Loading ...
Sorry, an error occurred while loading the content.

Re: Offer to design new musical

Expand Messages
  • zedeme1
    Hello, This sounds very interesting....I live and work in Canada (Stratford, Ontario), and might be interested in doing some of the work from afar. I am
    Message 1 of 12 , Apr 3, 2009
    • 0 Attachment
      Hello,

      This sounds very interesting....I live and work in Canada (Stratford, Ontario), and might be interested in doing some of the work from afar. I am thoroughly experienced (30 yrs+) in all aspects of costume production, and love new challenges and interesting projects - this one sounds like a good one. Below is a link to my site, if you'd like to see the quality of my work. Let me know if this sounds appealing to you.

      http://zedemel.tripod.com/

      All the best - Zed

      --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad <sylvia@...> wrote:
      >
      > I just got offered the opportunity to costume design a new multimedia
      > musical production. Haven't decided if I will take it yet, as it
      > depends on how much they will pay me and whether I think I can
      > actually get it done in time. The producer has some very ambitious
      > ideas and the show is scheduled to go up on June 18.
      >
      > He says all I need to do is to design it, and he will help me find
      > people to build it, but I know, based on what he's told me thus far
      > he wants, it is going to take highly skilled artisans. Think the
      > summer Olympics in China. Not as many costumes, of course, but some
      > very high tech and elaborate ones. And lots of changes. Dancers and
      > acrobats--think Cirque du Soleil.
      >
      > He may be overly ambitious and willing to scale things down but even
      > so, I know this is going to cost him big bucks, and apparently he has
      > it. I feel like I am out of my league here to a certain extent. I
      > can design it and know quite a bit about construction, except when it
      > comes to very elaborate, circus-like, Las Vegas-like costumes. Why
      > I'm telling you all this is I'm wondering if any of you out there
      > have experience with such costumes and would like to help build them
      > and think you could build them from a distance without having the
      > performers there. It has occurred to me that maybe the producer
      > would be willing to house someone for 5-6 weeks, but I don't know
      > what to do about a costume shop and facilities.
      >
      > I'm also wondering if any of you would want to act as a costume
      > supervisor to help me with coordination, construction, fittings,
      > alterations, and just about everything else involved. I realize that
      > would definitely require housing and probably some kind of shop, if I
      > can figure out a space we might be able to rent.
      >
      > I just interviewed with the guy today and haven't even read the
      > script yet but these were some of the challenges I was considering as
      > I drove home so I thought I'd share my concerns with you all and see
      > what some of you might want to say.
      >
      > Thanks!
      >
      > Sylvia R
      >
    • Sylvia Rognstad
      I didn t say where I am because I was thinking maybe I could find people who could take on a project from long distance. Except for the costume supervisor
      Message 2 of 12 , Apr 3, 2009
      • 0 Attachment
        I didn't say where I am because I was thinking maybe I could find
        people who could take on a project from long distance. Except for
        the costume supervisor position, which, of course, I don't even know
        exists yet.

        But I live in Boulder, Colorado.

        Sylvia

        On Apr 3, 2009, at 8:36 PM, Paula McWhirter-Buck wrote:

        > where are you?this sounds like fun...i'd be all over it, and might
        > be...if i knew where it is.
        > blessings,paula mcwhirter-buck
        >
        > "THE TIME HAS COME", THE WALRUS SAID,"TO TALK OF MANY THINGS.
        >
        > OF SHOES, AND SHIPS AND SEALING WAX, OF CABBAGES AND KINGS.
        >
        > AND WHY THE SEA IS BOILING HOT, AND WHETHER PIGS HAVE WINGS."
        >
        > --- On Fri, 4/3/09, Mandy F <mandythepcgirl@...> wrote:
        >
        > From: Mandy F <mandythepcgirl@...>
        > Subject: Re: [TheCostumersManifesto] Offer to design new musical
        > To: TheCostumersManifesto@yahoogroups.com
        > Date: Friday, April 3, 2009, 8:55 PM
        >
        > Sylvia,
        >
        > If I lived close enough to you and didn't have a job, I'd be over
        > there in a
        > flash! :D
        >
        > Good luck and don't doubt yourself. Do one thing at a time.
        >
        > Mandy
        > Australia
        >
        > ----- Original Message -----
        > From: "Sylvia Rognstad" <sylvia@...>
        > To: <TheCostumersManifesto@yahoogroups.com>
        > Sent: Saturday, April 04, 2009 8:55 AM
        > Subject: [TheCostumersManifesto] Offer to design new musical
        >
        > >I just got offered the opportunity to costume design a new multimedia
        > > musical production. Haven't decided if I will take it yet, as it
        > > depends on how much they will pay me and whether I think I can
        > > actually get it done in time. The producer has some very ambitious
        > > ideas and the show is scheduled to go up on June 18.
        > >
        > > He says all I need to do is to design it, and he will help me find
        > > people to build it, but I know, based on what he's told me thus far
        > > he wants, it is going to take highly skilled artisans. Think the
        > > summer Olympics in China. Not as many costumes, of course, but some
        > > very high tech and elaborate ones. And lots of changes. Dancers
        > and
        > > acrobats--think Cirque du Soleil.
        > >
        > > He may be overly ambitious and willing to scale things down but even
        > > so, I know this is going to cost him big bucks, and apparently he
        > has
        > > it. I feel like I am out of my league here to a certain extent. I
        > > can design it and know quite a bit about construction, except
        > when it
        > > comes to very elaborate, circus-like, Las Vegas-like costumes. Why
        > > I'm telling you all this is I'm wondering if any of you out there
        > > have experience with such costumes and would like to help build them
        > > and think you could build them from a distance without having the
        > > performers there. It has occurred to me that maybe the producer
        > > would be willing to house someone for 5-6 weeks, but I don't know
        > > what to do about a costume shop and facilities.
        > >
        > > I'm also wondering if any of you would want to act as a costume
        > > supervisor to help me with coordination, construction, fittings,
        > > alterations, and just about everything else involved. I realize
        > that
        > > would definitely require housing and probably some kind of shop,
        > if I
        > > can figure out a space we might be able to rent.
        > >
        > > I just interviewed with the guy today and haven't even read the
        > > script yet but these were some of the challenges I was
        > considering as
        > > I drove home so I thought I'd share my concerns with you all and see
        > > what some of you might want to say.
        > >
        > > Thanks!
        > >
        > > Sylvia R
        > >
        > >
        > > ------------------------------------
        > >
        > > Yahoo! Groups Links
        > >
        > >
        > >
        >
        > ------------------------------------
        >
        > Yahoo! Groups Links
        >
        > [Non-text portions of this message have been removed]
        >
        >
        >



        [Non-text portions of this message have been removed]
      • caryneska
        Hi, just my two cents...from my experience costuming... If you have ANY doubts whatsoever do not take the position presently offered, if you need it, the
        Message 3 of 12 , Apr 6, 2009
        • 0 Attachment
          Hi, just my two cents...from my experience costuming...
          If you have ANY doubts whatsoever do not take the position presently offered, if you need it, the opportunity will come back to you.

          If you are going to have the proper support, that would be one thing. If this is the position that you have been yearning for, and it is really what you want to be doing, then go for it! You will make it happen if you really really want it.
          Follow your gut feeling!

          Caryneska
        • Sylvia Rognstad
          Thanks for the input. I have some doubts, which is why I sent the producer an email last night asking for the minimum going union rate for a large regional
          Message 4 of 12 , Apr 6, 2009
          • 0 Attachment
            Thanks for the input. I have some doubts, which is why I sent the
            producer an email last night asking for the minimum going union rate
            for a large regional theatre, and stipulating that I will only take
            on the duties of a regional theatre costume designer. I haven't
            heard back from him yet. Either way, I figure it's ok. Either he
            pays me what I'm worth or I don't have any headaches.

