Production Management
Richard Ashby
Contents
About this guide
Terminology
What is a PM’s role?
Putting together a team
Communication
Scheduling
The Different Venues -
BT
Old Fire Station
Moser Theatre, Wadham
The Playhouse
Garden Shows
Links and Contacts
About this guide
This guide attempts to set out the fundamental issues involved in being a production manager. Because this role varies so much from venue to venue, I begin with some definitions and the basic responsibilities, before moving on to analysing the various characteristics of different theatres in Oxford. No guide can be wholly comprehensive or wholly authoritative – people have different ideas about what a production manager should do and how. There is no substitute for experience working backstage and learning from the successes and mistakes of others.
Terminology
There are various abbreviations and bits of jargon which you come across in theatre, and in this guide – it’s worth getting to know the basics as a) it saves time and b) you’ll be able to understand what techies are talking about, which is useful.
ASM, Assistant Stage Manager – Bit of a dogsbody basically.
Designer – If not prefixed by set, costume, sound or lighting, this is the “artistic designer”. They work with the director to produce to overall artistic vision of the production. They normally design the set, but work closely with the other designers to make sure the whole is coherent. They may design costume as well.
DSM, Deputy Stage Manager – Confusingly enough the “deputy” is a bit of a misnomer – they are often the most important person on the stage management team, in the Playhouse at any rate.
FX – pertaining to sound.
LD - Lighting Designer.
LX – pertaining to lighting.
Plotting – What LDs do. It is not at all subversive, it means programming lighting states into the lighting board.
PM – Production Manager, i.e. you.
Rigging - hanging lights, speakers, mics, set etc. in the theatre’s grid. Normally first thing to happen in a get-in.
SD – Sound Designer.
Stage Left/Right – It is very important to get these the right way around. Left and right are from the actor’s perspective as they face the audience. Downstage is towards the audience, upstage the opposite. Use these terms and ensure that your director/designer etc. do as well (not all do believe me). They are the theatrical standard. Whilst we’re about it, when talking about fly bars “in” means down towards the stage, “out” means up towards the roof.
TAFF – “Tabs are For Flying”, the society of Oxford technicians. Membership as such is currently expressed by subscription to the Taff email list, which provides a resource for techies to ask for assistance, test ideas and generally gossip. The website is www.tabsareforflying.co.uk. To request subscription to the list e-mail join@tabsareforflying.co.uk with you name, college, and year of graduation. Non subscribers can still email the list: taff@maillist.ox.ac.uk. As a production manager, TAFF is your friend.
Other terms will be explained throughout the guide, A good glossary of terminology can be found on the web at http://www.theatrecrafts.com/glossary/glossary.shtml, thanks to Exeter University.
A note on production team members: The term “techie” will be used throughout this guide in a fairly all-encompassing way, for convenience sake. LDs and SDs may complain that they are designers and not technicians, but the fact is that they invariably have to do technical as well as creative work, especially in the small theatres, and are generally more likely to be technically minded people than other designers.
What is a PM’s role?
You are to the technical team what the director is to the acting company. A parallel which is not particularly illuminating apart from making the point that the PM is a very senior position. They are the leader of the entire technical team, and it is ultimately their responsibility to ensure that the sound, set, lighting, prop, stage management, costume, make-up and special effect requirements of the production are met, on time and within budget. For a really simple BT show you could do all of this by yourself quite happily. In the Playhouse, it is not unusual to have a backstage team of thirty people or more. Consequently, you don’t personally have to be an expert on all areas of backstage theatre, but you must ensure that everything does get done. Naturally you are not directly responsible for: acting company, marketing, overall finances, direction or musical direction. But just about everything else is in your department.
Production Management involves a great deal of administration; you have to ensure that you have a technical team, and that there is sufficient communication within the production company as the designs are developed. You are then responsible for running the get-in and get-out. On a more personal level, you should ensure that everyone in the backstage team is happy with what they are being expected to do, and that working conditions are as comfortable as possible, and always safe. Although cast & director vs. crew divides should be discouraged as much as possible, at the last resort you represent your crew. Techies often work long hours in poor conditions and don’t receive the sort of recognition that performers enjoy each night. You have to support your colleagues. Finally, you must have authority within the theatre, over technicians, designers, actors and especially actors. When you are in the space, you are in charge of the production. The only higher authority is the professional staff of the theatre. Their word is law. On a well organised production conflicts should not occur. But everyone else on the production has a more specialist role, and they will want to give priority to their area. The PM is in theory the person who is can see the big picture, and who prioritises safety, good procedure and judicious compromise. Every production will be imperfect – it is much better to ensure that the show more or less works as a whole than to have say perfect sound but under-rehearsed scene changes.
