Queensland University of Technology: QUT Digital Collections

During a casual father-daughter lunch at their neighbourhood café, Ben keeps trying to protect nine-year-old Kayla from the usual dangers, but things take a turn when a stranger shows up and takes her hostage.



Rating: Matur

Mannix, Jake

Burden

McGavin, Mia

Page 1 of 2 
    Correct as of 01/06/18 
*SUBJECT TO CHANGE*            Version 5.5 
Generated by Mia 
McGavin Vision Designer            
Spike Heels 
Vision Cue Synopsis 
Version 5.5 
ACT ONE 
Act Sc. Pg. 
Cue 
No. 
Description Cue Point Content 
Fade 
Time 
Notes 
N/A N/A N/A 1 Intro Title Quote No.1 After FOH Clearance QuoteNo.1mov N/A w/ SND Q 1 
N/A N/A N/A 1.5 Fade out Quote No.1 
Play Introduction Stop Motion 
After Quote No.1 is complete 
Quote No 1 finishes 
QuoteNo.1mov 
IntroductionStopMotion2.m
ov 
10 sec 
N/A 
1 1 7 2 Fade in Danse Macabre 
Fade in Andrew Texture 
VIS Q: Andrew turns on radio DanseMacabre.mov 
Andrewtexture.png 
5 sec w/ SND Q 2 
1 1 7 3 Fade out Danse Macabre VIS Q: Andrew Turns off radio DanseMacabre.mov 5 sec 
1 1 30 4 Fade in Quote: “It is difficult…” End Act 1 Scene 1 QuoteNo.5.mov 15 sec 
1 2 31 5 Fade out Quote: “It is difficult…” 
Fade out Andrew texture 
Fade in Edward texture 
End of Act 1 Scene 1 QuoteNo.5.mov 
Andrewtexture.png 
Edwardtexture.png 
10 sec 
5 sec 
5 sec 
w/ SND Q 7 
1 2 31 5.5 Fade in Masquerade Suite VIS Q: Andrew sits at 
typewriter 
MasqueradeSuite.mov 5 sec 
1 2 31 6 Fade out Masquerade Suite VIS Q: Andrew turns off radio MasqueradeSuite.mov 5 sec 
1 2 52 7 Fade in Quote: “…of all creatures…” VIS Q: Actors exit stage QuoteNo.17.mov 15 sec 
1 2 52 8 Fade out Quote: “…of all 
creatures…” 
End of Scene 2 QuoteNo.17.mov 8 sec 
N/A N/A N/A 9 Play Interval Interval transition commence IntervalStopMotion.mov N/A w/ SND Q 10 
N/A N/A N/A 10 Fade Interval FOH Clearance IntervalStopMotion.mov 3 sec w/ SND Q 11 
Page 2 of 2 
    Correct as of 01/06/18 
*SUBJECT TO CHANGE*            Version 5.5 
Generated by Mia 
McGavin Vision Designer           
Spike Heels 
Vision Cue Synopsis 
Version 5.5 
ACT TWO 
Act Sc. Pg. 
Cue 
No. 
Description Cue Point Content 
Fade 
Time 
Notes 
2 1 53 11 Fade in I am what you want… 
Fade in tulle texture 
VIS Q: Edward and Georgie 
entre 
IAmWhatYouWantMeToBe.mov 
tulle.psd 
5 sec w/ SND Q 12 
2 1 53 12 Fade out I am what you want… VIS Q: Edward turns off radio IAmWhatYouWantMeToBe.mov 5 sec w/ SND Q 14 
2 1 84 13 Fade in Quote: “Hateful to 
me…” 
End of Act 2 Scene 1 QuoteNo.20.mov 15 sec 
2 1 84 14 Fade out Quote: “Hateful to 
me…” 
Fade out Tulle Texture 
End of Act 2 Scene 1 QuoteNo.20.mov 
tulle.psd 
10 sec 
2 1/2 84 14.5 Fade in Red Velvet texture VIS Q: Andrew and Edward are 
settled  for sleep 
redvelvet.psd 10 sec w/ SND Q 21.5 
2 2 100 15 Fade in Quote: “The course…” Edward: All right. QuoteNo.25.1.mov 15 sec 
2 2 100 16 Fade out Quote: “The 
course…” 
Georgie: …Make me an offer QuoteNo.25.1.mov 10 sec 
N/A N/A N/A 17 Play Ending End of  Act 2 Scene 2 EndingStopMotion.mov N/A w/ SND Q 25 
N/A N/A N/A 17.5 Fade Ending End of vision content EndingStopMotion.mov 3 sec 


Spike Heels Visions Cue Synopsis

Grima, Steph

  Rapture, Blister, Burn  
Working Divisions 
Generated by Stephanie Grima              stephanie.grima@connect.qut.edu.au 
Ph. 0424611714  8th June 2018 Page 1 of 4 
 
