THE WINSLOW BOY

By Terence Rattigan Non-Studio Submissions Pack !a"#aincy$ Term %$ Week &

1. THE PRODUCTION TEAM Our Production Team consists of a blend of first and second year students. So far, we have had several meetings in which we have watched the two films made of The Winslow Boy: the 1948 nthony s!uith film with "obert #onat and $argaret %eighton and the 1999 #avid $amet film with &igel 'awthorne, "ebecca Pigeon and (eremy &ortham. The #irector felt that these were a))ro)riate to watch alongside reading the )lay as it would hel) to fire the designer*s thoughts and also to loo+ at Terence "attigan*s writing for the screen )lay of 1948. Other meetings have occurred within de)artments and much communication has occurred between the whole team and the #irector and Producer. ,t is a grou) which already wor+s well together and incor)orates a large number of first year -nglish and Theatre Studies Students who have a wealth or e.)erience and enthusiasm for drama. #irector Producer Stage $anager ssistant Stage $anager Set #esigner $ar+eting $anager ssistant $ar+eting #irectors Publicity #esigner 1ostume #esigner ssistant 1ostume #esigner /enevieve "aghu le.ander 'utton "adhi+a "avi 0ate "ichards 0at 0och 0im t+ins &i++i nderson 0ay $ichael Sam 1ha)man $illie $arsh nna Tunnard

Genevieve Raghu (Director) s a first year -nglish and Theatre Studies student, /enevieve is thoroughly loo+ing forward to directing The Winslow Boy. 'er )revious directing e.)erience at school includes the )antomime Sleeping Beauty 219983 and 245563, her ada)tation of The Wizard of Oz 219993. She wrote and directed7 Kind Hearts and Calamities 245513 and Something New8 245543. $ost recent direction e.)erience has included e.cer)ts from Ali e in Wonderland 245593, Ni holas Ni !le"y 2winner of inter:house com)etition 45563 and the :%evel #rama )roduction of The Beau#$ Stratagem. She has done a large amount of #rama in &orwich and was a member of the &orwich Theatre "oyal ;outh Theatre. <ith this com)any she )erformed in Ni holas Ni !le"y as 0ate &ic+leby 245543, S!ellig as a &arrator 245563 and Tro%an Women as 'elen 2455=3. She has also wor+ed at the Theatre "oyal in )rofessional )roductions such as the musical &i !wi ! and 'eet me in St( )ouis and Pantomimes such as Ba"es in the Wood( She )rovided the narration for the #># Thelwell$s &ony Capers 245563. /enevieve has ta+en and com)leted the % $# e.aminations in acting and has also had much dance and music training. <hen leaving school she was awarded the )ri?e for @#rama and Theatre rts*. 'er e.)erience as a $anaging #irector for ;oung -nter)rise and as a 1om)any 1a)tain at school alongside her )revious directing and acting e.)erience will )rovide her with the s+ills and e.)erience re!uired for directing and ta+ing a central role in the Production Team of The Winslow Boy(

