Cinderella by the Numbers

 

19 Cast Members

Including Davis & Elkins Colleges' very own Dr. Brantley Craig.

19 Design, Tech, and Management (DTM) Students

Including two student designers.

8 Student Workers

Assisting with costumes, props, and set.

4 Community Members

Three of our cast members and one of crew came to us from the community.  

~700 Audience Attendees

2 Co-Curricular Experiences

In addition to those enrolled in Production Lab, students in Introduction to Design and Technology

received hands-on experience in set building, props, and costume construction. 

27 Strings of Christmas Lights

40 New Batteries

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Supporting Documentation

• Director's Concept: As a director, I am responsible for providing a unifying vision for each production.  The Director's Concept serves as a visual representation of that vision and proves particularly useful at the beginning of the process in both communicating with designers and getting students excited about the production.  With each concept, I address Why This Play Now (WTPN) or how this production speaks to our audience and current context, as well as design needs and desires.  This is a preliminary document and leaves room for collaboration as the show progresses.  For instance, the scenic designer and I decided to forgo bunting after determining the columns' placement and realizing it would cover the clock.  The student lighting designer requested that Christmas lights be hung from the ceiling.  When we tested the lights, we discovered they looked like vines that might hang from an enormous tree.  This supported tree imagery in the play and also created the vertical interest that the bunting would have originally provided.

• Code of Conduct and Theatre Artist's Etiquette: To foster a culture of professionalism, personal responsibility, inclusivity, and safety, Lonnie Martin and I enacted a Code of Conduct outlining unacceptable behavior.  This Code of Conduct Compliments our existing Theatre Artist's Etiquette, which I updated with this production to be more inclusive of DTM students.

• Modified French Scene Chart: This document maps each actor's path - noting when they are onstage, speaking, singing, and/or dancing.  Because some actors played multiple characters, I also noted which character they were playing in each scene and made notes for the costume designer.  I utilized this document as well as the conflict list created by the stage manager when crafting the schedule.

• Poster: Image designed by Trinity Fleming.  I assisted with typography.

• Program

• Schedule & Call List: These are the documents I provided at the start of the rehearsal process.  This is a working document, and we do have to make changes over the course of the semester.  When I do make changes, I endeavor not to call students on days when they were not originally schedule or, if that is not possible, to check in with the students impacted before I make the changes.

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