safety manual - rahvusooper estonia · 1 safety manual idea by jerome robbins arthur laurents’...

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SAFETY MANUAL

Idea by Jerome Robbins Arthur Laurents’ libreto, Leonard Bernstein’s music, Stephen Sondheim’s lyrics

Original production’s director and choreographer Jerome Robbins Original production brought on stage in Broadway by Robert E. Griffith and Harold S. Prince in

co-operation with Roger L. Stevensiga Produced and perfrormed per license by Music Theatre International (Europe)

Premiere in Estonian National Opera on May 24th, 2019

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CONTENTS

1. PRODUCTION: GENERAL INFORMATION ....................................................... 4

1.1. Creative and production team ...................................................................................... 4

1.2. Duration of the Production ............................................................................................ 4

1.3. Cast .............................................................................................................................. 5

2. GENERAL SAFETY RULES ............................................................................... 7

2.1. First aid ......................................................................................................................... 7

2.2. Fire extinguishers ......................................................................................................... 7

2.3. Emergency exits ........................................................................................................... 7

2.4. Evacuation and fire ....................................................................................................... 8

3. DECORATIONS................................................................................................... 9

3.1. Construction ................................................................................................................. 9

3.2. Chain link fences ........................................................................................................ 10

4. PROPS .............................................................................................................. 11

4.1. Chairs and tables ........................................................................................................ 11

4.2. Counter ....................................................................................................................... 11

4.3. Bed ............................................................................................................................. 11

4.4. Knives ......................................................................................................................... 12

4.5. Guns, rifle ................................................................................................................... 13

4.6. Starting pistol .............................................................................................................. 14

4.7. Cigarettes ................................................................................................................... 15

4.7.1. Cigarettes............................................................................................................. 15

4.7.2. E-cigarettes .......................................................................................................... 16

4.8. Handcuffs ................................................................................................................... 17

4.9. Baton .......................................................................................................................... 18

4.10. Other props ............................................................................................................. 19

5. SAFETY OF THE PRODUCTION ...................................................................... 20

5.1. General safety principles ............................................................................................ 20

5.2. Personal preparation .................................................................................................. 21

5.3. Moving in the dark ...................................................................................................... 22

5.4. Moving on the revolving stage revolver ...................................................................... 24

5.5. Entering / leaving the stage from side-stages ............................................................. 25

5.6. Entering / leaving the stage in front of the back drop .................................................. 25

5.7. Moving behind the back drop ..................................................................................... 26

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5.8. Moving by the front edge of the stage and on orchestra bridges ................................ 27

5.9. Using ladders.............................................................................................................. 28

5.10. Stage fight ............................................................................................................... 29

5.11. Handling props ........................................................................................................ 30

5.11.1. Moving / lifting items ......................................................................................... 30

5.11.2. Throwing props ................................................................................................. 30

5.12. Loud / startling sounds ............................................................................................ 31

5.12.1. Whistle .............................................................................................................. 31

5.12.2. Pistol shots ....................................................................................................... 31

5.13. Emotionally demanding scenes ............................................................................... 31

5.13.1. Fighting / beating .............................................................................................. 31

5.13.2. Killing / death .................................................................................................... 32

5.13.3. Rape ................................................................................................................. 32

6. SHORT REMINDER .......................................................................................... 33

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1. PRODUCTION: GENERAL INFORMATION

musical „West Side Story“

Based on a conception of Jerome Robbins Book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim Entire original production directed and choreographed by Jerome Robbins Originally produced on Broadway by Robert E. Griffith and Harold S. Prince By arrangement with Roger L. Stevens Presented by arrangement with Music Theatre International (Europe)

Premiere at the Estonian National Opera on May 24, 2019

1.1. Creative and production team

Stage Director: Georg Malvius (Sweden) Set & Costumes: Ellen Cairns (Scotland) Light Design: Palle Palmé (Sweden) Choreography: Adrienne Åbjörn (Sweden) Fight choreography: Rein Oja (Estonian Drama Theatre) Assistant to the stage director: AnnaKarin Hirdwall (Sweden) Assistant to the choreographers: Hedi Pundonen Assistants to the production: Silva Valdt, Margit Kajak Choir master: Elmo Tiisvald Vastutav pianist-repetiitor: Riina Pikani Stage mangagers: Rein Lepnurm, Riina Airenne Conductors: Lauri Sirp, Jüri Alperten, Kaspar Mänd

