“Tapestry Tampa Bay – The Concert” Tech Specs & Rider

Winner of a Global Music Award!

For guidance only. Details are subject to individual promoter agreements.

Play video and listen to Tapestry Tampa Bay as you read these specs & rider
  • 7 original compositions
  • 85 uninterrupted minutes
  • Solos, chamber ensembles, small orchestra
  • Onstage chat with sponsor and/or charity
  • Stage & lighting plots, equipment, sound, rehearsal needs in detail
  • “Totally refreshing and enjoyable. Please do it again.” -Ron
    “What a wonderful surprise. I hope a tour comes out of this.” -Jill
    “Absolutely inspiring.” -Bill
    “I love the stories, and then the music plays them out.” -Vanessa

“Tapestry Tampa Bay” is a six-movement piece of music for chamber ensemble composed by British-American Conductor-Composer Stephen P Brown (“SPB”), which reflects various characteristics about the Tampa Bay region of Florida, USA.

This concert program includes all original works by SPB and is a great opportunity for your regular audience, local students, and local musicians to participate in modern tonal classical music (13 performers total are needed, in addition to SPB). SPB will arrive in your town fully prepared to work with local crews, performers, sponsors, schools, and media.

Stephen P Brown’s compositions have been performed at the University of South Florida, Cleveland State University, Patel Conservatory, Trinity College of Music, The Straz Center for the Performing Arts, the Central Hall Chatham, as well as multiple churches and town halls. Maestro Brown himself has performed in Carnegie Hall, the Royal Festival Hall, the Barbican, the Royal Albert Hall, the Palace of the Arts Budapest, Le Nouveau Siècle in Lille, Wigmore Hall, Fairfield Halls Croydon, Canterbury, Rochester & Southwark Cathedrals, Trinity Wall Street, Castelo Branco, Romanian Athenaeum, Brno State Opera House, Ruth Eckerd Hall, the Mahaffey Theater and multiple performing arts centers, churches, concert halls, and educational facilities on four continents.

Tapestry Tampa Bay won a Global Music Award of Excellence for an Original Score.


Performance Title

  • Headline: Tapestry Tampa Bay – The Concert
  • Subtitle: and more music by Stephen P Brown
  • Name of ensemble/ performers: Stephen P Brown & Friends.



85 minutes: 70 minutes of music, plus audience interaction and stage changes. No intermission.

  1. Smile from Heaven Mvt 1 (3mins)
  2. Smile from Heaven Mvt 2 (4mins)
  3. Marimba Concerto 1 (10mins)
  4. Interview with sponsor/ charity (5mins)
  5. Covered (7mins)
  6. Ivesionian (8mins)
  7. Restoration (8mins)
  8. Tapestry Tampa Bay (30mins)
    1. Beaches & Boats
    2. Skyway Bridge
    3. Grouper
    4. Downtown
    5. Churches & Arts
    6. Back for More
  9. Optional Encore: A Mother’s Lament (3mins)

Performers & Personnel

The Production will travel with the following core performers:

  • Clarinet
  • Marimba
  • Piano
  • Violin 1

The Production will book the following local performers. Recommendations are appreciated, but not necessary:

  • Flute
  • Bassoon
  • Percussion 2
  • Soprano
  • Violin 2
  • Viola
  • Cello
  • Bass
  • Piano page turner

In addition, the Production will be traveling with its Production Manager.

Upon arrival on the date of the performance, only the Production Manager and SPB should be given Stage Door and dressing room key fobs/ access cards that will be surrendered upon leaving the venue after the performance. A total of seventeen (17) backstage passes for the performance date only are required for all performers (including the page turner), the Production Manager, SPB’s guest if applicable, and up to two interviewees. No other non-venue personnel should be permitted backstage on the performance date.

Instruments & Equipment

  • Grand piano no less than 7ft, acoustic, with adjustable bench, tuned to A440.
  • Marimba at least 4.3 octaves (range A2 bottom space of bass clef, to C7 an octave+ above treble clef stave)
  • Percussion (Triangle on a stand, Suspended Cymbal, Tenor Drum, Bass Drum, Glockenspiel)
  • Four (4) stools
  • Eight (8) chairs
  • Seventeen (17) music stands (a Conductor stand might be needed for pieces 3 & 7)
  • A local runner familiar with venue personnel as well as local food and hardware stores is required to shadow the Production Manager whenever onsite at the venue on the performance date.

