==Ingredients==

#Pint 80/-
# Short Vodka & Coke, no ice or lemon

==Method==

#Drink from pint of 80/- down to just below the bulge in the glass
#Add Vodka & Coke
#Techie tool<nowiki>*</nowiki>, in order of tech superiority, stir drink
#Last to stir must suck the residue from the tool.
#Grandfather Tech (generic phrase for either techies with or without bumps) then recites an appropriate blessing
#All technicians must then down three fingers.
#Drinking continues until finished.
#Redo from 1.

==Footnote==

<nowiki>*</nowiki>The tool of choice is the Maglite for a number of reasons

*your maglite will taste nice for the next couple of days.

*It also proves that maglites work underwater

*Gives a pleasing lighting effect (Especially as you will be drunk before you try this).

'''See also:''' [[D.B.O., The|The D.B.O.]], [[Tequila Club]]

File:Blacktechie.jpg

2006-08-11T19:53:18Z

Admin:

Costume Cupboard

2006-08-11T19:52:39Z

Admin:

[[Image:costume1.jpeg|thumb|250px|The Costume Cupboard]]
Costuming tends to be seen as pretty exciting and dare I say it even glamourous by people who don't sew or costume anything. In reality (or in Bedlam rather) it is just like any other job and requires a large amount of work. In my opinion the end result can be fairly fabulous and it all pays off. Here are some tidbits about it I suppose.

== The Way to Narnia ==
[[Image:costume2.jpeg|thumb|250px|The Costume Cupboard]]
Otherwise known as, the costume cupboard itself.

People who are overly concerned with safety/fire code tend to pretend that the costume cupboard does not exist. Directors go into it enthusiastically searching for bits of costume or props and come out after a few minutes with nothing, ranting about how messy and disorganised it is. Actors know it is there, but have no idea what it looks like and have only a vague idea about where it is located. Former wardrobe managers generally refuse to enter it at all. Techies don't really give a shit about it unless something goes wrong with the lights or they get roped into helping move stuff around (although Alistair Marshall is gung-ho about installing a hammock on the top floor). People who have been around for a while will tell cynical stories about the various old Bedlamites who have had sex in it. Most people are afraid of it, either because it is creepy/haunted or because they consider it unsafe.

Basically the costume cupboard in Bedlam is the area above the dressing room, behind the stage and organ loft. This is a very tall room when empty, however it has been built up into three levels with a scaff structure and wooden floors by some people in the early 1990s (I believe). The top floor was rebuilt in 2003 under the jurisdiction of Miss Victoria Tills. This scaff should be tightened regularly before theatre license inspection. The entire structure is not earth bonded but probably should be. The cupboard is accessible via a spiral staircase to the left of the dressing room. There is also a second "exit" for fire reasons, which is a square hole in the floor on the opposite side (above the exit corridor on the right side of the dressing room) over which a very large and heavy metal plate has been placed. Technically a trapdoor could be installed here and then it would be a usable fire exit but there aren't enough people ever in the place at once to justify it. There are four lights in the costume cupboard which take 60- or 100-watt Edison screw lightbulbs but the plates need a screwdriver or leatherman to be taken off. There is a pulley thing attached to scaff on the top floor with no rope in it, presumably to bring up costumes from the bottom floor.

Props are stored in racks, on tables and on shelves. Costumes are hung on rails which are cable-tied to the scaff structure, the rails being broom handles and other scrap round wood of varying lengths. It is generally agreed by everyone that the rail system is terrible and that a better solution ought to be found, however, none of the people who say this have ever come up with anything better. Non-hangable costumes are in boxes on the floor. Shoes are in organisers on each floor. Excess material for sewing and construction is on a rack on the top floor.

The bottom floor is used for props and is bigger than the top two floors. There is one window at the far end, by the bookshelves. To the right of the entrance there is a structure of large plastic racks that can be pulled out like drawers, for miscellaneous small props. There are also tables although no one has ever actually seen them due to the large number of props under which they are buried. This level is also sometimes used for costumes in transit, which have been used by shows and need to go upstairs or vice versa. In the rough middle of all of this is a red staircase which leads to the middle floor, which is used for womenswear currently- dresses to the left of the staircase, everything else to the right. The stair comes up through a hole in the floor of this level, it has been suggested to me that a banister of some type ought to be put round this but that seems ridiculous to me since you just need to avoid falling in it and you will be fine. On the opposite side of the staircase hole, there is a platform on which bedding and pillows are kept, and you can get to the top level by climbing a scaff ladder from this platform. Top floor (menswear and fabric) is very tall and tends to be the cleanest because people who get tired of carrying clothes dump them on the bottom two floors.

The entire place should be kept locked at all times. I don't know who has keys but definitely the wardrobe manager and theatre manager do.

== Hanging Up ==
[[Image:costume3.jpeg|thumb|250px|The Costume Cupboard]]
Not just the title of a lukewarm Ephron comedy which largely failed at the box office and in the press despite the hefty late-nineties name-recognition factor of its headlining stars, this is a section which is about Hanging Up Your Clothes.

I used to believe that everyone learned to hang up their clothes from an early age; perhaps not an enjoyable task, on par with doing the washing up or making one's bed, but a necessary one. It is the sort of thing that one learns to do and may then choose to ignore in the privacy of the home if one likes, but while in someone else's property or after borrowing someone else's clothing surely the admirable thing to do is pick up a hanger and use it. THIS IS NOT SO. In fact, no one who has ever been in the Bedlam costume cupboard for any reason has ever learned to use a hanger so it falls to me I'm afraid to teach them.

1. Pick up a hanger and an item of clothing 
2. Hang the item of clothing on the hanger 
3. Hang the hanger somewhere suitable (a rail for example) 

Supposing this fails! And the item of clothing drops off of the hanger and onto the floor.