1.2. Duration of the Production

Duration of the performance:

I Act: ca 1h 20min

Intermission: 25-30 min

II Act: ca 50min

Production set-up: when in repertoire 4h, when out of repertoire 8h

Production strike down: when in repertoire ca 1 h 15 min

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1.3. Cast

Performances in Estonian

role Performances in English

Hanna-Liina Võsa Maria Jade Davies

Heldur Harry Põlda Tony Cameron Sharp

Piret Krumm Anita Nicole Deon

Juss Haasma Riff Jeronimas Milius

Tamar Nugis Bernardo Davide Fienauri

Rene Soom Doc Rene Soom

Mihkel Tikerpalu, Jaak Jõekallas

Shrank Mihkel Tikerpalu, Jaak Jõekallas

Reigo Tamm Krupke Reigo Tamm

Jaak Jõekallas, Reigo Tamm

Glad Hand Jaak Jõekallas

Silver Robin Marimäe, Cedric Sebastian Mäeväli

Little boy („Somewhere“)

Silver Robin Marimäe, Cedric Sebastian Mäeväli

Jets Boys

Kaarel Targo Action Kaarel Targo

Saamuel Pilpak A-Rab Saamuel Pilpak

Hendrik Värk, Marek Eesaru, Mikk Kaasik

Baby John Hendrik Värk, Marek Eesaru, Mikk Kaasik

Silver Laas Snow-Boy Silver Laas

Norman Salumäe Big Deal Norman Salumäe

Kristo Ukanis Diesel Kristo Ukanis

Karl-Erik Tamme Gee-Tar Karl-Erik Tamme

Maarius Pärn Mouthpiece Maarius Pärn

Jets Girls

Kärt Anton Graziella Kärt Anton

Kethi Uibomägi Velma Kethi Uibomägi

Greete Kivisild Minnie Greete Kivisild

Kadri Kõrvek Clarice Kadri Kõrvek

Airike Kolk Pauline Airike Kolk

Saara Kadak Anybodys Saara Kadak

Karin Helstein Jets girl Karin Helstein

Maria Kais Jets girl Maria Kais

Maria Leppoja Jets girl Maria Leppoja

Susanna Paabumets Jets girl Susanna Paabumets

Sharks Boys

Mehis Saaber Chino Mehis Saaber

Aare Kodasma Pepe Aare Kodasma

Sergei Kuznetsov Indio Sergei Kuznetsov

Endro Roosimäe Luis Endro Roosimäe

Simo Kruusement Anxious Simo Kruusement

Kaido Tani Nibbles KaidoTani

Andrei Karpiyevich Juano Andrei Karpiyevich

Georg Gurjev Toro Georg Gurjev

Mattias Aabmets Moose Mattias Aabmets

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Sharks Girls

Nele-Liis Vaiksoo Rosalia Nele-Liis Vaiksoo

Anett Viinalass Consuelo Anett Viinalass

Marta Arula Francesca Marta Arula

Kati Jaanimäe Teresita Kati Jaanimäe

Danna Malõško Estella Danna Malõško

Aule Urb Margarita Aule Urb

Dancers + members of Jets / Sharks

Maximo Erm Dancer Maximo Erm

Jaroslav Galitski Dancer Jaroslav Galitski

Marleen Jõela Dancer Marleen Jõela

Britt Kõrsmaa Dancer Britt Kõrsmaa

Liisa Laine Dancer Liisa Laine

Argo Liik Dancer Argo Liik

Semen Prygorodov Dancer Semen Prygorodov

Sandra Riivik Dancer Sandra Riivik

Karita Särekannu Dancer Karita Särekannu

Allar Valge Dancer Allar Valge

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2. GENERAL SAFETY RULES

2.1. First aid

Providing first aid during the performance is coordinated by the Stage Manager.

First aid kit is located at:

on the stage in the Stage Managers booth

in make-up room

In case of an accident where ambulance and paramedics are needed, inform the Stage

Manager immediately and (s)he will call the ambulance.

2.2. Fire extinguishers

Fire extinguishers are located on side-stages on the A and B side of the stage.

Make sure you know where precisely the fire extinguishers are.

If necessary, ask the Stage Manager to show you the locations of the fire extinguishers.

No items may be stored in front of the fire extinguishers or in a manner, which obstructs free

passage to the fire extinguishers.

Clothes or other items may not be hanged on the fire extinguishers.

2.3. Emergency exits

Emergency exits are located on side-stages on stage’s A and B sides.

