Present Presentat ation on & Cont Continui nuity Continuity - - PDF document

Present Presentat ation

• n & Cont

Continui nuity

Co Continuity Continuity is the keyword in delivering our entertainment package. It is not simply enough to provide well delivered ‘bits’ of entertainment, it needs to be joined up, seamless and presented with continuous

• flow. This applies to both daytime and evening entertainment. Remember the 5 P’s.

“Proper preparation prevents poor performances”

• Set up any equipment, props and costumes before the start time of the event.
• A running order should be written beforehand and should outline who is going to do what and

at what time its happening.

• If the event involves other departments or external acts or guests, ensure they are aware of their

role in the evening and what times they are needed.

• Think ahead, any items that need to be bought or sought should be done so well in advance.
• Keep to time.
• If something unavoidable happens which causes a delay or change to the advertised

programme, always apologise (in advance if possible) and keep guests informed of what the new time may be.

• Avoid events starting earlier than advertised as guests may then miss the start of something.
• A perfect evening’s entertainment does not have any gaps or pauses in it.

Ro Roles During staged events each team member will have a different job to do to ensure the event runs

• successfully. It is essential you are aware of not just you’re role but also what everyone else is doing.

This will allow you to fill in if something does not quite go to plan, and also to better understand how your role fits into the bigger picture. Your entertainments manager will detail the content of the evening, but the presenter is the key person to deliver it supported by a tech (sound & light/DJ), stage walkers and stage supporters. Th The Presenter (Host/Co Compe pere): Whether presenting just one item or presenting for a whole evening the presenter is in-charge of what is going on during that time. Key tasks of the presenter are:

• Provides seamless links between each item.
• Keeps the audience informed and updated.
• Creatively introduces the different elements of the entertainment.
• Advertises forthcoming events and promotions.
• Gives clear instruction to the rest of the team about their role in the event and how the event is

going to take place.

• Keeps the event running to time.
• Checks preparation is completed prior to the start of the event. E.g. Pops, music, scenery.
• Liaises with visiting acts to inform them of their performance times and negotiates any

additional requirements they may have.

• Is prepared to ‘fill’ should there be a delay or hitch in the proceedings.
• Inspires fun, excitement and active participation by the audience.

When presenting:

• Be lively, upbeat, polite and courteous.
• ‘Know your audience’, use language suitable for the age group you are presenting to.

• Speak at a pace that the audience can understand.
• Use tone and inflection to make what you are doing sound exciting.
• Use cue-cards if you need a prompt, these should be colourful and professional.
• Remember you are there to facilitate the event not to be its star.
• Think ahead – know your event inside and out and have a plan B if it goes off track.
• If you need contestants, try and find these in advance.
• Make your contestants feel comfortable and at ease with what they are doing and give clear

instructions as to what you need them to do.

• Inject your own talent and personality into the event.

Never assume because the presenter has control of the microphone they are in a position to-: Talk down to, insult or dominate the audience, try and upstage or outdo the cabaret or make gestures or use humour that is offensive to the audience. Th The Te Tech (Sound d & Light Op/ p/DJ DJ): The tech is responsible for ensuring the sound, lighting, screens, curtains and effects are used effectively during an event. The tech may sometimes be a co-presenter with dialogue back and fore from the stage to the box. Again, prior preparation is the key to success.

• Be alert and adopt a professional manner. (Remember people can still see you in the box.)
• Check all your equipment is working before the start of the event and report any faults to your

manager at the earliest instance.

• Find out the presenters requirements at the beginning of the event and make suitable

arrangements so these can be fulfilled.

• Liaise with visiting acts for any technical requirements prior to the start of their show, e.g. you

may be operating their sound and lighting, or they may need to connect some of their equipment into the house PA. Wherever possible a sound check should be completed before the venue

• pens.
• Have CD’s/Mini Discs and other media cued in advance, remember to adjust volumes at

appropriate times between commentary, never drown out the presenter or allow silences. It is a good idea to have “underscore” music playing very quietly in the background that is suitable to the type of event.

• Issue microphones to the relevant people, check that batteries have enough charge and keep a

note of who has which microphone.