            Sylvia

            On Apr 6, 2009, at 9:05 AM, caryneska wrote:

            > Hi, just my two cents...from my experience costuming...
            > If you have ANY doubts whatsoever do not take the position
            > presently offered, if you need it, the opportunity will come back
            > to you.
            >
            > If you are going to have the proper support, that would be one
            > thing. If this is the position that you have been yearning for, and
            > it is really what you want to be doing, then go for it! You will
            > make it happen if you really really want it.
            > Follow your gut feeling!
            >
            > Caryneska
            >
            >
            >



            [Non-text portions of this message have been removed]
          • geneiak
            Sylvia, Don t forget the lessons learned from the musical that you did about a year ago. retshopbuyer
            Message 5 of 12 , Apr 6, 2009
            • 0 Attachment
              Sylvia,
              Don't forget the lessons learned from the musical that you did about a year ago.

              retshopbuyer

              --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad <sylvia@...> wrote:
              >
              > Thanks for the input. I have some doubts, which is why I sent the
              >
            • Curtis
              I would love to help out, if the timing was different. As it is, you ll be hitting crunch time on preparations just as we re opening our shows. I do have a
              Message 6 of 12 , Apr 6, 2009
              • 0 Attachment
                I would love to help out, if the timing was different. As it is, you'll be hitting crunch time on preparations just as we're opening our shows. I do have a few questions that came to mind as I was mulling this over--How many performers are involved in this production? Is this for an indoor or outdoor theater? Will the actors have multiple costumes and need to make changes during the show?

                To touch on a few questions you had, though--

                I worked on the SLC Winter Olympics Medals Plaza and the Paralympics Opening Ceremonies...it IS possible to do elaborate costumes and ship them, though we had nothing I can recall that was on the order of what you're talking about in terms of complexity. However, we started work at the Paralympics costume shop about three months before the show went up, and when we arrived, about two thirds of the costumes were already constructed (not finished, but the primary construction of the core garment was complete), and the rest were built on-site, as well as all alterations and decorations taken care of. If your producer is going to get this built in time for his projected opening, and he's going to be that elaborate about it, he's going to need to pay a lot of people a lot of money to get stuff done.

                In terms of being out of your league in knowing the construction end of it...well, a lot of designers that I've worked with don't really understand the fine points of construction, especially when it comes to such specialized costuming...they just decide what they want it to look like and let the company hired to build it figure out how to make the finished product look like the renderings (and, yes, I hate it when they do that to me, because they've usually designed something that can only be built properly with materials that I can't find...) I wouldn't let that stand in the way too much on whether or not you choose to design it.

                RE: building from a distance. I can't speak for anyone else here, but I personally would need to see what someone was asking me to build before I could definitively commit to the project. I'd also only agree to it if the producer agreed to cover the cost of shipping stuff (which seems pretty common-sense, I know...but sadly, common sense isn't very common...) I'd also need at least some overall measurements to build for...but I know from experience that it's relatively easy to take something built in this way and fine-fit it on-site, it doesn't have to be built-to-fit from the get-go.

                I have no idea what size of cast this will involve...but I do have to say, from my experience, that your producer is about six months behind where he needs to be to meet his deadline for opening the show. If it was a 'regular' production, this would be perfect...but the bigger and more elaborate you want to get with something, the more lead-time you need in construction (and not just for costumes). The Paralympics started work in the shop three months before the Ceremonies went up, with a lot of costumes rough-built before they were turned over to the on-site crew. The shop was running 12 hours/day, 6 days/week, with at least 50 people on hand at any given time (granted, they were almost all volunteers, so we had varying levels of expertise...) and generally working on about 4 different projects simultaneously at any point in the process. I have no idea how long the work took before it was turned over to us. And our shop supervisor had actually been a costumer for Cirque, so he knew how to deal with some of the tricky issues that came up (although there was still a fair amount of 'figure it out as you go'). We didn't have the designer on-site the whole time...she came in to visit a couple of times over the course of preparations, and was there through the entire dress-rehearsal process.

                So, I think it sounds like a great project...but I don't think his projected opening is very realistic unless he's only got a cast of 20 or so people (because the Ceremonies was a cast of 100+...of course, none of them had multiple costumes, and I don't know how that will be for this production...)