Alexander Hutton (Producer) le.ander is a first year 'istory and Politics student. 'e enAoys ta+ing on roles of res)onsibility in various ca)acities. le. has written a collection of short )lays heavily influenced by his love of )ost:war )laywrights Bec+ett and Pinter. 'e is ho)ing to ta+e these into )erformance at some )oint in the near future. 'e is also +een to e.)lore the earlier British school of )ost:war )laywrights, which "attigan embodies. 'is interest in the theatre has led him to ta+e on this role as theatrical )roducer for The Winslow Boy( ,t is not a role which he has ta+en on before. 'is interest in history and )olitics is an invaluable contribution to the team due to the )lay*s )eriod setting of 1914. ,t has been )lanned for him to deliver )resentations to hel) define the )lay within its historical conte.t. le. is an e.cellent communicator and wor+s well under )ressure as his school )erformance shows : he managed a C1 S a))lication whilst com)eting at a national level in debating. le. also has a regular column in the <arwic+ Sanctuary. 'e loo+s forwards to )roducing The Winslow Boy at the Cniversity of <arwic+ and is glad of the o))ortunity it has given him to broaden his s+ills and interest in the theatre. Radhi a Ravi (Stage Manager) "adhi+a has always been involved in drama and theatre onstage and off during her schooling, college and now university days, which means that she is !uite familiar with the )rocesses that ta+e a )roduction from scri)t to stage. t the Cniversity of <arwic+, she has been involved in a few )roductions which has enhanced her e.)erience and given it a more )rofessional edge. She was assistant stage manager for The Night Heron, assistant costume and )ro)s manager for No 'an*s )and and assistant stage manager for +llustrations of 'adness. These studio )roductions gave her the o))ortunity to wor+ in the <arwic+ rts 1entre and o)erate within a )rofessional environment. ,t is this e.)erience that will contribute )rofitably to The Winslow Boy. !ate Ri"hard# (Assistant Stage Manager) 0ate is a first year -nglish and Theatre Studies student with a +een interest in stage and )roduction management. ,t is her ambition to study stage management at )ost: graduate level after gaining her degree and she aims to build u) as much e.)erience as )ossible. lthough this will be her first show at <arwic+, she has been active in drama at school and as a member of an inde)endent theatre com)any for several years, gaining e.)erience in various bac+stage and technical )ositions as well as onstage. She thin+s The Winslow Boy is a fantastic te.t, )erfect for the cha)laincy, and can*t wait to be a )art of the )roduction team. !at !o"h (Set Designer) 0at 0och is a second year rt 'istory and Drench Studies student. She received an for her :%evel art and is the %iaison Officer for the rt Society. She has been involved with several theatre )roductions at <arwic+ such as designing and )ainting the set for ,r( -austus and wor+ing as set designer and )ainting the set for ,llustrations of $adness. She is very enthusiastic about )utting together the set for The Winslow Boy8

!i$%erl& At in# (Marketing Director) 0imberley is a first:year -nglish %iterature student. Before coming to <arwic+ she had been actively involved in amateur dramatic )roductions, in both a )erforming and technical ca)acity. She has also had some )revious mar+eting e.)erience within her Aob at a leisure centre during her ga) year but is loo+ing forward to underta+ing the new challenges and o))ortunities necessary for her role as mar+eting manager in The Winslow Boy. Ni i Ander#on (Marketing Team) &i++i nderson is a first year -nglish and Theatre student. She has vast e.)erience in acting in )rofessional and amateur )roductions in theatre, television, film and live art. s a result of wor+ing with com)anies such as the BB1 and Tiger s)ect she is very aware of the collaborative nature of a )roduction team as well as the great organisation it re!uires. Since starting her course at university &i++i is learning more about and becoming increasingly interested in all ty)es of the )roduction )rocess. s most of her e.)erience is in acting, &i++i is e.cited to widen her understanding of other areas of )roduction through being a member of the mar+eting team. 'er wor+ with the touring com)any of ndrew %loyd <ebber*s .oseph and the Amazing Te hni olour ,ream oat as well as acting in E&rogressF at the ,1 in %ondon has hel)ed &i++i understand how a successful mar+eting team affects all others involved in the )roduction. $ar+eting was also an obvious choice for her to become involved in as she has some e.)erience in this field. She was )ublic relations manager in her award winning ;oung -nter)rise 1om)any, as well as being involved in many )ublicity events for her )art time Aob as an -.)lore %earning Tutor. &i++i was also involved in )ublicising many events for the ;oung Theatre at Beaconsfield, forming an advertising lin+ with other theatre com)anies of Buc+inghamshire. &i++i therefore wants to utilise the s+ills she already has in mar+eting and her +nowledge and love of drama to contribute to the creation of an e.citing )roduction. !a& Mi"hael (Marketing Team) 0ay is a first year student of -nglish and Theatre Studies and has )erformed in the <C#S <ee+end Show, No 'an*s )and, Wat hing The Clouds /o By and was involved in assisting &ugilist Spe ialist for One <orld <ee+. lthough not holding a )osition of )ublicityGmar+eting before within a )roduction, she is enthusiastic about ta+ing on this role as it will broaden her s+ills. t school she was $ar+eting #irector for her ;oung -nter)rise com)any which won several county awards. This determined team )rovided her with valuable e.)erience which will be of use to her in the mar+eting team for The Winslow Boy( Being involved in several )lays already at <arwic+ has given her the insight into what is involved for the mar+eting )osition. The ideas of involving the <arwic+ media 2T> and radio3 as much as )ossible within the )ublicity for the )lay e.cite her and she thin+s it will be something uni!ue in com)arison to anything sheHs done before.