Putting together a team
You may come into a production which already has a full production team. More often you will be one of the founding members of the production, alongside director, producer and perhaps marketing manager and designer. If so, it is up to you to ensure that a full backstage team is assembled. Now often you won’t have to do this by yourself – most directors know a few techies and can call in favours. They are also often good at conveying enthusiasm for the project. Producers are ultimately the chief administrators, and should help too. Techies are gregarious. If you already have a lighting designer, they may know someone who can do sound. Other resources are advertising on the OUDS jobcentre, or emailing TAFF. With both these methods it is very important to provide clear information about what you are after. The following details are essential: whether the production is a bid or definitely has a slot, where and when the production will take place, your contact details and role on the production. Other useful information might be: who the director is, will it involve preliminary work in a vacation, are there any professionals working on the team, what staging configurations will be used (e.g. lighting in the round is very different from end on staging, and requires more experience).
What determines a “full team” varies hugely. It is occasionally possible for one person to do everything backstage in the BT. But often it is not. In larger venues you always need a bigger team. See the individual venue descriptions below for more details. The fundamental point is, every job needs to be done, whoever it is who does it. Don’t fall into the trap of assuming you can do everything – delegation usually pays off, so it is worth making the effort to find as many people as you think you’ll need. That way you’ll have more time to deal with the unanticipated problems which always crop up.
A final warning: never persuade someone to agree to put their name down on an application “just for the bid”. This is very bad practice. It usually causes disruption later when shows get slots without really having a technical team. It will also make the various venues think that students are disorganised and dishonest, which is not helpful. You don’t have to have everyone at the application stage, but be honest about this. If you have asked around and haven’t had any promising responses at all, you might consider whether the bid really is feasible. You can always postpone and put in an application for another term once you have got more organised.
Communication
It is very important that director, producer, design team and technical team liaise throughout, not just at the last moment. The producer gives you a budget – stick to it or negotiate an increase with them. More complicated is the interaction between the director and the rest. Generally the director will scheme with the designer, should there be one, quite happily of their own accord. What is important is that these two do not come up with finished designs which they show you, that you have to tell them are impossible to enact. That’s too late. They must talk to you, the LD and costume designer at an earlier stage, so that realistic designs are formulated. This is true for every venue. In the Playhouse it is most obvious; the designer must do scale drawings of every set item they want – a pitiful waste of time if you then have to scrap them because they won’t work. In smaller venues like the BT, there is no point in the director blocking scenes around a bed if you know you can’t get one for the week. Compromise and adapt at an early stage. In theory everyone should have the initiative to communicate where necessary. Sadly this often isn’t the case. So keep an eye on things. If it’s two weeks before you open, and you find out that your LD and director haven’t met, then you have to intervene. Make them sit down and talk about the lighting.
A good way of checking that everyone on your team a) exists in person, not just as a name and b) is doing their job is to arrange technical meetings. Every now and then it is worth calling together the entire backstage team to discuss progress and problems. These should be technically orientated, so don’t waste your director’s time by calling them along too. Pubs can be good places to meet, so long as they aren’t noisy. You really do have to discuss properly. Such meetings shouldn’t be too numerous as not everyone needs to be part of all the discussions, and the more people the harder to arrange times. But it’s worth building some sense of team spirit. It is also important to use all the resources at your disposal, and that often means multi skilling: Your LD may turn out to have some carpentry skills and tools. Your costume designer may be a good painter. Anyone on your team might be able to get hold of some crucial prop, or recruit some friends to work as ASMs.
