Words by Katia Schwartz | Photography by Tom Wilkinson and Mia Maraschino
Producing your own act is a daunting task for seasoned professionals and beginners alike. There are so many aspects of act creation that needs to be considered and planned before it hits the stage. Once you’ve created and practiced choreography, designed, sourced and have your costume and props on hand – now what? What lighting will compliment your costume and concept? What does all that complicated stage jargon mean? How will the emcee introduce you to the crowd? What information does a producer need to know about your act so that it runs smoothly? Put the kettle on and sip on some tea, because this week I’ve put together a sweet little info-pack for all the babes out there wondering “now what?!”.
Accessibility
Accessibility refers to how a performance or event is accessible to people of different access needs. For example, having an Auslan Interpreter will provide access for Deaf people to attend the event. Elements of the venue such as ramps, bathrooms and rails will provide access for people with mobility aids and wheelchairs. Having an event with accessibility feature promotes inclusivity.
Acknowledgement of Country
An Acknowledgement of Country is to acknowledge and respect the Traditional Owners and ongoing custodians of the land. In Australia, these custodians are the Aboriginal and Torres Strait Islander people. Acknowledgement of country is different to Welcome to Country, which should only be delivered by Traditional Owners or Aboriginal and Torres Strait Islander people who have been given permission by Traditional Owners to welcome visitors to their Country. This information has been sourced from here.
Photography by Mia Maraschino of Dahlia’s Vixens class performing at Glory Box.
Auslan Interpreter
An Auslan Interpreter is a qualified individual that produces a live interpretation of English into Australian Sign Language. You can read more about Auslan Interpreters (scroll down the bottom) in my Dancing Deaf Blog Post a while back.
Curtain Call
The Curtain Call occurs at the end of the event, where all of the performers are asked to come onto the stage for applause (wearing either their costumes or a cocktail outfit).
Door Bitch
A ‘Door Bitch’ is the person that welcomes patrons to the venue, handles door ticketing purchases and scans pre-purchased tickets.
Doors
Doors refer to what time the doors will open for the audience to enter the venue. This is before the time that the actual show starts.
Emcee
The Emcee is the person that narrates the performance evening and introduces each performer.
Entrée Act
The Entrée act is a performance that occurs before the actual show takes place. This is common for longer “dinner and show” events where there is a mini performance (or roving) taking place while the audience is being seated.
Green Room
A Green Room is the backstage space where the performers leave their belongings, get changed and hang out before performing.
The beautiful Kittyhawk performing at Glory Box. Photo by Mia Maraschino.
Headliner
The Headliner is a performer who is an experienced, well-known performer that is used to attract people to attend the event. There are often a number of Headliners (not just one) and if so, they are usually placed before/after intervals and may be the closing act.
Intermission
An intermission refers to a break in the performance evening where audience members can go and grab a drink from the bar, use the bathroom etc. without interrupting the show. In larger events, there is usually more than one intermission.
Line Up
The Line Up refers to the list of acts that will be performing at an event.
Pickup
Pickup refers to what the Stage Kitties need to pick up after the performer’s act takes place. For example, collecting bits of costuming that the performer takes off, the clean up of confetti or other messy items and the removal of props.
Pop a Pastie
The term “Pop a Pastie” refers to a performer losing a pastie during a performance. Often the sticky backings of the pasties will come off with sweat during a show, exposing a performer’s nipple! Often performers will say to one another before they go on stage, “Pop a Pastie!” which means “good luck” (similar to “Break a Leg!”).
A photograph of my Eroticesque class backstage before performing their first show!
Producer
The Producer of the show is the person or company that takes all of the financial risk and are the creator of the show. They organise, promote and facilitate all aspects of the event before it takes place. It is also a Producer’s job to screen the acts, make sure all of the music and information from the performers is handed in on time. They also create the run sheet and liaise with the venue. During the event, the Producer’s job is usually to sit back and allow the Stage Manager to organise and manage the event.
Prop
A prop is an inanimate object used to aid in portraying the concept of a performance. There is such thing as human or animal props, where the performer dances with a person or perhaps uses a live snake in their performance.
Rigger
A Rigger is the person responsible for the aerial rigging for the evening. They are responsible for checking the aerial equipment, drawing the apparatus back and forward during the night and also putting up the equipment to begin with!
Roving
Roving is a type of improvised act where a performer remains in character and is part of the crowd. Often Roving performers are actors that add to the concept of the evening, by interacting with audience members. Think showgirls fluttering feathers by the bar, or even spooky ghosts scaring patrons at a Halloween showcase!
Run Sheet
The Run Sheet is a document that outlines the time and order of each act for the event. There are often different types of run sheets created for the different people working at the event. For example, the emcee may have a different run sheet (with performer bios included) to the Sound and Lighting tech (which doesn’t have bios, but has lighting specifications instead).