Stage Plan

A floor and lighting plan for the pre-show setup, each piece and transition, and post-show can be downloaded here.

This is an example (for piece #8 “Tapestry Tampa Bay”)


  • One microphone for SPB. Lapel or tie mic is preferred, an over-the-ear mic is acceptable. SPB tends to move his arms a lot (he’s a Conductor, after all) which sometimes causes mics to slip/ move/ crackle. Hand-held wireless mic on a stand is a last resort.
  • An additional hand-held microphone for SPB’s interview guest(s).
  • Monitors should be off-stage so that performers onstage can hear SPB’s talking only.
  • All microphones should be pre-checked for levels. SPB’s mic should be fitted ten (10) minutes prior to performance. Please ensure new batteries are used!
  • No other stage amplification is needed, requested, or wanted.
  • Pre-show lobby music should be alpha-chill (similar to “Underwater Love” by Smoke City/ the music played in Banana Republic stores)
  • Post-show lobby music should be 1950s upbeat and/ or upbeat New Orleans street jazz


Performers will need lighting from above, in order to see their sheet music without shadows or glare.

Audience house lights should be dimmed to 20% 5-6 minutes after the advertised start time, and remain dimmed until all the performers leave the stage which could be after Tapestry Tampa Bay or after the encore if it occurs.

The following plots match the floor and lighting plan above.

  • 0 – Pre-show: very dark blue with single white spot on piano from above.
  • 0a – As performers enter: Rear wall begins with rich blue and fades through purple, green, orange, red, magenta and back to blue again throughout the 85 minute program. Audience should not notice the colors changing.
  • 1 – Wind Quintet 1 Mvt 1: downstage right white.
  • 1a – SPB Introduction: downstage right white, downstage left spots on SPB (fade in as enters during applause for previous piece, fade out as exits).
  • 2 – Wind quintet 1 Mvt 4: downstage right white.
  • 3 – Marimba Concerto 1: downstage left white including 3 standing performers at rear. Try to avoid hitting the percussion setup. Conductor needs to be seen by musicians (light from upstage on 5’11” conductor?).
  • 4 – Interview: downstage center white on two or three individuals of various heights.
  • 5 – Covered: upstage center white on piano.
  • 6 – King David’s Rag: upstage center white on piano.
  • 6a – SPB Audience Engagement: downstage center white. Try to avoid bringing attention to stage crew.
  • 7 – Restoration: downstage right white. Conductor needs to be seen by musicians (light from upstage on 5’11” conductor?).
  • 7a – SPB Audience Engagement: downstage center white. Try to avoid bringing attention to stage crew and performers as they exit/ enter.
  • 8 – Tapestry Tampa Bay: Full ensemble white, including downstage center. Conductor needs to be seen by musicians (light from upstage on 5’11” conductor?).
  • 9 – Optional Encore: upstage center (piano) white. Stage and rear wall dark blue. Try to avoid bringing attention to other performers as they sit on stage not performing.
  • 9a – Exit: Stage dark blue, rear wall no lighting as performers exit. No stage or working lights until curtain fully down and/or audience has exited.

[Available 2018] If the optional video is used to accompany Tapestry Tampa Bay, the screen should be lowered during lighting plot 7a above. It should be behind the performers but in front of the rear wall with the colors identified in lighting plot 0a above. An operator will be required to coordinate the slides and the start and end of each video with each movement. The video (mac and windows versions) will be provided on a USB stick on the performance day.


There will be a three (3) hour music rehearsal, including a twenty (20) minute break, on the day of the performance beginning at either 8am, 9am or 10am according to your venue and crew availability, to be agreed upon and locked-in as soon as possible, but no later than sixty (60) days prior to the performance date.