'a$ Cha($an (Publicity Designer) ,n his second year at <arwic+ Cniversity studying -nglish I Theatre Studies, Sam has been actively involved with 19 student )roductions. These include acting roles in 'er hant of 0eni e, Spring Awa!ening, No 'an$s )and, The +t /irls, Catastrophe and Ohio +mpromptu. 'is first taste of mar+eting came during the summer of 455= when he designed the flyers for gito Theatre*s 'etamorphosis, a )lay that was )erformed at the -dinburgh Dringe Destival, and sold very well in an es)ecially com)etitive mar+et. Since then Sam has successfully mar+eted )erformances of /hosts in the 1ha)laincy, +llustrations of 'adness in the <arwic+ rts 1entre studio theatre, + )o1e 2ou 2ou$re &erfe t Now Change in the 1ooler, and Clo !heart Boy also to be )erformed in the <arwic+ rts 1entre studio theatre. 'is main )roAect so far has been mar+eting for the main theatre show Copa a"ana at the <arwic+ rts 1entre. ,n between school and <arwic+ Sam s)ent a year studying for a Doundation #i)loma in rt I #esign. This has hel)ed enormously with the designing of flyers, )osters and )ublicity clothing for all of the shows. Millie Mar#h (Costume Designer) $illie is a first year -nglish and Theatre Studies student. She has been involved in theatre design for three years. She has )reviously )roduced costumes for the musical )a Cage au# folles set in the 1945s, designed mar+eting and advertising for 3o !age and designed lighting for the anti:naturalistic )lay 45uus. #uring her studies of ,.B Theatre arts in Singa)ore she also com)leted a detailed )roAect in costume design for (a)anese 0abu+i theatre, and BeiAing o)era. Anna Tunnard (Assistant Costume Designer) Being a first year -nglish I Theatre Studies student, nna has always ta+en an interest in theatre and has been involved with many )roductions, both on stage and behind the scenes. lthough The Winslow Boy is the first o))ortunity nna has had to wor+ s)ecifically on costumes, she has been involved with them before, both sourcing and hel)ing to create them. 'aving some e.)erience with art has also allowed nna to design costumes and develo) ways of easily and !uic+ly ma+ing changes to costumes so as to fit the feel and mood of a s)ecific scene. nna is loo+ing forward immensely to being involved with this )roAect, due to the )eo)le, the )lay itself. The )eriod setting of the )lay allows for e.citing costume e.)loration which she is highly loo+ing forward to.

). THE *IN'+O* ,OThe Winslow Boy is considered by some to be "attigan*s finest wor+. ,t is a )lay which )rovides a detailed insight into the social attitudes of the early 45th 1entury. ;oung "onnie <inslow is accused of theft and is subse!uently e.)elled from the "oyal &aval 1ollege at Osborne. "onnie )rotests his innocence to his father and "attiganHs )lay goes on to follow the fatherHs determination to clear his sonHs name and )rotect his familyHs honour. The case however is thwarted from the very beginning due to the im)ossibility of ta+ing action against the 1rown. Osborne*s inclusion as )art of the "oyal &avy meant that this was of a )articular focus to the <inslow 1ase. The only other o)tion is to ac!uire a Petition of "ight, ho)ing that it will be granted and then ta+en to court. ,t is the father*s fight to @%et "ight be done* that ca)tivates and enthrals the audience, and the family*s adamant struggle for truth in the face of inAustice which we sym)athise with and admire throughout the course of the )lay. /reat acclaim has been given to the scene involving Sir "obert $orton*s cross: e.amination of "onnie at the end of ct ,, Aust )receding the interval was described by B. .;oung as @one of the best oups de th67tre of modern theatre*. The )lay is based on the case of /eorge rcher:Shee who had been e.)elled from the &aval 1ollege at Osborne in 1958. ,n /eoffrey <ansell*s Biogra)hy of Terence "attigan he comments on how moved "attigan was by the details of the case7 @The facts of the rcher:Shee caseJ had so fascinated and moved me that unli+e many ideas that will )eacefully wait in the storeroom of the mind until their time for emergence has come, it demanded instant e.)ression,* 2Terence "attigan Biogra)hy, 1643 .. *H- THE *IN'+O* ,O-/ The Winslow Boy is a )lay which would be of interest to a wide variety of )eo)le7 'istorians +een to e.amine the attitudes and behaviour of a Britain on the brin+ of <orld <ar , %aw enthusiasts due to the )lay*s grounding in the rcher:Shee case of 1958 and the tactics of Sir "obert $orton -nglish students for "attigan*s charming manner of writing, his sensitive lines and well crafted characters -nglish and Theatre studies students who are ta+ing G have ta+en the first year core module @British Theatre since 1999*. The Winslow Boy was first )erformed in 194= and it is "attigan*s style and nature of writing which the writers studied in this module rebel against. ,t would be of great interest and a benefit to these students to watch and e.amine "attigan*s )lay to understand the contrast between his style and that of other )ost:war writers such as Osborne and Bec+ett. #rama students and all with an interest in theatre because of its dramatic interest, structure, characters and as an e.cellent e.am)le of a well:made )lay.