4. Do not walk away and pretend you cannot see/hear the item dropping to the floor. Just because you hung it up once does not mean you have done your bit and what happens to the item next is the wardrobe manager's responsibility 
5. Fix the problem. Some helpful hints: 
- Some hangers are just for coats/shirts/dresses, these are your standard default hangers. Some hangers have little squeezy bits on the ends, these are trouser/skirt hangers. There are plenty of both so there is no need to mix their functions. 
- Sometimes dresses have loops of thin ribbon attached to the inside of the shoulders. Like a bra strap, but don't wear them like that because it is the sort of fashion faux pas only forgivable in six-year-old girls. Confusing, I know, but these are specifically used to hang the dress on a hanger if the sleeves are likely to slip off. Use this feature well, for it is well-thought-out and works. 

And that's it! You're done!

Rules of Hanging Up Your Clothes: 
1. DO NOT hang jumpers and cardigans (or other things made out of wool-type material) up! This will stretch them. You can use that rule in your daily life as well as in the costume cupboard. Instead, fold them and put them in the appropriate box. 
2. DO NOT use wire hangers. I hate them and am trying to phase them out, which will succeed if you never bring another wire hanger into the Bedlam ever again. They lose their shape and are useless for hanging anything heavier than a handkerchief, and they wreck the shoulders of your clothes. So just don't use them, plastic ones are lovely. 
3. DO, if you find you physically cannot hang something due to the nature of the item, feel free to fold it and place it somewhere near where it's meant to be, where I will find it and put it away properly.

== Things that the Costume Cupboard Needs/Wants ==

If you have any of these things, let me know. I'll update as I purchase.

1. A sewing machine 
2. Shoe organisers (room for probably 40 shoes total, men and women) 
3. Plastic bins or boxes (NOT cardboard) 
4. A shelving unit for organising spare fabric 
5. Hooks/pegs for hats

''Please note that this is a future-looking sort of reference and the cleanout is still in progress''

Costume Cupboard

2006-08-11T19:51:55Z

Admin:

[[Image:costume1.jpeg|thumb|250px|The Costume Cupboard]]
Costuming tends to be seen as pretty exciting and dare I say it even glamourous by people who don't sew or costume anything. In reality (or in Bedlam rather) it is just like any other job and requires a large amount of work. In my opinion the end result can be fairly fabulous and it all pays off. Here are some tidbits about it I suppose.

== The Way to Narnia ==
Otherwise known as, the costume cupboard itself.

People who are overly concerned with safety/fire code tend to pretend that the costume cupboard does not exist. Directors go into it enthusiastically searching for bits of costume or props and come out after a few minutes with nothing, ranting about how messy and disorganised it is. Actors know it is there, but have no idea what it looks like and have only a vague idea about where it is located. Former wardrobe managers generally refuse to enter it at all. Techies don't really give a shit about it unless something goes wrong with the lights or they get roped into helping move stuff around (although Alistair Marshall is gung-ho about installing a hammock on the top floor). People who have been around for a while will tell cynical stories about the various old Bedlamites who have had sex in it. Most people are afraid of it, either because it is creepy/haunted or because they consider it unsafe.

Basically the costume cupboard in Bedlam is the area above the dressing room, behind the stage and organ loft. This is a very tall room when empty, however it has been built up into three levels with a scaff structure and wooden floors by some people in the early 1990s (I believe). The top floor was rebuilt in 2003 under the jurisdiction of Miss Victoria Tills. This scaff should be tightened regularly before theatre license inspection. The entire structure is not earth bonded but probably should be. The cupboard is accessible via a spiral staircase to the left of the dressing room. There is also a second "exit" for fire reasons, which is a square hole in the floor on the opposite side (above the exit corridor on the right side of the dressing room) over which a very large and heavy metal plate has been placed. Technically a trapdoor could be installed here and then it would be a usable fire exit but there aren't enough people ever in the place at once to justify it. There are four lights in the costume cupboard which take 60- or 100-watt Edison screw lightbulbs but the plates need a screwdriver or leatherman to be taken off. There is a pulley thing attached to scaff on the top floor with no rope in it, presumably to bring up costumes from the bottom floor.

Props are stored in racks, on tables and on shelves. Costumes are hung on rails which are cable-tied to the scaff structure, the rails being broom handles and other scrap round wood of varying lengths. It is generally agreed by everyone that the rail system is terrible and that a better solution ought to be found, however, none of the people who say this have ever come up with anything better. Non-hangable costumes are in boxes on the floor. Shoes are in organisers on each floor. Excess material for sewing and construction is on a rack on the top floor.

The bottom floor is used for props and is bigger than the top two floors. There is one window at the far end, by the bookshelves. To the right of the entrance there is a structure of large plastic racks that can be pulled out like drawers, for miscellaneous small props. There are also tables although no one has ever actually seen them due to the large number of props under which they are buried. This level is also sometimes used for costumes in transit, which have been used by shows and need to go upstairs or vice versa. In the rough middle of all of this is a red staircase which leads to the middle floor, which is used for womenswear currently- dresses to the left of the staircase, everything else to the right. The stair comes up through a hole in the floor of this level, it has been suggested to me that a banister of some type ought to be put round this but that seems ridiculous to me since you just need to avoid falling in it and you will be fine. On the opposite side of the staircase hole, there is a platform on which bedding and pillows are kept, and you can get to the top level by climbing a scaff ladder from this platform. Top floor (menswear and fabric) is very tall and tends to be the cleanest because people who get tired of carrying clothes dump them on the bottom two floors.

The entire place should be kept locked at all times. I don't know who has keys but definitely the wardrobe manager and theatre manager do.