Working 
Division 
Page 
No. From To Characters Actors 
1 3-4 Start of Act Gwen runs inside to get the door.  Gwen, Catherine, Don Ms. Burnett, Ms. Vukicevic, Mr. Fowler 
2 4–5 Don – “She sorta gave up drinking and took up talking” Gwen re-enters Catherine, Don Ms. Vukicevic, Mr. Fowler 
3 5–6 Gwen – “So we have a problem with our babysitter” He leaves. Gwen joins Catherine. Her mood has changed. Gwen, Catherine, Don 
Ms. Burnett, Ms. Vukicevic, Mr. 
Fowler 
4 6–8 Gwen – “Did Don have you sign our books?” Catherine – “That was generous of me.” Gwen, Catherine Ms. Burnett, Ms. Vukicevic 
5 8–9 Don enters Gwen goes into the house Gwen, Catherine, Don Ms. Burnett, Ms. Vukicevic, Mr. Fowler 
6 10–11 
Don – “We could make a run for it. Skip dinner, go to 
a bar and get hammered…” Avery enters. Catherine, Don Ms. Vukicevic, Mr. Fowler 
7 12 Don – “Avery, my friend. What's the story? We going out or ordering in?” 
Don goes into the house. A beat or so while Avery 
looks at Catherine's books. Catherine, Don, Avery Ms. Vukicevic, Mr. Fowler, Ms. Lush 
8 13–15 Avery – “What are your books about?” Avery – “Nice to meet you.” Catherine, Avery Ms. Vukicevic, Ms. Lush 
9 15 As Avery goes into the house, Don comes out. End of Act One Scene One Catherine, Don Ms. Vukicevic, Mr. Fowler 
10 16-19 Start of Act One Scene Two Alice leaves and answers the door.  Catherine, Alice Ms. Vukicevic, Ms. Bird 
11 19 Gwen and Avery enter. Catherine - “Then...I guess... take your seats.” Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
12 19-20 They all take their seats Catherine - “So!” Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
13 20-22 (Raising the syllabus.) "Welcome to ‘The Fall of American Civilization’!” Catherine - “Exactly. Let’s get to work” Catherine, Gwen, Avery 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush 
14 22-24 (Handing out syllabus.) “The course covers six units in three... Let's do this.” Avery - “OK, but . . . Can I just be totally frank here?” Catherine, Gwen, Avery 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush 
15 24-27 Catherine - “OK. . . “ 
Catherine - “OK. Let's just . . . Let's agree that Betty 
Friedan was not about rejecting domesticity, she was 
about giving women a choice.” 
Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
16 27-28 
Avery –“OK, fine. Second wave feminism was about 
giving women equality with men . . . equal 
opportunities, equal wages.” 
Gwen – “Things that are easy have no value. “ Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
17 28-29 Catherine - “Avery, you haven’t discussed Phyllis Schlafly. She has some thoughts on ‘easy’ women. “ Alice peeks in . . .  Catherine, Gwen, Avery 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush 
18 29-32 Alice – “Is it too early for the martinis?” Gwen – “What do you mean, existential? It sounds like you just want a family.”  
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
19 32-34 
Catherine – “I say ‘existential’ because it's . . . Well, 
here goes my professorial neutrality. Being alone 
wasn't a problem until I had to face losing my 
mother.” 
Alice – “Cathy, it's how I was raised. It just doesn't 
seem natural to me.” 
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
  Rapture, Blister, Burn  
Working Divisions 
Generated by Stephanie Grima              stephanie.grima@connect.qut.edu.au 
Ph. 0424611714  8th June 2018 Page 2 of 4 
20 34-35 
Gwen – “Let’s not romanticize sacrifice too much. I 
mean, leave Jesus out of it; he was Jesus and he 
could rise again. For most of us, there’s no rising 
again after you sacrifice.” 
Avery – “I was your babysitter, you know. I kinda 
know how your marriage works.” 
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
21 35-36 A beat. Is she gonna vent? Sure would feel good. OK, why not?  A beat.  
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
22 36-37 Also, he has a porn issue.  Phew! That felt good.  Catherine, Gwen, Avery, Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
23 37-39 Alice (after a beat) – “I thought about that . . . having another child.” Alice - “All the incentives are gone!” 
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
24 39-40 Avery (after a beat)  - “You know what seems a little crazy?” Avery leaves. A beat.  
Catherine, Gwen, Avery, 
Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
25 40 
Gwen  - “And that . . . is what happens when a 
straight-A, pre- med student discovers beer and 
boys. Don says the late- bloomers fall the hardest.” 
Gwen leaves. After a beat...  Catherine, Gwen, Avery, Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
26 40-41 Alice - “You can have him if you want him.” End of Act One Scene Two Catherine, Gwen, Avery, Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
27 41-42 Beginning of Act One Scene Three They don’t speak for a beat or two.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
28 42-43 Don  - “So. . . uhh . . . pornography.” A beat, considers the move she then makes.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
29 44 
Catherine  - “But even if it was, like, violent 
humiliation porn, . . . Well, you read my book. I'd 
agree with Freud that sexual fantasy has both literal 
and latent content.” 
A silence that says ‘no’.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
30 44-45 Catherine – “Wow.” She stares, not letting him off the hook.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
31 45-46 
Catherine  - “By ‘what I do’ you mean use academic 
theory to elevate low art forms. I'm aware you think 