The Winslow Boy is a )lay which had delighted audiences for years. The success of the recent #avid $anet film highlights its sustained a))eal. s /eoffrey <ansell )uts it, "attigan e.)lores7 @The human condition, and the com)le.ities of human emotion, remains every bit as real today as they were then, and it is those that "attigan*s )lay address. To ignore his )lays, sim)ly because they a))ear to come in an old:fashioned wra))er, is to ignore the im)ortance of those emotions to every member of their audience.* 2Terence "attigan Biogra)hy, 4563 <e feel it is im)ortant to brea+ through this idea of "attigan*s )lays a))earing in such an @old:fashioned wra))er* and to re:introduce The Winslow Boy to an audience at <arwic+ who can recognise the strength and )ower the )lay holds. "attigan )resents strong characters mas+ing their emotional vulnerability. The characters are shown to struggle against a world in which the 0ing*s government )rovided the overriding law. ,t therefore seems im)ossible for one )erson to stand u) for what they believe in and what is right to ma+e a difference. This is bac+ed u) in )art by 1atherine*s following of the suffragette movement. This crucial theme can be easily contrasted by today*s audience watching the )lay. Similar )roblems are facedK an overwhelming tas+ of ta+ing on the authorities, the media and the general )ublics o)inion to clear ones name. 'owever, nowadays it is not out of the ordinary for someone to challenge the authorities, in the )eriod of which this was )lay set this was considered an almost futile tas+. Today however the fundamental idea of allowing what is right to overcome wrong is still feverishly a))licable. ,ts )rinci)le concern is therefore of great relevance to a modern day audience who can reflect on incidents in which the truth has become obscured or denied to us by higher authorities. The )lay ins)ires us to search for the truth and to @let right be done* at all costs.

0. EDITING "ecently we contacted Samuel Drench about the )ossibility of editing our scri)t by using elements of "attigan*s e.cellent ending of the 1948 film. They e.)lored this for with the )rinci)al agents of the author and the film com)any. <e were delighted to hear a few days ago that they would acce)t our re!uest des)ite this not being something that they would usually do. They also agreed not to charge us further for this.

1. ACTING 'T-+E' To truly convey the human !ualities "attigan so deftly ca)tures in his writing, the intention is to a))ly a naturalistic style of acting to The Winslow Boy( The characters address emotions that the audience share and invite both our sym)athy and res)ect. This style of acting will therefore be highly suitable as it will hel) the audience to em)athise with the characters. This acting style will be achieved through the rehearsal

