Lesson 5 - Marking Out - 24/11/16

Marking out a rehearsal room - Study Task

Tools and Materials
Scale ruler
Pencil
_________
Tape meaure - 15 m
LX tape - different colours
Tri Square
Steps

Step 1- work out the sizes and location of scenery on a scale floor plan. A floor plan is a complete list of the set layout. It may show line of sight, seating arrangements and scenic pieces. There are alternative versions that show the lighting and sound layout. Scale rulers assist in the initial working out. 
When taking measurements for a complex set dividing the floor plan into clearly defined grids will help you obtain accurate measurements. Start on either SL or SR and begin to jot down the co ordinates of each point. Label each co ordinate a number starting from 1.

Step 2- work out the centre line. The centre is a line that runs through the centre point of the stage from DS to US. The centre line is essential to get right because it is what the SM will use as a reference point to measure out the scenic elements. We used yellow tape for our centre to clearly mark it out from the other elements. If starting the mark out on stage right create another line exactly 10 ft away from the centre line.

Step 3- begin to mark out the scenic elements using a measuring tape and the centre line as your main reference point. Put a section of tape at each co-ordinate with a cross at the exact point. Make sure each point is clearly labelled. Repeat for both sides.

Step 4- Connect the dots! This step is fairly simple and only involves connecting the dots with more lengths of tape.

Top Tips!
Use different colours for each scenic element so that they are all clearly defined. For example, when marking out treads use a new colour to represent the steps.
The centre line is going to be removed after the mark out is complete so make sure to put the tape for any over lapping scenery underneath the centre line.

Note!
It is important to make sure that you are able to put tape onto the stage. Certain stages can be damaged if the wrong type of tape is used.

Evaluation
I think that overall we performed fairly well during this task as we were able to spread the jobs out evenly between us to make sure that someone was rarely standing around and doing nothing. We all had the chance to perform all of the roles, which was more beneficial to Rhodri when it came to the initial scaling up as he hadn't had the previous experience the rest of the class had so he was able to learn and develop an entirely new skill.

https://www.youtube.com/watch?v=l8t4QXyiuwU - video that demonstrates a more precise way of marking out a rehearsal room

Lesson 6 - Health and Safety - 1/12/16

Health and Safety

RIDAW - Report all Injuries and Dangerous Occurrences at Work
RIDAW is in place to help management locate any trends or problems areas within a job, which allows them to put in place extra safety nets to stop the injuries occurring.
HASAW - Health and Safety at Work
Passed in 1974, HASAW "places a duty on all employers 'to ensure, so far as is reasonably practicable, the health, safety and welfare at work' of all their employees."
Manual Handling
Manual Handling Regulations describe safer ways to pick up and carry heavy equipment. They also state that manual handling should be avoided unless it is absolutely necessary.
WAHR - Work at Height Regulations
Fun Fact! The height at which WAHR come in is the height at which there is the potential to cause harm.
Above a certain height, a platform required toe boards, guard rail and a safety harness for the worker.
LEV Systems - Local Exhaust Ventilation Systems
LEV systems serve to remove the risk of the inhalation of airborne contaminants.
COSHH - Control of Hazardous to Health
This is the control of all substances hazardous to health that a worker may come across. It dictates that there should be a secure storage facility that all dangerous substances are kept in. Each substance should have a written safety data sheet that contains all of the information about the substance. This is to be handed on to medical professionals should the substance cause harm.
Risk Assessments 
To minimize risk, any feature of a performance or task during a production can be risk assessed. A risk assessment lists all possible risks and puts forward  protocol to reduce the chance of accident.

Fire Arms
The third year production of They Shoot Horses, Don't They?' involved the use of a single firearm that was waved around and fired once.
When using firearms within a production only the exact number of rounds needed for one particular show should be loaded into the firearm, For example, in the third year production a single shot was fired so only one round was loaded into the revolver. If there are more than one showings per night then the gun should be prepped individually for each show.
At the end of each night all unused and expended cartridges need to be accounted for.
When travelling with

The Mountain Top
The use of fire, including smoking, is completely prohibited within Welsh theatre. This means that other more inventive ways are needed to depict fire and smoking. In 'The Mountain Top,' the scenes that depicted MLK smoking cigarettes, the cigarettes were replaced with realistic looking vapes. One of the duties of the ASM might have been to come up with the alternatives.
Another duty of the SM might have been to come up with the spray mixture that was used to give the impression of glistening to make it appear as if MLK had just come inside from a storm. Water doesn't hold as well or glisten that much so an alternative would produced.