Setup
Setup refers to what is required to be setup for the performer prior to them going on stage. For example, some performers may need assistance with placing tricky elements of their costume on that won’t fit through the backstage door, or perhaps there is a large prop that needs to be placed on stage. It can also refer to what needs to be done to the pole or any special addition to rigging (ie. a foot-loop on a Lyra).
Sound/Light Tech
The Sound and Lighting Technician can either be one person who does both duties, or in larger shows a separate Sound Tech and separate Lighting Tech. The Sound Tech is responsible for the music of the show (making sure the songs match the performer’s act and so on). The Lighting Tech is responsible for crafting and programming the lighting of each act (making sure the performer’s lighting choices come to fruition).
Me taking a back-stage selfie in the Green Room at the Vanguard in Newtown.
Stage Kitty
Stage Kitties are the incredible babes that set up props on stage and help clean up the stage between acts. A Pole Kitty is someone that will climb, clean and prepare the pole with any grip aids that the performer wishes.
Stage left/right
Stage left and stage right refers to the sides of the stage in which the performer is standing when facing the audience.
Stage Manager
The Stage Manager is the boss babe of the evening. The Stage Manager is hired by the producer to make everything on the evening run smoothly. They make sure that acts run on time and people are lined up and ready to step onto stage. They work with the venue staff, Stage Kitties, Performers and Producer to organise and manage all of the staff, equipment and people movement of the day. In short, have a problem – find your Stage Manager.
Start ON/OFF
Starting on stage refers to a performer who wishes to have their music/act begin when they are positioned and ready to dance on the stage. Starting off stage refers to a performer who wishes to have their music start before they enter the stage.
Tech Run
The Tech Run is a rehearsal before the show takes place. For most shows, the tech run usually takes place a few hours before the event. Not all shows have the space and time for a tech run. Performers will have a chance to walk or dance through their act, while the sound and lighting technicians program the lights and test the music for each performer. There is usually a separate Run Sheet provided for Tech Run, and it may not run in the same chronological order that it will for the real show.
Usher
An Usher is a person who assists with getting the audience members seated in the correct seats and assists with any accessibility requirements.
This is a perfect example of how red lighting can achieve a dynamic, powerful and passionate effect in Eva Devore’s performance. Photo by Mia Maraschino at Glory Box.
When asked to provide lighting for your performance, often people have no idea what choice to make, how to articulate what they want… or in more concerning cases – what is lighting in general? Lighting is incredibly important for the conceptualisation of your performance. It creates mood, enhances your theme and should be designed to compliment your movement and costume. Lighting can make a dramatic difference to the level of professionalism that your act portrays.
This is when back-lighting can look incredibly effective. Can you see how the lights behind the dancers (facing the audience) are turned on, and the lights at the front on the ground are very low, creating a ‘silhouette’ effect. Photo by Mia Maraschino of my Eroticesque class performing at Disrobed.
I often have a lot of people include “general lighting only” in their stage specs – meaning that I have to make this very important choice for someone else’s act. As a producer, this choice shouldn’t be up to me. Regardless, people always want to make changes after they leave it to me, for example “No! I don’t want amber… I wanted general lighting. I wanted Blue!”. Always be specific in what colours you want with your lighting. Seriously consider your costume, music and overall vibe that you want to create and what colours you think would be complimentary.
Green – Green lights give off a creepy, witchy vibe if they are back-lit (meaning that the front lights pointing into the stage are turned off/low and the back-lights facing the audience are turned on, giving a silhouette look). Green is often represents concepts of growth, freshness and fertility!
Blue – Blue Lights are ethereal and emotive. Often meaningful, emotional and captivating performances have blue lighting. It can convey sadness, but also a sense of connection and acceptance.
Red – Red lighting is extremely powerful and dynamic on stage. Red embodies concepts of energy, passion, strength and desire. Often lighting builds up to ‘red’ when there is a dramatic change in the music or concept. This is because Red alerts the human eye more quickly and has more impact as it represents “danger”.
Pink – Pink lighting has a softer effect than red as it’s a gentle colour that represents tenderness, love and femininity. Pink lighting is a great colour to use in the “verses” of your routine, in the soft parts of your choreography as opposed to the dynamic chorus-lines.
Purple – Purple lighting is one of my favourites because it’s “strip club” lighting, meaning that it makes your skin look flawless and smooth. Purple lighting is seductive and magical, and always conveys a sense of mystery and intrigue in a performance. Being a mixture of blue and red, it’s colour psychology combines the dynamic of both colours – it has the stability and connective qualities of blue, and the passionate and energy of red.