)rocess by scheduling wor+sho) sessions with the actors to develo) their characters and to highlight )articular emotions. 2. 'ET3PROP' <e decided to stage the )lay in )eriod in order to retain the realistic )resentation of the drama and to sustain the naturalistic acting styles. "attigan was fascinated with characters and this is evident in his sensitive and humane !uality of writing. ,t is therefore the individual characters which we wish to em)hasise rather than the set itself. <e have therefore decided to have a few large )ieces of furniture to de)ict the )eriod and a number of )ro)s to indicate the interior of the family home. <e intend to create a sim)le im)ression of an -dwardian house. The costumes however will be intricate and detailed to heighten the sense of character in the )lay and to coa. each character into becoming a fully believable )erson to the audience. The )lay is set in the drawing:room of the <inslow*s house. This environment will be created through the use of a )iano, a writing des+, comfortable armchairs, a coffee: table and various obAects such as a gramo)hone, a )hotogra)h of "onnie, flowers and a cloc+, etc. to add a )ersonal touch. 1urtains, rugs and a )iano cover will be added to enhance the interior design. Throughout the )lay the more saturated and balanced aesthetic of the drawing room will be disru)ted through influ. of clutter in the form of obAects that document the trial such as news)a)ers and )am)hlets. This inundation of )a)ers will ta+e over the living room and conse!uently change its colour scheme transforming it into a lighter but more fren?ied environment. The intimacy of the 1ha)laincy will be used effectively to invite the audience into the )rivate home of the <inslow family. s the audience enter the maid >iolet will over to hang their coats u) on the coat stand and will usher them to their seats ta+ing them through the drawing room. This will encourage the audience to feel as though they are )art of the )lay and allow them to e.)erience the turmoil the trial creates in their family as well as their home. ,n the interval news)a)er articles will be )laced around the cha)laincy to sustain the audiences feeling of involvement with the )lay and by the end of the )lay when leaving the cha)laincy it will be full of articles and )ress coverage for the <inslow 1ase. The audience should leave feeling as swam)ed by the case as the <inslow*s. The director wishes to em)hasise the struggle the <inslow family have to endure by their ta+ing on of "onnie*s case through the set. ct , Scene , will )resent a scene of clean lines, smart furniture and )ro)s conveying an e.)ensive taste and well res)ected style of living. s the scenes continue this will gradually diminish as the case becomes more of a burden on the family and their comfortable lifestyle is threatened. The most affluent )ro)s, for e.am)le the silver tea will not be included on stage in the closing scene of the )lay.

4. *H- THE CHAP+AINC-/ The 1ha)laincy )rovides the )erfect location on cam)us for our )roduction of The Winslow Boy( <hen loo+ing for a location we wanted to avoid a ty)ically theatrical s)ace due to our interest in dis)laying the warm interior of the <inslow family house. <ith its car)ets and light )ainted walls the cha)laincy lends itself deftly to the

a))earance of a drawing room with the a))ro)riate addition of )eriod furniture. The close )ro.imity of the actors to the audience was also e.actly what we were loo+ing for as it will )rom)t the audience to feel a )art of the drama and to em)athise with a greater strength to the characters on stage. <e ho)e to swee) the audience u) in the media attention of the case. The cha)laincy will hel) us to successfully create this atmos)here by its enclosing both the actors and audience in the same room in which a stri+ing distance between the two grou)s of )eo)le is avoided. The intention is that the audience, welcomed into the <inslow house unite with the characters in their ho)es and fears. The entrances and e.its )rovided by the 1ha)laincy are a))ro)riate for The Winslow Boy( The garden:doors in )articular will be es)ecially useful as they are an im)ortant element to the )lay es)ecially in ct ,, Scene ,, in which "onnie runs out into the garden. <e will use the entrance of the 1ha)laincy to issue tic+ets and will convert this into a )ress office. The layout of the 1ha)laincy will also allow us to truly attem)t to create the <inslow household by decorating the 1ha)laincy sim)ly to give the im)ression of various rooms within the house, for e.am)le the entrance hall.

5. CO'TUME' Our designs differ from character to character, but the overall feel of the costuming will reflect the <inslow familyHs unity. This will be e.)ressed as each family member wears similar colours, where as other characters will be dressed in an o))osing shade L e.g. <hen the <inslow*s are in dar+ shades 2blac+ suit, brown shawl or blac+ hat3, others will be in light )astels 2cream trousers or )owder )in+ blouse3. t the end of the )lay we will evo+e dignity through the use of long lines, height and dar+ colours, for e.am)le the men will wear long dar+ suit Aac+ets and the women floor length s+irts to create a linear feel. The sense of gravity that this will e.)ress will reflect the family*s struggle in the court case. The family*s Aourney throughout the court case will be re)resented by the harmony, or discordance between costumes and sets. ,n the first scenes, the family will a))ear harmonious with their environment, as both set and costume are in light colours. %ater, this will be altered, as the family wear dar+er colours 2a dar+ Aac+et, shawl or hat can ma+e this change3 yet the set will remain light : this creates a visual tension and will be used at the height of des)air in the court case. The characters through costume will be shown to visually rebel against their environment and the restraint which society )laces u)on them as they stand u) for what is right and fight to win the case. The changes between dar+ and light colours in the costumes will not re!uire a full costume change. ,nstead, the effect will be achieved by adding lighter or dar+er accessories to the outfit. This is demonstrated by the s+etches of 1atherine, where the first s+etch shows a light )astel blouse and the second demonstrates how a Aac+et and hat create a dar+, dignified a))earance.