In addition to general meetings, you want more focused meetings to discuss issues in more detail. For example, you and your stage manager might want to get together and talk about what props you still need to get. Or, you might have a meeting where the set designer, director, lighting and costume designers all get together to talk about aesthetic choices. Normally people will communicate by phone, email etc as well, and this can be very useful during vacs (make sure that between you and the producer you have distributed a comprehensive contacts sheet as early as possible). But most people communicate best in person so have the meetings too. Of course it is not necessary or even possible for the PM to attend every meeting, but you should try to keep as up to date as possible. Ask for all emails on backstage issues to be copied to you as a matter of course – it’s a good practice. For Playhouse shows the DSM should attend rehearsals and be the formal link between the director and the backstage team. In other venues, you have to fulfil this role. Get accustomed to anticipating problems. For instance, the director may inform you that they’ve decided to use white not green drapes. They might not realise that this affects lighting, so if the LD doesn’t know already let them know. Get along to a rehearsal or two, and encourage key members of your team to do likewise – one cannot overstate the importance of getting cast and crew to know each other a bit before the get-in. It not only makes everything run more smoothly, it makes for a much more enjoyable production.
Scheduling
One of the PMs most important roles is to schedule the get-in, i.e. the period from when you first get access to the theatre up to the opening performance. Every get-in is different, but certain things always occur:
Rigging – hanging lights etc from the grid. In the Playhouse, hanging set on fly bars too.
Focusing – focusing the lights one by one. This tends to involve someone up a ladder, someone footing the ladder, and someone controlling the board. It has to be done with all other lights off, limiting what else can be done in the theatre.
Plotting – setting up of lighting states and recording them on the lighting board. Adjustments are normally made afterwards, but since these are the actual lighting states used, the director will often be in the theatre to approve them.
Sound check – testing sound effects/music for levels, quality etc, checking microphones are working. Can’t be done with noisy set building going on concurrently.
Tech rehearsal – this is where you run the show from cue to cue, missing out the bits in between. Unlike other rehearsals, it is mostly for the benefit of the technicians. In the Playhouse, the DSM calls all the cues to the operators, so they effectively run the tech. Elsewhere, unless you have a company manager it should probably be you. It is legitimate for the director to be giving instructions to cast, so long as they are listening to you and/or the other operators, saying “start” and “stop” when you give the word. If the show is very much sound dominated or lighting dominated, the LD or SD could run the tech.
A cue is every time anything technical has to happen – obviously this includes lighting changes, sound, live music and special effects, but also run scene changes, difficult costume changes, radio mic changes, stage fights etc. In the Playhouse you will also have fly cues. Basically, anything which needs to be practised in the space should be run. By running a cue we mean having the cast start from about 10 lines or so before the cue, and keep running until the cue has clearly worked, and someone can yell cut. For visual cues, there may be no immediately preceding lines so just give some context. Techs should proceed at the pace of the slowest. Sound ops particularly often have to make copious notes during the tech. Don’t rush them by moving onto the next cue, or going back, until you know they are ready. The important issues are learning to judge time and space: if an actor has to exit one way and then run around the theatre to enter from another side, run this as if it were a performance, so that you know if they have time. Costume is not always necessary for a tech, except: if costume changes have to be practised, if radio mics need to be fitted to costumes, if the costumes may in some sense affect logistics. e.g. if an actor wears a big hat it may cast shadows on his face, so the lighting designer needs to see this. If an actress wears high heels, it may affect her ability to walk safely on various bits of set.
All of this needs to be established before the dress rehearsal. The dress should be a full run through without stops. Techs however should be stopping and starting all the time. Don’t waste time by running long scenes where nothing technical happens. Yell “cut” and tell the cast to skip to the next important bit. On a complex show, a tech will take much longer than a dress, as you keep re-running things until you get them right. On a BT monologue with no sound effects, you might have just four lighting cues to deal with. Still run them properly, even if it only takes 5 minutes. The less there is, the sharper it has to look. One particular issue of protocol: so often in techs the end of the scene is run, then someone stops, then starts again for the next scene. This misses the point. You should run these moments in real time so people can practise getting on and off stage, even if there is no scene change as such. Run it such that one scene ends, lights down, actors off, more take up positions, lights up, opening lines, and then stop. It’s at this moment that people start asking whether they are coming on from the right place, the lighting op finds they can’t see whether all the actors are in place, etc. Better to resolve these issues now and not in the dress. The start and the end of a show are especially important. Your tech should begin with the preset: houselights up, music perhaps, imaginary audience coming in, and whatever is on stage. The cast should be wherever it is they will be if this were an actual performance, i.e. probably not sitting in the front row of seats. Work out how the operators/DSM will know that the cast are ready to start, check that the cast know their cue to start e.g. houselights going down. Sounds obvious, but so often done incompetently.