Study Task - Risk Assessment 
Workshop

The above is a Risk Assessment I have filled out for a workshop in scenic construction.

References

McCall, S. (2014) Top 10 health & safety risks in construction. Available at: http://www.alcumusgroup.com/top-10-health-safety-risks-in-construction/ (Accessed: 8 December 2016).

Risk management: Health and safety in the workplace (2016) Available at: http://www.hse.gov.uk/risk/ (Accessed: 8 December 2016).

Lesson 4 - DSM Study Task - Prompt Book - 17/11/16

Prompt Copy of a Script - Report and Analysis

A prompt book is a master copy of a script that contains all of the information about a theatrical production. In addition to blocking and cue lists, a prompt copy will all contain information about the venue, contact sheets, rehearsal notes and call sheets. If done correctly, it should allow the future
theatre makers to recreate the old production exactly.
1) contact sheet - Needs printing off
2) schedule - rehearsal, production
3) scripts - blocking, cue
4) props - Needs printing off
5) set section
6) light plot
7) sound cue - transferred to scripts
8) costume - who wears what where
9) actors information - names, allergies


Budgeting
When looking to budget the production of 'Danny... World,' I looked at the specifications of the Halliwell Theatre at UWTSD, set ticket prices at £10 for adults and £5 for concessions, and then assumed a 40% sale rate. This meant that I am able to realistically budget the show make a profit at any additional ticket sales. In order to make things easier for myself I assumed that two thirds of the ticket sales would be students and the other third adults. I had initially planned to run the show across two weekends with potentially two shows a day. This is based off of a show I previously worked on that used a similar schedule. However, this schedule may not work for me because the other show had a greatly reduced seating capacity so they had a much greater chance of meeting their budget. The props already sourced would be hired for two weeks to give the actors time to rehearse with the actual items they would be using. I have been in touch with the company that owns the licensing rights for Roald Dahl's theatrical plays but have yet to hear anything back.
This method gave me a total budget of £8000.
 I'm also working on the production on the idea that it is a showcase so I am not paying anyone involved.
From my very basic look into prop sourcing I have already managed to spend £740 so it is fairly safe to say that this production of 'Danny...' is going to remain very much hypothetical. I foresee the greatest expenditure being the props and set dressing.

Petrol Cans - Assorted

PET84 - Assorted x Assorted x Assorted  1 x  30.00 each 

Baby buggies

BUG112 - 1.18m x 1.18m x 0.61m  1 x  95.00 each 

Hunting Horn

HORN27 - 0.50m x 1m x 0.13m  1 x  45.00 each 

Petrol Pumps

PE0016 - 1.65m x 0.65m x 0.30m  3 x  150.00 each 

Old british Coins

COIN11 - Assorted  1 x  20.00 each

Prices exclude VAT and are based on a 2 week hire and a min spend of £250 + VAT.

