Dee’s Production SST11 tech script advice

19 Jun

Hey guys

So, the final tech deadline for SST11 is near. As you know, due to artists struggling with some of the deadlines, we decided to push the auditorium one up one more time so now the studio tech script and auditorium ones are to be handed in on the same day, by midnight of the 20th. Please note that these have been pushed already so if there are any problems, please message me. This is my advice for the June 20th performance draft and tech aspects confirmed with production deadline.

Basically, what I would need for this, is an annotated script of your Say Sum-thin 11 performance piece in order to pass this over to the playhouse (as I too have a deadline with them).  If you do not require much tech, that is fine, I would still like a copy of your piece emailed over to as a word doc. A few things…


·         Think about it as if you were reading a play minus the acting directions and trying to set the scene.

·         Even if you are simply focusing on performance and require just a mic and a stand a tech script still has to be sent as a word doc with the title ‘tech script’ over to me.

·         Keep in mind that studio tech is a little more limited than the auditorium but all wishes made so far are fine, projectors, UV lights etc for both spaces.

·         Perhaps if your poem has a shift in tone/mood, you could change colour but this is not a must, and the poem is still fine without

I have put together examples of the 3 ways I would like this information passed over to me using bits of my last Say Sumthin piece as an example.


1: If you do not have any requests, send over your piece with just highlighting tech at the start and end so ie….




“I venom through

soliloquy, confessions strangled, snake-like

by breath.


—————-rest of the poem in between with no changes or shifts till after the last stanza———–


“and say ‘I did not pull the trigger

I did not pull the trigger?


Fade to blackout.


2: Highlight the poem due to shifts in tone/feeling or intensity. For a full example of this, please check Chris’s second draft but emotions can still be evident with just a neutral light.


Red Wash (Confusion)


“Maybe my ears gave in.

Maybe sorrow darkened the moon

from my room but ‘ I can’t cry’.


Emily spills from the world

(Slow transition to neutral)

Last words lie dormant in my mouth

I whisper to take them back”


3: For the more tech reliant pieces, please provide full detail of tech (props, staging, audio) and where you would like change. Went a bit OTT on this one aha



Chair positioned center stage. DIM light over the stage. Woman walks over to chair and sits.


CUE- Heart monitor sound effect/screen projection. (12 seconds)




“I wind back! I wind back!

I wind back, rewind, minutes spilling in time

She was fine, soul confined?

I wind back and back and back

and it’s funny, how the truth is a blood stain

licking my wrists out.




“13th November 2015

A medical team, find Emily



Cue spotlight on dancer 1, 2 and 3


Note: These are the availabilities of the studio show. Please keep in mind that the auditorium will also feature the same and possibly more possibilities to play around with. 


Want to be precise on your light settings and tech script? Here are some aspects to think about and refer to in the script if you want and the effects it may have on your piece.

1: Lighting Position

·         Front light= a light from above at an angle close to 45 degrees. Great for lighting faces and eyes of performers. It is important for a performance requiring high visibility. Be sure to state the degree of intensity for these lights during the tech rehearsal.


·         Top Light= meaning light from directly above. A very dark and dramatic angle on its own to create silhouette and casting colour. It can be used with other lights to deepen images and getting colour on stage.


·         Back Light= From the back at an angle of close to 45 degrees. Used on its own, this too can create a dim atmosphere for creating silhouettes. You can also use it with other lights according to the atmosphere you wish to set.


·         Up light= lighting from the floor. This will be done with a moving profile light to create dramatic and unusual shadows. When used in combination with other angles at a low level, it can brighten or light objects and performers.


·         Side Light= This is lighting from the side of the performance space. Great for emphasising movement. Performers often glow without casting shadows on floors or walls.


·         UV lighting in order to illuminate. Please note that it may at times take some time to brighten so consider the performer before you and exactly when you need this light on.


·         ‘Flooding’ of light is making it larger and ‘spotting’ is getting this smaller if you want to be more specific.


·         LED Wash= Any colour you wish to create is done on a spectrum dependent on the primary colours. The intensity of this can also be discussed.


·         Gobo Lighting= This manipulates the shape and effect of the light such as casting a window projection or stars etc.



-The intensity of the light can greatly shape the performance. Given in percentages from 10% to 100%. Think about the ambiance you would like to create and how much light will be necessary.


·         Intensity can also include fade. How quickly do you want one light to switch to the other? This can be timed for seconds.


·         If a scene is set in the dark but performers still need to be seen consider using dim colours, a back light or dim front light to indicate this etc for visibility.


·         Bold colours are great to indicate mood though it is advisable to use this in moderation and in contrast.


·         A Smoke Machine is also available in order to create ambiance. Please ask for this in the script if you want it.


·         A gel frame may be added to some of the lights. This simply adds colour correction for temperature. So an example would be blue to make the scene and light appear colder or orange to add a warmer feel to it. Again, usage is limited for the studio show.