== Hanging Up ==
Not just the title of a lukewarm Ephron comedy which largely failed at the box office and in the press despite the hefty late-nineties name-recognition factor of its headlining stars, this is a section which is about Hanging Up Your Clothes.

I used to believe that everyone learned to hang up their clothes from an early age; perhaps not an enjoyable task, on par with doing the washing up or making one's bed, but a necessary one. It is the sort of thing that one learns to do and may then choose to ignore in the privacy of the home if one likes, but while in someone else's property or after borrowing someone else's clothing surely the admirable thing to do is pick up a hanger and use it. THIS IS NOT SO. In fact, no one who has ever been in the Bedlam costume cupboard for any reason has ever learned to use a hanger so it falls to me I'm afraid to teach them.

1. Pick up a hanger and an item of clothing 
2. Hang the item of clothing on the hanger 
3. Hang the hanger somewhere suitable (a rail for example) 

Supposing this fails! And the item of clothing drops off of the hanger and onto the floor.

4. Do not walk away and pretend you cannot see/hear the item dropping to the floor. Just because you hung it up once does not mean you have done your bit and what happens to the item next is the wardrobe manager's responsibility 
5. Fix the problem. Some helpful hints: 
- Some hangers are just for coats/shirts/dresses, these are your standard default hangers. Some hangers have little squeezy bits on the ends, these are trouser/skirt hangers. There are plenty of both so there is no need to mix their functions. 
- Sometimes dresses have loops of thin ribbon attached to the inside of the shoulders. Like a bra strap, but don't wear them like that because it is the sort of fashion faux pas only forgivable in six-year-old girls. Confusing, I know, but these are specifically used to hang the dress on a hanger if the sleeves are likely to slip off. Use this feature well, for it is well-thought-out and works. 

And that's it! You're done!

Rules of Hanging Up Your Clothes: 
1. DO NOT hang jumpers and cardigans (or other things made out of wool-type material) up! This will stretch them. You can use that rule in your daily life as well as in the costume cupboard. Instead, fold them and put them in the appropriate box. 
2. DO NOT use wire hangers. I hate them and am trying to phase them out, which will succeed if you never bring another wire hanger into the Bedlam ever again. They lose their shape and are useless for hanging anything heavier than a handkerchief, and they wreck the shoulders of your clothes. So just don't use them, plastic ones are lovely. 
3. DO, if you find you physically cannot hang something due to the nature of the item, feel free to fold it and place it somewhere near where it's meant to be, where I will find it and put it away properly.

== Things that the Costume Cupboard Needs/Wants ==

If you have any of these things, let me know. I'll update as I purchase.

1. A sewing machine 
2. Shoe organisers (room for probably 40 shoes total, men and women) 
3. Plastic bins or boxes (NOT cardboard) 
4. A shelving unit for organising spare fabric 
5. Hooks/pegs for hats

''Please note that this is a future-looking sort of reference and the cleanout is still in progress''

Costume Cupboard

2006-08-11T19:50:50Z

Admin:

[[Image:costume1.jpg|thumb|250px|The Costume Cupboard]]
Costuming tends to be seen as pretty exciting and dare I say it even glamourous by people who don't sew or costume anything. In reality (or in Bedlam rather) it is just like any other job and requires a large amount of work. In my opinion the end result can be fairly fabulous and it all pays off. Here are some tidbits about it I suppose.

== The Way to Narnia ==
Otherwise known as, the costume cupboard itself.

People who are overly concerned with safety/fire code tend to pretend that the costume cupboard does not exist. Directors go into it enthusiastically searching for bits of costume or props and come out after a few minutes with nothing, ranting about how messy and disorganised it is. Actors know it is there, but have no idea what it looks like and have only a vague idea about where it is located. Former wardrobe managers generally refuse to enter it at all. Techies don't really give a shit about it unless something goes wrong with the lights or they get roped into helping move stuff around (although Alistair Marshall is gung-ho about installing a hammock on the top floor). People who have been around for a while will tell cynical stories about the various old Bedlamites who have had sex in it. Most people are afraid of it, either because it is creepy/haunted or because they consider it unsafe.

Basically the costume cupboard in Bedlam is the area above the dressing room, behind the stage and organ loft. This is a very tall room when empty, however it has been built up into three levels with a scaff structure and wooden floors by some people in the early 1990s (I believe). The top floor was rebuilt in 2003 under the jurisdiction of Miss Victoria Tills. This scaff should be tightened regularly before theatre license inspection. The entire structure is not earth bonded but probably should be. The cupboard is accessible via a spiral staircase to the left of the dressing room. There is also a second "exit" for fire reasons, which is a square hole in the floor on the opposite side (above the exit corridor on the right side of the dressing room) over which a very large and heavy metal plate has been placed. Technically a trapdoor could be installed here and then it would be a usable fire exit but there aren't enough people ever in the place at once to justify it. There are four lights in the costume cupboard which take 60- or 100-watt Edison screw lightbulbs but the plates need a screwdriver or leatherman to be taken off. There is a pulley thing attached to scaff on the top floor with no rope in it, presumably to bring up costumes from the bottom floor.

Props are stored in racks, on tables and on shelves. Costumes are hung on rails which are cable-tied to the scaff structure, the rails being broom handles and other scrap round wood of varying lengths. It is generally agreed by everyone that the rail system is terrible and that a better solution ought to be found, however, none of the people who say this have ever come up with anything better. Non-hangable costumes are in boxes on the floor. Shoes are in organisers on each floor. Excess material for sewing and construction is on a rack on the top floor.