Call Sheets

Blocking

Yerma - Young Vic Theatre

Blocking is a detailed description of all a character's movements and actions when they are on stage. Positioning and movement are important tools at the directors disposal as they can be used to suggest relationships and create a more visually interesting space. However, if used incorrectly they can lead to a confused, chaotic and unsafe scene. Blocking is used by a director to ensure that a scene flows nicely and that all of the scenic elements work in harmony. Additionally, it is done to ensure that the space is fully taken advantage of and used in the most effective way, allowing directors and designers to plan movements based on the size and shape of the stage. For example, a theatre in traverse would have to cater to an audience on both sides, which means that the action needs to be staged in such a way that both sides have mostly unrestricted sight lines. One production I think did this fairly well was a production of Yerma at the Young Vic. In this production characters rarely had their back to either audience and there were usually other characters to further fill out the space. However, towards the end of the show there is a dramatic scene in which the central character slams themself into the glass that separated the stage from the audience. As no actor can be in two places in once the tension was reduced slightly for the other side. Saying that.... I can't see any way it could have been avoided so my complaint should be taken with a grain of salt.
There is also a potential health and safety benefit to  blocking that allows designers to use traps and pyrotechnics in a safe and controlled manner.
Blocking would typically be done by a deputy stage manager during rehearsals. During rehearsals the DSM would also write up rehearsal notes, which contained any issues encountered the rehearsals or any changes that were made. For example, any props needed or removed. A list of everything needed for the next rehearsal is included at the end of the rehearsal notes. The assistant stage manager would then type up the rehearsal notes and make sure that the room is prepped for the next session.
Blocking Danny the Champion of the World
In my own attempt at blocking the section of 'Danny the Champion of the World,' I realised the importance of getting to know the script extremely well in addition to the value of correct marking out.
When initially attempting to block the movements I realised that I had missed a key set description, which meant that the way I had envisioned the set would not work and that some of the movements I had planned were not possible. The blocking was therefore inaccurate and useless if I followed the written set. Despite this set back, I altered my set and powered onwards, completely ready to make my next mistake. My other main mistake was not having a clear image of what my set looked like. This meant that I often scrambled in my attempts to plot the movements of characters. I could not get an accurate description of the character's movements on stage, which meant that attempting to block movements became confusing and more of a hindrance than a helpful too. The role of the miniature drawn set in the blocking/cue sheet quickly became apparent.
A side note that highlights the fact I'm a dummy that doesn't think in advance is that I failed to stamp holes in my script so that the blocking sheet and script page appeared side by side. I no longer have a hole stamp so I am in a tricky position until this mistake can be corrected.

Risk Assessment 
When risk assessing 'Danny...,' I was initially unsure of what kind of risks to include and what to consider. Some research online provide this template- http://www.nsg.northants.sch.uk/wp-content/uploads/downloads/2012/10/Theatre-Performance-areas-Risk-assessment.pdf, which I have been heavily influenced by. The HSE website was also useful when I looked into the risks of using cars, although I found that not many risks were relevant to me as the cars themselves are only driven
very briefly and at slow speeds.

References 

Ionazzi, D.A. (1992) The Stage Management Handbook. First edn. Cincinnati, Ohio: Betterway Books.

The prompt book (no date) Available at: http://www.theatrecrafts.com/pages/home/topics/stage-management/the-prompt-book/ (Accessed: 11 January 2017).

Picture References

Rodriguez (2011) A hamlet rehearsal schedule 25 - theatre arts - UIowa Wiki. Available at: https://wiki.uiowa.edu/display/theatre/A+Hamlet+Rehearsal+Schedule+25 (Accessed: 12 January 2017).

Lesson 3 - Assistant Stage Manager - 10/11/16

The Assistant Stage Manager - Rehearsal Period

Duties
Contact sheets
Prop and furniture lists
Attends production meetings and read through/s
Assists in the prepping of the rehearsal room
Works with production manager and stage manager over budget
Is responsible for the bulk of the research for any props/ set dressing required

After filling out the acquisitions chart a production meeting will be called to discuss the size and style of any larger props and set dressing. Props like writing paper, feathers, money and any other self explanatory props will largely be left to the initiative of the assistant stage manager. However, props such as cushions, suitcases and prams will always be discussed at length. By the end of the production meeting the ASM should have a comprehensive set of notes that they will be to use as guidelines when sourcing props.
During show nights the assistant stage manager will page the curtains and use their own set of prompts to pass props/costume pieces to the actors, and rearrange the set during scene changes.
Below



Marking Up a Props Table



Each prop is individually housed within squares of white LX tape. Below each prop will be the name of the prop. There may also be an indication of who the prop belongs to and what scene it is used for. This allows for quick and easy identification of props on show nights. Larger props like stools and chairs will typically be placed underneath the table with some above to indicate it's position.

Study Task
Source a prop from Danny the Champion of the Universe

Old hunting horn-
I looked at both buying hunting horns and hiring them.
I found one potential hunting horn on eBay for £12.90. It is described as having an "authentic sound."
I have also found examples of similar looking hunting horns that claim to be from the 1970s/80s but most appear to be curved. In the script it is used in reference to the BFG book by Roald Dahl. Ideally I would like to keep a similar aesthetic. However, I have found three examples of curved hunting horns for hire, which are pictured below. My personal favourite is HH3 but I don't think it would fit in well with the story, with the first two having a more fitting look.

HH1

HH3

HH2

Buggy

A buggy from the 1970s. I think that this would be a good choice.











