Table of Contents

Prologue Foreword; 1 The Role Of The Production Manager; Where Do We Come From? Managing 31; 2 Relating To Designers; 3 Production Managers And Technical Crew; 4 Production Managers And Contractors; Contract Breakdown; The Contract; Questions; Contract Pro Forma; 5 Production Managers And Performance; Technical Rehearsal; 6 Money; Budget Preparation; 7 Critical Path Analysis; The Nature of the Job; Lighting; The Company; Wardrobe; Stage Department; Overviewing the Whole Path; 8 Real Experiences; The White Devil; The World Of Shakespeare / An Elizabethan Pageant; Back to Methuselah; Index

About the Author

Joe Aveline started work in 1957 at the Bristol Hippodrome. After gaining practical experience, he took the technical training course at the Bristol Old Vic Theatre School. He came to the West End with the Bristol Old Vic Theatre Company and stayed on to work as a property master, electrics dayman and, briefly, master carpenter. He was property master for the 1964 National Theatre season at Chichester, which included Olivier's 'Othello' and the premier of 'Royal Hunt of the Sun'. Later that year he became Production Manager at the Theatre Royal E15, doing lighting design as well. Subsequently, he re-joined the National Theatre and was responsible for the technical management of UK tours, foreign tours and West End transfers. He moved to the production dept and took charge of its new productions as well, including the first UK production to be designed and built using the metric scale and the early application of chain hoists in performance. He became Gallery Manager and, later, General Manager of the Institute of Contemporary Arts (ICA). He supervised the building of the ICA Theatre - a complex project in a Grade I listed building in The Mall, adjacent to the royal approach to Buckingham Palace. He also learned the wholly different parameters of mounting large exhibitions. Large scale project management followed - production management with lots of knobs on - using both theatre and gallery experience. He became involved in technical theatre training partly to escape from being a desk, and has been pleased to see many of his proteges doing well in the profession. He played a leading role in the development of national qualifications for stage technicians and is currently working on an inter-partner recognition project with colleagues in the European Union. He has lectured in Israel, Finland, France, Malta, Holland, Croatia and Massachusetts, as well as for many drama schools and colleges in the UK and is a member of the Board of Management, Arts & Entertainment Technical Training Initiative (AETTI).