                --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad <sylvia@...> wrote:
                >
                > I just got offered the opportunity to costume design a new multimedia
                > musical production. Haven't decided if I will take it yet, as it
                > depends on how much they will pay me and whether I think I can
                > actually get it done in time. The producer has some very ambitious
                > ideas and the show is scheduled to go up on June 18.
                >
                > He says all I need to do is to design it, and he will help me find
                > people to build it, but I know, based on what he's told me thus far
                > he wants, it is going to take highly skilled artisans. Think the
                > summer Olympics in China. Not as many costumes, of course, but some
                > very high tech and elaborate ones. And lots of changes. Dancers and
                > acrobats--think Cirque du Soleil.
                >
                > He may be overly ambitious and willing to scale things down but even
                > so, I know this is going to cost him big bucks, and apparently he has
                > it. I feel like I am out of my league here to a certain extent. I
                > can design it and know quite a bit about construction, except when it
                > comes to very elaborate, circus-like, Las Vegas-like costumes. Why
                > I'm telling you all this is I'm wondering if any of you out there
                > have experience with such costumes and would like to help build them
                > and think you could build them from a distance without having the
                > performers there. It has occurred to me that maybe the producer
                > would be willing to house someone for 5-6 weeks, but I don't know
                > what to do about a costume shop and facilities.
                >
                > I'm also wondering if any of you would want to act as a costume
                > supervisor to help me with coordination, construction, fittings,
                > alterations, and just about everything else involved. I realize that
                > would definitely require housing and probably some kind of shop, if I
                > can figure out a space we might be able to rent.
                >
                > I just interviewed with the guy today and haven't even read the
                > script yet but these were some of the challenges I was considering as
                > I drove home so I thought I'd share my concerns with you all and see
                > what some of you might want to say.
                >
                > Thanks!
                >
                > Sylvia R
                >
              • Sylvia Rognstad
                Curtis, All you bring up is why this project is causing me so much concern. The producer seems to have absolutely no idea how much time this will take. I [m
                Message 7 of 12 , Apr 6, 2009
                • 0 Attachment
                  Curtis,
                  All you bring up is why this project is causing me so much concern.
                  The producer seems to have absolutely no idea how much time this will
                  take. I'[m thinking maybe I should forward him your email to help
                  give him an idea.

                  He hasn't even cast the show yet. There are 18 actors, some playing
                  multiple parts, and he wants a lot of dancers and acrobats as well,
                  each playing multiple parts. The play starts at the beginning of
                  time and goes to 2020, with scenes from various periods in history.
                  The first costumes are either planets or evolving life forms--he's
                  using animation in place of some of the live action. Lots of fast
                  costume changes. The show is indoors in a $300,000 dome he is having
                  built. There will be projections on all the walls of the dome of the
                  live action which takes place on a stage out of view of the audience.

                  Sounds very exciting, I must admit, but I really don't think he is
                  being realistic. Do you mind if I send him your message?

                  Sylvia

                  On Apr 6, 2009, at 1:18 PM, Curtis wrote:

                  > I would love to help out, if the timing was different. As it is,
                  > you'll be hitting crunch time on preparations just as we're opening
                  > our shows. I do have a few questions that came to mind as I was
                  > mulling this over--How many performers are involved in this
                  > production? Is this for an indoor or outdoor theater? Will the
                  > actors have multiple costumes and need to make changes during the
                  > show?
                  >
                  > To touch on a few questions you had, though--
                  >
                  > I worked on the SLC Winter Olympics Medals Plaza and the
                  > Paralympics Opening Ceremonies...it IS possible to do elaborate
                  > costumes and ship them, though we had nothing I can recall that was
                  > on the order of what you're talking about in terms of complexity.
                  > However, we started work at the Paralympics costume shop about
                  > three months before the show went up, and when we arrived, about
                  > two thirds of the costumes were already constructed (not finished,
                  > but the primary construction of the core garment was complete), and
                  > the rest were built on-site, as well as all alterations and
                  > decorations taken care of. If your producer is going to get this
                  > built in time for his projected opening, and he's going to be that
                  > elaborate about it, he's going to need to pay a lot of people a lot
                  > of money to get stuff done.
                  >
                  > In terms of being out of your league in knowing the construction
                  > end of it...well, a lot of designers that I've worked with don't
                  > really understand the fine points of construction, especially when
                  > it comes to such specialized costuming...they just decide what they
                  > want it to look like and let the company hired to build it figure
                  > out how to make the finished product look like the renderings (and,
                  > yes, I hate it when they do that to me, because they've usually
                  > designed something that can only be built properly with materials
                  > that I can't find...) I wouldn't let that stand in the way too much
                  > on whether or not you choose to design it.
                  >
                  > RE: building from a distance. I can't speak for anyone else here,
                  > but I personally would need to see what someone was asking me to
                  > build before I could definitively commit to the project. I'd also
                  > only agree to it if the producer agreed to cover the cost of
                  > shipping stuff (which seems pretty common-sense, I know...but
                  > sadly, common sense isn't very common...) I'd also need at least
                  > some overall measurements to build for...but I know from experience
                  > that it's relatively easy to take something built in this way and
                  > fine-fit it on-site, it doesn't have to be built-to-fit from the
                  > get-go.
                  >
                  > I have no idea what size of cast this will involve...but I do have
                  > to say, from my experience, that your producer is about six months
                  > behind where he needs to be to meet his deadline for opening the
                  > show. If it was a 'regular' production, this would be perfect...but
                  > the bigger and more elaborate you want to get with something, the
                  > more lead-time you need in construction (and not just for
                  > costumes). The Paralympics started work in the shop three months
                  > before the Ceremonies went up, with a lot of costumes rough-built
                  > before they were turned over to the on-site crew. The shop was
                  > running 12 hours/day, 6 days/week, with at least 50 people on hand
                  > at any given time (granted, they were almost all volunteers, so we
                  > had varying levels of expertise...) and generally working on about
                  > 4 different projects simultaneously at any point in the process. I
                  > have no idea how long the work took before it was turned over to
                  > us. And our shop supervisor had actually been a costumer for
                  > Cirque, so he knew how to deal with some of the tricky issues that
                  > came up (although there was still a fair amount of 'figure it out
                  > as you go'). We didn't have the designer on-site the whole
                  > time...she came in to visit a couple of times over the course of
                  > preparations, and was there through the entire dress-rehearsal
                  > process.
                  >
                  > So, I think it sounds like a great project...but I don't think his
                  > projected opening is very realistic unless he's only got a cast of
                  > 20 or so people (because the Ceremonies was a cast of 100+...of
                  > course, none of them had multiple costumes, and I don't know how
                  > that will be for this production...)
                  >
                  > --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad
                  > <sylvia@...> wrote:
                  > >
                  > > I just got offered the opportunity to costume design a new
                  > multimedia
                  > > musical production. Haven't decided if I will take it yet, as it
                  > > depends on how much they will pay me and whether I think I can
                  > > actually get it done in time. The producer has some very ambitious
                  > > ideas and the show is scheduled to go up on June 18.
                  > >
                  > > He says all I need to do is to design it, and he will help me find
                  > > people to build it, but I know, based on what he's told me thus far
                  > > he wants, it is going to take highly skilled artisans. Think the
                  > > summer Olympics in China. Not as many costumes, of course, but some
                  > > very high tech and elaborate ones. And lots of changes. Dancers and
                  > > acrobats--think Cirque du Soleil.
                  > >
                  > > He may be overly ambitious and willing to scale things down but even
                  > > so, I know this is going to cost him big bucks, and apparently he
                  > has
                  > > it. I feel like I am out of my league here to a certain extent. I
                  > > can design it and know quite a bit about construction, except
                  > when it
                  > > comes to very elaborate, circus-like, Las Vegas-like costumes. Why
                  > > I'm telling you all this is I'm wondering if any of you out there
                  > > have experience with such costumes and would like to help build them
                  > > and think you could build them from a distance without having the
                  > > performers there. It has occurred to me that maybe the producer
                  > > would be willing to house someone for 5-6 weeks, but I don't know
                  > > what to do about a costume shop and facilities.
                  > >
                  > > I'm also wondering if any of you would want to act as a costume
                  > > supervisor to help me with coordination, construction, fittings,
                  > > alterations, and just about everything else involved. I realize that
                  > > would definitely require housing and probably some kind of shop,
                  > if I
                  > > can figure out a space we might be able to rent.
                  > >
                  > > I just interviewed with the guy today and haven't even read the
                  > > script yet but these were some of the challenges I was
                  > considering as
                  > > I drove home so I thought I'd share my concerns with you all and see
                  > > what some of you might want to say.
                  > >
                  > > Thanks!
                  > >
                  > > Sylvia R
                  > >
                  >
                  >
                  >