A side has 1 exit : exit leads to the make-up rooms and wardrobes

B side has 2 exits : exits lead to staircases

Items or decorations may not be permanently placed on exit routes in a manner that blocks

free passage.

Items that are temporarily places on exit routes, must be removable without effort or be under

staff provision, who removes them swiftly when necessary.

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2.4. Evacuation and fire

In case of an emergency in the building, theatre hall or stage, which requires evacuation

of people:

Remain as calm as possible.

Act according to the instructions provided by the Stage Manager or a person responsible

for a safe evacuation.

Do not create panic.

Do not spread opinions / information not provided by the Stage Manager or a person

responsible for a safe evacuation.

In case of fire in the building:

In case of fire, the alarm bells will start ringing.

When the alarm bells start ringing, they will be turned off. If they do not start ringing again

within few minutes, it was a false alarm and such announcement will be given through

the loud-speakers and the Stage Manager

Evacuate immediately in case the alarm bells start ringing for the second time (and it was

not preceded by the false alarm announcement) and/or when order to evacuate is given

through the loud-speakers.

When the alarm bells start ringing for the second time stop what you are doing and leave

the building immediately. Do not lock any doors on your way out.

Do not go into rooms / hallways filled with smoke.

Use evacuation routes to exit the building (marked with green exit signs).

Listen to the instructions given by the Stage Manager and through the loud-speakers.

When you are outside:

o During spring – summer the evacuation meeting point is located in front of the

building (in front of the main doors) – listen to the instructions provided by the head

of rescue team;

o During autumn – winter the evacuation meeting point is Solaris Center across the

street – listen to the instructions provided by the head of rescue team.

In case of fire on stage:

When you notice fire / smoke, then inform the Stage Manager or the nearest stage

hand immediately.

If you have a fire extinguisher and know how to use it, extinguish the fire.

If you do not have a fire extinguisher and you can extinguish the fire without putting

yourself in danger, extinguish the fire.

If you do not have a fire extinguisher and you cannot extinguish the fire without putting

yourself in danger, do not extinguish the fire.

Leave the stage immediately upon receiving such order. Do not stand around and/or

watch what happens.

In case of fire, the fire-doors on the B side of the stage will close and the iron curtain will

come down.

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3. DECORATIONS

3.1. Construction

The main set decoration is a metal construction, which is made of stairs, stairways and a

bridge connecting them (hereinafter the Construction).

Stairs and staircase curves are girded with handrails on one side and tall chain link

fences on the other side (the height of the chain link fence is 6 m from the stage floor)

The bridge is 3,6 m above the stage floor. The bridge is girded with 1 m high handrail

on both sides. Although the load-bearing capacity of the bridge is higher, it is highly

recommended that not more than 10 persons stand on the bridge at the same time.

Moving on the Construction:

Be careful and alert.

Use all the stairs on the stairways – do not skip the stairs.

Do not jump off the Construction – all stairs lead to the stage floor.

In order to ease moving in the dark, each stairways first and last stair is marked with glow-

in-the-dark stripes.

Do not forget, that while you are on the Construction you are (high) above the stage floor.

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3.2. Chain link fences Chain link fences are used as set decorations. Depending on the location, the chain link fences

are attached either to the Construction or to the stage portal.

Front chain link fences (attached to the stage portal) are 3 m in height. The fences can be

closed with a latch pushed into the stage floor.

Back chain link fences (attached to the Construction) are 2,5 m in height. The fences can be

closed with a clamp-latch.

Chain link fences in the I Act

Fences are intact.

Fences are not fixed to the stage floor – they move, they can be moved, opened and closed.

Do not grab the chain link or hold the fence from the edge of the chain link nets - there can

be bended wire endings, which may hurt you.

The chain link fences can handle jump-ins and pushing people into them. Despite that try to

do that as little as possible.

Chain link fences in the II Act

Fences have holes.

Do not grab from the holes or their immediate surroundings with hands – there can be bended

wire endings, which may hurt you.

Fences are not fixed to the stage floor – they move, they can be moved, opened and closed.

It is possible to carefully crawl through the holes in the bottom of the fences.

The chain link fences can handle jump-ins and pushing people into them. Despite that try to

do that as little as possible.

Climbing the chain link fences / sitting on the fences

Be careful and alert – the chain link fences are made of metal and you can hurt yourself if

you are careless.