what I do is bullshit.” 
Don  - “Still do. The point is, a thousand other guys 
wanted to teach American Lit. But how many hot 
females were writing about porn and torture?”  
Catherine, Don Ms. Vukicevic, Mr. Fowler 
32 46-47 Catherine  - “I had a more unique presentation, that's absolutely true.” Catherine – “ You have a gift.” Catherine, Don Ms. Vukicevic, Mr. Fowler 
33 47 This is now gelling uncomfortable for Don. Feels like pity.  
Catherine  - “I didn’t consciously opt out of marriage. I 
don’t think I did. Do you think I did?” Catherine, Don Ms. Vukicevic, Mr. Fowler 
34 47-48 Don – “ I can recall at least one blow out between us about it.” (Stopping himself)  Well, there's no point.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
35 48-49 Catherine  - “You’ve done some thinking about this.” 
Don  - “Oh. it's all. . . messy. The sex thing. If you 
don’t shut it off when you hit forty, it’s gonna get 
messy.” 
Catherine, Don Ms. Vukicevic, Mr. Fowler 
36 49-50 A beat.  A beat. He makes some subtle physical move that suggests he’d fool around if she responded.  Catherine, Don Ms. Vukicevic, Mr. Fowler 
37 50-51 Catherine – “Don't do it.” End of Act One Catherine, Don Ms. Vukicevic, Mr. Fowler 
38 52-53 Beginning of Act Two A weird, awkward beat.  Catherine, Gwen, Avery, Alice 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush, Ms. Bird 
39 53-54 Catherine – “I know.” Gwen – “Oh. OK.” Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
  Rapture, Blister, Burn  
Working Divisions 
Generated by Stephanie Grima              stephanie.grima@connect.qut.edu.au 
Ph. 0424611714  8th June 2018 Page 3 of 4 
40 54-56 
Catherine – “So! 1973! Very big year. Richard Nixon 
pulls the last troops out of Vietnam and the courts 
pass Roe v. Wade legalizing abortion…” 
Gwen – “No, it's advice. It's. . . If you thumb your 
nose at being a homemaker. . . Then you'd just 
better hope what you gave all that up for was worth 
it.” 
Catherine, Gwen, Avery Ms. Vukicevic, Ms. Burnett, Ms. Lush 
41 56-57 Avery – “I would like to talk about September 11th and the rise of torture horror.” Gwen – “I have to go.” Catherine, Gwen, Avery 
Ms. Vukicevic, Ms. Burnett, Ms. 
Lush 
42 58 Avery – “You're crying.” End of Act Two, Scene One Catherine, Avery Ms. Vukicevic, Ms. Lush 
43 58-59 Beginning of Act Two, Scene Two Gwen – “You know what? Have your talk. I'm gonna get some air...” Gwen, Catherine, Don 
Ms. Burnett, Ms. Vukicevic, Mr. 
Fowler 
44 59-60 Catherine – “Don, this is not how this works.” Don – “I can’t do it anymore. These last couple of weeks with you, I feel like a human being again.” Catherine, Don Ms. Vukicevic, Mr. Fowler 
45 60-62 Gwen - “I need to disclose something” End of Act Two, Scene Two Gwen, Catherine, Don Ms. Burnett, Ms. Vukicevic, Mr. Fowler 
46 62-63 Beginning of Act Two, Scene Three Catherine – “Actually, it's more than an affair…” Catherine, Avery Ms. Vukicevic, Ms. Lush 
47 63 Don enters  Don leaves  Catherine, Don, Avery Ms. Vukicevic, Mr. Fowler, Ms. Lush 
48 63-66 Avery – “Wait. He’s moving in?” 
Avery – “I'm a Bio major. Evolutionarily? It makes 
total sense. The love drunk lasts about six months. 
just enough time to get knocked up and trapped.”  
Catherine, Avery Ms. Vukicevic, Ms. Lush 
49 66 Alice enters.  Alice leaves. Catherine, Avery, Alice Ms. Vukicevic, Ms. Lush, Ms. Bird 
50 67-68 
Catherine – “OK. Today we're supposed to cover 
reality television and the death of privacy. That was 
all Gwen's assignment.” 
Avery – “The girl Lucas is hanging out with is 
Mormon. Like the real deal; she’s a fucking 
consultant on a movie about Mormons. So they're 
definitely not hooking up and he’s stopped calling 
me. I've lost him. To a Mormon.” 
Catherine, Avery Ms. Vukicevic, Ms. Lush 
51 68-69 Don rushes in. End of Act Two, Scene Three Catherine, Don, Avery Ms. Vukicevic, Mr. Fowler, Ms. Lush 
52 69 Beginning of Act Two, Scene Four End of movement sequence Catherine, Don Ms. Vukicevic, Mr. Fowler 
53 69-70 Catherine – “I love this.” 
Catherine – “OK. I actually asked Avery to come by 
and help Mom. with Devon. I thought it might be nice 
to get some sleep. Maybe over at your place…” 
Catherine, Don Ms. Vukicevic, Mr. Fowler 
54 70-71 Alice enters.  Alice leaves. Catherine, Don, Alice Ms. Vukicevic, Mr. Fowler, Ms. Bird 
55 71-72 Catherine – “You know what? You're right. When the sun comes up, we should clean up our act.” Catherine kisses him and leaves. Don Mr. Fowler 
56 72-73 Don (on the phone) – “Hey. It's me.” Don disconnects his call.  Catherine, Don, Alice Ms. Vukicevic, Mr. Fowler, Ms. Bird 
57 74-75 Don – “Where's Dev?” Alice (rising) – “I'm going to start the coffee.” Catherine, Don, Alice Ms. Vukicevic, Mr. Fowler, Ms. Bird 
58 75-77 Don – “I gotta go home. To my house. I'll take Devon with.” Don leaves. Catherine, Don Ms. Vukicevic, Mr. Fowler 
59 77-80 Alice enters.   Catherine – “I don't understand!” Catherine, Avery, Alice Ms. Vukicevic, Ms. Lush, Ms. Bird 
60 80-81 
Avery – “OK, listen to me. When I was little I used to 
ice skate. And then I stopped. Now when my family 
watches the winter Olympics I say, ‘If I'd kept 
skating, I could be there.’ And my mom and dad say, 
‘That's right. If you hadn't quit, you'd be at the 
Olympics.’ Do you get it?” 
End of Act Two, Scene Four Catherine, Avery, Alice Ms. Vukicevic, Ms. Lush, Ms. Bird 
  Rapture, Blister, Burn  
Working Divisions 
Generated by Stephanie Grima              stephanie.grima@connect.qut.edu.au 
Ph. 0424611714  8th June 2018 Page 4 of 4 
  