Petrol Pumps - Shell Petrol. Shell Petrol have been around since 1897. I have been unable to find reliable sources of what petrol pumps looked like in the 1970s. Reference Image 1 is of an independent petrol station in England believed to have been built in 1935. RI2 is of an old Shell Petrol pump in the Scottish Highlands. The third image is the prop available for hire. Other makes are available but that one is the most fitting,
Additionally, depending on the style and time we have for the production, I believe a petrol pump could be created out of loose bits of scrap. This pump would not be operational and would require a separate sound effect.




Petrol cans - Set Dressing
To the right is an image of three petrol cans available to hire that could be use to give the set more character.


Also available - a set of coins that would be to the correct time period and location of the production.




Prop Source - http://themetraders.com - £250 minimum
3 x Petrol Pumps
1 x Hunting Horn
1 x Buggy
3? x Petrol Cans
1 x set of old coins

Petrol Cans - Assorted

PET84 - Assorted x Assorted x Assorted  1 x  30.00 each 

Baby buggies

BUG112 - 1.18m x 1.18m x 0.61m  1 x  95.00 each 

Hunting Horn

HORN27 - 0.50m x 1m x 0.13m  1 x  45.00 each 

Petrol Pumps

PE0016 - 1.65m x 0.65m x 0.30m  3 x  150.00 each 

Old british Coins

COIN11 - Assorted  1 x  20.00 each

Prices exclude VAT and are based on a 2 week hire and a min spend of £250 + VAT.

Lesson 2 - Role of a SM, DSM and ASM - 27/10/16

The Stage Manager (SM) 

Responsibilities

The SM is the mouthpiece of the director and manages several aspects of a shows production. It is their job to solve any problems that come up and make certain that the show transitions from one stage to the next as smoothly as possible. From the start they are responsible for sourcing props and equipment need for day 1 of rehearsals, marking out rehearsal rooms, cleaning, heading meetings as well as ensuring that the rest of the team and cast are comfortable. They meet with the accountant to manage the budget and adjust timesheets to make certain that no one is working more than their allotted number of hours per week. They will make notes on the medical history of the cast and crew, noting down any allergies and emergency contacts they may have. In the event that no CSM is present, they will also be responsible for the actual medical care of the cast/crew as well. During rehearsals they will check up on the well being of the cast, work on any problems that may arise, take messages and clean areas. If the SM is in a good mood, they may also consider preparing food for the cast.

At the end of each day the SM will check the rehearsal notes written up by the DSM during rehearsals to make sure that they make sense and are implemented before the next rehearsal. The SM will work very closely with the director to work out what is needed for the next day, work out call sheets and call 'stop and goes' during rehearsals.

Study task - What are they looking for when reading scripts?

1

It is good practice for the SM to read a script three times. The first read through is to take in the story and get an idea of how the play reads. The second reading gives them a chance to analyse characters, plot messages, era and themes. The third time is where the SM begins to take notes on set, possible lighting and sound effects, and costumes.
Throughout the additional readings of the script, the SM should look out for anything and everything that may impact the rehearsal or production.

2

When reading a script the SM will look out for any potential problems relating to health&safety. They're the ones who risk asses everything. If treads are used the SM will look at ways to make them as safe as possible. If food needs to be eaten during a scene, the SM will look at any allergies the actors may have and plan accordingly. The SM will then read the script a third time

Fun Fact! If there is a kiss in a production, the SM will need to find out if either of the actors have an STD or are ill during the performance. If an actor has a cold it is recommended that they hold make during the kiss in order to make sure that the other actor remains well.

Deputy Stage Manager - DSM

The DSM's main responsibility is the prompting of the performance on show night. In order to do this with confidence, the DSM will sit in on every rehearsal and prompt it, which will get them familiar with the show. During rehearsals they will also make a note of any changes made to the show as well as any problems encountered. These are then written up as detailed rehearsal notes for the SM. The DSM will compile a list of all prompts and blocking lists that are then collected in the prompt book. In addition to prompting the show, on show nights the DSM will call technical cues, beginners, curtains and the start of the performance. They will liaison with the front of house to call the half (35 minutes), the quarter (20 minutes) and receives clearance. 

https://www.youtube.com/watch?v=5TXBqdDAXgE - Video of a DSM calling cues for a production of Hair Spray.

Study task - What are they looking for when reading scripts?

When reading a script the DSM will look at character movements, prop placements and make a summary of what happens scene to scene.