<e have s)o+en with a number of theatre com)anies in the area regarding costume hire. Our )rimary source will be the Priory theatre, who rent costumes for ten )ounds a )iece 2i.e one Aac+et or one s+irt3. Dor what we cannot find to hire, we )lan to have made. This will only be the case for a select number of )ieces such as "onnie*s uniform Aac+et. nna, a member of the costumes team will be enlisting the hel) of a dress:ma+ing relative to achieve this. <ith M male characters in the )lay we also ho)e to ma+e use of the actors* own suit trousers and shoes where )ossible to reduce costs. <e ho)e to be able to hire costumes for as many characters as )ossible, but for smaller roles and sim)ler costumes, we will source alternatives from charity sho)s and our own wardrobes. One e.am)le of this is Dred, the )hotogra)her, who a))ears briefly and re!uires sim)le trousers and an old, weathered shirt. <e have already sourced some items in the <C#S cu)board.

,nitial artist*s im)ression for 1atherine <inslow

,nitial artist*s im)ression for 1atherine <inslow in outdoor costume

,deas for individual 1haracters7 rthur <inslow L long dar+ suit Aac+et with well:starched shirt and waistcoat. <al+ing stic+. dorning features such as watch chain from )oc+et, hand+erchief in to) )oc+et, bow tie. /race <inslow L #escribed as a fading beauty. lacy )eriod dress in a light blue, with a dar+ shawl and gloves for re!uired scenes 1atherine <inslow L suffragette with an air of masculinity. %ong dar+ suit s+irt, with )ale blouse and dar+ Aac+et. <ide belt, and dar+ hat 2can be adorned with chea) ostrich feathers3. #ic+ie <inslow L #ar+ trousers, cric+et vest, shirt and a dar+ Aac+et. Boater. "onnie <inslow L #ressing gown, Osborne academy uniform Aac+et and hat, trousers and shirt. Sir "obert $orton L Smart blac+ suit Aac+et 2must a))ear new3, blac+ trousers, to) hat, white scarf, gloves. (ohn <atherstone L #ar+ suit, light shirt, adoring features as with rthur <inslow. #esmond 1urry L Same as <atherstone. $onocle, gloves and to) hat. >iolet L Sim)le servant*s dress L old and weathered. Shawl, and hat if budget allows. $iss Barnes L Plain dress and hat. 1olours should o))ose that of the <inslows in the interview scene. Dred L Sim)le loose shirt 2weathered3 and brown trousers. #ue to the nature of the )eriod )erformance, set in a wealthy family*s household we antici)ate that the costumes will not come chea)ly. The cast of 11 characters, many of which re!uire costume changes will also )ose economic challenges. ,nstead of re!uesting the budget for all costume changes necessary 2the )lay s)ans over 9 years, with instances of @evening wear* etc in stage directions3 we have re!uested allowance for accessories to change the a))earance of the base costume.

6. MAR!ETING The mar+eting for The Winslow Boy is a crucial )rocess for this )erformance both within and outside of the )lay. The mar+eting team will not only be res)onsible for advertising auditions for the )lay and, later, the actual )erformances, but will also be im)ortant within the )roduction itself. #ue to the subAect matter of the )lot and the fact that the actual rcher:Shee case, on which the )lay was based, was so well )ublicised and ca)tured the media*s attention to such an e.tent, we have decided to accentuate this idea within our own )roduction. Publicity for the show will be themed

as though the fight for "onnie*s Austice is a relevant and current cause, with )osters and flyers designed to a))eal to the students as though they will be )artici)ating within the case. $ar+eting will therefore also become )art of the )lay, with )osters advertising the court case becoming +ey )ro)s within the )roduction and the 1ha)laincy )erformance will be themed as though the audience are actually )resent in the court, with the )rogrammes designed as flyers advertising the case. This merging of the real and the imagined will not only centre the )lay more realistically within a historical conte.t, but will additionally allow the audience to )artici)ate within the )erformances, thus ma+ing the )roduction both more effective and memorable.