61 81-84 Beginning of Act Two, Scene Five Don – “I want to come home. Do I have a snowball’s chance in hell you'll let me?” Gwen, Don Ms. Burnett, Mr. Fowler 
62 84-85 Gwen – “Of course, I'll let you. What are my other options?”  Don – “I know.” Gwen, Don Ms. Burnett, Mr. Fowler 
63 85 Don kisses Gwen on the lips. End of Act Two, Scene Five Gwen, Don, Avery Ms. Burnett, Mr. Fowler 
64 85-88 Beginning of Act Two, Scene Six End of Act Two, Scene Six Catherine, Don Ms. Vukicevic, Mr. Fowler 
65 88-90 Beginning of Act Two, Scene Seven Alice – “We'll light the hurricane, too. We'll get all nice and cozy.” Catherine, Avery, Alice Ms. Vukicevic, Ms. Lush, Ms. Bird 
66 90-92 Catherine gets the lamp. Avery – “Hell, yes!” Catherine, Avery Ms. Vukicevic, Ms. Lush 
67 92-93 Alice returns with the martini shaker and a glass full of olives. End of Act Catherine, Avery, Alice Ms. Vukicevic, Ms. Lush, Ms. Bird 


Rapture Blister Burn Working Divisions

The Production Stage Management Bundle for Dance1

Purdy, Makayla

Dance 18 PSM (Production Stage Management) Bundle

Johnny's Best

Trevisan, Michael

Season of Contemporary American  18 Timelapse

Seagrott, Samuel

Good People 
 Season of Contemporary American Plays 2018 
 Male Dresser Show Plot | V1 
 
Samuel Seagrott | Costume Assistant                                                                     Information: SUBJECT TO CHANGE                            
M: 0412 042 814 | E: Samuel.seagrott@connect.qut.edu.au                 Version 1 | Current as of: 25/05/18 | Page 1 of 2                                                                       
 
 
**NOTE: bolded tasks within the Four-hour call through to the Two-hour call are to be included in the one-
hour call for evening shows, on days where the season date includes a matinee**  
 
FOUR HOUR CALL 
 
- Remove clothes from washing machines 
o NOTE: Access to laundry requires swipe card clearance, DO NOT close the door to the room 
with the washing machines, as you will not be able to get back in. 
- Place all clothes in to the dryers 
o Two loads, done simultaneously, using both dryers (one load colours, the second load whites) 
- Go to the dressing rooms and Vodka spray costume elements, outlined in the Costume Maintenance 
and Hang/Wash Breakdown V4 document 
o Margaret: brown overcoat, black skirt 
o Jean: white knitted sweater, grey cardigan, black overcoat, maroon sweater 
o Dottie: fat suit, mustard cardigan, granny-square cardigan, grey/brown checkered overcoat, 
pink cardigan 
o Kate: white turtle neck sweater 
o Stevie: blue/grey bomber jacket, maroon hoodie, grey hoodie 
o Mike: white lab coat, dark grey pullover sweater 
- Double check that all jewelry, and accessories are in the dressing rooms 
o Margaret: name badge, blue scrunchie, turtle clip, black bag 
o Jean: blue hair clip, brown bag 
o Dottie: pink sunglasses 
o Kate: wedding ring, engagement ring, ring, earrings 
o Stevie: green backpack 
o Mike: silver tie clip, wedding ring 
§ Locate any missing accessories 
 
THREE HOUR CALL 
 
- Collect all washing from the dryers, place them into the male and female washing baskets  
o Remove any lint from filters in the dryer 
- Air out all washing and iron any clothes that require it 
o All buttoned shirts are to be ironed, prioritize shirts worn in Act 1 Scene 1 – 3 
§ Refer to Detailed Costume Breakdown V4 document 
o Lab Coat is to be Ironed each show. Ensure that it is Crisp 
o  Hang costumes on hangers in the dressing rooms, in order of costumes worn on stage 
 
TWO HOUR CALL 
 
- Double check and ensure that all costumes and accessories are in the dressing rooms and nothing is 
missing 
- Inspect all costumes for any maintenance needed 
o Dottie’s shoes (soles) may break – reapply shoe glue if needed 
o Double check that Kate’s jewelry is taped so that they fit on her fingers 
- Attend to any maintenance if required 
 
Good People 
 Season of Contemporary American Plays 2018 
 Male Dresser Show Plot | V1 
 
Samuel Seagrott | Costume Assistant                                                                     Information: SUBJECT TO CHANGE                            
M: 0412 042 814 | E: Samuel.seagrott@connect.qut.edu.au                 Version 1 | Current as of: 25/05/18 | Page 2 of 2                                                                       
 
ONE HOUR CALL 
 
- Steam clean the sofa before each show  
- Assist with Dottie’s Special Effects Make-up 
- Be available to assist cast with their costumes and attend to any issues/maintenance that may arise 
 