• Do not be tempted to ever heckle or upstage the presenter, No surprises – keep to the script and

follow the lead of the presenter, remember they are in control.

• Always have a back up song ready to play in the event of technical difficulties.
• Keep a pen, paper and a stopwatch in the box; you never know when you may need them.

The following are some top tips on sound and light, the list is not exhaustive and you will develop your

• wn skills throughout the season.

Lighting Ho House Lights: The simple action of turning the house lights off draws people’s attention to the stage. When house lights are on they signal to an audience that there is a break, they wash out any highlight

• r focal point of the room and encourage the audience to start talking. The use of house lights should
• nly be during Bingo or end of the evening, they are very bad for the atmosphere of a room. When did

you last visit a theatre where the house light weren’t dimmed before the performance? St Stage age Li Ligh ghts:

• When the performance starts bring the lights up.
• Use effect lights especially during up-tempo numbers.
• Pre set lighting scenes and map out a proper lighting plot for your show.
• During ballads use soft lighting and colour fades.
• Up-tempo numbers may require flashing lights and effects.
• Try and keep the focal point lit at all times, this may require a follow spot or if you do not have
• ne, assign one centre spot from your rig.
• The use of backlight can often produce interesting effects and silhouette effects. It gives the stage

more depth, also useful for a dance numbers.

• Smoke/ haze machine should be used to highlight the beams from your effects.
• If you use effects turn the main flood down or off otherwise the effect will be ‘washed out’ by the

stronger spotlights. Saf Safet ety y Not

• te:

e:

• Do Not Attempt to Re-wire or Tamper with Electrical systems – This should only be carried out by

Qualified Personnel

• Do Not Place any Drinks Or Liquid near Lighting Equipment
• Should a simple task such as replacement bulb or fuse is required make sure the power has been

switched off at the mains before attempting to replace.

• Only use proper stepladders or scaffold to reach high lights. Do not stand on tables.

TIP: High-powered spot light bulbs are supplied in a plastic skin this is so that you do not touch the glass with your bare fingers. Marks from your skin will cause the bulb to blow very quickly due to the high temperature of the bulb. Remove the plastic skin after you have placed the new bulb in the holder. Sound No matter how good the performer on stage, an unbalanced or incorrect sound will make the performer sound bad. It is critical that sound is set and mixed correctly for the successful presentation

• f every performance. We are not asking you to be expert sound engineers able to set up a working

sound system, but we do ask that once it is set you are able to operate it in a careful and consistent manner. At the start and end of an event the sound system must be powered up and powered down following the manufacturer’s guidelines to prevent damage to the equipment. If in doubt ask your manager or a more experienced team member for advice. When you turn the equipment off you shouldn’t hear a’pop’ in the speakers.

• Start with volume fader down and turn up to achieve a gradually to a balanced sound. Vocals

should always be able to be heard just above the music.

• Reverb (sometimes called echo or effects/fx) should only be used for singing and should not be

used excessively or the vocalist will sound like they are singing in a cave.

• Feedback occurs when the sound made by the speakers is picked back up in the microphone

and forms a continuous loop of sound; this may be a high pitched tone or a low rumbling noise. If this happens you should reduce the volume of the microphone till the feedback stops, and then creep the fader back up. (If reducing the microphone, you may need to bring the volume (level)

• f the music down. If feedback continues an adjustment may need to be made on the ‘EQ’ of the
• channel. This is a more advanced feature of the mixer and advice should be sought from

someone with more experience.

• Listen to the sound being produced to check both the quality of mixing and level of overall

sound is suitable for the size of the room and the amount of people in it. Generally the busier the room the louder you will need to have the music. If it is difficult to hear from where the sound position is situated ask a colleague to go out front and check for you. Look at the room, if people are starting to move away from the front rows and moving towards the back, it may be the volume is ‘pushing’ them away from the stage.

• Monitors – are speakers that usually sit on stage facing the performer rather than the audience.

It is important that performers can hear themselves on stage. You may need to adjust the level in the monitors rather than the level of the main (or house) speakers up or down dependant on the performer. Th The Stage Suppo pporter: The stage supporter is the name given to the person who assists the presenter on stage, whether passing a prize, clearing the props of one part of the competition and setting the next, writing out certificates or any other support as required by the presenter. Check the running order to see if you are allocated to assist a presenter or cabaret it is your responsibility to speak with the presenter/ cabaret beforehand to check their requirements.