Do not grab the fence from the edges of the chain link nets– there can be wire endings and

you may hurt yourself.

Do not grab the holes – at the edges of the holes can be wire endings and you may hurt

yourself.

When you climb the fence, use the bottoms of the holes and the metal poles to support your

feet.

Do not run into the fence or rattle it when someone is climbing the fence.

When sitting on the fence, hold on to the metal edge of the fence, refrain from holding on to

the chain link net.

When sitting on the fence place your body weight slightly to the front – in case you lose your

balance, you’ll fall in front of the fence.

When sitting on the fence, do not flail with your hands or legs.

Sitting on the fences is only allowed to the artists foreseen and prepared for in the production.

While artists are sitting on the fences it is forbidden to move or rattle the fences.

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4. PROPS

4.1. Chairs and tables

Chairs and tables are used as props in

the production.

Chairs and tables are of light weight

and strong – they endure a persons

weight on them.

Do not jump with strong force on the

chair or on the table.

In dance sequences observe the

placement and location of chairs and

tables in order not to bump into them

and hurt yourself or others.

4.2. Counter

A counter is used as a prop in the production.

The counter is of light weight and strong – it endures a persons weight on it.

Do not jump with strong force on the counter.

The counter is on wheels – when taking the counter on the stage and placing it to its

position, ensure that the brakes of the wheels are fixed so that the counter does not move.

4.3. Bed

A bed is used as a prop in the

production.

The bed has a strong frame and is on

wheels.

In case an artist steps on the bed, it must

be ensured that that the brakes of the

wheels are fixed so that the bed does

not move.

Do not jump on the bed.

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4.4. Knives

Knives are used as props in the production.

Knives are made of rubber / aluminium and are of light weight.

The edges of the knives are dangerous and with careless handling it is possible to

injure oneself and others.

Although the knives in the production are props, remember that knives are cold weapons. They

are dangerous and must be treated accordingly.

It is forbidden to point at / aim another person with a knife. In the production it is only

allowed in scenes and time foreseen by the stage director and only by artists and in

manner foreseen by the stage director.

If you handle a knife, treat it with same caution and respect with which you handle real knives.

Handling a knife

Hold the knife strongly and firmly in your hand.

Do not flail with the hand with which you hold the knife.

When holding the knife point the tip towards the floor and the sharp edge away from you.

Point the knife towards a person only when foreseen in the production.

Do not throw the knife into air, to the floor, towards something / someone.

Do not put the knife in your pants pocket or elsewhere where you would not put a real

knife.

Do not leave the knife laying around. Put it to its place (if necessary aske the props

specialist where to put the knife).

Do not play with the knife.

When you are holding a knife you are holding a weapon – do not use it without reason,

only when necessary and foreseen in the production.

Do not hold the knife in the same hand with other things.

Examples of knives used in the production:

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4.5. Guns, rifle

Guns and a rifle are used as props in the production.

The guns are made of rubber and the rifle is made of rubber / metal. The guns and

rifle are of light weight.

It is not possible to fire with the guns and rifle. Despite that, it is possible to injure

oneself and others with careless handling.

Although the guns and rifle in the production are props, remember that guns are fire weapons.

They are dangerous and must be treated accordingly.

It is forbidden to point at / aim another person with a gun / rifle. In the production it is

only allowed in scenes and time foreseen by the stage director and only by artists and in

manner foreseen by the stage director.

If you handle a gun or rifle, treat it with same caution and respect with which you handle real

guns or rifle.

Handling a gun / rifle

Hold the gun strongly and firmly in your hand.

Do not flail with the hand with which you hold the gun.

Point the gun towards the floor when holding the gun.

Do not fire or imitate firing.

Point the gun towards a person only when foreseen in the production.

Do not throw the gun into air, to the floor, towards something / someone.

Do not put the gun in your pants pocket or elsewhere where you would not put a real

gun.

Do not leave the gun laying around. Put it to its place (if necessary aske the props

specialist where to put the knife).

Do not play with the gun.

When you are holding a gun you are holding a weapon – do not use it without reason,


Do not hold the gun in the same hand with other things.

Examples of guns, rifle used in the production:

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4.6. Starting pistol

A starting pistol is used as a prop in the production.

Starting pistol is loaded with blank bullets – there are 3 blank bullets in the silinder.

It is possible to fire with the starting pistol. When fired, the bullets will not exit the

barrel – the pistol will make a loud shot noise and smoke and small puffs of fire will exit

the barrel.

