Prospectus for
Project Wordsworth: Shenzhen, China
PROJECT DESCRIPTION AND SCOPE
Project Wordsworth is the completion of the performance-ready fully orchestrated version of Don “Orfeo” Rechtman’s dramatic oratorio, based upon Wordsworth’s “Intimations of Immortality,” and its performance in Shenzhen, China in late 2024 or early 2025. The piano-choral version was premiered in Boulder, Colorado on May 11-12, 2002, in a concert of Mr. Rechtman’s music that featured more than 60 performers.
- The current Project provides the means for the presentation of the fully staged operatic version of the work.
- This Prospectus presents the justification of and requirements for funding, and the methods for acquiring funding for this Project.
One or more sponsors will fund this Project in part or in full. Upon receipt of sufficient sponsorship, Mr. Rechtman will complete the orchestration and oversee its premiere performance in 2024-25. The performing forces will include four vocal soloists, a chorus, an orchestra, two child lead dancers, four lead adult dancers, corps d’ballet including adults and children, scenery, costumery, props, multimedia slide projections, and lighting. It will be the featured part of an evening of additional music, including a short choral ballet by Mr. Rechtman. The performance will be the featured project celebrating the recent opening of the Shenzhen Opera House.
PROJECT OBJECTIVES AND CONDITIONS OF SATISFACTION
This Project is community oriented, meaning that it is committed to both providing quality music to the community as well as involving the community in its production. As detailed below, in addition to composing, directing and overseeing the final production, Mr. Rechtman will make himself available to the community for purposes of instruction and performance. He will also, as detailed below, involve as many businesses and individuals as possible in the production.
The completion of the Project includes the performances, the publication of the work, and a follow-up to assess the strong and weak points of the Project and the future and planning of subsequent projects.
PROJECT PLAN AND APPROACH
The following is a start-to-finish description of the Project.
Startup Phase
- Mr. Rechtman will establish a relationship with a “fiscal agent” (“Agent”) for his efforts to complete the orchestration of the work. This sponsorship will allow Mr. Rechtman to solicit funding from sponsors. An agreed upon window of acceptable time to attain the targeted funding will be established. The Agent may require a certain percentage of the total funds accrued to cover its administration expenses.
- Mr. Rechtman, with or without the Agent’s assistance, will solicit the equivalent of 20 (twenty) sponsoring units of 4,000RMB each, with a targeted total of 80,000RMB. This funding will be sufficient to support Mr. Rechtman during the Project’s four-month duration. This window will begin upon reaching the targeted total. All moneys are payable to the Agent, who in turn will pay Mr. Rechtman all of the moneys less Agent’s fees if any, or will pay Mr. Rechtman monthly proportionate amounts of the moneys less Agent’s fees if any.
- If the targeted total is not reached within the specified time frame, all sponsors have the option of having their moneys returned from Agent without penalty, nor will any financial penalty be attached to Mr. Rechtman.
- Upon commencement of the Project, Mr. Rechtman agrees to make the musical scores publicly available on his personal website on a weekly basis. He will also host a weekly one-hour live stream via WeChat (Weixin) and Zoom to provide an opportunity for people to observe the orchestrating in progress.
- During the Project (up to the final three weeks prior to the performance at Mr. Rechtman’s option), Mr. Rechtman will be available for no additional stipend for public performance and presentation to public and civic organizations and schools in the Greater Bay Area at least twice a month.
- During the Project (up to the final three weeks prior to the performance at Mr. Rechtman’s option), Mr. Rechtman will accept one to three music students on full scholarship. The student(s) will have from one-half to one hour’s private instruction from Mr. Rechtman per week, and may be asked (but not required) to assist Mr. Rechtman with various aspects of the Project, including but not limited to music and rehearsal tracks preparation, and participation in the production.