Dress Rehearsal – Obvious. Should run just like a performance.
Every get-in has different schedules. This is a very approximate guide to how you might timetable things in the different venues:
| BT | Mon Am | All lighting, sound and set in. |
| Mon Pm | Tech and dress early show. | |
| Tue Am/Pm | Late show tech and dress, tech work as necessary. | |
| OFS | Sun Am | LX rigging, moving set in. |
| Sun Pm | LX focusing | |
| Sun Eve | LX plotting, sound checks, painting on stage. | |
| Mon Am/Pm | Tech rehearsal | |
| Mon Eve | Tech rehearsal | |
| Tue Am | Optional second dress, tech work as necessary. | |
| Playhouse | Sun Am | FX, LX and set rigging on stage, build set on stage. |
| Sun Pm | LX rigging, focusing, work on set, sound checks. | |
| Mon Am | LX plotting, sound checks, set work. | |
| Mon Pm/Eve | Tech rehearsal | |
| Tue Am/Pm | Tech rehearsal | |
| Tue Eve | 1st dress rehearsal | |
| Wed Am | 2nd dress rehearsal |
Wadham/Garden shows
Depends very much on when you have access to the space. Probably try to follow something like the OFS schedule. For a garden show, try to get in and start setting up as early as possible. A Wednesday opening is a lot easier than a Tuesday. Remember that in Wadham, as in the BT, you can’t leave your set in place all week, so allow time to bring set on and off for rehearsals etc.
The Different Venues
BT
Venue characteristics
Obviously it’s a small space. Therefore set should be fairly minimal. You are constrained not so much by the size of the stage as the amount of storage space and accessibility. Large items won’t fit up the stairs. Unless you have a double slot, you will be sharing the space with another show. Therefore your set has to be stored in the alcoves, at the back of the seating stand or in the dressing room whilst their show is in progress. Sharing the space also has important implications for lighting – there needs to be a combined lighting rig which will serve both shows. So your lighting designer must meet theirs in good time to work this out. Quite often one person does both shows in that week which makes things a bit simpler. PMing in the BT is normally easier than in other venues as everything is on a smaller scale, and you get a lot of support from the venue. You do however have to cope with a small budget – things like furniture normally have to be borrowed from friends or colleges rather than hired. Check out Wadham store to see if they have what you need (see below).
Who’s on your team?
You can get away with a much smaller and less experienced production team in the BT. It is the ideal place for first timers to get experience. Of course, if you can get a good sized crew of reliable people your life will be much easier. But for simple shows you could maybe get one person to design both sound and lighting, perhaps you and the director and cast could find all necessary props between you. Bear in mind however: if sound is at all complicated, you will need one sound operator and one lighting operator for every performance and the dress rehearsal. The lighting and sound designers may not be prepared to do this. Try to persuade them to do so – it normally makes things run more smoothly – but if they won’t you’ll need to find operators. Lighting is easy to op – you just need to know when to press a button. Anyone who has seen the show and can follow script can do it. Sound is marginally more complex, as it involves cueing up discs and setting levels. Good organisation rather than technological genius are however the keys to BT sound operating (and designing for that matter).
OFS
Venue characteristics
OFS shows are quite unlike BT ones. Everything is bigger – space, team, budget. You also have a full get-in period – Sunday till Tuesday – and you don’t have to share the space. It is however not as well equipped as the BT, and is not really a place for first timers to hold important positions. Lighting becomes a much bigger issue in the OFS. In the BT the set-up is small and the grid is low that you can rig and focus very quickly. In the OFS your lighting team will need to spend most of Sunday using ladders to rig and then focus lights. Don’t let the director bring the cast in to use the space on the Sunday – they’ll just be in the way.
Who’s on your team?
A standard OFS show would probably have a PM, LD plus two lighting crew, SD, a stage manager, a couple of DSMs or ASMs (whatever you choose to call them), a costume/make-up person, along with operators for sound and light (FX and LX ops, in the jargon). On simpler shows, the LD may get away with one assistant and may op themselves, the SD may op themselves and only one member of stage management may be needed. Conversely, on a difficult musical you may need: PM, LD plus three lighting crew, SD plus sound assistant, set designer, set constructor, stage manager and three or more ASMs, costume designer plus assistants, two make-up people, LX and FX ops if necessary.