It is possible to injure oneself and others with careless handling of the starting pistol.

Starting pistol may only be used by the artist playing Chino.

The artist will receive the starting pistol personally from the props specialist directly before

the scene of killing Tony and will give it personally back to the props specialist ASAP after

the scene.

It is forbidden to point at / aim another person with the starting pistol. In the production

it is only allowed in scene and time foreseen by the stage director and only by the artist

and in manner foreseen by the stage director.

If you handle the starting pistol, treat it with extreme caution and respect.

Handling the starting pistol

Hold the gun strongly and firmly in your hand.

Put the finger on the trigger only just before firing.

Do not flail with the hand with which you hold the gun.

Point the gun towards the floor when holding the gun.

Do not imitate firing.

Point the gun towards a person only when foreseen in the production.

Do not throw the gun into air, to the floor, towards something / someone.

Do not put the gun in your pants pocket or elsewhere where you would not put a real

gun.

Do not play with the gun.

When you are holding a gun you are holding a weapon – do not use it without reason,


Do not hold the gun in the same hand with other things

Example of the starting pistol used in the production:

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4.7. Cigarettes

Cigarettes and electronic cigarettes (e-cigarettes) and lighters are used as props in the

production.

4.7.1. Cigarettes

Cigarettes are specially made for use in theatre productions. They do not contain nicotine or

tobacco.

Lighting the cigarette

Light only the cigarette provided by the props specialist.

Light the cigarette only with the lighter provided by the props specialist.

Be careful when using the lighter.

In case of a burn, turn the Stage manager immediately for first aid.

Putting out the cigarette

The cigarette must be put out only in the ashtray full of wet sand.

Ensure prior to the scene that you know where the ashtray is.

It is forbidden to throw the cigarette to the floor or somewhere else.

Smoking the cigarette

Inhale as little smoke as possible.

Try not to inhale the smoke to your lungs as smoking is unhealthy.

Examples of cigarettes, lighters, ashtray used in the production:

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4.7.2. Electronic cigarettes

E-cigarettes do not contain nicotine or tobacco. They work with vapor (steam).

Lighting an e-cigarette:

Use only the e-cigarette provided by the props specialist.

Do not light the e-cigarette with a lighter.

Putting out an e-cigarette:

You do not have to put out an e-cigarette.

Put the e-cigarette to its place or give to the props specialist after use.

Smoking an e-cigarette:

Smoke it the same way as a regular cigarette – the e-cigarette will start working once

you inhale.

Inhale smoke as little as possible.

Try not to inhale the smoke to your lungs as smoking is unhealthy.

Examples of e-cigarettes used in the production:

The props specialists will carefully observe the scenes where cigarettes, lighters and e-

cigarettes are used and are prepared to put out the cigarettes immediately after the scenes to

ensure safety.

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4.8. Handcuffs

Handcuffs are used as props in the productions.

Handcuffs are made of metal.

You can open / close the handcuffs manually – no need to use a key.

Open / close the handcuffs carefully to prevent injuring yourself or others.

In case you attach the handcuffs to a person / object and for some reason they do not open,

then open the chain from the carabiner and turn to the stage manager for help for getting

the handcuffs off a person.

Example of handcuffs used in the production:

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4.9. Baton

A baton is used as a prop in the production.

The baton is made of foam rubber and is of light weight.

The baton is relatively soft, still it is possible to injure oneself and others with careless

handling.

A baton is primarily a self-defense weapon to defend against beating. It is dangerous and

must be treated accordingly.

It is forbidden to hit other person with the baton. In the production it is only allowed in

scene and time foreseen by the stage director and only by artists and in manner foreseen

by the stage director.

If you handle the baton, treat it with extreme caution and respect.

Handling a baton

Hold the baton strongly and firmly in your hand.

You can hit other person(s) with the baton only when foreseen in the production.

Do not throw the baton into air, to the ground or towards someone / something, unless

foreseen in the production.

Do not leave the baton laying around. Put it to its place (if necessary ask the props

specialist where to put it).

Do not play with the baton.

When you are holding a baton you are holding a weapon – do not use it without reason,


Do not hold the baton in the same hand with other things

Example of the baton used in the production:

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4.10. Other props

The following items are also used as props in the production:

Money

Paint with brush

Box with bottles (NB! The caps of the bottles have sharp edges – be careful!)

Basketball

Mobile phones

Mannequins

etc

Using props

All props may be used only for their intended purpose.