FIFTEEN MINUTE CALL 
 
- Ensure all actors are in their correct costumes for Act 1 Scene 1 - 3, as per the Detailed Costume 
Breakdown V4 document 
 
SHOW 
 
- Be available in the green room/dressing to assist cast with their costumes and attend to any 
issues/maintenance that may arise 
- Ensure cast in the green room are in correct costumes for Act 1 Scene 4, as per the Detailed Costume 
Breakdown V4 document 
- Ensure cast in the green room are in correct costumes for Act 2 Scene 1, as per the Detailed Costume 
Breakdown V4 document 
- Ensure cast in the green room are in correct costumes for Act 2 Scene 2, as per the Detailed Costume 
Breakdown V4 document 
 
POST SHOW 
 
- Ensure all costumes are returned to the dressing rooms, as per the Detailed Costume Breakdown V4 
document 
- Ensure all accessories and Jewelry are returned to the dressing room 
o Margaret: name badge, blue scrunchie, turtle clip, black bag 
o Jean: blue hair clip, brown bag 
o Dottie: pink sunglasses 
o Kate: wedding ring, engagement ring, ring, earrings 
o Stevie: green backpack 
o Mike: silver tie clip, wedding ring 
§ Locate any missing accessories 
- Ensure all costumes are hung on the costume racks and that the dressing rooms are clean 
- Inspect costumes for any maintenance requirements, make note of them and attend to them before 
washing the costumes 
- Collect all costumes that require washing, as per the Hang/Wash List V4 document, place them in the 
male and female washing baskets 
- Turn off all the lights and general power outlets from the dressing rooms 
- Take washing to the laundry and wash all the clothes, in accordance to the Costume Maintenance 
and Hang/Wash List V4 document 
o Washing is done in two loads, simultaneously, split into colours and whites 


Good People Male Dresser Show Plot

Season of Contemporary American Plays: 
Spike Heels 
Performance Report #1 V2 
Friday 1st June 2018 at 1830 
Version 2 
Subject to Change 
Created by Makayla Purdy 
Production Stage Manager 
Page 1 of 2 Correct as of 1/6/18 at 2300 
Doors Opened 1816 
Act I Up 1835 
Act I Down 1932 Act I length: 57 minutes 
Act II Up 1955 Interval length: 23 minutes 
Act II Down 2055 Act II length: 60 minutes 
House Count 54 Total show length: 140 minutes 
General 
• Lighting, set, stage management and cast all called an hour early for tech fix ups.
• Performances of Spike Heels are now scheduled to have a 1.5-hour call, this was practised tonight and
made all the cast and crew far more comfortable.
• During interval a loud buzzing/screeching noise started to occasionally occur through comms lines
when people tried to speak. Only the person attempting to speak could hear it but it happened to the
PSM, ASM, LX OP & Head SND comms packs. Head of SND troubleshot the problem and it didn’t
happen again throughout the performance. DSM was on base station and will remain on base station.
• DSM comms very quiet, the mic was not bending to be closer to her mouth near start of Act I, changed
over headset and fixed problem.
• PSM had to ask a patron to not lean on the DSPS boom fixture during interval, boom focus needs to be
checked during 1.5 hour call next performance.
Stage Management 
• PSM was 20 minutes late to tech fix ups due to public transport.
Lighting 
• LX Q 15.1 called early, this bring out interval lighting, causing ASM to not have enough time to unhook
beaded curtain, causing LX Q 15.2 to be fired late as OP was waiting for curtain & performers.
• Lighting was called an hour early to do fix ups.
• Boom focus needs to be checked during 1.5 hour call before next performance, PSM had to ask a
patron not to lean on the DSPS boom fixture during interval.
Sound 
• Mx Guilfoyle noted SND Q 10, the fade down of music to interval volume faded down very quickly,
head of sound to make fade time longer before next performance.
Vision 
• Vis Q 8 taken by operator, DSM was not able to be heard by operator.
• Vis Q 11 fired late, DSM was waiting on beaded curtain to be unhooked by ASM, see ‘lighting’ for more
information.
Set 
• Door now has a locking/closing mechanism, cast all practised opening and closing door pre-show.
• Blue-tak to remain with poster to it can be hung straight during changeover.
Season of Contemporary American Plays: 
Spike Heels 
Performance Report #1 V2 
Friday 1st June 2018 at 1830 
Version 2 
Subject to Change 
Created by Makayla Purdy 
Production Stage 
Manager Page 2 of 2 Correct as of 1/6/18 at 2300 
Props 
• Act II Scotch bottle still requires cork
• Dead flowers required for Act II
• Breakfast at Tiffany’s mug now pre-set backstage, not in kitchen hutch, Mr Wilson has been
informed.
• Laundry hamper to be set on orange chair during interval changeover.
Costume 
• Mr Seagrott purchased fashion tape from Woolworths pre-show, wardrobe assistants to check
there will be enough for following show in their post-show plots.
• Stitching on the inside of pink striped jacket came undone, is fraying. Mr Seagrott has temporarily
stitched it up.
• Andrews watch has been replaced for a grey one.
• Andrews shirt to be tucked in further, Mr Francis has been told and the shirt is working better now
• Scotch throw in Act I left a small stain, wardrobe assistants soaked the shirt in soda water, it got the
majority of the stain out, they will wash it tonight and see how it looks after.
• Threading along the waist of Andrew’s grey pants started to become loose, wardrobe assistant cut
off the ends and will keep an eye on it.
• Make up stains found on pin stripe jacket, wardrobe assistants to attempt to clean them off and see
how it looks in the morning before next performance.
Archive 
• Good show
O H & S 
• Good show
Next performance: Saturday 2nd 2018 at 1400 


Spike Heels Performance Report #1

Callaghan, Natalie

Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 1 of 7  Correct as of 10/6/18 
Key to Names: Catherine = C | Don = D | Gwen = G | Alice = Ali | Avery = Ave 
 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 1, 
Scene 1 
Outside.  
 