                  [Non-text portions of this message have been removed]
                • Curtis
                  Sylvia-- By all means, forward him my message. Add this one on, if you want it. For a show on that scale, he needs to start designing at least six months in
                  Message 8 of 12 , Apr 7, 2009
                  • 0 Attachment
                    Sylvia--

                    By all means, forward him my message. Add this one on, if you want it. For a show on that scale, he needs to start designing at least six months in advance. Personally, I would push for a year, but I like to try and pad estimates for stuff like that because I've had too many bad experiences with massive design projects that got started too late.

                    Most theater companies I know would be starting rehearsals about now if they were going to be opening in mid-June...or at least already be cast. And that's for a regular show, with no especially grand design elements. The regional theaters in this area start lining up their designers anywhere from six months to a year before they plan to open the show, and have already had at least one production meeting by the time they start rehearsals. The more elaborate the show gets, the more lead time they need...and to incorporate a cast of 20 or so with multiple acrobats and dancers, it will take a lot of lead time.

                    Conceptually, it sounds like a really fun project. Realistically, his timing in approaching you is about right if he wanted to open at the same time next year. And a project of this nature should definitely take more than standard design fees, union or not. Unless he's willing to adjust his production schedule, I'd personally recommend taking a pass on this one, or else you'll find yourself burned out...to bring together everything it would take to get this scale of show up and running on the timetable proposed would require you to clear your table of pretty much everything else from now until opening...you'd need the time to design stuff, and then you'd be zipping around to oversee construction and sign off on projects with the various companies he hired to build your designs, since there wouldn't be time to confer on projects via other means (the speed of production would pretty much require face-to-face meetings to avoid confusion). You'd also need a good, prepared wardrobe team (I was hired in November, to start in January, for the Paralympics, and they already had design renderings completed at that point, plus the wardrobe manager was already on staff--I was hired as a crew lead). As it stands now, the project sounds like a recipe for a lot of heartache for this year...or a lot of fun for next year.

                    --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad <sylvia@...> wrote:
                    >
                    > Curtis,
                    > All you bring up is why this project is causing me so much concern.
                    > The producer seems to have absolutely no idea how much time this will
                    > take. I'[m thinking maybe I should forward him your email to help
                    > give him an idea.
                    >
                    > He hasn't even cast the show yet. There are 18 actors, some playing
                    > multiple parts, and he wants a lot of dancers and acrobats as well,
                    > each playing multiple parts. The play starts at the beginning of
                    > time and goes to 2020, with scenes from various periods in history.
                    > The first costumes are either planets or evolving life forms--he's
                    > using animation in place of some of the live action. Lots of fast
                    > costume changes. The show is indoors in a $300,000 dome he is having
                    > built. There will be projections on all the walls of the dome of the
                    > live action which takes place on a stage out of view of the audience.
                    >
                    > Sounds very exciting, I must admit, but I really don't think he is
                    > being realistic. Do you mind if I send him your message?
                    >
                    > Sylvia
                    >
                  • Sylvia Rognstad
                    Thanks, Curtis. I totally agree. This sounds like a great project, but the producer hasn t a clue about costuming. He gave me a costume plot that I think
                    Message 9 of 12 , Apr 7, 2009
                    • 0 Attachment
                      Thanks, Curtis. I totally agree. This sounds like a great project,
                      but the producer hasn't a clue about costuming. He gave me a
                      costume plot that I think was put together by a friend who owns a
                      costume rental store in Denver. She has done a lot of small theatre
                      shows in the area, but I don't think she's ever worked in a regional
                      theatre or anywhere that has a budget over $500. Her plot allocated
                      $800 for the design fee, based on 40 hours of work. I asked for 6
                      grand, based on 2.5 months of work. She goes into a lot of detail
                      about how much materials and labor would cost for each costume, but
                      her labor estimates are way under, in my opinion, unless you're
                      thinking of community theatre costumes, and I didn't get the
                      impression that's what the producer wanted. When I emailed him
                      about this, he admitted he hadn't even looked at the plot.