Wadham Moser
Venue Characteristics
First of all, check out the excellent website at: http://moser.wadham.ox.ac.uk/
It tells you most of what you need to know. In outline, the Moser theatre is in fact a multi purpose space in Wadham, with a removable seating stand. Most noticeably, it is used as a badminton court as well. This means that you can’t leave your set up between performances. You also have to be careful about booking rehearsal/get-in times. The technicalities of the space are managed by a student venue manager; they are invariably very competent and helpful, but they are also normally very busy on the techie circuit themselves, so don’t expect them to be there keeping an eye on you all the time. The space itself is large, but you should really try to keep set to a minimum since: you have to set it and strike it each night, you can’t block access to the upstage wall as this contains two fire exits, you mustn’t paint, scrape, staple into or in any way damage the floor. You keep your set in Wadham Store next to the theatre. This is the only set store in Oxford, and is full of useful stuff that you can borrow/hire (even for use outside Wadham, if you pay). Better yet, its holdings are recorded online, see above. The theatre has just had a refit, such that the quality of its equipment is now very good, but its limitations remain: the lantern stock is quite small, there are no wings and it still looks fundamentally like a badminton court.
Who’s on your team?
Quite similar to a BT probably, depending on what you want. There is one control box for sound and light – so up to two operators but certainly no DSM calling the show.
The Playhouse
Venue Characteristics
The biggest venue used by students in Oxford, this is a fully equipped proscenium arch theatre. Unlike the other venues, it has proper wing space, fly bars, a workshop and a full time professional crew. The jump from anywhere else to the Playhouse is probably greater than that from say the BT to OFS, and you should only consider PMing a Playhouse show if you have a reasonable amount of experience already, and preferably have worked in the Playhouse before (even just on get-in crew or LX op). The main differences:
Lighting – similar principles, but obviously you need a more experienced lighting designer. Very important that they talk to Ash or Steve, the Playhouse electricians, before doing their design, or they will make mistakes.
Set – the Playhouse has a much bigger stage to fill, you have a bigger budget, and you get to use the Playhouse workshop for the week before your show opens. The Playhouse workshop is generally well equipped with power tools and the basic hand tools. It is not however very big, so as you build things you start to run out of space. Do not try to be too ambitious with the set build. Nothing causes more stress at Playhouse get-ins than overly complex sets. The main reasons are:
- Very few students have good construction skills. You are normally dependent on one or two people doing most of the building.
- Designers always produce designs later than you’d want. Almost inevitably.
- A week is not in fact very long for a serious build.
- You run out of space.
- Wood is expensive.
If the set isn’t ready for the Sunday get-in, the whole production schedule is affected. You really don’t want to be building set during the get-in period. Remember also, the set will be seen for four days then smashed and thrown in a skip (remember to hire one of these. They currently cost c. £100). There is no storage capacity in Oxford, so you can’t save anything afterwards. The one exception is the Moser store, which may accept some items e.g. flats if they look useful. Talk to the theatre manager.
Who’s on your team?
First of all, if you have any set constructing at all, get a builder. Don’t think you can PM and build at the same time, you can’t. A build crew would be even better, but get someone to head up the build. Such people are rare and you are unlikely to be able to recruit them at the last minute. If you have the budget, you may have to consider getting a professional. The Playhouse is also the one venue where the show is always called by the DSM, so you need a reliable and, preferably, experienced DSM from the start. They should attend as many rehearsals as possible, and be the primary link between the acting company and the technical team. Combining PM and DSM is also a recipe for disaster – don’t try it. Beyond this, the lighting designer will need a crew of at least four to help them rig and focus. In musicals, the sound designer will need several “stage electricians” to help with microphone fixing etc. You need a stage manager and some assistant stage managers, depending on what sort of scene changes there are. It is just about possible both to PM and stage manage a Playhouse show. It is not ideal, but may happen if you cannot find someone else reliable. You will also need flymen – normally one or two, for every stage from get-in to performances. At each performance you also need a sound op, a lighting op and make up artists.