The bottom floor is used for props and is bigger than the top two floors. There is one window at the far end, by the bookshelves. To the right of the entrance there is a structure of large plastic racks that can be pulled out like drawers, for miscellaneous small props. There are also tables although no one has ever actually seen them due to the large number of props under which they are buried. This level is also sometimes used for costumes in transit, which have been used by shows and need to go upstairs or vice versa. In the rough middle of all of this is a red staircase which leads to the middle floor, which is used for womenswear currently- dresses to the left of the staircase, everything else to the right. The stair comes up through a hole in the floor of this level, it has been suggested to me that a banister of some type ought to be put round this but that seems ridiculous to me since you just need to avoid falling in it and you will be fine. On the opposite side of the staircase hole, there is a platform on which bedding and pillows are kept, and you can get to the top level by climbing a scaff ladder from this platform. Top floor (menswear and fabric) is very tall and tends to be the cleanest because people who get tired of carrying clothes dump them on the bottom two floors.

The entire place should be kept locked at all times. I don't know who has keys but definitely the wardrobe manager and theatre manager do.

== Hanging Up ==
Not just the title of a lukewarm Ephron comedy which largely failed at the box office and in the press despite the hefty late-nineties name-recognition factor of its headlining stars, this is a section which is about Hanging Up Your Clothes.

I used to believe that everyone learned to hang up their clothes from an early age; perhaps not an enjoyable task, on par with doing the washing up or making one's bed, but a necessary one. It is the sort of thing that one learns to do and may then choose to ignore in the privacy of the home if one likes, but while in someone else's property or after borrowing someone else's clothing surely the admirable thing to do is pick up a hanger and use it. THIS IS NOT SO. In fact, no one who has ever been in the Bedlam costume cupboard for any reason has ever learned to use a hanger so it falls to me I'm afraid to teach them.

1. Pick up a hanger and an item of clothing 
2. Hang the item of clothing on the hanger 
3. Hang the hanger somewhere suitable (a rail for example) 

Supposing this fails! And the item of clothing drops off of the hanger and onto the floor.

4. Do not walk away and pretend you cannot see/hear the item dropping to the floor. Just because you hung it up once does not mean you have done your bit and what happens to the item next is the wardrobe manager's responsibility 
5. Fix the problem. Some helpful hints: 
- Some hangers are just for coats/shirts/dresses, these are your standard default hangers. Some hangers have little squeezy bits on the ends, these are trouser/skirt hangers. There are plenty of both so there is no need to mix their functions. 
- Sometimes dresses have loops of thin ribbon attached to the inside of the shoulders. Like a bra strap, but don't wear them like that because it is the sort of fashion faux pas only forgivable in six-year-old girls. Confusing, I know, but these are specifically used to hang the dress on a hanger if the sleeves are likely to slip off. Use this feature well, for it is well-thought-out and works. 

And that's it! You're done!

Rules of Hanging Up Your Clothes: 
1. DO NOT hang jumpers and cardigans (or other things made out of wool-type material) up! This will stretch them. You can use that rule in your daily life as well as in the costume cupboard. Instead, fold them and put them in the appropriate box. 
2. DO NOT use wire hangers. I hate them and am trying to phase them out, which will succeed if you never bring another wire hanger into the Bedlam ever again. They lose their shape and are useless for hanging anything heavier than a handkerchief, and they wreck the shoulders of your clothes. So just don't use them, plastic ones are lovely. 
3. DO, if you find you physically cannot hang something due to the nature of the item, feel free to fold it and place it somewhere near where it's meant to be, where I will find it and put it away properly.

== Things that the Costume Cupboard Needs/Wants ==

If you have any of these things, let me know. I'll update as I purchase.

1. A sewing machine 
2. Shoe organisers (room for probably 40 shoes total, men and women) 
3. Plastic bins or boxes (NOT cardboard) 
4. A shelving unit for organising spare fabric 
5. Hooks/pegs for hats

''Please note that this is a future-looking sort of reference and the cleanout is still in progress''

Costume Cupboard

2006-08-11T19:50:34Z

Admin:

[[Image:Costume1.jpg|thumb|250px|The Costume Cupboard]]
Costuming tends to be seen as pretty exciting and dare I say it even glamourous by people who don't sew or costume anything. In reality (or in Bedlam rather) it is just like any other job and requires a large amount of work. In my opinion the end result can be fairly fabulous and it all pays off. Here are some tidbits about it I suppose.

== The Way to Narnia ==
Otherwise known as, the costume cupboard itself.

People who are overly concerned with safety/fire code tend to pretend that the costume cupboard does not exist. Directors go into it enthusiastically searching for bits of costume or props and come out after a few minutes with nothing, ranting about how messy and disorganised it is. Actors know it is there, but have no idea what it looks like and have only a vague idea about where it is located. Former wardrobe managers generally refuse to enter it at all. Techies don't really give a shit about it unless something goes wrong with the lights or they get roped into helping move stuff around (although Alistair Marshall is gung-ho about installing a hammock on the top floor). People who have been around for a while will tell cynical stories about the various old Bedlamites who have had sex in it. Most people are afraid of it, either because it is creepy/haunted or because they consider it unsafe.

Basically the costume cupboard in Bedlam is the area above the dressing room, behind the stage and organ loft. This is a very tall room when empty, however it has been built up into three levels with a scaff structure and wooden floors by some people in the early 1990s (I believe). The top floor was rebuilt in 2003 under the jurisdiction of Miss Victoria Tills. This scaff should be tightened regularly before theatre license inspection. The entire structure is not earth bonded but probably should be. The cupboard is accessible via a spiral staircase to the left of the dressing room. There is also a second "exit" for fire reasons, which is a square hole in the floor on the opposite side (above the exit corridor on the right side of the dressing room) over which a very large and heavy metal plate has been placed. Technically a trapdoor could be installed here and then it would be a usable fire exit but there aren't enough people ever in the place at once to justify it. There are four lights in the costume cupboard which take 60- or 100-watt Edison screw lightbulbs but the plates need a screwdriver or leatherman to be taken off. There is a pulley thing attached to scaff on the top floor with no rope in it, presumably to bring up costumes from the bottom floor.