NOTE: Whilst some people may indeed change their lighting specs during the tech run, this is usually on intensity, visibility and the light used. 


·         If you require props please consider what these are and mention them beforehand so we can try and source these for you. This is not always guaranteed so consider finding some props on your own. Remember: The larger and harder it is to find, the less likely for it to be provided last minute.


·         Use of music and audio is greatly restricted for both shows due to copyright. If sourcing audio, please ensure it is yours or free of use.



·         Light, colour and intensity can be used together to a certain degree. It all depends on the image and ambiance you want to create.


·         Think about the location, time, mood and main source of light.


·         Think of the products and performers on stage and the kind of visibility required.


·       If some of this makes little sense, please do not hesitate to speak with me about it.





That Morning. Ingrid. 2nd Draft

17 Jun

That morning: the girl

“I will kill, I will kill”

I looked outside and saw the toad from the pond next door whispering these words,

so I shut the window because it was kind of creeping me out.

I went to get breakfast,

greeted my mother who looked like a ripe peach this morning

then got into my car and drove to town,

I ran some errands.

When I returned, I went through the gate to the back garden.

Then I saw her there, my mother, lying faced down

in a red Atlantic on the grass.

How unusual,

no one could have looked through their windows yet.

That morning: the toad

The girl didn’t acknowledge me.

She should have. Her expression was so nonchalant

She has no idea of her guilt

and this weaved me into my torment,

made us one being.

She drove over my love’s body,

No one should ever have to see a loved one like that.

She will atone.

I will make a deal with the warlock

for the ability to destroy her.

Destroy her and make her destroy me.

That morning: the child

In the mornings, I play with the toad in the garden.

I haven’t seen his friend in a while,

they seemed to be good friends.

I think he loves her

more than my parents seem to love each other.

This morning I had to call him,

but after a while, he came under the fence

and hopped towards me.

I sat crossed legged on the floor

and cupped my hands in front of me for him to climb up.

He hopped into my hands.

It felt like we’d been sat there for a long time

This isn’t how we usually play

While he was in my hands

I saw nothing but kaleidoscope colours.

Then he decided to go about his day

Leaving some old seeds behind in my hands.

I got up, walked into next door’s garden,

went through the back door.

I climbed on a chair

And dropped the seeds into the granola.

Then I went back through to my garden,

ran my fingers through the pond water

And went to play in the sand.

That morning: the mother

I have a lot to do this morning

I looked out the window

Saw the sky looked like a pink and blue tiger

I quickly got dressed so I could get outside

Start work on the car while in the midst

of something spectacular.

The tiger disappeared, the air started to open my pores

I know my daughter will be awake soon.

I went back inside to wash my hands and

at the same time she came down the stairs,

mumbled something and left.

This was typical of her, she’ll be back soon.

I went upstairs to have a shower

Then dressed in a brick red t-shirt and

some baggy jeans before tying my hair up.

I went downstairs and poured out some granola

with soya milk and relaxed into a chair.

After a few spoonfuls, I started to feel nauseous

So I got up to check the date on the milk.

Mistake. Everything around me started to warp and spin.

Water. I grasped onto the kitchen counter

a desperate attempt to stay upright

then I dragged myself,

threw myself

over the sink

turned on the water,

then it started happening.

For some reason

I was still seeing specks of engine oil on my skin

they grew into thick blots and began boiling

and this is when I started screaming

arm in water, pain not subsiding.

I glanced out the window behind the sink

and saw my mother

who has been dead for five years

standing in the garden.

She beckoned for me to come outside

Her face more accepting than it ever was,

making me almost choke on the longing.

I stumbled along the counter to the back door

and went through to get a better look at her.

At this, her face changed and she shook her head

before brushing her finger across her throat.

I felt warmth pouring down from the new wound on my neck.

That morning: the girl continued

My gaze shifted from the windows to the floor.

In the corner near the flower bed,

I saw the toad from this morning.

Curiously, I walked in its direction.

It bravely sat there facing me.

I stopped in front of the toad, and stomped on it six times.

I didn’t realise that the neighbour’s child had been watching.

His little face red, his lip trembling

Every effort to barricade his tears.

I walk over to him,

crouch to his level, and try to tell him it’s okay.

It felt like I’d been crouched there a long time.

All I saw was kaleidoscope colours.

Then he turned and walked away

as if nothing happened.

I stood up, turned around

and saw my mother on the grass in a red Atlantic.

I collapsed to my knees, felt a stone dig in,

which made me fall onto my side.

Everything hit me like being booted in the face with New Rocks

I remember doing this to her,

How could I have done this to her?

I love her,

I loved her.