Because of the increased budget and facilities, Playhouse shows tend to have more prominent involvement from designers. Aside from lighting and sound, there is nearly always a costume designer. In addition, there will be someone who is either the set designer or simply the “designer” (also called the “artistic designer”). An artistic designer is essentially a set designer but with much broader remit – they give specifications for props as well, and will work very closely with the costume and lighting designers. Obviously all designers should meet and work together, but an artistic designer has greater imput and authority on developing the design concept as a whole. In recent years there has been a growing trend to employ professional/semi-professional artistic designers or set designers. From your point of view, it is necessary to establish:
Is their fee coming out of the set budget or not?
Are they technically experienced as well? Some are, some aren’t.
Are they based in Oxford? If not, you may well have communication issues if someone has to commute to or from London (where most are based) every time you need a meeting. In such cases it is especially important to fix designs and get drawings as early as possible, preferably in the vacation preceding your run before things get too stressed.
The importance of getting good design drawings, on time, cannot be overstated. This applies to amateur and professional designers alike. Playhouse shows should really have model boxes – they are the best way of conveying basic design ideas. But they are no substitute for proper design drawings. By this we mean a groundplan plus individual drawing, with dimensions, of every single item that has to be constructed. Properly these should be to scale, 1:25 being a good size for the Playhouse, neatly labelled and well organised. Much more important however is the fact that they convey the necessary information clearly, and that they get done on time. Often you can get away with a simple drawing, with the proportions approximately accurate, all dimensions marked and annotations to provide further information, especially finish required (paint, or free standing, must it be liftable etc.). Such a drawing, done in good time, is preferable to a beautiful scale drawing that includes none of the extra information and doesn’t arrive until build week. You as PM are responsible for setting deadlines for the delivery of complete design drawings. The deadlines should be something like three weeks before the start of build week, at the latest. There are good reasons for this:
1. The deadlines are always missed, so give yourself leeway.
2. You, or your builder, need time to work out how you will build the set items. One of you may then need to produce construction drawings (e.g. specifying exact materials, types of joint etc.) to aid people in the workshop. There may be different ways of building things, and you need time to cost the various options and work out what balance you can strike between saving money and minimising labour. Ultimately you need to order materials, e.g. paint, fabrics and wood. All this needs to be done in advance.
3.If the designer produces something which is too difficult/expensive to build, or and overly complex design as a whole, you want to confront the issue early. If you have been communicating well this won’t happen, but often it does. If you have a month until the run then your designer and director should be able to rethink if necessary. If you have to cut a major set item during build week, when the director has already done their blocking, you will have problems.
Garden Shows
The technical issues here are so vast that they will form a separate guide. Some very elementary points which you need to consider:
There is no theatre manager. You now adopt this responsibility, especially with regard to the health & safety of your cast and crew.
There are still professionals about: the college electrician, bursar, clerk of works and maintenance departments are of crucial importance. Make sure you take the initiative in talking to them about what you are planning to do.
Lighting – very different from theatres. You need a very competent technician who knows about hiring equipment and setting it up. This involves knowledge of electricity as well as the principles of lighting design, as unlike in theatres you have to set up your own dimmers, desk and cabling.
It will rain. At some point. Bear this in mind with everything you set up in the open.
Links and Contacts
This guide is an introduction to the various roles of the PM. It would be an advantage to read as many of the other “how to” guides as possible that pertain to technical matters. Finally, here are some other useful resources:
Links
http://moser.wadham.ox.ac.uk – Wadham’s Moser Theatre.
http://www.burtontaylor.co.uk – The Burton Taylor Theatre.
http://www.oxfordplayhouse.com – The Oxford Playhouse.
http://www.tabsareforflying.co.uk – Tabs are For Flying (TAFF), union of Oxford theatre technicians.
http://www.lancelyn.co.uk – Lancelyn, local theatrical supplier.
http://www.startechproductions.co.uk – Startech, adjacent to Lancelyn and acts as their hire department.
http://www.theatrecrafts.com/glossary/glossary.html – Good glossary of theatre terms.
http://www.stage-electrics.co.uk – Stage Electrics, very useful theatrical supplier based in Bristol.
Numbers:
OFS box office: 01865 297170
Playhouse box office: 01865 305305
Playhouse stage door: 01865 305301
Startech: 01865 247400
722027 (sound and lighting suppliers on Cowley rd.): 01865 722027
Stage Electrics (Bristol office): (0117) 938 4000
Powell’s (local timber merchants): 01865 778121
Flint’s (major London theatrical suppliers): 020 7703 9786