Amber – Amber is a mixture between a yellow and orange stage-light. It has a gold-like effect and it’s warm in nature. This colour is the closest you’ll get to “normal lighting”. Amber lighting is great for stimulating energy. For example Amber would be a great colour to use before it quickly flashes to Red in the chorus. Because Amber is a warm colour, it attracts positivity, joy and is attention-grabbing.
Articulating how and when you want your lights to change and take effect is also important to include in your lighting specifications. A common faux-pas is when people try and describe colour changes in the form of, “when the lyrics say *something*, I want it to change to Red lighting”. I’d like to take this opportunity to remind everyone that I am Deaf. So if you want your lighting to go “Red” on some lyrics that I have no chance in hell hearing – prepare to have your lighting diabolically wrong. The best and most accessible way to articulate changes to your lighting is always with time-stamps. Sound and Lighting techs look at time-stamps because they have the music often synced with the lights.
Here is an example of a great way to present your lighting information. This is actually my lighting for my “Freak Me” Sexy Auslan Performance.
“Strip Club Lighting” Purple and Pink (No Amber or Red)
0:00 - 0:13: Backlit in Pink (dark)
0:14 - 0:43: Pulse in Pink (front lights on)
0:45 - 1:11: Purple
1:12 - 1:40: Pulse in Pink & Purple
1:41 - 2:06: Purple
2:07 - 2:40: Pulse in Pink
2:41 - 3:06: Backlit in Pink (dark)
3:07 - 3:35: Pulse in Pink (front lights on)
3:35 - 4:10: Pulse in Pink, Purple & Blue
4:10 - end: Backlit in Pink (dark) to black
As you can see, I haven’t included too many changes and I am very clear in my colours and what I want the lights to do (ie. Pulsing). I have also included an overall lighting effect “theme” at the top, just in case the venue doesn’t have capabilities to change the lighting. I have also included briefly what I don’t want.
An example of “strip club lighting”, a mixture of purple and pink hues for my sexy Auslan performance at Glory Box photographed by Mia Maraschino.
How will the Emcee introduce you on stage?
How the Emcee will announce you on stage needs to be well considered. You want to use that opportunity to introduce yourself and your ‘performer brand’, as well as give the audience a taste of your show without giving too much away. It’s important to send through exactly what you'd like the emcee to say on the night, and that it’s in third person (ie. Don’t say “My name is Katia, I am performing for you tonight”). They may not be able to quote you word for word as often emcees wish to sound more natural, but it will give them an idea of what content you’d like them to include. Despite this, please ensure your announcements are always spelt correctly and make sense in terms of grammar.
Usually, the announcement includes a little bit about you as a performer, an intro into your act or even a fun fact. Don’t make this too long and drawn out, a couple of sentences is perfect!
Here is an example of an announcement that I wrote for my “Freak Me” Auslan performance.
Smooth, silky and sensual, Miss Katia Schwartz is the hypno-teasing siren of the sky. As a Deaf artist, Katia remembers every count and pattern of the song, the placement of her moves and relies on vibrations as cues. She says, “Being Deaf is my Superpower”. In this act, Katia returns to her exotic roots of performing pole, and reveals how being Deaf can be sexy as fuck.
What does a producer need from you?
Before the big event, the producer of the show will need some information and specifications from you to aid in marketing the event and allowing it to run smoothly. This information and specifications will usually have a deadline, which is incredibly important to respect as it’s quite difficult for a producer to chase people up for things, especially when there’s a lot of performers on the evening.
Every producer will have a different list of requirements that you will need to send through. However here is a list of things that I usually ask for when producing events:
1. Your stage name.
2. Your phone number.
3. Your email address.
4. The name of your song(s). Please let the producer know if your song has any 'talking' parts as this will need to be interpreted in Auslan on the evening (if they have an Interpreter). If so, you need to provide the exact lyrics for the interpreter to study before your show.
5. An MP3 file of your song, attached to the email (NO Spotify or Youtube links).
6. Starting ON/OFF stage.
7. Lighting Specifications.
8. Act Description- what happens in your act.
9. Costume Description.
10. Any Props used, and whether or not these need to be placed onstage / taken offstage for you. Please include whether or not you will be stripping off clothing (that will need to be picked up by stage kitties.
11. Apparatus or Genre (ie. Pole, Lyra, Burlesque, Silks ETC.)
12. Announcement for the Emceeto call out on the night.
2. Promotional photo and any photography credits(this should be a professional photograph).
I’d also like to note, that it’s important to read all of the information that is provided to you by the producer before you ask any questions. It’s also important to respect and understand the preferred method of contact that the producer has outlined to you. I often let my performers know that I don’t like to be contacted via Facebook messenger regarding questions for the show. I prefer to communicate via email and also through the private Facebook group for the event. Some producers may prefer to be contacted via Facebook! It’s always important to follow instructions given to you by the producer so that you can get your answers quickly and have the planning process of the event run as efficiently as possible.