Bridie’s Stars

17 Jun

Petra Mijic SST11 draft 4

16 Jun

Recipy for Disaster

1 deceased father

1 unavailable mother

1 isolated depressed child

1 sadistic child molester

Take the isolated child

and place them in

a supposedly safe

educational environment,

and then, in an unsupervised room,

mix them well with

a covertly sadistic child molester.

Make sure to add plenty of

attention, praise and encouragement

to the accessibly vulnerable,

then take one cup full of innocence,

and begin to mould the connection,

making sure to really secure the child’s

trust in the process.

For a fuller flavour, spice well with

a clear intent of misguided direction,

allowing a good few years for the

attraction to rise

and for the attachment to settle.

At this stage, be sure to introduce a

large splash of helplessness

into the mix,

just for good measure.

Next you’ll want to decorate her fate

with a repertoire of rules.

Do not allow the child to talk.

Do not allow the child to leave.

Do not allow the child to understand.

Repeat this process as necessary

carefully folding in

convincing reassurances

and empty promises,

whilst you whisk away

those first precious moments.

Place in a searing oven,

just long enough for the realisation to

sink in,

and for the heart to break into pieces.

To ensure silence, allow to cool until

frozen in fear.

Finish your masterpiece

by coating with

a sickly sweet glaze of denial

and thick heaped layers of victim blame.

To preserve your product,

brand with a derogatory label,

whilst placing in a cold, dark, isolated


Best served chilled.

Forking Flames SST Draft 2 by BeaBop

14 Jun

In the heart of the Yucatán
is where she remembers his potency
Where the moon strokes the sun
Seeking the scent of roasted sacrifice
With claws
forking flames

Down the side of castle-pyramid, Kulkucan,
floats a dragon
13* stones high
20 memories wide
Her dragon swims down one pyramid edge
A shadowy serpent
thirsty for human sacrifice

At the belly of the mouth of the well of her
She closes her eyes to receive him
As the sun strikes the moon
his magical flourish of wings
paint red, green and purple feathered oyster scales.
He dives into a cenote, rising to stir a bloody pool of bouquet
spraying her with teasing smiles
A declaration of a 144 thousand Mayan moons

Distracted by her devious beast
She remembers rainbows and meals for two
Of tongues entwined like gold
plated onto silver-filled tacos
Of a pyramid temple they had built together
on a bed of rock and children and harvest

Then, fighting with her own fork
flaming to keep a live legend etched
at her pyramid base
seated on a solid square
She shatters insomnia,
hallucinations filling a solar flare
to pierce her dragons heart

A haemorrhage of petals are released
twinkling from a stemful of strife,
unfolding bills unpaid,
mistrusting iced-dreams
and a catalogue of biblical bleeding lies
His forked tongue created mosaic plans
Each a piece of a fragile duckshell

Now every lunar period
her dragon-spirit visits
and as the sun strokes the moon
an equator of confidence fills her
’til she stands 20 pyramids tall
to watch him dive selflessly
into the cenote
receiving the offer of his sacrifice

(*On a trip between Cancún and Chichén Itzá, in the heart of the Yucatán plains, a Mexican elder told me that Ancient Mayan culture developed the 13 month lunar calendar.  It details how 13 moons x 20 days = 260 days. This is equivalent to the gestation period of babies and that of the harvest.)

neal pike sst11 final draft

14 Jun

Bent wings skipping voice


wings   oddly  bolted

pulling my  body  in wrong directions


bramble wrapped tongue

scratched words



elders   said

it was   mainly   windless

clouds  that  took   time

i took  time to shift places



I  was diffiernt with  wings  that

Twist when walls don’t whistle warnings

chose  to  sing  with tongues  like  mine

the  word   brave  caused  my  feathers  to recede

being  pushed  backwards

against a crowd of clouds




brave  stroked  my  head  telling  me  I didn’t  have   to

do these  things  like  flying   backwards   or  singing  home written songs

I was brave for this

– – –
brave  for  not   letting   oddly  jointed  wings

fall  to the  nest

brave  for not letting my tongue

stay in its nest of thorns

brave for not  allowing

the word brave to dust

my wings

brave for flying  to  stages

brave for not shutting a mouth that
I should be without

In a world that

uses brave as



to cover

me /people

with wings that join oddly

Or sing  too  quietly

or too loudly

or spill words

that weighted their wings

SS11 3rd Draft Alex

13 Jun


Our parents are just people

he said, it scared me

that he’d come to this revelation quicker

than me. The backing track

of the past eighteen years

rolled like mouthwash down a plughole.

They didn’t mean it.

Me and him, we are not almost even.

One day hairless from the temples down,

its about being beautiful at the right times.

Me and him. Days spent paused.

I’ll be a poet and he’ll perform.

Sleep the daylight, gone

on the prowl in our flannel shirt and pearls.

I’ll take things in and he’ll pour them out,

I absorb the image,

he throws himself into the crowd.







Sorry this is late!