D & G’s 
backyard  
 
Night  
 
Summer 
 
(June)  
 
First 
scene.  
D, G, & C are 
catching up for the 
first time in 13yrs. G 
is over-
compensating. Might 
have a hidden 
agenda?  
 
D & C are cautiously 
flirtatious. History 
there.  
 
Ave enters – 21yo 
babysitter, 
provocative.  
Backstory. Feeling of arriving late 
to the party. Hints to the history 
are dropped throughout scene.  
Scene shows that D & C are more 
well-matched than D & G. 
undercurrent discussion on 
women and wanted /unwanted 
messages sent about women. C is 
D’s fantasy – what he thinks he 
wants. Allows him to escape from 
‘real’ life with G 
 
Both G & D are keen to reconnect 
with C & both find ways to do so 
by pushing the other out of 
favour (G: D is lazy & slow, D 
siding with C RE Devon) 
p.9 D: “then we 
can’t go to 
dinner” = night 
time 
Citronella candles 
(mentioned in 
text) 
 
Patio lights?  
Intimate vs expansive? – 
intimate. Feels like an intimate 
conversation between characters. 
Less intimate with Ave. Casual 
rather than formal. Scene flows 
well.  
      Exit/entrance of characters 
stops scene from becoming 
stagnant.  
      Touches on enough history 
and new info/ideas to keep 
audience interested.  
      I don’t like G. I like other 
characters, though I suspect D 
will be a bad influence.  
     Warm or cold? Summer = 
warm but slight awkwardness of 
scene might cool that?  
Act 1, 
Scene 1 
Notes and general thoughts:  
- 9 beats to this scene – broken up by different character groups à G, C, D – D & C – G, C, D – G & C – G, C, D – C & D – D, Ave, C – Ave & C – 
D & C 
- Last we see of Gwen is her stand-off with Don RE Devon. Gwen chooses to leave Don with Catherine.  
- Maybe a slightly different state for D&C? Increase brightness on D&C when G leaves first time, then slowly fade out her light when she 
leaves second time? (Dependent on blocking & Ave) 
- SCENE CHANGE  
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 2 of 7  Correct as of 10/6/18 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 1, 
Scene 2 
Inside.  
 
Alice’s 
living 
room.  
 
(Living 
room? 
Dining 
room?) 
 
Two 
weeks 
after first 
scene.  
 
Afternoon 
– around 
4pm 
 
 
Alice introduced.  
 
C’s class in Ali’s 
home.  
G & Ave revealed to 
be the two students.  
 
C, Ave, G, Ali discuss 
gender roles & 
relationships as part 
of C’s class.  
Heated debate.  
The characters really 
open up and aren’t 
afraid to say what 
they think.  
G tries to wrestle 
power from C at 
times.  
C tries to maintain 
control over ‘class 
room’ but eventually 
gives up 
Women & Men. What makes 
relationships work.  
Sacrifice.  
Female empowerment  
Scrutiny.  
Shining a light on issues.  
 
The women use the theories of 
others to push their own agendas  
 Inside lighting.  
 
Afternoon light 
from a window 
maybe?  
Cards on the table.  
Bonding & opposition.  
Dissatisfaction.  
 
Intimate. Girls Club. (They even 
have martinis!)  
 
Casual.  
 
Almost feels cold? There’s almost 
the illusion of bonding.  
 
Act 1 
Scene 2 
Notes and general thoughts:  
- Alice & C top and tail the scene. They tell us what to think in a way.  
- SCENE CHANGE 
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 3 of 7  Correct as of 10/6/18 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 1 
Scene 3 
Outside 
 
Alice’s 
backyard  
 
Same day 
as Scene 
2 
 
Night? 
 
D & C chat in privacy 
at Alice’s. D offers a 
defence against what 
G was saying about 
him in class. The 
pair’s dynamism and 
sexual tension is 
palpable. They even 
reference it and 
discuss each other’s 
sexuality.  
Scene ends with the 
beginnings of an 
affair between them, 
which C semi-tries to 
prevent. D makes 
promises he won’t 
keep.  
Sexuality. Repression. What ifs. 
The life not lived.  
Stage direction 
– lawn chairs.  
Backyard lights? 
Street lights?  
Sparks. Electricity. Anything could 
happen. Subtlety.  
 
 This is a game between D & C. 
one they haven’t played in years, 
but one they know very well. 
They’re comfortable with each 
other. They trust each other. Ex-
lovers. 
 
Intimate.  
Casual.  
Warm.   
Act 1 
Scene 3 
Notes and general thoughts:  
- Soft lighting.  
- More attractive in the dark.  
- Darkness to hide their dark desires  
- SCENE CHANGE - INTERVAL 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 1 
Inside  
 
C, Ave, G attempt to 
partake in Class 2 but 
The class topics parallel the 
situation between G, D, C. the 
 Inside lighting. 
Same as Act 1 
Hostile. G knows about D & C but 
can’t face it yet, so she dances 
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 4 of 7  Correct as of 10/6/18 
Alice’s 
living 
room 
 
The 
following 
week 
 
Class 2 
there is obvious 
subtext RE C & D that 
G insists on bringing 
up.  
Ave shows real 
compassion for C and 
definitely sides with 
her in the ensuing 
confrontation b/n C 
& G  
scene is a bit of a metaphor for 
that situation.  
 