Do not touch, move props that are not for you.

Use or move props only when and how foreseen in the production.

Do not play with the props.

Put the props back to their place after using them.

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5. PRODUCTION SAFETY

5.1. General production safety principles

The main causes for accidents are:

Carelessness

Fooling around

Technical / mechanical fail

To ensure the safety of oneself and others

Be focused and alert.

Be careful.

Observe at all times who is around you and what is around you.

Be considerate with other artists and the scene technical crew.

Do not touch / move props, decorations if it is not foreseen for you in the production

Do not improvise or do sudden movements which may surprise others – do only what is

agreed upon and rehearsed in the rehearsals.

Do not move around the stage if it is not foreseen in the production.

Use only those passageways that have been agreed upon and rehearsed in the

rehearsals.

Inform the Stage Manager immediately if

You see that a decoration or a prop is broken.

It seems like a decoration or prop is about to break.

You see a decoration, props, wires etc that should not be somewhere.

You see that someone is not feeling well and may need help.

However minor or unimportant something may be – always inform the Stage Manager if

something does not seem right or safe. Then we may be able to prevent accidents from

happening.

Stage technical crew will check and ensure prior to each performance that:

All decorations are in proper condition, fully functional, correctly and safely installed.

All props are in proper condition and fully functional.

All safety markings on the decorations, floor etc are in place.

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5.2. Personal preparation

Be in the theatre at least one hour before the start of the performance.

If your make-up, dressing etc takes time, then be in the theatre even earlier according

to your agreement with the make-up artist / dresser.

The production is physically demanding – you have to be very physical, move

around a lot, dance, fight, do sudden movements.

Prior to each performance every artist has to do warm-up, so everyone is

physically ready and prepared for all the action.

If you skip the warm-up you risk injuring yourself – you may stretch or strain your

muscles, twist something etc.

You can warm-up in the rehearsal halls in the theatre.

If necessary ask assistance form the assistant to the choreographers.

The production is intellectually demanding – you have to remember a lot of details,

be alert, focused, fast, precise and careful.

Prior to each performance every artist must take time to think through all

his/her scenes and make necessary preparations.

If you do not take time to prepare yourself you risk injuring yourself and others or

the obstruction of the performance.

You can prepare and focus in the wardrobe, rehearsal rooms of the theatre.

If necessary ask assistance form the Stage Manager.

In case you have a medical condition that may result in health disorders, seizures etc, please

inform the Stage manager so that s(he) would be able to assess the condition, risk and

situation.

It is forbidden to come on stage if you are under the influence of alcohol, narcotic drugs

and/or other psychotropic substances.

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5.3. Moving in the dark

During the performance many scene changes take place in the darkness or in relative

darkness.

Moving in the darkness

Be very careful and alert.

Remember that it takes a bit of time for your eyes to adjust with moving from bright light

to dark.

If you are not completely sure if the passage is safe then pause and wait until the

passage is visible or you are sure you know where to go.

Use only those passageways that have been agreed upon and rehearsed during the

rehearsals.

To ease moving in the darkness in front of the backdrop there are spotlights in light blue

color placed on the stage floor which light the way to the exits.

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To ease moving in the darkness glow-in-the-dark arrows are drawn on the stage floor,

which point towards the A side exit from the stage revolver.

To ease moving in the darkness the edge of the stage revolver is marked with glow-in-the-

dark stripes.

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To ease moving in the darkness, the first and last stairs of the stairways on the

Construction are marked with glow-in-the-dark stripes.

Stage technical crew shall check and ensure prior to each performance:

Spotlights are placed on the stage floor in front of the backdrop which light the way to

the exits.

Glow-in-the-dark stripes are properly functioning.

The passageways in front of the backdrop and other passageways are free from all

items that may obstruct free passage.

5.4. Moving on the revolving stage revolver

Moving on the revolving stage revolver


Observe the edge of the revolver – where the revolving floor ends and stable floor

begins.

Use only those passageways that have been agreed upon and rehearsed in the

rehearsals.

Do not make sudden movements that may surprise other artists or obstruct their

movement.

Do not stand on the passageways of other artists.

If possible, exit the stage revolver in the direction the revolver is moving – this helps

prevent stumbling.

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5.5. Entering / leaving the stage from side-stages

Moving to and from side-stages


If the scene change allows, let artists leaving the stage through before going on stage.


to dark.




rehearsals.


movement.