                      I think I will send him your emails and then see what he wants to
                      do. I probably will take a pass. I'm not into ruining my health
                      and still not even being able to pay my bills in the process.

                      Sylvia

                      On Apr 7, 2009, at 9:43 AM, Curtis wrote:

                      > Sylvia--
                      >
                      > By all means, forward him my message. Add this one on, if you want
                      > it. For a show on that scale, he needs to start designing at least
                      > six months in advance. Personally, I would push for a year, but I
                      > like to try and pad estimates for stuff like that because I've had
                      > too many bad experiences with massive design projects that got
                      > started too late.
                      >
                      > Most theater companies I know would be starting rehearsals about
                      > now if they were going to be opening in mid-June...or at least
                      > already be cast. And that's for a regular show, with no especially
                      > grand design elements. The regional theaters in this area start
                      > lining up their designers anywhere from six months to a year before
                      > they plan to open the show, and have already had at least one
                      > production meeting by the time they start rehearsals. The more
                      > elaborate the show gets, the more lead time they need...and to
                      > incorporate a cast of 20 or so with multiple acrobats and dancers,
                      > it will take a lot of lead time.
                      >
                      > Conceptually, it sounds like a really fun project. Realistically,
                      > his timing in approaching you is about right if he wanted to open
                      > at the same time next year. And a project of this nature should
                      > definitely take more than standard design fees, union or not.
                      > Unless he's willing to adjust his production schedule, I'd
                      > personally recommend taking a pass on this one, or else you'll find
                      > yourself burned out...to bring together everything it would take to
                      > get this scale of show up and running on the timetable proposed
                      > would require you to clear your table of pretty much everything
                      > else from now until opening...you'd need the time to design stuff,
                      > and then you'd be zipping around to oversee construction and sign
                      > off on projects with the various companies he hired to build your
                      > designs, since there wouldn't be time to confer on projects via
                      > other means (the speed of production would pretty much require face-
                      > to-face meetings to avoid confusion). You'd also need a good,
                      > prepared wardrobe team (I was hired in November, to start in
                      > January, for the Paralympics, and they already had design
                      > renderings completed at that point, plus the wardrobe manager was
                      > already on staff--I was hired as a crew lead). As it stands now,
                      > the project sounds like a recipe for a lot of heartache for this
                      > year...or a lot of fun for next year.
                      >
                      > --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad
                      > <sylvia@...> wrote:
                      > >
                      > > Curtis,
                      > > All you bring up is why this project is causing me so much concern.
                      > > The producer seems to have absolutely no idea how much time this
                      > will
                      > > take. I'[m thinking maybe I should forward him your email to help
                      > > give him an idea.
                      > >
                      > > He hasn't even cast the show yet. There are 18 actors, some playing
                      > > multiple parts, and he wants a lot of dancers and acrobats as well,
                      > > each playing multiple parts. The play starts at the beginning of
                      > > time and goes to 2020, with scenes from various periods in history.
                      > > The first costumes are either planets or evolving life forms--he's
                      > > using animation in place of some of the live action. Lots of fast
                      > > costume changes. The show is indoors in a $300,000 dome he is having
                      > > built. There will be projections on all the walls of the dome of the
                      > > live action which takes place on a stage out of view of the
                      > audience.
                      > >
                      > > Sounds very exciting, I must admit, but I really don't think he is
                      > > being realistic. Do you mind if I send him your message?
                      > >
                      > > Sylvia
                      > >
                      >
                      >
                      >



                      [Non-text portions of this message have been removed]
                    Your message has been successfully submitted and would be delivered to recipients shortly.