Props are stored in racks, on tables and on shelves. Costumes are hung on rails which are cable-tied to the scaff structure, the rails being broom handles and other scrap round wood of varying lengths. It is generally agreed by everyone that the rail system is terrible and that a better solution ought to be found, however, none of the people who say this have ever come up with anything better. Non-hangable costumes are in boxes on the floor. Shoes are in organisers on each floor. Excess material for sewing and construction is on a rack on the top floor.

The bottom floor is used for props and is bigger than the top two floors. There is one window at the far end, by the bookshelves. To the right of the entrance there is a structure of large plastic racks that can be pulled out like drawers, for miscellaneous small props. There are also tables although no one has ever actually seen them due to the large number of props under which they are buried. This level is also sometimes used for costumes in transit, which have been used by shows and need to go upstairs or vice versa. In the rough middle of all of this is a red staircase which leads to the middle floor, which is used for womenswear currently- dresses to the left of the staircase, everything else to the right. The stair comes up through a hole in the floor of this level, it has been suggested to me that a banister of some type ought to be put round this but that seems ridiculous to me since you just need to avoid falling in it and you will be fine. On the opposite side of the staircase hole, there is a platform on which bedding and pillows are kept, and you can get to the top level by climbing a scaff ladder from this platform. Top floor (menswear and fabric) is very tall and tends to be the cleanest because people who get tired of carrying clothes dump them on the bottom two floors.

The entire place should be kept locked at all times. I don't know who has keys but definitely the wardrobe manager and theatre manager do.

== Hanging Up ==
Not just the title of a lukewarm Ephron comedy which largely failed at the box office and in the press despite the hefty late-nineties name-recognition factor of its headlining stars, this is a section which is about Hanging Up Your Clothes.

I used to believe that everyone learned to hang up their clothes from an early age; perhaps not an enjoyable task, on par with doing the washing up or making one's bed, but a necessary one. It is the sort of thing that one learns to do and may then choose to ignore in the privacy of the home if one likes, but while in someone else's property or after borrowing someone else's clothing surely the admirable thing to do is pick up a hanger and use it. THIS IS NOT SO. In fact, no one who has ever been in the Bedlam costume cupboard for any reason has ever learned to use a hanger so it falls to me I'm afraid to teach them.

1. Pick up a hanger and an item of clothing 
2. Hang the item of clothing on the hanger 
3. Hang the hanger somewhere suitable (a rail for example) 

Supposing this fails! And the item of clothing drops off of the hanger and onto the floor.

4. Do not walk away and pretend you cannot see/hear the item dropping to the floor. Just because you hung it up once does not mean you have done your bit and what happens to the item next is the wardrobe manager's responsibility 
5. Fix the problem. Some helpful hints: 
- Some hangers are just for coats/shirts/dresses, these are your standard default hangers. Some hangers have little squeezy bits on the ends, these are trouser/skirt hangers. There are plenty of both so there is no need to mix their functions. 
- Sometimes dresses have loops of thin ribbon attached to the inside of the shoulders. Like a bra strap, but don't wear them like that because it is the sort of fashion faux pas only forgivable in six-year-old girls. Confusing, I know, but these are specifically used to hang the dress on a hanger if the sleeves are likely to slip off. Use this feature well, for it is well-thought-out and works. 

And that's it! You're done!

Rules of Hanging Up Your Clothes: 
1. DO NOT hang jumpers and cardigans (or other things made out of wool-type material) up! This will stretch them. You can use that rule in your daily life as well as in the costume cupboard. Instead, fold them and put them in the appropriate box. 
2. DO NOT use wire hangers. I hate them and am trying to phase them out, which will succeed if you never bring another wire hanger into the Bedlam ever again. They lose their shape and are useless for hanging anything heavier than a handkerchief, and they wreck the shoulders of your clothes. So just don't use them, plastic ones are lovely. 
3. DO, if you find you physically cannot hang something due to the nature of the item, feel free to fold it and place it somewhere near where it's meant to be, where I will find it and put it away properly.

== Things that the Costume Cupboard Needs/Wants ==

If you have any of these things, let me know. I'll update as I purchase.

1. A sewing machine 
2. Shoe organisers (room for probably 40 shoes total, men and women) 
3. Plastic bins or boxes (NOT cardboard) 
4. A shelving unit for organising spare fabric 
5. Hooks/pegs for hats

''Please note that this is a future-looking sort of reference and the cleanout is still in progress''

File:Costume3.jpeg

2006-08-11T19:49:19Z

Admin:

File:Costume2.jpeg

2006-08-11T19:48:56Z

Admin:

File:Costume1.jpeg

2006-08-11T19:48:44Z

Admin:

Life Members

2006-05-03T17:36:30Z

Admin:

The following people are life members of the EUTC.