5.6. Entering / leaving the stage in front of the back drop

Moving to and from the stage


If the scene change allows, let artists leaving the stage through before going on stage.


to dark.




rehearsals.


movement.


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5.7. Moving behind the backdrop

Moving behind the backdrop

Check out the passageway behind the backdrop before each performance, so that you

will not have any surprises in the dark during the performance.


Do not use this passageway if it is not absolutely necessary.

Observe the barrier chain.

Do not go under/over the barrier chain.

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5.8. Moving by the front edge of the stage and on orchestra bridges

During the performance the orchestra pit is lighted and this makes the front edge of the

stage clearly visible.

The front edge of the stage does not have a special marking.

A net is attached to the front edge of the stage above the orchestra pit. This prevents props /

items from falling into the orchestra pit. It does not stop a person from falling into the orchestra

pit.

Moving by the front edge of the stage


Observe who is around you and what is around you.



Observe the front edge of the stage.

Take time to get used to standing / walking in a safe distance from the front edge of the

stage.

Move towards the front edge of the stage only with your front side.

Before you start moving towards the front edge of the stage ensure that you are in a

safe distance and that you have room to move.

If you are not sure how far the front edge of the stage is, do not move towards it.

Moving on orchestra bridges


Move as close to the wall as possible.

Observe who is around you.

Do not run or jump.

The hand rail does not support you – it only indicates the edge of the bridge.



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5.9. Using ladders

Two ladders are used in the production:

One ladder is made from wood and is attached to the Construction with hooks – it is

used by Tony to paint the sign.

Second ladder is integral part of the Construction, made of metal and can be moved up

and down on block-wheels.

Using a ladder

Face the ladder with your belly when climbing up or down.

When the ladder is not meant for reaching a higher ground, do not climb higher than

absolutely necessary.

Observe every step, do not skip steps.

Observe that you have at every moment at least 3 contact points with the ladder (two

feet, one hand / one foot, two hands) – while painting, Tony should observe, that he has

at least two contact points (two feet, whenever possible also a hand).

While climbing a ladder your safety is most important, take your time, do not rush or

hurry.

Do not jump or hang on the ladder.

Do not rattle the ladder while you are on it.

Do not reach for objects out of your arm’s length.

Be careful and alert.

The stage technical crew will check and ensure prior to each performance that the ladders are

in good condition and fully functional. They check

all the ladder’s steps and the attachments;

that the ladders do not have scratches, splinters;

that the ladders are dry and not covered with any liquids;

that it is possible and safe to climb the ladders (there are no items between the steps or

obstructions of any kind).

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5.10. Stage fight

Principles of stage fighting

Stay in a safe distance from your partner, so you will not hurt him/her.

Get eye-contact with your partner before you begin – ensure that your partner is ready

for the fight.

Give the agreed sign before each punch / series of punches and ensure that you

partner saw the sign.

Observe the line of punch and movement of your partner and yourself.

The movement is dictated by the receiver of the punch, not the attacker.

None of your punches may actually hit your partner or any other person.

Keep the speed of movements low.

Observe constantly who is around you and what happens around you.

Keep your balance, body weight evenly distributed on both legs.

Do not improvise, do only what is agreed upon and rehearsed in the rehearsals.

Do not fool around.

You are responsible for the safety and well-being of your partner and yourself – do not

hurt anyone.

SEE ALSO: Instructions for acting in emotionally demanding scenes: fighting: p 31

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5.11. Handling props

5.11.1. Moving / lifting items

Lifting / moving heavy items

Stand as close to the item as possible.

Spread your legs shoulder length apart, one foot slightly in front of the other.

Squat down, bend your knees – do not crouch or bend from your waist.

Grab the item strongly with your hands, do not grab only with your fingers.

Keep your head and chin up.

Do not turn or twist your body while lifting / moving a heavy item.

If possible, do not lift the item higher than your shoulders or move it around lower than

your knees.

If possible, use machinery to lift / move heavy items.

Moving large items manually

When the item is so large that it blocks your vision, then do not lift or move it alone.

While lifting / moving a large item you must be accompanied by a person, who can see

the direction of movement and can instruct or caution you and others.

Moving items on wheels

Before moving the item, check if the wheels have breaks and release them if necessary.

If you move an item on wheels alone, ensure that you have full control over the item

and you can stop the item’s movement whenever necessary.

Move the item only when it is foreseen in the production.

When you start moving the item, ensure that the passage is clear.