Scene 2, but 
slightly different  
around it and subverts C’s power 
in the classroom.  
 
Cold.  
Awkward.  
Lots of subtext.  
Slower paced.  
Act 2, 
Scene 1 
Notes and general thoughts:  
- Same lighting as A1S2 but colder? Slightly more harsh? Under more scrutiny?  
- Ave comforts C at end in Alice’s place 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 2 
Inside 
 
Alice’s 
living 
room 
 
Later that 
day  
 
Night  
C, D, G discuss their 
situation. C & G both 
agree they should 
apologise & return to 
‘normal’. D wants to 
make the split 
permanent. G brings 
up the ‘switching’ 
conversation. The 
truth of C’s phone 
call is revealed.  
Invitations and fulfilling 
expectations and changing minds.  
D’s metaphor of being G’s old 
shoes.  
A child who stops playing with a 
toy, but when another child starts 
playing with the toy, they decide 
that they want it after all 
 Inside. Same as 
before, but now 
dark, more 
shadows?  
As G says, feels ‘unrealistic’. But 
its interesting as hell.  
Tantrums.  
Fast paced.  
Intimate.  
 
More dominated by side-lighting? 
Unrealistic, harsh, exposing truths 
 
Act 2, 
Scene 2  
Notes and general thoughts: 
-  
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 5 of 7  Correct as of 10/6/18 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 3 
Inside 
 
Alice’s 
living 
room 
 
One week 
later 
 
Class 3 
(4pm)  
 
Second 
week in 
July 
C joins Ave for class – 
Ave can tell C has 
just had sex. D 
appears.  
 
D is moving in – Ave 
tries to convince C 
not to let him.  
 
C & Ave discuss men 
– sex v. porn & giving 
sex too easily 
The Leaf – half green, half brown 
= half alive, half dead.  
 
D – “Summer’s half over”  
 
Bigger metaphor for the 
characters who have been living 
as if half alive, half dead?  
  
 
Lazy summer day 
– light through a 
window low, 
warm,  
Hot. Warm. Pleasant. Time 
moving slowly. Lazy.  
Body heat, bodies close.  
 
Bit revelatory again 
Act 2, 
Scene 3 
Notes and general thoughts:  
- Warm tonality for this one? Orange toning (back/high side lighting)  
- Introduce side light that’s a little harsher for C & Ave’s discussion (after Ali’s entrance)  
- TRANSITION to Scene 4 à map the passing of time with the sun’s light? Dim overall and have light fade and blue light (night) come in, 
then the beginnings of dawn and all assoc. colours… 
Ø play suggests D & C strip to underwear in this transition & slowly mess up the space while lazy/sexy groovy music plays 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 4 
Inside  
 
D & C have stayed up 
all night watching 
movies, drinking, 
pizza. D tries to be 
Schlafly  
 
D doesn’t know what he wants. 
This is his fantasy but when 
C: “Watching 
the sun come 
up”  
 
 Lazy & loved up fantasy to start, 
but reality comes crashing 
through.  
 
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 6 of 7  Correct as of 10/6/18 
Alice’s 
living 
room 
 
Sunrise 
 
One 
month 
later – 
mid-
August 
the civilising 
influence.  
D & C have a sort of 
argument.  
D leaves with son 
Devin.  
Ave enters and gives 
C advice inspired by 
Schlafly – swoon & 
shame, be the civil 
one etc  
fantasy becomes reality, you lose 
your fantasy.  
C: (RE pizza) 
“It’s out there. 
It’s cold.”  
à have edges 
of blue to 
indicate the 
night is not far 
behind? Light 
the ‘outside’ 
space slightly 
with blue?  
Sunrise colours to start, slowly 
fade to brighter, less coloured 
light?  
Lack of colour, just grey dawn 
light? 
Act 2, 
Scene 4 
Notes and general thoughts:  
-  
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 5 
Outside  
 
D & G’s 
backyard 
 
One week 
later 
D & G talk at Devon’s 
birthday party (is the 
party cancelled?)  
 
D & G reconcile and 
admit they both 
want their messed-
up lives back 
 
D & G kiss and Ave 
sees, calls D out on it 
The too-big cake that they forgot 
to cancel.  
 
No other decorations? 
 
Kid’s party as the scene for D & 
G’s reconciliation  
Scene dir. “D & 
G’s backyard as 
in the first 
scene”  
à same 
lighting?  
Outside = sun & 
direction of light 
Much more realistic. Settling. 
D&G settling for each other & 
their old lives.  
 
Kids’ parties are usually hyper 
and happy, this is quiet and adult 
and subtle.  
Act 2, 
Scene 5 
Notes and general thoughts:  
-  
Rapture, Blister, Burn 
Lighting Script Analysis v1 
 
Natalie Callaghan Lighting Script Analysis v1 Rapture, Blister, Burn 
Lighting Designer  *Subject To Change* 
natalie.callaghan@connect.qut.edu.au  Page 7 of 7  Correct as of 10/6/18 
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 6 
Outside  
 
D & G’s 
backyard 
 
Later that 
same day 
(late 
afternoon 
or early 
evening?) 
D breaks it off with C 
 
C is devastated, tries 
to understand  
Summer is over. Play-time is over. 
Time to get serious, return to 
reality.  
 Outside – late 
day, maybe early 
evening 
 
Perhaps dusk. 
Not full night, but 
the promise of 
dark 
People don’t say what they want 
or mean what they say. C was 
giving D exactly what he wanted 
but not what he needed.  
 
