BE A MINION - IT'S FUN BACKSTAGE TOO

by Fiona Schaller, minion

Having come to the conclusion that I was more useful backstage than on stage, I have been a "minion" for most of my association with the theatre group. I read the article by John Slim in NODA NEWS and wondering if his comments really applied also to our group, I thought it would be a good idea, as he suggests, to run through what a production entails. For any production whether there is a cast of 14 (as in "Company") or a cast of 40 plus 20 juveniles (as in the panto), the same production and support work is required.

Let's take "Company" as an example. First of all, somebody has to be prepared to take on the responsibility of directing a show. Cari and Hanns Zöllner and David Smith worked on their vision long before their ideas came to fulfillment on stage with a truly impressive production. Their excellent presentation evening indicated how much thought and discussion they had already devoted to the musical. This minion wondered to herself how on earth will they ever find people talented enough to sing these songs, but they succeeded. I have talked to many people and everyone has voiced the opinion that the casting and pairing was brilliant. The auditions and casting are a difficult process for the directors as they may have to make the decision to disappoint extremely talented people. In this production I think it was wonderful how some of the people not cast agreed to be understudies and supported the production in one way or another throughout.

Many rehearsals (and the location) have to be organised. Before the rehearsals the directors have to devote time to planning the direction, the choreography, the acting, the musical numbers - it doesn't just fall into place without foresight and thought. The rehearsal process and progress is of great interest to those of us already becoming involved in the support scheme of things as performance time approaches: general administration, costumes, stage management, props, publicity, lighting, sound, make-up and hair all require attention, organisation and coordination. I don't know if the cast realise how involved we minions sometimes feel with them and for them.

Unseen meantime, lurking in the workshop, are the carpenters, painters and metalworkers preparing the sets. In "Company" several creative members and members' partners put in hours of voluntary work turning the set designer's idea into the reality of a stage set which they then erected within a few hours in the theatre. And very good it looked too. Arrangements were made (again through a member's contact) to have some stylish furniture to furnish the set and this looked good too. Suitable props have also to be acquired and made to set the scene in suitable fashion.

The costumes manager and hair I make-up team get busy too working beforehand on the costumes and planning and creating the stage characters before curtain-up.

The publicity planning starts early on - here the publicity manager swings into action with the help of some volunteer members, not to mention his wife, who have agreed to help him with his formidable task of creating, mailing and distributing publicity material. Over the years an address list of English-speaking clubs, schools, societies and individuals has been built which has to be kept up to date. Also PR releases and contact with press and radio have to be taken care of. Just before the production a few members take on the role of being sandwich board minions and pace the streets of Zug handing out flyers.

The ticket sales arrangements have to be made and volunteers found to sell the classy-looking programs which the publicity manager has produced. This involves canvassing for advertisements and liaison with the directors about content and layout. The directors have to take time to write summaries and notes which will help the audience to understand their production.

Hospitality and interesting activities for the orchestra have been arranged by another member who found homes for the young musicians with members and friends. Minor panics when the musicians arrive have to be sorted out: one saxophone has gone missing and a new trombone score has to be ordered for the unfortunate trombonist whose score had gone missing. Instruments which were too large to come from Wales had to be obtained locally - again help was on hand from a member with good contacts. Bravo to all who offered assistance and hospitality.

When we got into the theatre the sound had to be set up. For "Company" we had a professional company set up, but one of our members volunteered to be our sound coordinator and worked together with two operators from Wales who already knew the show.

For the lighting we have our own company member who is a professional lighting designer who spent a hectic three days getting everything into place before opening night when he was also "on the book" and running the show. The projections ' developed from the ideas of the production director, were also mainly the baby of the publicity manager. During the show either he or another minion was perched on a platform backstage controlling the correct sequence of projections.

The backstage crew numbered seven who all made their contribution by endeavouring to provide the cast with the right furniture and props at the right time and place on stage (one crew member even appeared on stage herself as a substitute dancer in the night club scene one night). Drinks have to be ordered for cast, crew and orchestra. Also cakes and brownies appeared, courtesy of other supportive minions, to keep us all going, to say nothing of the gallons of coffee (donated and made by another minion) which was consumed backstage.

After the première a glass of "bubbly" was offered to cast, crew and sponsors. This event was organised by supportive members and a member's wife spent a lot of time making delicious nibbles for the 60 or so people present. Oh, and of course, I nearly forgot, somebody had to acquire the sponsors, and another had to write letters of thanks and send them tickets for the show. The latter also cleared the debris from the stage the following day. Yet another member researched and also organised a pre-show introduction to the musical.

A cast party is also a must which requires thought and organisation by another member, to say nothing of somebody to lock up in the wee small hours when the band eventually goes home. I wonder who that was?

And then, of course, there's the get out. A small, but faithful band worked for several hours after the last show and on I October. When all the scenery has been struck and stored, my favourite quote from one of our senior members: "Well, the grey panthers strike again ......."

Up until now I have counted around 40 members who have been involved with supporting the 14 people on stage. Some were multitasking. There are at least another 60 members out there. I hope you all supported us and came with some friends and relatives to see the show. We need an audience and we know, of course, that not everybody can commit so much of their free time to helping the group. One way or another, though, we depend on members' goodwill and support.

Offers of assistance are always appreciated and I would like to thank everyone who came forward (or was encouraged to come forward) to help with the production of "Company". As I said at the beginning, it's fun backstage, and sometimes a challenge. You learn a lot about theatre and human relationships. (Ask me about it some time.) These two pages are a synopsis of a variety of the multitude of activities undertaken in the last nine months which have sometimes been stressful, but never boring, and once the production is running, it's rewarding working backstage with the other minions and the east. The "Company" cast were very disciplined, helpful and a pleasure to work with.