17. TECHNICA+ The Winslow Boy features very little in the way of sound and lighting effects, save for the )hone ringing at the beginning of ct ,, Scene ii, and various gramo)hone recordings. The lighting will be very basic so as not to detract from the characters or distract the audience from their e.amination of "attigan*s characters. The 1ha)laincy has an area for the technical crew to sit and view the stage without interfering with the view of the audience. Dor the few effects that are re!uired, the Tech 1rew have offered to train one of our stage managers for the sim)le use of light and sound which for the )roduction. $usic will be used at the beginning of the )lay to establish atmos)here. Deverish music e.)ressing "onnie*s turbulent emotions will o)en the )lay. This will be !uic+ly Au.ta)osed with the stately sound of church bells which sound as the music dies out. The audience is immediately grounded in the tone of the )lay. The church bells bring us into the world of the <inslow family, one of tradition and restraint. ,t also hel)s to set the scene that the family are away at church hence this o))ortunity we now have to e.amine "onnie*s behaviour, alone. "onnie is )resented with the aid of the music setting such an atmos)here, as fearful of the news he brings his family which is im)lied by the initial dar+ music which contrasts shar)ly with the sound effect of church bells bringing us into an everyday environment. ,t is the news which "onnie holds in his hands which will disru)t this dis)lay of routine within the family symbolised by the steady church bells. $oments such as this have been added by the #irector to evo+e atmos)here and setting and to highlight )articular characters emotions as she feels that music is an integral )art of creating the atmos)here, and will also heighten the realistic nature of the )roduction. ll )ieces of music will be carefully chosen to reflect tastes of the time, giving the )lay a genuine )re:<<, feel by using com)osers such as -dward -lgar. The Winslow Boy is set entirely indoors. Basic lighting devices will be )laced on stage for e.am)le, table lam)s that would be found in any home, will be strategically )laced to highlight certain )arts of the room at various )oints during the )lay.

11. 'PREAD'HEET O8 ,UDGET

Timetable

1). ITEMI'ED ,UDGET Co(&right >ia Samuel Drench*s N85 )er )roduction . 9O N445 'et De#ign To define )erformance s)ace we wish for curtains and dra)es N16 2high significance to the )lay: commented on several times3 Billboards and )lacard N95 : 2)art of the mar+eting too, to )ress the media influence in the )lay, and to act as an introduction.3 <e are therefore allocating N46 to cover the few )ieces of set design we need and cannot otherwise obtain from <C#S Co#tu$e# N15 . 14 for costume hire 2underlined items in character descri)tions. This e.cludes de)osit of 15 )ounds )er item3 N46 for additional )ieces to dress suits 2watch chains, hand+erchiefs3 Total N1=6 Mar eting 1777 . gloss art full colour = flyers 2www.flyer44.co.u+3 N=1.66

177 . udition )osters 4 blac+ and white )hotoco)ying 21o)ysho) on cam)us3 )1 . full colour 9 )osters gloss )a)er 2www.urban)rinting.co.u+3 117 . Blac+ and white )hotoco)ies of 9 )osters 21o)ysho) on cam)us3 .79777 . Daceboo+ Dlyers over 9 day )eriod 2P16.553 Total -or use in produ tion: 17 . blac+ and white 9 )osters 21o)ysho) on cam)us3 $iscellaneous costs for creating )ublicity material for use in )roduction Total $ar+eting Budget Photo"o(&ing 16 co)ied scri)tsO =4 4 single sided )ages . 4 )ence . 16 co)ies N4M.95

N4.55 N18.M6 N15.65 NM.=4 :17).0)