Assistant Stage Manager - ASM

ASMs are the prop goblins of the theatre world. Their chief responsibilities during the first three weeks of rehearsals are the sourcing, building and repairing of any props required for the production. In addition to this, they will also work closely with the SM and Designer over the budget, create contact sheets, setting lists, and prop sheets, assist in the marking up of the rehearsal room, and clean areas. During their prop sourcing, ASMs may find it useful to look at costume mock-ups in order to get a sense of the characters and see if there is any potential for more props. For the fourth week of rehearsals, ASMs will start to sit in on rehearsals to assist in any capacity they can and ensure that all prop sheets are up to date. On a show night the ASM will page curtains, mark up the prop table and assist in any scene changes that need to happen. At the end of the production, the ASM will have compiled a list of detailed notes that will make it possible for the company to run the show again using the same theatrical elements. The ASM will usually find themselves running around antique shops, flee markets, sales and other theatres in order to find some more of the difficult to source props. They arrive about 1.5 hours before the start of the show in order to preset the performance and go over the preshow checklist. They will make sure that all props, set pieces and costumes are where they need to be and that they look like they're supposed to. For example, the performance of Woman depicted the characters drinking whiskey. Before the show starts the ASM will double check that the fake whiskey is the right colour and is in the right place. They may also be the ones to actually create the fake whiskey in the first place. On the top left is an example of a setting list that the ASM will need to go through before the start of and possibly during each performance. 

Study task - What are they looking for when reading scripts?

When looking at scripts, the ASM will look for any and all props used, who they are used by, the manner in which they are used and when they are used. To organise this information they have several forms at their disposal. Once they have this information they will research into the props and the various methods of obtaining them, be it from external sources or created within the theatre itself. They may present the director with a list of different ways to represent the prop. For example, if chocolate is present they will have the option of buying chocolate, making their own or constructing face chocolate out of wood. It is the ASM that researches and then suggests different options and fall backs. Below are two examples of how the ASM may organise their prop list.

References 

Class Notes

Third Years - Hadley Taylor & Joe Jones
Stage Management Handbook - Daniel A Ionazzi

Extras

Making fake alcohol 

Lesson 1 - Jobs within Theatre

Producer
Controls money/funding by finding sponsors for the play. May also be responsible for marketing. Scheduling. Finds venues. Castings.

Production Manager

Ensures that all aspects of the play are completed within budget and in accordance with the designer's and director's vision. Oversees cost effectiveness of the entire production. Duties may include obtaining rights, deciding date and venue, forming the production team, attending production meetings, scheduling rehearsals, locating venues, rehearsal preparations, managing accounts.  

Tech Manager
The tech manager combines technical expertise with health & safety knowledge. They supervise the get in, the get out and fit ups, as well as designing, budgeting and solving any problems that arise. They will often go on to become production managers.

Company Stage Manager
Combination of the stage manager and the company manager. Supervises the get in, any publicity meetings about the show, payrolls, time-sheets, call-sheets, prop sourcing, wardrobe maintenance,
Typical progression: Assistant Stage Manager -> Stage Manager -> Deputy Stage Manager -> Company Manager or Production Manager

Director
The director brings the cast together and guides the play in a particular direction. They are responsible for taking the initial script to the stage using their own creative vision. During rehearsals they work with the actors to develop their roles. They also work with designers to fulfill their vision of what the show should look like.

Designers

Deputy Stage Manager

Stage Manager

Assistant Stage Manager

Dramaturg
Artistic and theatrical mediator that edits text and sculpts performance pieces.
Makes sure art and artists come together. Makes theatrical sense. Makes sure everything fits.
Does the setting make sense in the context of the play. Makes sure drama follows artistic directors vision.
Does the style of acting make sense in this play?
Dramaturgy = dramatic structure. How the dramatic elements interact with each other and come together. Lighting, staging, setting, acting, style. Combination of all of those things is the dramaturgy

Performers
Perform in the play

playwright

Front of house
Caters, greets,

Artistic Director.
Responsible for selection and interpretation of the works being performed in a theatre

Lesson 1 - Understanding British Theatre - 13/10/16

Developing understanding of stage management in British Theatre

In this lesson we looked at roles within the theatre industry as well as key theatre terminology.