*Al Broom
*Becks Whiteman
*Chris Mounsey
*Frank Turnbull
*Severine-Mia Davison
*Simon Wilkinson
*Steve Fryatt
*Bex Stackhouse
*Matt Gray
*Jono Ellis
*David Illsley
*Thom Tuck
*Paul Margrave
*Graeme Timms
*Richard Hogg
*Matt Ling
*Rachel Mountfield
*David Reid
*Humphrey Kerr
*Victoria Tills
*Lord Turner Inman
*Andy Field
*Tom Latter
*Miriam Raines
*N-e-i-l-space-E.-space-H-o-b-b-s

This article is locked to prevent abuse, please add comments on [[Talk:Life_Members]]

File:Rename.jpg

2006-03-15T18:22:31Z

Admin:

File:Add6.jpg

2006-03-15T18:22:15Z

Admin:

File:Add5.jpg

2006-03-15T18:21:14Z

Admin:

File:Add3.jpg

2006-03-15T18:20:56Z

Admin:

File:Add2.jpg

2006-03-15T18:20:48Z

Admin:

File:Add1.jpg

2006-03-15T18:20:39Z

Admin:

Production Guidelines

2006-03-11T22:49:06Z

Admin:

See

*[[Production Guidelines - Mainterms]]
*[[Production Guidelines - Lunchtimes]]

Production Guidelines

2006-03-11T22:48:57Z

Admin:

See

[[Production Guidelines - Mainterms]]
[[Production Guidelines - Lunchtimes]]

Production Guidelines

2006-03-11T22:48:22Z

Admin: Production Guidelines moved to Production Guidelines - Lunchtimes

#redirect [[Production Guidelines - Lunchtimes]]

Production Guidelines - Lunchtimes

2006-03-11T22:48:22Z

Admin: Production Guidelines moved to Production Guidelines - Lunchtimes

===Production Guidelines – Lunchtimes===
Stick to these guidelines. If you don’t, you may lose money from your deposit cheque. And it could make you look silly.

==Royalties==
Published versions of the play should include details of who to contact. Get rights ASAP. It sometimes takes a while for them to come through. Bedlam provides £55 for rights for Lunchtimes. Rights over £55 will have to come out of the show budget.

To avoid paying too much stress that: it is an amateur production, by a non-profit making theatre company, in a student theatre with a capacity under 100

Check that the playwright is VAT registered as we can claim VAT back.

==Budget and Sponsorship==
Lunchtimes receive £55 from Bedlam for rights and £35 for everything else.

==Deposit==
You will have to give the Business Manager a cheque for £30 as a deposit. Make cheques payable to EUSA Theatre Company and put your name and show name on the back. Hand this in as soon as possibe, preferably before commencing rehearsals. We strongly suggest that you get a cheque for a quarter of the deposit each from the director, stage manager and tech manager, and hold on to it. That way appropriate cheques can be cashed if there is a problem. The cheque may be cashed for:

* Missing rehearsal space with less than 24hr notice. Inform the secretary if this is going to happen.
* Rehearsal space left in a mess. Clean up after yourselves and make sure everything is safe for people using the space afterwards.
* Incomplete get-in or get-out. Put everything away and tidy up after your performance.
* Failure to staff. Shows staff each other, usually £5 is taken per person who failed to turn up or turned up late.

==Administration==
* Photocopying – We have an account at the Copyshop in the DHT basement. Tell them you are from Bedlam, sign their form and you won’t have to pay any money up front. Otherwise keep receipts from any photocopying you do.
* Letters – We have letterheads in the office. Please use headed notepaper for all external correspondence, contracts etc. All incoming mail gets pinned to the notice board.
* Website – www.bedlamtheatre.co.uk for copies of these guidelines, the constitution, minutes, rig plans. To contact the Webmaster email info@bedlamtheatre.co.uk.

==Meetings==
You MUST ATTEND the monday company meetings at 6.30pm every week until your show goes up and the meeting after your last performance. This is so we can talk to you, find out if everything is OK, and help you sort out any problems you might have. It is also a good place to ask for random props etc. If you really can’t make it then find a suitable representative.

==Second Performance==
These are usually on the wednesday evening, or on the saturday if it’s a mainterm week. If you want one you should approach the committee at least three weeks before the show. They then decide if you have sound grounds for a second performance, for example an alternative ending or other artistic reason. Their decision is announced at the next company meeting, though the company can overturn this decision.

==Press and Publicity==
You need to make posters and programmes. Flyers can be very effective – you can leave them in bars, cafes and other venues, or get people to hand them out for you. You can’t flyer in university buildings, but you can flyer outside them.

You can make these look however you want but don’t forget:
* Time, venue (Bedlam), date, year, price £3.00/£3.50
* Show name
* Bedlam logo or EUTC stamp (one of these MUST appear on all publicity
* The Fat Cat logo – is optional. It might not look right on very serious posters, but it is recognisable and a Bedlam institution.
* Spell check
* EUSA stamp – you need to get the poster stamped at the EUSA office in Potterow or they can’t go up in any University building. It’s probably best to do this on the original and then get them photocopied, but if you forget you can do it all by hand…
* We recommend you include the words Edinburgh University Theatre Company on your poster.
* Obey copyright law. If in doubt speak to the Marketing Manager.
* Any stipulations by the rights issuer supersede these recommendations. Check what they specify in the rights licence.

The Marketing Manager will ask to see your posters before they’re copied to check that all Bedlam publicity is of a high standard. Logos are available on the Bedlam website, from the Productions Manager or from the Marketing Manager.

You can photocopy your posters on coloured paper at the DHT then distribute them everywhere. 100 is a good number to print. A3 is a good size, and the university won’t allow anything larger, though experiment as you want. Get the cast and crew to help you distribute them. Don’t put your posters over other Bedlam posters (unless that show has finished). Give some posters to the Front of House Manager to put up in Bedlam. It’s a good idea to have some posters or flyers up in the building for the lunchtime the week before yours, even if it’s not quite the finished article.

==Show Blurbs==
These should be given to the Marketing Manager in time for inclusion in the term programme. If nothing new is received, then he/she will use the blurb from your show proposal form. Company emails are sent out each monday. If you want anything for your show included on them or for a particular publicity statement to be issued then please pass it on to the Webmaster by the saturday.

==Programmes==
Try not to leave these till the last minute so you have time to proof read them. Don’t forget to thank people who helped with the show, especially other Bedlam shows, the Committee and Mrs. Ogg (Bedlam’s accounts clerk). 70 is a good number to print, + extras for cast/crew souvenirs.