A rehearsal venue should be provided in the same building as the performance and free from interruption by non-performers and traffic/ school/ factory/ workshop/ studio/ p.a. system or other noise.

Tables should be placed around the rehearsal venue walls for performers to place instrument cases on. Clean glasses and mugs (no plastic or styrofoam) and paper napkins should be available in the rehearsal venue. The same instruments and equipment required for the performance are needed for the rehearsal, and should be set up according plot 1 of the performance floor plan. During a twenty (20) minute break, the instruments and equipment should be moved according to plot 8 of the performance floor plan.

There will be a thirty (30) minute walk-through technical rehearsal for performers, stage, lighting, and sound crews beginning no later than one and a half (1.5) hours before the performance begins. All lighting and sound should be setup and programmed prior to the tech rehearsal.

Interview Guest(s)

SPB likes to interview one or two people onstage during the performance. We need to coordinate who those people will be. One of the interviewees should represent a local public non-political or non-religious charity of your choice and approved by SPB (such as homeless, PSP, scouts, junior league, etc.). The optional second interviewee appearing onstage at the same time may be one of SPB’s sponsors or one of your own sponsors. Questions that SPB will ask include:

  1. Please share with us who you are and what you do. (Name, title, organization)
  2. What is it about live music that made your organization want to be involved with this performance today?
  3. How does live music impact your own customers or patrons?
  4. How can we find out more about what your organization does? (website)
  5. Do you have a specific piece of classical music you particularly like? (Be prepared to name it!)

It is best to ask interviewees to prepare their answers.

Stage Management and Show Times

Support acts may perform in the lobby before the performance (instead of lobby music), and must be selected ONLY from the performers already booked to perform SPB’s music. Support acts can only appear if their performance in the lobby is upbeat and the performers are clearly having fun: it must show on their faces! Laughing, tasteful jokes, and audience interaction is expected. The lobby entertainment should be lighthearted and highly energetic, and should end no less than fifteen (15) minutes before the performance begins.

Non-flash silent photography by the audience is encouraged, and should be shared on social media using the hashtag #tapestrytampabay. Short video excerpts are encouraged but should not interfere or interrupt with other audience members’ experience. Press may take photos without flash and without shutter noise from the stage area during the first piece and SPB’s initial appearance, but then leave the stage area and continue without flash and without shutter noise from the back of the audience area only. Please inform press that copies of all photos must be sent to SPB for his own press relations use.

The performance lasts about 85 minutes with no intermission and should begin 5-7 minutes after the advertised start time. Please notify all performers 30 minutes, 10 minutes, and 5 minutes before the advertised performance start time. Performers should not enter the stage until SPB indicates the performance is ready to begin. Auditorium doors should close at the advertised start time, and late audience members may be seated after SPB’s initial appearance (before piece 2: Smile from Heaven Mvt 4).

There should be NO AUDITORIUM ANNOUNCEMENTS at the beginning of/ before the performance. SPB will ask the audience to turn mobile devices to silent mode, invite photography, and share the Production’s social media hashtag from the stage.

Once the performance is over, SPB should be escorted to the lobby to greet the audience. A vigilant security guard (uniformed or non-uniformed) will need to stand behind SPB (but not too close!), and should not socialize with audience members or staff while SPB is in the lobby.


SPB sells merchandise at his performances to encourage fan loyalty and fond memories of a great experience. Merchandise may include clothing, sheet music, CDs and novelty items.  The venue should arrange to have someone with excellent customer service and lots of energy and smiles sell merchandise in the lobby before and after the performance. In addition to a visible merchandise space in the lobby, please provide a well-lit high-top table and stool between the merchandise table and the lobby main exit where SPB can meet the audience and sign merchandise. A working permanent marker and cold bottle of still water should be provided.

A shipping address is needed for merchandise to be delivered prior to the performance date. Arrangements to return unsold merchandise at our expense will be made no more than seven (7) days after the performance. A full accounting of merchandise sold, income and fees must be generated within seven (7) days of the performance. Reconciliation with returned merchandise will occur quickly to allow the venue to settle and pay net income from merchandise sales no later than thirty (30) days after the performance.