Front of House Calls

The Half
35 minutes before the start of the performance and 30 minutes before the actors should be in their places.
Beginners 
The call, "Act 1 Beginners to the stage, please", by the Stage Manager brings all the actors who perform in the first part of the play to the stage. Their names are then read up. A similar call is given after the interval with, "Act 2 Beginners to the stage."
Clearance
The front of House Message informs the Stage Manager that everybody is in their seat and there are no more coach parties to arrive. This is announced as "we have front of house clearance."
Cue to Cue aka Tapping and Tailing
Tapping and Tailing is the skipping out of action sequences in order to save time.
"We jump to the next scene and start  up again on Simon's line 'and so on and so forth'"
Dress Rehearsal
This is a full rehearsal with all technical elements included. This is the performance the audience will view on the night.
Marking Out
This is when the Stage Manager marks out the location of the scenery in the rehearsal room. This gets the actors familiarised to the proportions and layout of the set. It is worth noting that certain types of tape may damage certain types of flooring
Prompt Desk
The prompt desk is located on stage left and contains a prompt book, which is a master copy of the script that contains every prompt within the show, including actor movements and technical prompts. The prompt book also contains every possible issue and concern about the show. It also contains information about the venue and emergency numbers for all of the cast and crew. In addition to the prompt book, the prompt desk contains a clock, low level lighting, a flat surface, communication facilities to other departments, an emergency phone, show reports, a front of house calls system and any information that may be required over the course of the show. Show reports contain any problems with the show, running times, the staff and audience numbers.
Stage Left and Right
The actor's point of view when they are on stage and looking at the audience.
Up Stage is towards the audience and Down Stage is away from them.
Technical Rehearsal
The first run through of the show that includes all technical elements, namely lighting scenery and sound. Costumes may or may not be used. A dry tech is without actors and is only used to test the integration of lighting and scenic changes, A wet tech is a technical rehearsal with all the actors and technical elements present,
Run Through
This is typically done just after the set has been built or rebuilt when actors and crew go through moves to make sure everything runs smoothly and there are no problems. Particularly relevant for operas in rep that have their stages reassembled every day.
Production process
1) Commitment
2) Script read
3) Analyse
4) Crew production meeting
5) Meet and greet with cast
6) Rehearsals
7) Dramatic elements built
8) Fit up
9) Get in
10) Walk through
11) Tech rehearsal
12) Dress rehearsal
13) Show time
14) Get out
15) Evaluation
Blocking
A blocking list is a complete, detailed list of an actor's movement's on stage. Usually compiled by the DSM. Usually written in shorthand to save time. An example of notation is included below and to the right is an example of my attempt at writing blocking directions. I made a single mistake where I forgot to refer to area of stage left.
References
https://awesomestagemanager.wordpress.com/category/prompt-book/

Study Task
What would you expect to find in a stage manager's toolkit?
General
Rubbers
Tape Measure - 50ft
Pens
Tape - masking, glow, marking, stage, spike, gaffer
Pencils
Birthday candles
Torch x 2
Notebook
Stapler
Staple Remover
Post it notes
Elastic Bands
Paper clips
Scissors
Glue stick
Note pads
Sharpies
Utility knife
Stop watch
Batteries
Spare Change
Tweezers
Calculator
Black Labels
Blank CDs
Highlighters
Coloured pencils/pens
bluetac
-
battery tester
Wire
Convinience/Health
Nail File
Breath mints/ Chewing gum
Vaseline
Throat Soothers
Pain Killers
Saline Solution
Ant Acids
Hand Sanitiser
Wet wipes
Tampons/pads
Medical tape
Bandages/ plasters
Bottled water and orange juice
Coffee filters
Instant coffee
Sugar/ Sweeteners
Hair ties
Zip-lock bags
Eye drops
Phone charger - multipurpose
Q tips
Extra toothbrush + Tooth paste
Snacks
Wardrobe
Needles - vaious sizes
Threads - various colours
Clear nail polish
Measuring Tape
Safety Pins
Glasses Repair Kit
Lint Roller
Extra buttons
Extra hooks/eyes-----
Extra Snaps----
Fabric scissors
Stain removing pen
My also include
Screw drivers - multiple heads and possibly charger
Hammers
Nails/screws
Hack Saw
Multipurpose wrench
References
http://www.loisbackstage.com/?p=323
http://entertainment.howstuffworks.com/arts/theater/stage-manager2.htm