Epic sadness. C is now lost and 
losing all her anchors 
Act 2, 
Scene 6 
Notes and general thoughts: 
-  
Scene 
No. 
Time & 
Place 
Action in scene Themes 
 in scene 
Dialogue – 
location enviro. 
Physical Needs Overall Feeling 
Act 2, 
Scene 7 
Inside  
 
Alice’s 
living 
room 
C, Alice, Avery talk 
and plan – what to 
do next?  
Different kinds of love (explored 
in earlier scenes as well) love 
from husband/child is different to 
love from mother 
Stage dir. “lights 
low” 
à like they’ve 
been talking for 
hours, talking 
through the 
night 
Hurricane lamp 
faked?  
Sad. Determined. Terrified.  
Empowered.  
 
C & Ave are leaving the safety of 
the nest and going out into the 
world without their men (to 
protect them) & they don’t need 
them 
Act 2, 
Scene 7 
Notes and general thoughts: 
-  
 
  


Rapture Blister Burn Lighting Design Script Analysis

The Set Bible for A Midsummer Nights Dream

Yau, Stephanie

Midsummer Night's Dream 
26/10/2018 
Stephanie Yau  
Set, Costume and Vision designer 
 
Set paperwork 
Content  
Set Floor Plan V2 
Set Floor Plan V2 with dimensions 
Set Plan V2_OP Sections with dimensions 
Set Plan V2_PS Sections  
Photos of 1 to 25 scaled model box 
Tape pattern measurement  
Setting Line
Show
Title
Venue
Date Scale
Drawn by
Mid Summer Night's Dream
Set Floor Plan V2
The loft
22/09/2018
Stephanie Yau
1:50 @ A3
Notes:
-The rostra located at dead cetre of the stage
-The passage between two boxes at USPS is 500 mm.
-The small boxes of 300mm and 400mm at DS are moveable and allow
actors place around.
Vectorworks Educational Version
Vectorworks Educational Version
Setting Line
890
890
10
00
890
500
20
00
2000
600
60
0 400
30
0
400
300
600
60
0
400
40
0
30
0
300
36
58
14
19
3500
2615
76
22
1718
70
65
78
97
3235
Show
Title
Venue
Date Scale
Drawn by
Mid Summer Night's Dream
Set Floor Plan V2 with dimensions
The loft
22/09/2018
Stephanie Yau
1:50 @ A3
10
00
Vectorworks Educational Version
Vectorworks Educational Version
60
0
60
0 1
2
3
0
10
00
30
0
Show
Title
Venue
Date Scale
Drawn by
Mid Summer Night's Dream
Set Plan V2_OP Section with dimensions
The loft
22/09/2018
Stephanie Yau
1:50 @ A3
Vectorworks Educational Version
Vectorworks Educational Version
Show
Title
Venue
Date Scale
Drawn by
Mid Summer Night's Dream
Set Plan V2_PS Sections
The loft
22/09/2018
Stephanie Yau
1:50 @ A3
Vectorworks Educational Version
Vectorworks Educational Version
  Midsummer Night's Dream 
Photos of 1:25 Scaled Model Box 
23/09/2018 
Subject to change 
Stephanie Yau  
Set, Costume and Vision designer 
 
1 
    Front view
Top View 
  Midsummer Night's Dream 
Photos of 1:25 Scaled Model Box 
23/09/2018 
Subject to change 
Stephanie Yau  
Set, Costume and Vision designer 
 
2 
Details 
  Midsummer Night's Dream 
Photos of 1:25 Scaled Model Box 
23/09/2018 
Subject to change 
Stephanie Yau  
Set, Costume and Vision designer 
 
3 
Mid-Summer Night's Dream 
Tape pattern measurement 
  08/10/2018 
Subject to change 
Stephanie Yau  
Set, Costume and Vision designer 
 
  1 
Base on 1:25 scale 
Transfer List 
A Midsummer Night’s Dream 
Version 2
Set Transfer List   Tessa Marinelli-Clarke 
Correct as at 02/10/2018 SUBJECT TO CHANGE 
Collated By Head of Set/Flys 
Page 1 of 1 
Item Quantity Picked Up From Return to
2x1 Rostra 2 Gardens Theatre KG Workshop
600mm Rostra Legs 8 Gardens Theatre KG Workshop
Large Blocks 3 KG Workshop KG Workshop
Medium Blocks 2 KG Workshop KG Workshop
Small Blocks 5 KG Workshop KG Workshop
Large Petal Drop 1 KG Workshop Gardens Theatre for Dance 18 use
Small Petal Drop 1 KG Workshop KG Workshop
Rope for Petal Drop 2 KG Workshop KG Workshop
Double Sheeve Pulley 2 Gardens Theatre Gardens Theatre
Rope 1 Z9 Level 6 The Loft 
*NOTE: If two double sheeve pulleys are unavailable one double sheeve and two single
sheeves will be the replacement.


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Rapture Blister Burn Lighting Design Script Analysis

A Midsummer Nights Dream Set Bible

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