Only move the item when you have clear line of sight.

5.11.2. Throwing props

Throwing an item

Throw an item only if and when it is foreseen in the production.

Throw the item only to the place agreed upon in rehearsals.

Before throwing the item ensure that you are not throwing it towards anyone or that the

person is ready to catch it.

It is forbidden to throw items towards the orchestra pit.

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5.12. Loud / startling sounds

5.12.1. Whistle

During the production the artist playing Krupke and other cast members use a whistle. The

sound of the whistle is loud and when you stand close it may be uncomfortable.

Be ready for the whistle before or during the scenes involving Krupke, so it wouldn’t catch you

by surprise and startle you.

5.12.2. Pistol shots

In the end of II act, Chino shoots Tony. The pistol shots are loud.

Be ready for the scene so that the shots wouldn’t surprise and startle you.

5.13. Emotionally demanding scenes

5.13.1. Fighting / beating

The aim of fighting / beating is to gain control over the opponent through physical violence.

Even though you are acting in the scene, it may be psychologically difficult and stressful.

Fighting / beating

Check prior going to the stage that you do not have any items in your pockets that may

fall out and hurt someone.

Check that you do not have bracelets, rings, neck chains that may injure you or others.

Take the scene seriously and behave very consciously.

Avoid getting 100% into the character.

Observe that no one acts excessively and hurts anyone – stop if necessary.

Agree upon signs with which to show that situation is out of control / uncomfortable and

use them if necessary.

Do not crab someone suddenly behind the back, from jacket, shirt, trousers etc.

Do not improvise in the scene – do only what has been agreed upon and rehearsed in

the rehearsals.

If you feel that it is emotionally difficult to handle the scene

Take time to calm and relax.

Think in advance about methods that help you calm down quickly and help you get out

of the role and use them.

If you feel that you need help or someone to talk to, turn to the Stage Manager for

assistance.

32

5.13.2. Killing / death

Murder is a crime of willfully taking someone’s life. Even though you are acting in the scene, it

may be psychologically difficult and stressful.

Death scene







the rehearsals



Think in advance about methods that help you calm down quickly and help you get out

of the role and use them.


assistance.

5.13.3. Rape

Rape is a sexual assault in the course of which extreme sexual, physical and emotional

violence is used against the victim. This also applies on forcing someone to rape. Even though

you are acting in the scene, it may be psychologically difficult and stressful.

Rape scene







the rehearsals



Think about methods that help you calm down quickly and help you get out of the role

and use them.


assistance.

33

6. SHORT REMINDER

The safety of you and people around you is most important.

Before the performance

Be in the theatre at least 1 hour before the start of the performance.

Warm-up.

Think through and prepare for your scenes.

During the performance

Be very focused, careful and alert.

Observe who is around you and what is around you.

Be considerate towards other artists and technical crew members.

Do not improvise, do only what has been agreed upon and rehearsed in the rehearsals.

Moving on stage

Do not move around the stage if it is not foreseen for you in the production.

Use only those passageways that have been agreed upon and rehearsed in the rehearsals.

Do not stand in the passageways of other artists or technical crew.

If you are not sure if the passage is safe, stop and wait until the passage is visible and clear or

you are sure you know where to go.

Stay in a safe distance from the front edge of the stage and do not move towards it backwards.

Decorations

While on the Construction do not forget that you are (high) above the stage floor.

Be careful while moving on the stairs, do not skip stairs or jump down from stairs – all stairs lead

to the stage floor.

Props

Do not touch and/or move props/decorations if it is not foreseen for you in the production.

All props may be used only for their intended purpose and as foreseen in the production. All props

must be put back to their place after use.

Do not play with the props.

Do not aim at people with weapons (knife/gun/pistol/rifle/baton). In the production it is only allowed

by actors foreseen by the stage director and only when foreseen in the production.

When you use weapons (knife/gun/pistol/rifle/baton), handle them with the same caution and respect

you would handle a real weapon.

Do not throw props/decorations unless foreseen in the production.

Prior to throwing a prop/decoration make sure you don’t hit a person or the person is ready to catch it.

Violent scenes

Take scenes involving violence and weapons seriously and behave consciously.

Observe that no one behaves excessively or hurts anyone – stop if necessary.

Agree upon signs which to show when you feel that the situation is out of control or

uncomfortable and use them if necessary.

safety manual - rahvusooper estonia · 1 safety manual idea by jerome robbins arthur laurents’...

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