• Check what props, prizes, and equipment they require, and preset these ready. Then set them
• n stage at the appropriate time.
• If you are required to get judges or contestants it is often handy if you try to find people before

the event commences to allow smooth running and avoid the embarrassment of not being able to get people.

• Always have certificates written and prizes set prior to the start of the event. Have two pens just

in case one runs out when you need to write the winners name on.

• After the event has started remain alert and professional to what is happening and to respond

immediately to any impromptu commands the presenter may give you.

• Never keep a presenter waiting for props or prizes.
• If you need to move around on the stage remember to always cross behind the people on stage

rather than in front of.

• Never heckle or upstage the presenter. Remember they are in control of the event.
• Ask the presenter where he/she would like you to be during their event. E.g. onstage, off stage,
• n dancefloor.

Th The Stage Walker: Stage walking is something generally done by anyone not presenting, teching or stage supporting an

• event. Where you are positioned will be dependent on the type of event taking place. The main element
• f this role is to lead the audience’s reaction, encourage participation and keep the performance area

clear/safe during events. Competitions, jingles and ‘presented’ items. Any team members on stage walk for competitions, jingles being played or whenever a presenter is on stage should stand on the dancefloor, back to the stage, facing audience, with equal team members left and right, stood smartly and upright with hands clasped behind your back. During the event you should:

• Laugh, applaud and respond in the right places.
• Help contestants on and off the stage.
• Collect contestants if requested by the presenter.
• If on stage walk during Talent Show you should support the performer. If it is an up tempo

number you should encourage the audience to clap along, and slower numbers perhaps lead a

• sway. Whatever you do should be done identically by each member of team on stage walk.
• Encourage guests not to cross the dancefloor during the event.
• Look attentive with good body posture, try not to switch off – remember the focus of what is

going on may not be with you but the audience can still see you.

• You may be used as a gofer for the presenter so always be aware of their needs.
• Never obstruct the speakers – to avoid damage to your ears.
• Never leave stage walk unless it is and emergency or at the request of manager or presenter.

Ca Cabaret Spotting You will be required from time to time to keep an eye on the dance floor so that any children that should stray on can be quickly encouraged to sit back down with parents/guardians. When you do this remember to keep a smile and be polite and friendly at all times even if it is the fifth time you’ve had to move the same child. If you do have a persistent child, try and identify their parents to get their help with the child. Dependant on the type of cabaret it may be worth a try befriending the child and getting them to sit on the edge of the dancefloor next to you. Be Before caba baret starts an n anno nnounc uncement nt is made de to keep p chi hildr dren n off the he da danc nce floor du during ng caba baret. Place a chair on the edge of the dancefloor in a position that best allows you to see guests approach the dancefloor, but does not obstruct the view of guests. Keep an eye out for adult guests that are trying to cross the dancefloor to get to the toilets or bar. Be polite and courteous and give direction on getting to their destination using an alternative route. You will, on occasion, encounter a guest that will not have any regard for your instructions and quite brazenly cross the dancefloor without any care for the experience of other guests. You should never become confrontational with this type of guest and should call for support from your manager or security team should the guest become rude, offensive or violent. Many of our cabarets return on a two-week cycle and as the season progresses you will get to know their act. Bear in mind that you are still in the spotlight and it is easy to look bored. Try and lead the applause and maintain interest in the stage performance. The act will soon notice if you ‘switch off’ and could be construed as discourteous to their performance.