Remember to put the Greyfriars advert on the back and to go drinking there after the show.

==Staffing==
You must staff another lunchtime and you may be required to staff one performance of a mainterm and/or a Improverts show. The Front of House Manager will organise which show you are staffing. You need five people to fill the different roles: box office, café, indoor hall, outdoor hall and duty manager. Get them to sign up on the sheets in the office and make sure they include their full name and a contact number.

All producers should learn to duty manage. The FOH Manager will train you – this doesn’t take very long and can be arranged before or after a company or committee meeting or on sundays. People can be trained for the other jobs on

==Fire, firearms and smoking==
Theatres are second only to cardboard box factories in flammability. If you intend to have any of these in the performance you MUST follow these regulations:

* Naked flames/candles/pyrotechnics – can only be used with permission from the fire brigade and the Theatre Manager.
* Lasers – these need permission from the council which can take up to two months to come through.
* Smoking – this is only allowed on stage as part of the performance or dress, the cigarette must be lit on stage with a self-extinguishing lighter (i.e. not a zippo) and extinguished before leaving, an ashtray containing damp sand or KY Jelly must be on the stage.
* Firearms – these need permission from the police. This can take some time so ask early. Speak to the Theatre Manager
* Theatrical weapons - do not need permission from the police, but have nasty regulations surrounding transportation etc. Check with the Theatre Manager if you are unsure. The Bedlam has a Smith & Wesson cowboy style pistol and for general ease can be used instead of traipsing round Edinburgh looking for one. Speak to the Theatre Manager if you want to use and be aware that they may ask to put a box of blanks on your budget.

Weapons, real or theatrical, should only be used on the stage.

==Get-Out==
This should happen immediately after the performance. Make sure all your cast and crew stay around to help and it will all be over much more quickly. Even if they have no idea about tech or set the cast can still make themselves useful carrying stuff and tidying up. When the get-out is complete, take everyone along to Bobby’s.

==Costume==
You can use any costumes from the Bedlam stores. However all costumes must be washed/dry cleaned before returning them. Keep the costume area tidy and don’t take anything without asking the Costume Manager. The costume cupboard is kept locked, so you will need to arrange a time with the Costume or Theatre Manager to look. Have a list of what you need ready and preferably a cast to try things on. Ask for stuff as early as possible, the latest being the monday before the performance. If you need any weird costumes or props try asking in a monday company meeting. People have some strange things.

==Being in the building==
* Access – If no-one is in the building or working at Bobby’s then there is a set of keys at the front desk at Teviot which can be collected by the director or producer (though you may need some form of ID to get them). Return them ASAP. If you have a problem getting in, phone the theatre manager or president. Don’t leave the building until you’ve let in at least one person from the next show due to rehearse. If you are the last person out make sure the door is double locked. Use the Teviot key if you need to, just make sure you return it.
* Lights – the switches are in the box to your right as you enter from the side door. The workers should provide sufficient light for rehearsing. Only use other lights if you know what you are doing and turn them all off afterwards.
* Smoking – you can only smoke in the office and café. NO SMOKING on the balconies, tech box, costume cupboard, entrance hall or on stage (unless in a dress rehearsal or performance).
* Tidiness – put your rubbish in the bin! If you leave the place in mess the FOH Manager can get a cleaner in and put it on your budget…

==Health and Safety==
Anyone in a position of responsibility, including producers, may be prosecuted if things go badly on the health and safety front.
* Record any accidents in the accident book. This is in the filing rack behind the Box Office desk.
* Don’t let people on the balconies or in the tech box unless necessary.

==Pieces of paper==
Hand in the following at least a week before the show starts:
* Theatre Manager’s Questionnaire and Set Plan – to be completed by the Stage Manager and Techie
* Front of House Questionnaire – to be completed by the Producer. You are allowed up to 5 complementary tickets, usually for yourself and the director, and for other people who have made a significant contribution to the show.

==Membership==
All members of your team, including actors, must be members or they will not be covered by our insurance and we will be in breach of the theatre licence. They must also be members to be on a show proposal form. Membership is only £5 and can be bought through the Secretary (a passport size photo is required). NB Do not give the secretary more than £5 per person – they will drink it.

==Buying stuff==
Lunchtimes shouldn’t need to spend much money, but if you do need to buy things you MUST get a VAT receipt or you won’t get your money back. Try and keep show receipts together and give them in all at once, either to Mrs. Ogg (available weekday mornings in her office) or the Business Manager.

==Debriefing==
You must attend the monday company meeting after the performance of the show to report to the company and to fill out a debriefing form with the Productions Manager. This is your chance to talk about what worked or didn’t and for you and Committee members to raise and discuss any problems.

==Archives==
The Archivist will want to take some photos before your performance, so allow time for that. Make sure he/she has a copy of the programme and any posters or flyers to put in the archives. If you have any pictures or items to be archived, feel free to hand them in.

==Sharing a week with a mainterm or extraordinary==
Usually this works well, however to minimise any clashes of set/lighting etc. try to do the following:

* Plan ahead – If you are certain your show cannot work with a particular mainterm set then try to avoid that week at the proposal stage. Bear in mind that having a mainterm set and rig to play with can be great fun – and less hassle.
* Get a copy of the Mainterm set and rig ASAP – Don’t turn around with a week to go and complain; by then it will be too late. Talk to the Theatre Manager to arrange a meeting – that way a compromise can be reached with a mediator.
* Be willing to give and take – a meeting chaired by the Productions Manager or Theatre Manager should be arranged to discuss problems.
* Ticket deal – a deal can be arranged between the lunchtime and the mainterm to allow 50p off tickets for one show if you have seen the other. If you are interested you should talk to the mainterm producer, Business Manager and FOH Manager.