N4.55 N19.68 :14.15 :1)7.77

1.. TIMETA,+E Ter$ ) <ee+ 1 : ssemble )roduction team: $eeting 8th, 9th : <ednesday 15th visit to discuss use of 1ha)laincy <ee+ 4 : Production team meetings7 <atch films 2Sunday, Tuesday3, : -.tra meetings7 $onday16th $ar+eting nd Publicity $eeting Thursday 18th #esign Team $eeting Driday 19th Set #esign $eeting <ee+ 9 : #efinitive decisions as to a))roach, budgeting, writing submissions )ac+. : $onday 44nd #esign Team $eeting : Tuesday 49rd $ar+eting $eeting =:M, -.ec meeting Tuesday M.95 : <ednesday 44th Set design meeting 4 : Driday 46th Submissions )ac+ sent to the director to a))rove and edit. <ee+ 4 : Submissions meeting ; Driday 4nd Debruary $ar+eting distribute audition )osters and start to advertise the auditions via email etc. <ee+ 6 : <ednesday:Thursday uditions 6:M)m 2te.t based audition aiming to see how well the actor res)onds s)ontaneously and also to direction. The te.ts chosen for the audition will include one s)eech from The Winslow Boy which will )robably be unfamiliar to them and also a s)eech which they should recognise.3 : Thursday 8th Debruary7 recall list sent out. Scri)ts )ut in <C#S )igeon hole for )re)aration. : Driday 9th recalls 1:4795 )m. : 1ast on Driday evening : Sunday Production team meeting. <ee+ = : $onday 14th Debruary7 Dull castG)roduction team day in the 1ha)laincy for7 getting to +now each other and )resentations delivered by the )roduction team. &B7 le.*s tal+ about the historical conte.t of the )lay. "ead:through. &otes given on characters and areas to wor+sho). <ee+ M : $onday 19th Debruary M:15 Bloc+ and wor+ through ct , Scene i

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Thursday 44nd Debruary =:9 Bloc+ and wor+ through ct , Scene ii Thursday: Production Team meeting 2full3 TB Saturday: 14:9 <or+sho) ct ,

<ee+ 8 : $onday 4=th Debruary M:9795 ct ,, Scene i. Ta+e rehearsal )hotogra)hs. : <ednesday 48th Debruary M:9795 ct ,, Scene ii : Thursday 1st $arch Production Team $eeting : Saturday 4nd $arch 14:9 <or+sho) ct ,, <ee+ 9 : $onday 6th $arch M:15 ct , : <ednesday Mth $arch M:15 ct , without boo+s. Ta+e Publicity Photogra)hs in basic costume. : Thursday 8th $arch Production $eeting. Dinal )ublicity designs confirmed and sent to )rint. : Saturday 15th $arch 14755 L 9755 ct ,, <ee+ 15 : $onday 14th $arch M:15 ct ,,, boo+s down : <ed 14th $arch =:9 "un Ter$ . <ee+ 1 : $onday 49rd )ril M:157 : : : Dull )roduction team and cast meeting <or+sho) with ctors. Social th Tuesday 44 )ril dvertising 1am)aign for the )lay begins. " <, <T>, news)a)ers and dis)lay boards 2Cnion &orth, 1ha)laincy, 'umanities3 of rehearsal )hotos. #is)lay boards should be chec+ed twice a day. <ednesday 46th )ril =:9 ct , th Saturday 48 )ril 14:9 ct ,,

<ee+ 4 : dvertising continues. : Technical rehearsal M:9795 in the 1ha)laincy : <ednesday 4nd $ay =:9 ct , : Saturday 6th $ay 14:9 ct ,, Sunday =th $ay 14:9 "un ct , and ct ,, <ee+ 9 : dvertising 1ontinues. Photos in costume u). : $onday Mth $ay. 1ha)laincy available to us all day. =795 L 15 #ressGTech "ehearsal in 1ha)laincy : <ednesday 9th =795 L 15 <or+ on any )roblems from $onday. #ress "ehearsal ct ,

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Thursday 15th $ay =:9 #ress "ehearsal ct ,, Saturday 14th $ay7 14:4795 reas with )roblems 4795:9795 Brea+ 9795:=795 "un =795:M755 &otes th Sunday 19 $ay7 14:4795 reas with )roblems 4795:9795 Brea+ 9795:=795 "un =795:M755 &otes

*ee 0< Per=or$an"e *ee ; Dinal Photogra)hs u). Placards and billboards advertising the )lay go u). : $onday 14th $ay M795 )m start : Thursday 1Mth $ay show 1755 )m 2get out by 4)m3 : Saturday 19th $ay show 4795 )m 2get out by =)m3