Fl Flow

• w cha

hart examples of

• f br

bringi nging ng an n eve vent nt on

• n and of
• ff

Pr Prizes and nd Pr Present ntation

• n

During the course of a week we will give away many prizes for various competitions. These range from bottles of bubbly, badges, certificates, trophies, toys and other Away Resorts branded items. The way you present a prize directly affects its perceived value! Do not de-value any prize (even a certificate) by awarding it for silly reasons for example ‘Big Mouth of the Week’. Humour walks a fine line and this type of award can also lead to upsetting the guest receiving it. NEVER criticise the quality of a prize, the perceived value of it is due to the overall presentation not its cash value. Over a period of time you will become used to giving away prizes and it is only natural that you may become complacent and unimpressed by what we give away: “A “After all a certificate is only a piece of paper! – Is Isn’t t It? It?” A certificate is recognition of achievement. To a child who wins a competition it is the proof of their

• accomplishment. They will put it on their bedroom wall, show their friends and keep it as a reminder of

their very special holiday. They have been designed by a professional designer to ensure that they carry the right company branding messages. “A “A bottle of bubbly – its its only ly cheap plo lonk! – Is Isn’t t it? it?” Again, it is not the monetary value of the prize but the representation of achievement by the contestant. You will be amazed, if presented in the right way, by what you can get a contestant to do to try and win this ‘token’ of their success.

Ti Tips ps on pr prize pr presentation:

• Always display prizes in the best way possible. If you are using a table, have a table cloth

smartly on it and stand the prize so it is facing the audience rather than lying flat.

• If awarding bubbly, put it on a tray with 2 glasses and some ribbon to dress it up.
• Write out certificates in advance with as much information as possible – if you need to sign it,

sign it from ‘the team’ rather than yourself.

• Use block writing rather than joined up in a nice pen such as a Sharpie. Don’t use a pencil or felt

tip.

• If in doubt about the spelling of names don’t guess, if convenient ask the contestant, or leave it

blank, present the certificate and go over with a pen later to fill the name out.

• When presenting, the stage supporter should pass the items to the presenter to give to the

contestant, who should do so with it facing the audience. Pausing briefly just in case mum or dad has a camera or indeed if you have a park photographer that wants to snap a shot.

• Use fanfares or other appropriate music to support the presentation and/or visuals on your

screen.

• Gain agreement from your entertainments manager about how many prizes and certificates you

can give away each week. Your park will be issued with a set number of prizes at the start of the season that should be allocated week by week to ensure you do not run out before the end of the

• season. Always keep a couple back for ‘just in case’ and allow for extra prizes to be given out

during peak weeks and school holidays.

• Don’t give prizes out like sweets. If you have four contestants, perhaps give each contestant a

certificate for participating but give the winner the prize to place more emphasis on it.

• Finally always make sure you have enough prizes and certificates for the number of contestants
• n stage. There is nothing more upsetting for a young person to be the one ‘left out’ after

everyone else gets theirs.

Ba Basic Stage Terms ms For reference and to help you understand some of the words and phrases we may use from time to time we have included a list of the most commonly used ones. This is not an exhaustive list, just the basics. AP APRON: The extension of the stage that projects out in front of the curtain. BA BACKDRO ROP (b (backcloth): ): A cloth hung behind the acting area to hide the backstage and to mark the back of the area where the performance takes place. BL BLACKOUT: A shutdown of all lighting to complete darkness. CH CHASE: Lights or groups of lights which are flashed on and off in a continuous loop. CR CROS OSSFADE DE: A lighting action in which a particular light cue fades down as the next light cue fades up. DOW DOWNSTAGE GE: The area towards the front of the stage, closest to the audience. FAD ADE: To increase or decrease the intensity of a stage light FO FOC or FO FOT: Front of Curtain or Front of Tabs – means the performance is taking place in front of the main stage curtains, usually with the curtains closed. HOUS HOUSELIGHT HTS: : The name given to the lights in the main auditorium, not the stage lights. OF OFFSTAGE GE: Any position on the stage floor out of sight of the audience. ON ONSTAGE GE: Any position on the stage within the acting area. ST STAGE LE LEFT FT: The left hand side of the stage as it is when you are looking out to the audience. ST STAGE RIGHT: The right hand side of the stage as it is when you are looking out to the audience. TA TAB B CURTA RTAINS (TA TABS BS): The main curtains between stage and audience. TA TAB B WARM RMERS ERS: Light on the front (or house) curtain before the beginning of a show. TA TABS BS (CURTA RTAIN): The main curtains between stage and audience. TREA TREADS: Steps to get on and off the stage. UP UP STAG AGE: The area of the stage towards the back, away from the audience. WI WINGS: Offstage spaces to left and right of the acting area.