Travel & Accommodation

The Production will arrange private travel and accommodation for SPB + 1, the four (4) core performers, and the Production Manager, which may include business class flights, hotels, car service or rental, and meals.

Free easy access Stage Door parking must be provided for three (3) standard size cars beginning 7am on the performance date, until two (2) hours after the performance.

Up to nine (9) free venue parking passes must be provided for the local performers, delivered directly to each performer no later than five (5) days before the performance date. A list of local performers will be delivered to the venue Production Manager no later than seven (7) days before the performance date.

Dressing Rooms

One private dressing room is required for SPB throughout the day, from one hour before the rehearsal start time until two hours after the performance ends, preferably with key, key card or fob access to both the dressing room and the venue’s stage door. The dressing room should include an en-suite bathroom with shower, two large clean towels, full-height mirror, desk with chair, couch, coffee table, and full-height clothing/ hanging rack. Also included should be a refrigerator, kettle, clean working steam iron, ironing board, four clean glasses, four clean mugs, and paper napkins & hand-towels.

At least one large male and one large female dressing room is required for the other performers, and should be available two hours before the performance start time until one hour after the performance ends. Each should have easy access to male and female bathrooms and contain a sink with hot and cold running water, mirrors with lights, a full-height clothing/ hanging rack, refrigerator, kettle, and sufficient chairs, clean drinking glasses, clean mugs, and paper napkins & hand-towels.

Food & Drink

SPB’s dressing room should include six cold bottles of still water, a pint of 2% organic milk, an individual packet of two advil, and two small bags of peanut M&Ms. Please replenish as necessary at 5pm.

Cold bottles of still water, a selection of teas, instant coffees, hot water, sweeteners, 2% organic milk, fresh apples and bananas, and a variety of granola bars should be available for the performers in the rehearsal venue.

All other assigned dressing rooms should include cold bottles of still water, a selection of teas, instant coffees and sweeteners, 2% organic milk, fresh apples and bananas, and a variety of granola bars before the performance.

Please have one cold bottle of still water on SPB’s high-top table in the lobby after the performance.

The Production will provide a buffet lunch for up to thirty (30) people including all performers, production and venue crews, box office staff and venue leadership immediately following the rehearsal. A separate private room is required, and a list of venue-approved local caterers is required at least seven (7) days before the performance date.

SPB will make his own meal arrangements, which may be offsite or delivered to the venue. He is willing to attend a post-concert reception or dinner (no special dietary needs) for an additional fee if notified at least seven (7) days before the performance date. A twenty (20) minute speech by SPB at that reception or dinner will attract a further additional fee.


SPB’s name should appear in print or online as either “Stephen P. Brown,” “Brown” or “Stephen.” The title “Maestro” may be included before his last name only.

We encourage you to use SPB’s logo at every opportunity and simply ask that you seek approval in writing before any print materials and online pages that include SPB’s logo are published or printed.

The Production will supply poster and program artwork at least seven (7) days before the performance date. For all other materials, please use one of SPB’s official bios only.

SPB recognizes that successful marketing is a direct result of all parties engaging local audiences. We are happy to support your own marketing machine by coordinating multiple media appearances, additional press articles, workshops with schools and colleges, speeches at local clubs and associations, and other promotional activities. Although our research is thorough, you may have established specific relationships in the community that are more supportive or effective than the ones we can make from scratch. We hope you are willing to share their contact information and/ or make introductions.

All PR and Marketing inquiries regarding this concert program should be directed to [name] [phone] [email].

Box Office

SPB should have access to a maximum of ten (10) complimentary tickets to be held at the box office under a list of names delivered to the box office no later than 2pm on the performance date.

Each performer and the Production Manager (14 individuals) should be allocated a maximum of four (4) complimentary tickets to be held at the box office under each performer’s name until thirty (30) minutes before the performance begins. A list of names will be delivered to the Production Manager for the box office no later than seven (7) days before the performance date.

No production holds will be required.

Box Office settlement with the Production Manager is required no later than one (1) hour after the performance begins.


If you have any questions or need additional details, please contact us immediately on 973.975.4008 or events@stephenpbrown.com