Implementation Phase
- Within the first month of the Project, Mr. Rechtman will work with the Association to establish an organizational structure and will utilize in part or in full existing organizational structures, including other existing arts and performance organizations. The roles of marketing, finance, venue(s) establishment, stagecraft, multimedia coordination, community coordination and other non-musical production administrative responsibilities will be delegated within the structure. Mr. Rechtman’s primary responsibilities will then be limited to those of General Director, Music Director, and those functions described in paragraphs 5 and 6 above. (All preceding and the following notwithstanding, Mr. Rechtman is willing to release components of his non-compositional responsibilities described herein if appropriate established organizations are willing and able to take over such responsibilities.)
- The Community Coordinator will assist in acquiring both business and individual participation as part of the Project’s focus on community enrichment. For example, flowers are an integral part of the production, and florists in the area may be asked to provide the required flowers in exchange for appropriate publicity.
- Mr. Rechtman will assist in the selection of a choreographer within the first three months of the Project, and in her selection of the corps d’ballet.
- Mr. Rechtman will assist in the selection of a Multimedia Coordinator within the first three months of the Project, and in her planning of the photos and media visuals necessary for the production.
- Mr. Rechtman will arrange for the necessary supporting musical staff within the first three months of the Project, including but not limited to Chorus Master, Librarian, Stage Director, Orchestral Stage Manager, and Prompter.
- Mr. Rechtman will arrange for appropriate auditions, including the auditioning panel, to take place within the first three months of the Project.
- Mr. Rechtman, in conjunction with the assigned librarian, will provide vocal-piano scores to the soloists and chorus members. They will also provide MIDI-generated MP4 recordings, which will be tailored for each individual choral voice. The recordings, used in tandem with the scores, will dramatically reduce the amount of rehearsal time necessary for the production.
- Mr. Rechtman, in conjunction with supporting staff, will establish a rehearsal schedule, and schedules for the Project’s follow-up activities.
TEAM STRUCTURE
The production staff may be based upon the following chart, but is not necessarily held to this model:
TITLE |
DUTIES | SPECIAL SKILLS AND KNOWLEDGE |
Producer (may be co-produced with Don Rechtman) | · Coordinate all staff · Supervise budget · Supervise technical organizations · Coordinate and plan production schedule · Mediate crises | · Organization · Responsibility · Practicality · Sensitivity · General artistic experience · Negotiation skill |
Stage Director | · Hold all non-singing and non-dancing rehearsals · Coordinate singing and dancing rehearsals · Hold all combined rehearsals · Define the basic look of show · Collaborate with other directors · Develop/encourage acting performances · Fit all the pieces of the show together | · Experience in theatre · Organization · Imagination · Sensitivity · Ability to work with actors · Ability to communicate clearly with staff |
Music Director (Don Rechtman) | · Supervise all musical aspects of production · Plan and organize all musical rehearsals · Arrange for accompanist · Arrange for orchestra | · Knowledge of music · General knowledge of musical theatre · Organization |
Conductor (Don Rechtman) | · Conduct the orchestra in rehearsals and performance | · Read music · Conducting skills |
Chorus Master
| · Teach songs to singers | · Musical skills · Ability to work with singers · Ability to teach music |
Dance Director (Choreographer) | · Design dances · Teach dances · Rehearse dancers · Supervise all “movement” (if agreed) | · Knowledge of dance · Ability to teach · Patience · Ability to visualize dance in groups, not solos |
Multimedia Coordinator | · Create photographs and AI visuals for multimedia portions · Acquire and manage projection equipment | · Photography skills · Ability to coordinate the showing of slides on queue |
Scenery Designer | · Plan all scenic elements · Provide drawings for all scenery to be constructed · Supervise construction and/or painting of scenery · Arrange rentals where used. · Shop for scenery materials | · General artistic imagination · Knowledge of stage scenic practice · Organization · Dependability · Graphic drawing |
Costume Designer | · Plan all costume elements · Provide sketches, patterns, or directions as needed for costume construction · Shop for costume items and material · Oversee costume construction · Arrange rentals where used | · General artistic imagination · Knowledge of costume and clothing techniques · Organization · Dependability |
Lighting Designer | · Plan all lighting elements · Arrange for all lighting equipment · Plan light cues · Rehearse light crews | · Knowledge of field · Organization · Taste · Ability to coordinate with others |
Sound Designer | · Prepare all sound effects · Plan microphones and sound reinforcement system for production · Arrange for all necessary equipment | · Knowledge of field · Ability to coordinate with others · Organization · Dependability |
Prop Master/Mistress | · Procure all props · Design props not designed by scenery designer · Find and arrange for purchased, borrowed or rental prop items · Organize and supervise prop crew | · Taste · Knowledge of community resources · Organization · Ability to work with others · Responsibility |
Stage Manager | · Maintain schedules · Keep track of the performers · Prepare prompt book · Coordinate backstage crews, equipment, scenery, and so forth. · Attend all rehearsals · Schedule running crews as needed · Organize all backstage elements · Call cues for show in performance · Establish all operating procedures for performances · Supervise all aspects of actual performance · Coordinate information from all directors and producer · Inform cast of all necessary information | · Organization · Responsibility · Imagination · Even temper · Legible handwriting · Ability to read music score · Ability to get along with people |
Technical Director | · Supervise all technical aspects of stage · Coordinate all technical aspects of production · Organize, schedule, and supervise all construction and installation of equipment, scenery, and so forth · Organize light, sound, and scenery shifting crews (usually) | · Detailed knowledge of stagecraft and electronics · Detailed knowledge of facility · Responsibility (On rented stages, a TD often comes with the building; other groups will appoint a production TD just for the show itself) |
Rehearsal Accompanist | · Accompany all singing rehearsals · Accompany all full rehearsals prior to orchestral arrival · Accompany or provide rehearsal tapes for dance rehearsals | · Piano skill · Reliability · Patience |
Business Manager | · Keep all financial records · Sign checks · Issue purchase orders (if used) · Set up box-office procedures · Supervise ticket sales · Record and deposit all funds earned · Report on financial status to producer and/or board regularly | · Bookkeeping skills · Honesty · Reliability · Organization |
Publicity Director | · Plan all publicity for show · Arrange advertising · Arrange photos, stories, interviews, and the like · Arrange for posters, programs, and so forth | · Familiarity with local media · Reliability · Ability to project positive image · Familiarity with graphic arts |
Community Coordinator | · Liaison between community businesses and individuals and Prop Master and Publicity Director · Involve community to participate as providers of goods and services, such as transportation, parking, prop supplies, etc. | · Familiarity with community · Diplomacy |
House Manager | · Arrange for ushers · Supervise ushers and house staff during run of show · Open and close house during run · Supervise intermission sales (if used) | · Reliability · Organization · Familiarity with resources of community and organization |
Box Office Manager | · Organize box-office operations · Arrange box-office staff as needed | · Reliability · Honesty · Ability to deal with public |
Assistant Music Director (Chorus Master?) | · Take notes for director · Rehearse small groups as needed |
|
Assistant Dance Director (Dance Captain) | · Drill dancers in routines · Dance training | · Patience · Ability to teach |
Assistant Stage Manager | · Assist Stage Manager as needed · Reliability |
|
Wardrobe Master/ Mistress | · Supervise all finished costumes · Unpack, store, and return rental items · Organize costume areas backstage · Organize costume changes · Arrange for cleaning and emergency repairs of costumes | · Organization · Basic sewing skills · Ability to deal with others |
Master Carpenter | · Supervise all scenery construction · Supervise all packing and unpacking of rental items | · Carpentry skills · Familiarity with stage practices · Organization · Instructional skill |
Stage Crew Head (often the Master Carpenter or Stage Manager) | · Organize scene changes | · Organization · Reliability |
Board Operators | · Operate light and sound boards during run of show |
|
Makeup Director | · Organize makeup of cast · Supervise wigs · Instruct cast in makeup techniques (where necessary) | · Knowledge of makeup techniques |
Construction Crews | · Build scenery, costumes, props as needed | · Craft skills |
Running Crews | · Operate backstage during shows as needed (stage crew moves scenery, prop crew moves props, and so forth) |
|
Ushers | · Take tickets at door of auditorium · Provide programs for audience · Help audience find seats · Help maintain organization of house areas during show | · Pleasant appearance |
Ticket Sellers | · Sell tickets · Staff box office as needed | · Honesty · Meticulousness · Pleasant appearance |
Composer (Don Rechtman) | · Create and notate music, including music for words, overtures, and arrangements · Work with directors to adjust music as is necessary · Work with Librettist(s) | · Musical skills · Compositional skills · Creativity · Ability to set words to music · Ability to take criticism |
Orchestrators (Don Rechtman, Daniel Kim) | · Orchestrate piano/vocal score · Work with directors and performers to adjust music as is necessary | · Musical skills · Compositional skills · Creativity · Ability to take criticism |
Chart modeled after Basic Production Staff for Musical, Table 1, pp. 84-87 in "Staging the Musical," by David Grote (© 1986 by Prentice-Hall, Inc.).
PROJECT BUDGET (hypothetical)
The following expense and revenue lists are very loose guidelines for planning, and the numbers will depend greatly upon the ultimate availability of funds and of the actual costs discovered during research. It is based upon two weekends of performances (Friday and Saturday evenings, and Sunday afternoons) for a total of six performances.
EXPENSES (in RMB)
ITEM | IN KIND | REAL |
Don Rechtman | 40,000 | 80,000 |
Orchestra: by 2’s, plus harp, glockenspiel, chimes, BD, and gong. Six performances @ 2 hr. ea.; Three rehearsals and a Dress at 2 hr. ea.; calculated at 6,000 per hour. | 120,000 | 4,000 |
Chorus: 24+ voices. There is male and female divisi. Chorus members participate in action on stage; dance is not a requirement.
| 50,000 | 2,000 |
Soloists: Four vocal soloists. The soloists participate in the action on stage. The addition of acting only is required; dance is not a requirement. (Soloists may also participate in the chorus.) Est. time per soloist, including performances: 40 hrs.; calculated at $25 per hour. | 8,000 | 1,000 |
Dancers: |
|
|
Soloists: | 1,000 | 200 |
Pas De Deux: | 6,000 | 1,000 |
Ensemble: | 8,000 | 1,000 |
Additional dancers for Twilight and Night: |
|
|
Two Children | 800 | 200 |
Photography: Devastation scenes and 13 pictures of the life cycle (may be AI constructed). |
| 4,000 |
Stage: Orchestra pit. |
| 4,000 |
Scenery: As simple as painted murals; ideally full stage with oak tree SR, maypole SL. Tree can also be in relief on USR wall. Backdrop may be AI constructed. | 20,000 | 6,000 |
Costume: Everything from the very simple to the exotic works. Tibetan participants may wear traditional dress. | 12,000 | 3,000 |
Supporting Staff (house, administrative, etc.) | 50,000 | 2,000 |
Reception food and decor | 4,000 |
|
TOTALS | 323,400 | 109,200 |
REVENUE
ITEM | IN KIND | REAL |
Earned Income (ticket sales, 1800 tickets @15 = 27,000; Program ads for sponsors = 500 |
| 27,500 |
Programs and printing | 4,000 |
|
Music Director Fund |
| 80,000 |
Other Grants: TBD | - | - |
Props (flowers, etc.) | 4,000 |
|
TOTALS | 8,000 | 107,500 |
Contact Information
Don “Orfeo” Rechtman (唐瑞民)
16C Star Pavilion, Phase II, Wanshida Mingyuan, Taining Road, Luohu District, Shenzhen, Guangdong, China 518001
广东省深圳市罗湖区太宁路万事达名苑二期明星阁16C
518001
Phone (China): (+86) 135-2889-6144
Weixin (WeChat) name: oorfeo
don@orfeomusic.org
Updated 6 August, 2024