Wardrobe on the road

Original non-fiction-style practice text.

The theatre's wardrobe department could prepare costumes comfortably while the company performed in one building. Touring changed the problem. A different town each week promised new audiences, and the producer was enthusiastic about using the same production in several small halls. The wardrobe supervisor, Rafi, asked to visit the venues before the transport plan was finalised. The costumes occupied only six rails in the home theatre, but those rails did not describe everything needed to keep the clothes usable.

Some halls had dressing rooms too small for the whole cast. Others put the changing area on a different floor from the entrance to the stage. Quick changes that worked at home would therefore require different arrangements. The tour van had no room for the large drying frame, yet several costumes needed airing between performances. Laundry facilities varied, and a late arrival could leave too little time for washing before the next show. Delicate headpieces could not be packed under heavy boots, increasing the volume of containers beyond the rail count.

Repairs presented another difficulty. Rafi's usual sewing machine was too heavy to move easily, while the smaller substitute could not handle every fabric in the production. Local shops might not stock matching fastenings when something broke. The wardrobe assistant could join only part of the tour, leaving Rafi to manage checks and changes alone on the remaining dates. Cast members shared several outer garments, so a delay to one person's entrance could affect the next change as well.

At the final venue, the loading point lay across an uncovered courtyard. The company needed a way to move clothing through rain without arriving with damp costumes. Keeping garments in labelled order also became harder when different volunteers unloaded them each week. None of these issues made touring impossible. They did make a dedicated wardrobe schedule and packing plan as necessary as the actors' rehearsal timetable. Rafi wanted the producer to budget for that work before describing six rails as a small and easily moved department.

According to the text, summarise the problems involved in taking the theatre’s wardrobe on tour.

Use continuous writing, not note form, and use your own words as far as possible. Your summary should not be more than 120 words. Up to 10 marks are available for reading and up to 5 marks for writing.