==Help==
If it all gets too much or you have any questions don’t hesitate to ask. The Committee is there to teach and help people. Contact details (phone numbers and email addresses etc.) for all the Committee are in the office, or you can see them at a company or committee meeting. If you’re not sure who is the right person to talk to, the Productions Manager should be able to point you in the right direction. You can bring up any questions or problems at the monday company meetings or the Committee meetings, which take place in Bedlam on thursdays at 6.30.

==Remember==
* Plan in advance, communicate and keep calm!
* You are in charge, don’t be afraid to ask people to do things.

GOOD LUCK!

===CHECKLIST===
This is a rough chronological order:

* Pick show.
* Check royalities.
* Fill out proposal form in full. Make sure all your team are members.
* Propose show at selection meeting.
* Hand in deposit cheque for £30 to Mrs. Ogg or the Business Manager.
* Collect FOH and Theatre Manager forms and give to crew.
* Cast show.
* Rehearse show.
* Make sure all your cast are members.
* Turn up to all monday meetings to report on how the show is doing.
* Sign up for staffing.
* Return all forms.
* Make sure posters contain all details, especially times and logos to a good size. Check them with Marketing Manager before they are copied.
* Stamp posters at Potterow for advertising in the university.
* Put up posters around Uni etc., and give some to the FOH Manager to go up in Bedlam
* Programme must include one page advert for Greyfriars Bobby. Check them with the Marketing Manager
* Enjoy the show… do the get-out… and drink at Greyfriars afterwards…
* Report back to company and debrief with Productions Manager

The Game

2006-03-10T21:24:45Z

Admin: TheGame moved to The Game

The game is.....

When ever you remember you are playing the game, you lose the game.

When you remember you are playing the game you must tell anybody nearby that you have lost by saying the phrase "I just lost the game", which makes them remember and thus lose. If there are any innocent bystanders, oblivious as to what you said, then you must explain the game to them. When you get enough people playing it, e.g. quite a lot of people round the one table in a pub, when someone remembers and announces "I just lost the game" you will hear a large groan as loads of other people then lose the game.

To begin with everyone thinks the game is stupid, but after a few months you will truly appreciate the simplistic beauty of it.

In the end you will get to a point that whenever you hear the word "game" you will in fact lose the game.

Sorry to have ruined your life

more info:[http://en.wikipedia.org/wiki/The_Game_(game) wikipedia]

Directing

2006-03-10T21:23:03Z

Admin: Reverted edit of 82.41.241.32, changed back to last version by 212.225.13.42

Directing is fun. The only way to learmn to be a director is To watch other directors in their work. As a result every directorial technique is different, and so there are few, useful, books on the actual mathodology involved, but more on the process of organising a performance. Directorial technique should not be confused with practicioner thory, which deals with the role of theatre and elements involved.

In conclusion it is pointless to write about directing because it depends upon the personal approach of each person to a performance text.

Sound

2006-03-10T21:05:43Z

Admin:

Sound as you can guess is about making noise. Whether you want to transport your audience into the heart of a war zone and scare everyone with loud gunshots and explosions or maybe your scene requires a Victorian nightclub, sound helps set the scene and should not be overlooked. Sound is also useful disguising scurrying [[Stage Management|stage managers]] between scenes and when audiences are entering/exiting the auditorium

==Links==

[[Powering Up and Powering Down the Sound System]]

[[Sound Stuff - Miscellaneous]]

[[Sound Desk]]

[[Sound Hire]]

[[Sound Rack]]

[[SM58]]

SM58

2006-03-10T21:04:54Z

Admin:

The SM58 is a microphone, and we own one.

* Primary purpose for vocals
* Durable, cheap and sound good
* Cardioid (unidirectional)
* Dynamic

Sound Rack

2006-03-10T20:56:12Z

Admin:

The sound rack contains, from top to bottom:

#EQ
#Compressor
#Minidisc 1
#Minidisc 2
#CD Deck (double)
#Patch Panel

Sound

2006-03-10T20:54:48Z

Admin:

Sound Hire

2006-03-10T20:53:28Z

Admin:

We usually hire sound kit from:

*Blacklight
*SKL

However, there are other suppliers in the Edinburgh area who are reputable:

*[http://www.warehousesound.co.uk/ http://www.warehousesound.co.uk/]
*[http://www.dmaudio.co.uk/ http://www.dmaudio.co.uk/]

Sound Hire

2006-03-10T20:53:15Z

Admin:

We usually hire sound kit from:

*Blacklight
*SKL

However, there are other suppliers in the Edinburgh area who are reputable:

[http://www.warehousesound.co.uk/ http://www.warehousesound.co.uk/]
[http://www.dmaudio.co.uk/ http://www.dmaudio.co.uk/]

Sound

2006-03-10T20:51:56Z

Admin:

Sound as you can guess is about making noise. Whether you want to transport your audience into the heart of a war zone and scare everyone with loud gunshots and explosions or maybe your scene requires a Victorian nightclub, sound helps set the scene and should not be overlooked. Sound is also useful disguising scurrying [[Stage Management|stage managers]] between scenes and when audiences are entering/exiting the auditorium

links:

[[Powering Up and Powering Down the Sound System]]

[[Sound Stuff - Miscellaneous]]

[[Sound Desk]]

[[Sound Hire]]

MediaWiki:Sidebar

2006-03-10T20:47:34Z

Admin:

MediaWiki:Sidebar

2006-03-10T20:45:41Z

Admin:

MediaWiki:Sidebar

2006-03-10T20:45:12Z

Admin:

MediaWiki:Sidebar

2006-03-10T20:44:45Z

Admin:

MediaWiki:Sidebar

2006-03-10T20:43:13Z

Admin: