stage management manual

7/23/2019 Stage Management Manual

1/59

I. UPON ASSIGNMENT TO SHOW:

FIRSTTHINGISTOCHECKINATPRODUCTIONOFFICE

1. Productionassignmentsheet. Allartisticandproductionpersonnelassignedtothe

productionarelistedonthedepartmentProductionAssignmentSheet. Itiskeptinthe

ProductionOffice,CostumeandSceneShops.

2. GeneralManagerforProduction. Seeheraboutanyquestionsyouhaveconcerningthe

productionandshewilltellyouwhotoseeorwhattodo. Dontbeafraidtoask.

3. StageManagersSupplies. StagemanagerssuppliesareintheProductionOffice.

Paper,Temprapaintandpaintbrushes,forpaintinggroundplansonrehearsalroomfloors.

4.

Copies.

A

copy

card

is

available

in

the

Production

Office.

This

will

allow

you

to

make

thenecessarycopiesforyourproduction.

5. BuildingAuthorizationCard. GetthisfromtheProductionOffice. Thisisacardissued

toyou,givingyoupermissiontobeintheUniversitytheatresandbuildings. Keepitwithyouin

yourwallet. Itcansaveyoualotoftrouble,shouldasituationariseinvolvingtheUWpolice.

6. ProductionPolicyMemoranda. ThisistheofficialSchoolofDramaPolicyconcerning

alldramadepartmentproduction. ItisAppendixAinthisbook.

7.

Keys.

The

keys

you

will

need

for

your

theatre

or

rehearsal

spaces

are

checked

in

andoutfromtheMainOfficeinHutchinson.

8. Mail,MemosandMessages. Anycorrespondenceforyouandthedirectorisplacedin

theStageManagersmailboxintheproductionoffice. Youshouldcheckthisboxdaily.

9. DistributionList. Begintosetupyourdistributionlistonemail. Thisisthemost

efficientwaytocommunicatewithyourproductionteamandcast. Itisbesttousetwo

separateaddresseelistsforproductionandactingcompanies,asyoucorrespondencewitheach

willbeofdifferingcontent.

10.

Programand

Publicity

Information.

An

information

sheet

will

be

put

in

the

stage

managersmailbox. Itisyourresponsibilitytofillouttheform(p.7)completelyandreturnitto

theProductionOfficeGSAnolaterthantowweekspriortoopening.

11. AuditionandRehearsalRooms. Aprioritysystemisusedfortheassigningofall

rehearsalrooms. SeethereceptionistintheDramaOfficetoreserveaspace. UsetheRoom

RequestForm(p.8)toreservespaceforauditions. Forrehearsals,getreservedspacefromthe


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receptionistfortheentirerehearsalperiod. Thiseliminateshavingtomakeweektoweek

arrangementsforrooms.

12. PaintingRehearsalFloor. Whenassignedadefiniteroomforrehearsals,youare

allowedtopaintthegroundplanonthefloorwithtemprapaintonly. Donotputtapeofany

kindonthefloors. Youareresponsibleforwashingthepaintoffofthefloor,whenyourshow

movestoitsperformancespace.

13. Director. Meetwiththedirectortodefineyourspecificrelationship,dutiesand

assignmentsonanindividualbasis. Ifyouareworkingwithavisitingdirector,itisyour

responsibilitytofamiliarizehimorhertothecampusandtheproductionstaff.

14. Liaison. Youaretheliaisonbetweenthedirectorandallpersonnelconnectedwiththe

production. Itisespeciallyimportanttomaketheshopsawareofanychangeswantedbythe

directorduringtherehearsalprocess. Thiswillavoiddefinitedisasteratyourfirsttechnical

rehearsal.

15.

Grievances.

If

you

have

a

grievance

between

the

personnel,

actors,

or

director,

see

the

GeneralManager. Ifitisnecessarytogotoahigherauthority,arrangeanappointmentto

speakwiththeExecutiveDirector.

16. ReadthePlaySeveralTimes.

a.) Prepareacast/scenebreakdown. Thisisalistofwhoisinwhichscene. Ifthe

playisnotdividedintoscenes,doaFrenchscenebreakdown. Thisisdonebynoting

whenandwhereanycharactersenterandexit.

b.)

Note

any

costume

changes

called

for

in

the

script,

especially

any

which

could

be

consideredquickchanges.

c.) Prepareapreliminarypropslist. Dothisasyouread,dontrelyontheliststhat

aresometimesfoundatthebackofscripts.

d.) Prepareapreliminarysceneshiftplot;notewherechangesarerequiredand

whattheyare.

e.) Prepareapreliminarysoundcuelist.

f.) Noteanyspecialeffectsthatmightberequired,especiallyonesthatwillneed

specialattention. Thesemightinclude: stagecombat,fog/smokeeffects,flame

onstage,weapons,trapsandunusualprops.


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PROGRAMINFORMATIONSHEET

PleasefilloutandreturnthisformtotheGSAintheProductionOfficetwoweeks

beforeopeningoftheshow.

TheprogramistypedfromtheinformationonthissheetandsenttothePrinting

Department. Oncesent,itisnotpossibletochangethecopyinanyway.

NAMEOFPRODUCTION .

AUTHOR THEATRE

PRODUCTIONDATES

DIRECTOR

SET

DESIGNER

LIGHTING

DESIGNER

COSTUMEDESIGNER SOUNDDESIGNER

***Indicateifthisisagraduatestudentsthesisproduction.

TECHNICALDIRECTOR MUSICALDIRECTOR

COMPOSER/ARRNGR CHOREOGRAPHER

STAGEMANAGER ASSTS.M.

SCENESORSETTINGS

NUMBERANDLENGTHOFINTERMISSIONS

CASTLIST: Attachaspellchecked,finalcastlist. Askyourdirectoriforderof

appearanceoralphabeticalispreferred.

PROGRAM

NOTES:

Attach

a

page

for

director

notes

on

the

play,

the

author

etc.


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ROOMREQUESTFORM

YOURNAME: TODAYSDATE:

PROGRAM/

CLASS:

CHECKONE:

GRADUATEDIRECTINGPROJECT UNDERGRADDIRECTINGPROJECT

PATPACTINGREHEARSAL UNDERGRADACTINGREHEARSAL

OTHER(SPECIFY):

PERFORMANCE

DATES:

PLEASENUMBERYOURROOMPREFERENCES,13ANDINDICATEIFYOUHAVESPECIALNEEDS

SUCHASAPIANOORIFYOUJUSTNEEDAROOMTORUNLINES.

HUT218 HUT303 HUT208 HUT211

HUT205(CAB)* HUT201(PATP) HUT202

(MOVEMENT)

SPECIALNEEDS:

DAY DATE FROM TO LEAVEBLANKFORROOMASSIGNENT

MON

TUES

WED

THURS

FRI

SAT

SUN

.

IFYOUFINDTHATYOUDONTNEEDAROOMYOUHAVERESERVED,NOTIFYTHEDRAMAOFFICE.

ACTINGCLASS/SCENEWORKREHEARSALSARELIMITEDTO1HOUR/DAYPERSTUDENT. DIRECTINGPROJECT

REHEARSALSARELIMITEDTO3HOURS/WEEKDAYPERPROJECTAND6HOURSONSATURDAYORSUNDAY.

GROUPSWORKINGONCLASSPROJECTSARELIMITEDTO3HOURS/DAY.

*IFYOUWOULDLIKETORESERVETHECABERET(HUT205)AFTER4:30PMONWEEKDAYS,ORONWEEKENDS,

YOUMUSTCONTACTTHECABERETMANAGER. TURNTHISFORMINNOLATERTHAN10:00AMFRIDAYFOR

ROOMSNEEDEDTHEFOLLOWINGWEEK.(WEEK=MONDAYSUNDAY) YOUMAYPICKUPCOMPLETEDFORMS

AFTER3:00PMFRIDAY.


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II. AUDITIONS

PRIORTOAUDITIONS

1. PickupscriptsfromtheProductionOffice. Makesurethefollowingproductionteam

membershaveacopyofthescriptalready.

a. Director

b. SetDesigner

c. LightingDesigner

d. CostumeDesigner

e. PropsMaster

f. SoundDesigner

g. Choreographer

h. FightDirector

2.

Prepare

your

Prompt

Book

(see

section

IV

Prompt

Book).

3. Findouthowyourdirectorwantstorunauditions:individual/group,timeallotmentfor

each,andwhetheractorsaretopreparespecificmaterialfromaperiodorgenre.

4. PostauditionsnoticeonAuditionsectionofthebulletinboard. Besureallinformation

iscompleteandspecific.

5. GetAuditionFormsfromtheProductionOffice.

6.

Reserve

audition

space

one

week

in

advance

using

the

Room

Request

form.

7. BulletinBoards.LocatedthroughoutHutchinsonHall.MainStageshowinformation

boardislocatedbetweenthedoorsjustoutsidetheproductionoffice. ThePATPboard

islocatedinthehallwaybetweenHUT201&HUT202. Bulletinboardsarealsolocated

intheCostumeandSceneShops.

GENERALAUDITIONS

1. Arriveatleasthourearlywithscripts,sides,pencils,paperclipsetc. Youcanget

office

supplies

from

the

Production

Office.

Make

photocopies

of

audition

sign

up

sheetsfromyourdirector.

2. Cleanandsetupauditionroomasrequiredbyyourdirector.

3. Asactorsarrive,handoutauditionformsandscriptsforthemtolookover. Allactors

aretoremainoutsideoftheauditionroomuntilcalled.

4. Haveactorsreturncompletedauditionformswithacopyoftheirheadshotandresume.


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5. Thedirectormayrequestyourpresenceintheauditionroom,orpreferthatyouremain

outside. Besuretofindthisoutbeforeauditionsbegin.

6. Beginauditionswhenthedirectorisready. Runauditionsinthemanneryouhavebeen

toldbyyourdirector.

7. Callactorsintoauditionaccordingtothelistofmannerdesiredbyyourdirector. Be

sureauditionformsarecomplete,includingtelephonenumbersandanyadditional

information(scheduleconflicts,preferredroles).

8. Keeptheareaaroundtheauditionroomquiet.

9. Aftereachaudition,getscriptsbackfromtheactorsandletthemknowwhenthe

callbacklistwillbeposted.

10. Afterauditions,thedirectorwillgiveyoualistofactorswhowillbecalledback. Thislist

may

take

the

director

some

time

to

compile.

As

soon

as

you

receive

this

list,

type

it

up,

givingallthepertinentinformationastotimeandplace. PostonAuditionCallboard.

11. Whenleavingtheauditionroom,closeandlockallwindowsanddoors,restorefurniture

andturnoffthelights.

12. Whencallbacksarepostedremoveauditioninformationfromthebulletinboard.

III. CALLBACKS:

1. Followthesamegeneralproceduresasauditions.

2. Findoutofthedirectorwantstorunthecallbackdifferently. Thenbesureallchanges

arecompletedforthecallback.

3. Actorswillbecalledintotheroomasperyourdirector.

4. Beclearonwhatyourdirectorneedsfromyou.

5. Whenfinalcastingiscomplete,theGeneralManagerforProductionswillpostthecast

listandplaceacopyforyouintheStageManagersmailbox. Usethiscopy,alongwith

theinformationgiventoyouontheauditionforms,toprepareyourcontactsheet.

6. CASTCONTACTSHEET: Shouldincludethenamesofallthecast,thepartstheyare

playing,phonenumbersandemail.


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7. PRODUCTIONCONTACTSHEET: Shouldincludethenamesofallthecast,thepartsthey

areplaying,phonenumbersandemail. Besuretoincludethefollowing:

Director

StageManager

Asst.StageManager(s)

CzarSetDesigner

LightingDesigner

CostumeDesigner

SoundDesigner

PropsMaster

TechnicalDirector

MasterElectrician

BoxOffice

DramaOffice

ProductionOffice

Rehearsal

Space

CostumeShop

SceneShop

TheatreBackstage

GeneralManager

IV. PROMPT SCRIPT/ PRODUCTION BOOK:

PROMPTSCRIPT

YourPromptScriptwillcontainalloftheinformation,collectedduringthecourseofthe

rehearsalperiod,whichpertainstotherunningofyourshow. Italsocontainsalloftheblocking

fortheshowandthelocationofallofthesoundandlightingcues. Oncetheproductioncloses,

thePromptScriptwillbethecoreoftheProductionBook,whichisarecordoftheproduction

asawholeandisfiledintheLibraryforfuturereference.

1. Centerthepagesofthescripton8x11paper,sothatthescriptwillbeontheleft

handpageofthebook(ifyouarerighthanded).

2. Theblockingnotationandthewritingofcuesshouldbekeptasneataspossible. This

willavoiderrorandwillgreatlysimplifythepreparationofthescriptwhenyoucometo

turnitin.

3. Allnotesshouldbetakeninpencil.


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4. Whenblockingchangesduringarehearsal,makeappropriatechangesinthePrompt

Script. Youwillbeaskedbydirectororactorwhattheblockingwasforascene,you

shouldbeabletotellthemclearlywhatitwasthelasttimeyouranit.

5. Useaformofshorthandthatisreadilyunderstandable. Suggestionsfollow.

6.

One

of

the

most

important

reasons

for

the

Prompt

Script;

in

the

event

the

StageManagershouldbeunabletobeataperformance,orrehearsal,anotherpersonwould

beabletoruntheshowfromtheinformationinthebook. Oncetechnicalrehearsals

begin,thePromptScriptshouldalwaysremainintheSMBoothatthetheatre.

DEVELOPINGPROMPTSCRIPTSHORTHAND

Itisnecessarytobeabletowriteblockingandbusinessinrehearsalquicklyandefficiently. In

ordertodosoyoumustdevelopamethodofabbreviatingthatworkswellforyou. Blockingis

alwayswritteninpencilanddirectlyinthePromptScript. Neverwriteitonaseparatepaperto

transferlater. Thefollowingisaguideforblockingshorthand,useandadaptitasitfitsyour

needs.

1. X=Cross U=Uporupstage

2=ToorTowards D=Downordownstage

ENEnter R=Right

EX=Exit L=Left

2. Combinesymbolstoindicatemovement.

Ex: ENURX2DLC=Enterupright,crosstodownleftcenter.

3. Condensecharactersnamestounderstandableabbreviations. Usually2or3lettersofthe

nameissufficient. Alwaysincludealistatthebeginningofthescriptindicatinghowyouhave

chosentoabbreviate.

Ex: Rom=Romeo,Jul=Juliet,Cap=Capulet,LC=LadyCapulet

4. Oftenitishelpfultocondensethenamesoffurniture,ifyoudothis,besuretoincludealist.

Ex: Cup=Cupboard,Tab=Table,Side=Sideboard.

5. Keepyourshorthandtothemostoftenusedtermsandwriteoutanyfurtherblockingor

businessinstructions.


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PRODUCTIONBOOK

ThisisanoverlyextensivelistofallpossiblesectionsofaProductionBook. Noteveryshowwill

needallofthesesections. Thelargerandmoreextensivetheshow,themoreyouhavetokeep

track.

Actors

Personal

Sheets

Lights

contd

Cast ChannelHookup

FormerCastLists InstrumentSchedules

UnderstudyPlot Memos

CheckLists PatchSheets

ContactSheets LightPlot

Cast Practicals

Company&Staff ScriptNotes

Facilities WorkingNotes

Supplies MiscellaneousTechNotes

Costumes MasterPlot/BackstageCues

AssignmentSheets OPSMsCueSheets

BorrowedItems SMsCueSheets

CostumeChangesPlot Music

DescriptionSheets PerformanceLogs

DressersNotes RunningOrder

HairandWigs SceneBreakdown

Inventory Scenery

MeasurementCharts Elevations

PresetPlot Inventory

Renderings GroundPlans

Rented

Items

Memos

RepairSheets Photos

RunningLists PresetPlots

ScriptNotes Renderings

WorkingNotes ScriptsNotes

CrewInformation ShiftAssignments

DressingRoomAssignments FlyAssignments

Expenditures ShiftPlot

LongDistancePhoneLogs WorkingNotes

PettyCash Schedules

Lighting

Booking

Sheet

&

Fact

Sheet

AreaInformation CostumeFittingCalls

CueandPresetSheets DailyRehearsal

DescriptionandPlacementofCues PerformanceSchedules

DescriptionandPlacementofSpotCues PhotoCalls

EquipmentInventory ProductionTimetable

Gels RehearsalTimeAllotment

Schedulescont ResearchandHistory


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SchedulingCalendar ScriptAssignments

TourItinerary Sound

ProductionMeetings&DesignConferences CueSheets

ProgramInformation Description&PlacementofCues

Acknowledgements EquipmentInventory

ApprovalSheets LiveSoundPlot

Program

Copy

MemosPromptScript ScriptNotes

DanceNotations SourcesofRecordedSound

FencingNotations TechnicalInformation

Key WorkingNotes

PlotProgression SpecialEffects

PublicationandPurchaseInformation CueSheets

ScriptChanges Description&PlacementofCues

Props Memos

BorrowedItems Plot

CheckLists RunningList

Elevations

Script

Notes

FurniturePlot StaffMemos

Inventory CompanyPolicies

Memos

Pictures

Plot

RehearsalPropPlot

Renderings

RentedItems

RunningLists

Script

NotesWorkingNotes

Publicity&Reviews

FlyersandBrochures

PressReleases

ProductionPhotos

Reviews,Articles&Clippings

RehearsalHallInformation

RehearsalNotes

ReminderSheets

ReportSheets

PerformanceRehearsal

RehearsalTimeCards

AccidentReports

Touring


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V. REHEARSALS AND DAILY ROUTINE:

PRIORTOFIRSTREHEARSAL

1. MeetwithDirector. Setuparehearsalscheduleanddiscusswhatthedirectorexpects

fromyou. Also,besurethedirectorisfamiliarwithUWDramapoliciesconcerningthe

number

of

hours

allotted

to

rehearsals

per

week.

This

is

a

good

opportunity

to

establish

astrongworkingrelationshipwithyourdirector.

2. RehearsalHours. Thehoursallottedtorehearsalsperweekareasfollows:

a. Rehearsalsmaynotbeginpriorto5weeksbeforethedateofthefirsttechnical

rehearsal.

b. 25hoursperweekareallottedforrehearsal. EitherSaturdayorSundaymustbe

adayoffnorehearsal.

c. 5hoursperdayareallottedfromfirsttechrehearsalthroughfinaldress. There

isanestablishedcalendarforTechsandPerformancesintheProductionOffice.

ExceptionstotheaboveruleareonlymadebyobtainingdirectpermissionoftheExecutive

DirectoroftheSchoolofDrama.

3. Callboard. Setupanareaontheappropriatebulletinboardforongoing

rehearsal/productioninformation;includingrehearsalschedule,fittingschedule,master

productioncalendar,signinsheets.

4. RehearsalCall. Posttimeandplaceoffirstrehearsalatleast24hoursinadvance.

5. RehearsalSpace. SchedulerehearsalspacefortheentirerehearsalwithGeneral

ManagerandtheDramaOfficeAssistant.

6. Meet&Greet. Askdirectorifdesignersarerequiredatthefirstrehearsalwithset

modelsandcostumesketches. Ifso,informthedesigners.

7. Fittings. Compilealistoftimesactorsareavailableforcostumemeasurementsand

fittings. Thisinformationshouldbeonactorauditionforms. Seecostumeshop

supervisor

to

arrange

measurement

and

fitting

schedules.

Fittings

must

be

arranged

andtheactorsmustbenotifiedatleast24hoursinadvance. Actorsarerequiredtobe

atallfittingsandmustbeontime.

8. Timesforfittings. ItispreferredthatPATPnotbescheduledduringclasstimeandBA

studentsmaynotbe.

9. Castchanges. Arepromptlyreportedtoeveryoneontheinitialdistributionlist.


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FIRSTREHEARSAL

1. BringPromptBookandanyscriptsforactorswhohaventsignedoneoutyet.

2. Arriveatleast15minutesearly,turnonthelightsandheat,sweepthoroughly,setup

spaceasneeded. Checkfornearestphoneorfireextinguisher.

3. PosttheSignInSheetforactors.

4. EstablishyourpositionasStageManageratthisfirstmeetingofthecompanyina

diplomaticandfirmmanner. DisciplineisessentialandtheStageManageris

responsibleforcompanydiscipline. Youmustsetthestandardsandadheretothem

yourself.

5. DecidewithyourdirectorwhenyoushouldstatetheSchoolRehearsalPolicy,eitherat

thestartoftherehearsalorafterthefirstbreak. Youareresponsibletoseethatthe

policyisreadandunderstoodbyeveryone.

6. Directorisinchargeoftheactualrehearsal. Cutsandadditionsarenormallymade

duringthefirstrehearsal.

7. Makeallcutsoradditionstothepromptbookinpencil. Cutsaresometimesaddedback

intothescript.

8. Callallbreaksfortheactors. 10minutebreakevery80minutes. Announcewhenyou

arebackfrombreakandtellactorsatwhatpointinthesceneyouareresuming.

9.

After

rehearsal,

be

sure

to

email

and

post

the

next

days

schedule.

The

schedule

should

beemailedtotheproductionstaffaswell.

10. Cleanupandrestoretherehearsalroom. Ifitsaclassroomduringtheday,besureitis

arrangedasnecessaryforthatclass.

11. Checkwithyourdirectorontechnicalnotesyoumayhavetakenduringrehearsaland

checkfornotesfromyourdirector.

12. Closeallwindows,doorsandshutofflights.

13. TheStageManagerisalwaysthelasttoleave,butshouldneverleavealone,especiallyif

youhavetowalkhomeortoyourcar.


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DAILYREHEARSALS

1. Generallythesameprocedureasfirstrehearsal.

2. Alwaysarriveatleast15minutesearly,setupproptablesandrehearsalfurniturefor

thefirstscene.

3. Insurerehearsalroomisclean. SetupDirector/SMtable.

4. Signinsheetsarentmandatory,butarehelpfulwithlargercasts.

5. Callallscenestoberehearsed. Besureactorsareavailableforeachscene.

6. Callallbreaks. Announcehowlongthebreakisgoingtobeandwhereyouwillbe

startingfromwhenyoucomeback.

7. Promptasneeded. Findouthoweachactorpreferstobeprompted. Oneortwowords

orwholephrases. Familiarizeyourselfwiththescriptsothatyoudontpromptduring

intendedpauses. Actorsaretocalllinewhentheywanttobeprompted. Atthefirst

technicalrehearsal,youshouldnolongerbeexpectedtoprompt. Duringtherunofthe

showtherearenoprompters.

8. Youareinchargeofseeingthattherehearsalrunsefficiently. Donotletanyonewaste

thedirectorsoryourtimeatrehearsals. Thedirectorisinchargeoftheactual

rehearsal,youaretoassisthim/her,andtoprepareeverythingandeveryonefor

rehearsal.

9.

Rehearsals

are

not

open

to

the

public.

No

guests

are

allowed

at

any

rehearsal

without

permissionofthedirector.

10. Duringrehearsal,writedownnotesofeverychangeyousee;set,props,costumes,lights

andsound. Listanyquestionsyouhave;donttrustyourmemory. Conferwiththe

directoraftereachrehearsaltoverifythechanges. Dailynotesaregeneratedbythe

StageManageraftereachrehearsal. Rehearsalreportsaredoneonemailand

distributedtothesamelistastheproductioncontactsheet.

11. Weeklyproductionmeetingsarescheduledtodiscussallissuesthathavecomeup

during

rehearsals.

Stage

manager

takes

notes

at

these

production

meetings

and

distributesthenotesasperproductiondistributionlist.

12. IftheDirectorwantstostartusingtapedsoundeffects,s/heortheSoundDesigneris

responsibleforsupplyingallequipment.

13. Attheendofrehearsalannouncethenextrehearsalschedule,costumefittingsandany

specialcallsforthenextday.


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14. Besurethecorrectrehearsalscheduleisposted. Remindyourcasttoalwayscheckthe

callboard.

15. Conferwithyourdirectoraftereveryrehearsal. Presentanyproblemsconcerningthe

production,andgetwhatnotess/hemighthave.

16.

Be

sure

rehearsal

room

is

clean

and

restored

to

its

daytime

functionality.

Windowsclosed,propsgatheredandstored,actorsgone,lightsoffanddoorlocked.

17. Youarealwaysthelastpersontoleave. However,donothesitatetoaskyourdirector

orandactortowaitandwalkwithyoutoyourbus/car/dorm.

18. Keepthepromptscriptwithyou. Dontleaveitintherehearsalspace.

19. Makesuretheassistantstagemanagerisinformedofyounotationsifyouintend

her/himtotakeoverarehearsalforyou. S/hewillneedyourpromptscript.

REHEARSALS:SPECIAL

INFORMATION

1. RehearsalSchedule.PostedonAppropriateBulletinboardatHuchinsonHall. Itshould

havethenameoftheshowonthetopofthepage. Keepitcurrent. Alwayshavethe

rehearsalscheduleinthesameplaceonthecallboard. Thesamegoesforall

informationonthecallboard.

2. RehearsalClothes. ArrangewithCostumeDesignertopickuprehearsalclothesfrom

thecostumeshop. Certainitemsarecheckedoutdirectlytoactorsatfittings(ex:

corsets).

3. RehearsalProps. Checkwiththedirectorastowhens/hewantstostartusingrehearsal

props. Getasmanyoftheseaspossiblefromthepropspersonassignedtotheshow.

Useyourimaginationtoimprovisewheresimple,easilyacquiredpropsareavailable. If

itbecomesessentialtotheshowtousetherealpropduringtherehearsal,instructthe

casttouseextremecareasthepropmaynotbereplaceable.

4. Valuables. Theactorisresponsibleforhisvaluablesduringrehearsaloutsideofthe

theatre. Theyshouldbekeptintherehearsalroomtopreventlossortheft.

DAILY

TECHNICAL

ROUTINE

Whenassignedtotheshow,findoutwhoarethetechnicalpeopleassigned. Introduceyourself

andbecomefamiliartothem. Thiswillhelpthembuildconfidenceinyouandyourabilityto

giveinformationandarticulatechanges. Toallowfororderlydistributionofinformationduring

rehearsals,establishadailyroutineofpersonneltocheckinwith. Theseinclude:


15/59

1. SceneShop. Thebesttimetofindpeopleinthesceneshopisusuallybetween2:00and

5:00pm. HereyoushouldbeabletofindtheSceneDesigner,TechnicalDirector,

LightingDesignerandPropsMaster.

2. TechnicalDirector. TheTDshouldbekeptinformedofanyuseofthesetthatmightbe

outoftheordinary(i.e.peoplejumpingontooroffoflevels,specialmaskingconcerns).

As

always,

any

information

given

to

the

TD

should

also

be

seen

by

the

designer.

CheckalsowiththeTDconcerningwhenthesetwillbeloadedintothetheatre. Youmayhave

toarrangeanalternaterehearsalspace.

3. SceneDesigner. Anynotesregardingtheuseofsetsandpropsshouldgotothescene

designer. Ifminoralterationsarenecessary,suchastheadditionofalightswitchora

coathook,informthesetdesigner. S/hemaysendyoutothepropsmasterortheTD.

4. PropsMaster. Aftertheinitialproplistiscompiled,itisnecessaryfortheStage

Managertokeepintouchwiththepropsmasterwheneverthereisadditional

informationabouttheprops(numberandtype,consumableetc) Allnotestothe

props

master

should

also

go

to

the

Set

Designer.

Also

remember

some

props

are

handledbythecostumeshop(i.e.pursesorumbrellas). Thosepropsthatare

designatedcostumepropsshouldbedeterminedatthefirstproductionmeeting.

5. LightingDesigner. NotesaboutlightingeffectsshouldgototheLD. InadditiontheLD

willwanttoknowwhenyouhaveplannedarunthroughoftheshow. Theearlierthis

runthroughcanhappenintherehearsalperiod,thebetter.

6. GeneralManagerforProduction. Ifforsomereasonyoufeelthatyouarenotgettinga

satisfactoryanswertoyourquestionsorrequests,checkwiththeGeneralManagerfor

Production.

She

has

primary

control

over

the

production

end

of

all

shows.

EMAILANDCOMMUNICATION

1. StageManagementMailbox. ChecktheSMboxintheproductionsofficeformessages

atleastonceaday. MessagesfortheDirectorwillbeleftinthisboxaswell.

2. Keepintouchviaemail. TheUWprovidesallfaculty,staffandstudentswithemail

accounts. Ifyouareworkingwithoutsideactors,designersordirectorsyouwillneedto

gettheiremailaddresses. Usingemailyoushouldprepareadistributionlistofall

production

team

members

and

essential

department

faculty

and

staff.

Using

this

list,

senddailyrehearsalreportsandproductionmeetingnotes. Theseareessentialtokeep

alldepartmentsinformedofwhatishappeninginrehearsals. Productionnotesshould

beascompleteaspossible(moreisbetterthantoolittle). Rehearsalreportsshouldbe

sentoutfollowingrehearsalorbynolaterthan9:00am,inorderfortheshopstohave

theinformationattheearliestpossibletime. Ifyoudonothaveacomputerathome,

therearemachinesavailableattheloungeinHutchinsonHall,theproductionofficeor

anyofthecomputercenters.


16/59

3. Keepintouchinperson. Emailisafastanefficientwastogetinformationtoallareas

oftheproduction. However,emailscannottaketheplaceofoneononecontactwith

thedesignersandtheshopstaff. Itisveryimportantthatyouestablishaworking

relationshipwitheveryoneinvolved. Youwanttoseewhatisbeingbuiltbecauseitmay

promptfurtherquestionsthatyoucantakebacktorehearsaloralertthedirectorto

possibleproblems.

4. Reports. Youmustletthetechpeopleknowofanychangesthedirectorwantswhether

theyaremajorornot. Besureyouunderstandthedirectorcompletelywhenyouget

yourdailynotes. Discussionbetweendesigneranddirectormaybenecessary,so

schedulethisassoonaspossibletoavoidthecompleterebuildofanyitem.

5. Callboard. Thecallboardisanotherwaytocommunicatedirectlywithyourcastand

crew. Itisimportantthatthecallboardbeeasilyreadandthatinformationcanbeeasily

found. Notifyactorstocheckthebulletinboardeverydayintheeventoflastminutes

changesintherehearsalorfittingschedules. Signinsheetsareexcellenttouse,even

withasmallcast,becauseitinsuresthatthecastislookingatthecallboardatleastonce

a

day.

VI. PRODUCTION MEETINGS

PRIORTOFIRSTANDALLPRODUCTIONMEETINGS

Productionmeetingarescheduledtoformallyworkoutalltheproblemsofthetechnicalendof

theproduction. Atthesemeetingsthedecisionsaremadeconcerningallaspectsofthe

production.

Additional

production

meetings

dates,

times

and

places

are

scheduled

by

the

GeneralManagerforProductionandtheStageManager.

a. Meetingsarenormallyscheduledintheconferenceroomupstairsinthescene

shop.

b. Youattendallproductionmeetings.

c. Bringthepromptscript,copiesofpreliminaryproductioninformation(egg:

props/furniturelist,contactsheet,etc.)notepadandpencil.

d. TheconferenceischairedbytheGeneralManagerforProduction.

e. Preparealistofquestionswhichyouand/ortheDirectorneedanswered. Meet

withthedirectorpriortothemeetingtopreparethislist.


17/59

***PRODUCTIONMEETINGS***Areheldweekly,fromthefirstrehearsaluntiltheweekbeforetech. Asyougetcloserto

movingintothetheatre,questionswillgetmorespecific;schedulinguseofthestage,whenand

whatyoucanuseforrehearsalmightchange. Specificdiscussionswillberequiredat

productionmeetings. Ifthereisaverydetailedelementoftheproductionwhichrequiresan

outsidemeetingorpropfitting,youwillhavetoschedulethat.

FIRSTPRODUCTIONMEETING

1. Thefollowingpeoplearetobeatalloftheproductionmeetings. Notifythemthrough

emailandanoticeonthecallboard.

Director SetDesigner

StageManager LightingDesigner

Asst.StageManager CostumeDesigner

PropsMaster GeneralManagerforProduction

Technical

Director

Sound

DesignerDesignFacultyAdvisor CostumeShopSupervisor

2. Bringpromptscript,copiesofpreliminaryproductioninformation(e.g.: prop/furniture

list,contactsheet,etc.)

3. ThemeetingisrunbytheGeneralManagerforProduction.

4. Conferencesarescheduledtotakeonehour. Occasionallytheywillrunlong.

5. TheusualprocedureattheFirstmeetingis:

a. Directortalksabouttheconceptoftheplayingeneraltermstoacquaint

everyonewithhis/herideas.

b. Eachdepartmentisthenaddressedspecifically. Donotlettheconversation

carryoverintoanotherareaunlessyouandthedirectoraresatisfiedwiththe

answersgiven.

c. Iflongerandmoredetailedsessionsarerequiredbetweenthedirectoranda

staffmember,setupaseparatemeetingforthethreeofyou.

d. Talkaboutcrewassignmentsforrunningtheshow.

e. Eachdesignerandmemberofthetechnicalstaffisresponsibletoseethatall

questionstheyhavearediscussedwiththedirector.

f. Thedirectorgiveshis/herapprovaloftechnicalideasdiscussedatthemeeting.


18/59

g. Theconferenceisendedwhenalltechnicalaspectsaresatisfactorilycoveredand

understood.

6. Besureyouwritedowneverythingeachdepartmentintendstoaccomplish. Emailnotes

fromtheproductionmeetingtoeveryoneonyourdistributionlist. Intheeventa

departmentdoesntcompletesomeaspectoftheproduction,youwillhavewritten

down

what

was

promised.


19/59

TECHNICALREHEARSAL


20/59

VII. TECHNICAL REHEARSALS

PRIORTOTHEFIRSTTECHNICALREHEARSAL

1. FirstAidKit. Everytheatrehasafirstaidkitbackstage. ItiskeptintheStageManagers

booth.

Check

to

see

that

it

is

complete.

If

there

are

items

missing,

put

that

information

inyournotes.

2. Production Keys. Get the keys to the theatre from Anne Stewart in the production

office.

3. DressingRoomAssignments.Youdecidewhouseswhichroom. Dressingroomsclosest

tothestageareusedforactorswithquickormultiplecostumechanges. Assignactors

accordingly.

4.

Writingcues.

LightingCues:Acommonsystemfornumberinglightingcues;

ActIbeginsLQ100. ActIIbeginsLQ200. ActIIIbeginsLQ300.

Mostlightingdesignerswillskip#stoleaveroomtoaddcueslater.

(EX: LQ104thenLQ106.)

SoundCues: TheseareletteredSQA,SQB,SQC,inordertodistinguishthemfromthe

light cues. Each sound effect on tape or CD is one cue. If alterations happen within a

cue,thisisindicatedwitha#aftertheletter.

(EX: SQB isplaying; ifthevolumewereto increase2pointswhileplaying,thenthat

internalcue

would

be

SQB

1.)

FollowSpotCues: Followspots sharenumbering withLQs. You oftenhavetocallthe

locationandgel#usedforeachfollowspotcue.

(EX: SP2pickupDSR,Frame2,FullBody)

SpecialCues: Ifanexoticcueiscalledforintheshow,writeoutthecuename.

(EX: Flashpot,Trapdoor,Etc.)

a. Ifacueistakenoffawordofdialogue,drawalinefromthatwordtothe

cue.

b. If a cue is taken off of a piece of business, make a note next to the

blocking.

c. Allcuesshouldbewritteninthemarginofyourpromptscriptwithaline

drawnback,referringtoplacement.


21/59

EX: JOHN

Pleasetakethedogoutside! LQ243BO&GO

dog afterJohnsX LQ243 Light &GO

dog asJohnturns LQ243 Light &GO

Sometimes

a

cue

is

taken

at

a

specific

time,

e.g.

30

seconds

after

the

overture

starts,

and

canbeindicatedbywriting:30nexttothecueand:00nexttotheoverturecue.

EX: S2:00 Overture

:30 LQ100 Houselightsout

:45 LQ102 Lightsuponscene

CUESHEETS

Lights

COUNT CUE# PAGE ACTION CUELINE/LOCATION

5 1 1 Houselightsto :30afterstartofoverture

5 2 1 House&presetout 1:15afterstartofoverture

2 3 1 Scenelightsup Endofoverture

*Itismorelikelythatthelightingdesignerwillsupplythestagemanagerwiththistype

oflightcuesheet.

Sound

CUE

PAGE

DESCRIPTION

CUELINE/

LOCATION

SPEAKERS

NOTES

A 1 Preshow 20minbeforecurtain House,onstage,

lobby

B 1 Overture Atcurtaintime House Fadein

C 6 Gunshot AsJohngetstowindow Live UL

D 15 Wind Betterclosethe

windows.

USSpkrs Fadein

PropPlot

PROP PAGE ACT/SC DESCRIPTION TRACKING

Table 1 Ii Rusticwoodentablew/dressing Presetonstage

Goblet 1 Ii Golden,w/liquid EntSR

Foodplate 1 Ii 18ovalw/bones&scraps EntSRExSL


22/59

* Because Props are used by the actors, Stage Managers must have a way of keeping track of

how and when props are being used. Tracking this information during rehearsal will be

valuablewhenyourpropscrewarrives.ShiftandFlycues: usuallyrefertoscenessurrounding

them

(EX: ShiftIIItoIIii).

Scenery

A. TheStageManagerscuesheetforsceneryshouldbeacompletelistofallitems

thatshouldbecheckedinbeforeashow. Thiscanbeanexpandedversionofthe

preshowchecklist.

EX: SceneryCheckforDinneratEight

Preset:ActIsc.I

Telephoneconnectedandworking

Practical

lamps

LeftandRighthingedmaskinginplace

Mrs.Jordansletteropener

USLdoorclosed

DSRdoorajar

CurtainsSLclosed

B. Foreachscenechange,youshouldhaveastepbysteprundownofwhathasto

moveandinwhatorder.

Dinner

At

Eight

Scene

change

Act

3

sc

II

to

Act

3

sc.

III

Q Stagecurtainin

Q Alllegsout

Hingedmaskingoffstage

DisconnectlightingcablesE

Disconnectphonecables

Q SiftRenaultwagonoffstage

Q SiftJordanlivingroomonstage

Q Flyinlegs

ConnectLightingcables

FlyinchandelierStagecurtainout

A similar shift plot should be made for each shift. These plots should be detailed enough so

that the Stage Manager knows exactly what should happen at every point in the shift. The

StageManagercanthenmakeupindividualcuesheetsforthestagecrew. Eachcrewmember

willhavehis/herowndutiestoperformduringeachshift.


23/59

5. TechTable. During the loadin at the theatre the Technical Director sets up

theTechTableandsuppliestheheadsetsandrunninglights.

6. FireArms. If practical firearms are required in the show, insure that the props

department

includes

a

cover

pistol

for

crew

to

fire

offstage

should

the

onstagegun misfire. Determine an appropriate time for the Props Master to come to

tech and demonstrate the use of the firearm. All firearms are to be locked up

whennotinuse.

7. Laundry. Check the costume laundry schedule with the costume shop

supervisor.

8. PreshowChecklists. Use the individual checklists for each theatre, kept in the

productionoffice. Walkthroughthetheatreandacquaintyourselfwiththelist.

*Keepthe

check

list

current

when

in

the

theatre.

It

can

prevent

your

being

blamed

for

somethingnotbeingdonewhenyouhavedoneitandhavewritingproofofit.

9. PostShowChecklist. FollowstheexactsameformatasthePreshowCheckList.

Thislistisuseduponcompletionoftherehearsalorperformanceandisusedto

closedownthetheatre.

10. Loadin. The Technical Director is in charge. Load in is the moving of the set,

lights,furnitureandpropstothetheatrebythesceneshopstaff. Youmaywant

tobeatloadintoansweroraskanyquestionsconcerningtheset. Normallythe

Set

Designer

and

the

Lighting

Designer

are

also

at

load

in.

Any

question

youhaveshouldbeansweredbythestaff. TrytohavetheDirectorseetheprogress

eachevening. Youmustbeawareoftheprogressorlackthereof.

11. UseoftheTheatreforrehearsalduringloadin. Sometimeswithsimplesets,it

ispossibletousethetheatreforactingrehearsalsduringloadin. Theuseofthe

theatre by the company must be cleared by you with the TD and the LD.

Becauseofthecomplexityofmanyshows,thisisnotalwayspossible.


24/59

PRESHOWCHECKLISTPLAYHOUSETHEATRE

TimeTo

Show

Actual

Time

Description Tue Wed Thur Fri Sat Sun

1.

Open

Dr essi ng

r ooms,

l i ghts

on

2. OpenStageM anager sbooth,tur n

oni nter com

3. OpenLi ghtsoundbooth

4. Unl ockthestagedoor

5. Tur nontheatr eswor kl i ghts

1. C r ewsi gnedi n

2. Stageswept&mopped

3. Unl ockpr opcabi net

4. Housecl ean(checkwi thHouse

M gr .&Boxoffi ce)

1. Di mmercheck

2. Soundcheck

3.

Headset

&

M oni tor

check

4. Stageset

5. P r opsC hecked

6. Onstagepr opschecked

7. Ai sl el i ghtsonfr oml i ghtbooth

8. Actor sfi nalcheckonstage

1. Actor ssi gnedi n

2. Hal fHourcal l ,noo n e a l l o w e d

onstage,actor stodr essi ngr ooms,no

guestsbackstagethankyou

3.P r eseton,Housel i ghtson,P r eshow

musi con

4. Fi nalpr opcheck

5.Scenedockl i ghtsoff,equi tyl i ghts

on

6. C heckwi thHouseM gr . Open

house. Announce:Housei sopen,no

oneal l owedonstageThankyou.

1.15mi nutecal l

2. C ol l ectval uabl es

1. 5mi nutecal l

2. Fi nalcheckwi thHouseM gr&Box

Offi ceaboutFOH

1. P l acespl ease

2. Infor mHouseMgr.thatyouar e

goi ng

1.MarkcurtaintimeonSMReport


25/59

POSTSHOWCHECKLISTPLAYHOUSETHEATRETimeTo

Show

Actual

Time


1.

M ar k

cur tai n

ti me

on

SM

Repor t

1. Retur nV al uabl es

1. Setfur ni tur estr uckandcover ed

2. P r opsstr uckandstor ed

3. Headsetstur nedoff

4. Li ghtboar dandSoundEqui pment

tur nedoff

5. Ai sl el i ghtstur nedoffi nbooth

6. Li ght&soundboothl ocked

7. SMboothbothsoundsystems

off,l i ghtsoff,pr omptbookstor ed

8. SMboothl ocked

1.

Al l

costume

r epai r s

i n

smal l

dr essi ngr oomoffgr eenr oom,wi th

r epai rnoteattached.

2. Laundr ybagi nsamedr essi ngr oom

onl aundr yni ghts

3. Al lcostumeshungup

4. M akeupawayi ndr essi ngr ooms

offgr eenr oom(becauseofmakeup

cl asses).

5. Dr essi ngr ooml i ghtsoff

6. Scenedockl i ghtsout.

7. House&W or kl i ghtsout

8. Lobbyfr ontdoorl ocked

9. Boxoffi cel ocked

10. Al ll i ghtsoutbutl obbyl i ghts

11.

Li ghts

i n

r estr ooms

out

12. Theatr ecl ear edofever yone

13. Ini ti alandr etur ntoSM

14. Gr eenr oomandunder passl i ghts

out

15. Theatredarkandabouttobe

locked(exitthroughstagedoor)


26/59

PRESHOWCHECKLISTPENTHOUSETHEATRETimeTo

Show

Actual

Time


1.Opentheatr efr ontdoor s

2. Openstagedooroffdr essi ng

r ooms

3. Opendr essi ngr ooms

4. Tur nonstagewor kl i ghts

5. Tur noni nter comsystemi n

SM /Li ghtbooth

6. Tur nonper i meterl i ghtsar ound

theatr e

1. C r ewsi gnedi n


3. HouseC l ean

4. M eetHouseM gr . Houseopen

pol i cy

5. Nofur ni tur el eftar oundtheatr es

outerci r cl el obby.

1. Di mmercheck

2. Soundcheck

3. StageSet

4. P r opsset

5. Headsetcheck



2. Actor scheckonstagepr ops

3. Hal fHourcal l ,nooneal l owed


guestsal l owedi ndr essi ngr ooms

thankyou

4.

Enter

code

to

tur n

off

r i nger

onbackstage&boothphones

5. C heckwi thHouseM gr . Open



6. Fi nalcheckper sonalpr ops

1.15mi nutecal l


3. SeethatHouseM gr .has

P er for mancei nP r ogr essEnter

Qui etl ysi gntopostwhen

per for mancebegi ns

4. HouseM groncur tai nti me

1.

5

mi nute

cal l 2. Ini ti alandr etur ntoSM

1. P l acespl ease



27/59

POSTSHOWCHECKLISTPENTHOUSETHEATRETimeTo

Show

Actual

Time


1. M ar kcur tai nti meonSMRepor t

1. Usecodetotur nphoner i nger son.


1. Setfur ni tur estr uckandstor ed


3. Nothi ngfr omshowl efti ntheatr e

4. SMLi ghtboothboar dstur nedoff

andheadsetsystemoff,boothl ocked

1.C ostumer epai r si nAdr essi ngr oom

wi thr epai rnoteattachedtoeach

2. Laundr ybagi nAdr essi ngr oomon

l aundr ydays


4.

M ake

up

put

away

5. Al lwi ndowsi ndr essi ngr ooms

cl osed


7. Dr essi ngr ooml ocked

8. Al ldoor sl ocked,al lwi ndows

cl osed

9. Ki tchenl ocked

10. Theatr ecl ear edofever yone

11. Ini ti alandr etur ntoSM


locked


28/59

PRESHOWCHECKLISTSTUDIOTHEATRETimeTo

Show

Actual

Time


1.OpenDr essi ngr ooms,l i ghtson

2. OpenStageM anager sbooth,tur n

on

i nter com




1. C r ewsi gnedi n




M gr .&Boxoffi ce)

1. Di mmercheck

2. Soundcheck

3. Headset&M oni torcheck

4.

Stage

set

5. P r opsC hecked









musi con

4. Fi nalpr opcheck


on

6.

C heck

wi th

House

M gr .

Openhouse. Announce:Housei sopen,no


1.15mi nutecal l


1. 5mi nutecal l


Offi ceaboutFOH

1. P l acespl ease


goi ng

1.

Mark

curtain

time

on

SM

Report


29/59

POSTSHOWCHECKLISTSTUDIOTHEATRETimeTo

Show

Actual

Time








tur nedoff





8. SMboothl ocked

1.Al lcostumer epai r si nsmal l

dr essi ng

r oom

off

gr een

r oom,

wi th



onl aundr yni ghts




cl asses).







11. Li ghtsi nr estr oomsout

12.

Theatr e

cl ear ed

of

ever yone13. Ini ti alandr etur ntoSM


out




30/59

PRESHOWCHECKLISTHUT218THEATRETimeTo

Show

Actual

Time


1.OpenDr essi ngr ooms,l i ghtson

2.

Open

Stage

M anager s

booth,

tur noni nter com




1. C r ewsi gnedi n




M gr .&Boxoffi ce)

1. Di mmercheck

2. Soundcheck

3. Headset&M oni torcheck

4.

Stage

set

5. P r opsC hecked









musi con

4. Fi nalpr opcheck


on

6.

C heck

wi th

House

M gr .

Open



1.15mi nutecal l


1. 5mi nutecal l


Offi ceaboutFOH

1. P l acespl ease


goi ng



31/59

POSTSHOWCHECKLISTHUT218THEATRETimeTo

Show

Actual

Time








tur nedoff





8. SMboothl ocked

1.Al lcostumer epai r si nsmal l

dr essi ng

r oom

off

gr een

r oom,

wi th



onl aundr yni ghts




cl asses).







11. Li ghtsi nr estr oomsout

12.

Theatr e

cl ear ed

of

ever yone13. Ini ti alandr etur ntoSM


out




32/59

ABOUTDRYTECHSANDHOWWEDOTHINGS

TheSchool ofDrama policy isthatalltechnical elementsneed tobe integrated withthework

the actors are doing in the show rather than in an empty theatre. Therefore, we do not do

drytechs without actors, or cuetocues. This does not mean that such things as shift

rehearsalscannotbeheldbeforetechsorthatthedesignerscannotlookatlightcuesorlisten

to

sound

cues

in

the

space

without

the

director.

Also, prior to the first tech, the director, designers and Stage Manager should meet to talk

throughthetechprocess andtheproductiontobecertaintheyareallmovingandthinkingin

the same direction, as well as, clarifying communication and vocabulary issues about the

upcomingprocess. Thiswillfacilitatethesmoothrunningoftech.


33/59

FIRSTTECHNICALREHEARSAL

1. Youareincompletecontrolofthetechnicalrehearsalandeveryone,withthe

exceptionoftheDirector,isresponsibletoyou.

2. Crewiscalledat6:00pm,castiscalledat6:30pmandthetechbeginsat7:00pm. The

rehearsal

must

end

at

11:00

pm

with

the

theatre

cleared

of

all

personnel

by

midnight.

ThisisaDramaSchoolpolicyandmustbeenforced.

3. Arriveatthetheatreatleastonehourbeforethecompanyiscalled. Bringyourprompt

scriptwithyou.

4. PostsigninsheetonthegreenroomCallboard.

5. Assignandlabelalldressingroomsbeforethecastarrives.

6. UsingPreshowchecklistgetthetheatrereadyforrehearsal.

7. Donotunlockfrontdoorofthetheatrefortech. Actorsandcrewmustusethestage

door. Technicalrehearsalsareclosedtothepublic.

8. Checkthefirstaidkit,andnoteplacementofallfireextinguishers.

9. Opendressingrooms,lightbooth,stagemanagersbooth. Turnontheatreworklights.

Turnonheadsetsandintercomsystemsanddoaheadsetcheckwiththecrew.

10. Checktechtable.

11. Asthecastandcrewarrivehavethemsignin. Actorsaretogotodressingroomsand

getintocostume.

12. Meetwithyourcrewandexplaintheirindividualcrewassignments. Haveboardops

reporttothelightandsounddesigners. Explainscenechanges. Besurethecrew

understandsyou.

13. Flies:Ifthefliesareusedintheproductiontheyareoftencontrolledfromtheflygalley

floorabovethestagefloorSR. Itisnecessarytounlockthebarsonthefloorleveland

relock

them

on

the

galley

floor.

See

the

Technical

Director

for

complete

instructions.

14. Firearms: YoureceiveallfirearmsfromthePropMaster. Heinstructsyouintheircare

anduse. ScheduleatimeforAlextospeaktothecastandcrewaboutfirearmsafety

beforetheyareusedatrehearsal(usuallyatfirsttech). Youareresponsibleforsecuring

theweaponafteruse. CheckwithAlexorAnneaboutagoodplaceforsecuring

weaponsateachtheatre.


34/59

INTHEATREREHEARSALANDPERFORMANCEPOLICY

Priortothefirstte chactuallybe gintoasse mblethecastandcre wande xplainthepolicy. Firsthavethe

cre w,te chnicalstaffandactingcompanyintroducethe mse lve s.

1. CallTimes. All me mbe rs of the castand cre w are re quire d to sign by the time se t by the stage

manage r. Itisusuallyonehourbe forecurtainforcre wandahalfhourforactors. SignInShe e t

is

in

the

gre e n

room

are a.

2. Lateness. Any pe rson who knows the y will have to be late for any re ason must phone in and

spe aktoyou.

3. Reports. Inform the m you are re quire d to ke e p a Stage Manage rs Re port that must list all

violationsbycastandcre w. Thisre portisforwarde dtotheProduce rwhotake swhate ve raction

isne ce ssary.

4. Call System. It is usually half hour, 15 minute s, 5 minute s, and place s. At inte rmissions it is

usually 5 minute s and place s. You make all calls ove r the inte rcom syste m. Actors are

re sponsible

to

time

the mse lve s

for

the

calls.

The

curtain

is

not

to

be

he ld

be cause

an

actor

is

notre adye xce ptinabonafidee me rge ncysituation.

5. Valuables The stage manage r or assistant stage manage r colle cts all valuable s afte r the 15

minute s call and locks the m up. Anything of value to actors or cre w should be turne d in. The

Scholl cannot be re sponsible for anything stole n and that was not turne d in whe n valuable s

we re colle cte d. Afte r the pe rformance you re turn valuable s to e ach individual. No one is to

takeanyothe rpe rsonsite msthatwe reinyoursafe ke e ping. Novaluable saretobele ftinthe

the atreove rnight.

6. Visitors. Only the cast and cre w are allowe d backstage prior to pe rformance , and during

inte rmission.

Gue sts

are

pe rmitte d

to

come

backstage

afte r

the

final

curtain.

No

gue sts

are

allowe datanyofthete chnicalre he arsals. Gue stsatdre ssre he arsalsre quirepe rmissionofthe

showsDire ctor.

7. EatingandDrinking. Noe atingordrinkingisallowe dwhe nanactorisincostume .

8. AlcoholandDrugs. Noalcoholordrugsarepe rmitte dinthethe atreatanytime . Anyinfraction

willbere porte dbyyoutotheProduce r(Exe cutiveDire ctoroftheSchoolofDrama)andshewill

takene ce ssarydisciplinaryaction.

9. FirearmsPolicy. Onlytheproppe rsonassigne d,theactorusingthefire armandyourse lfareto

touchthewe aponunde ranycircumstance . Ifitistobeuse dagaintheproppe rsonwillre load

the

gun,

not

the

actor.

10. PropsPolicy. Propsareke ptontable sone achsideofthethe atre . Actorsarere quire dtoche ck

allonstageandoffstagepropsatthehalfhourpriortohousebe ingope ne d. Ifapropiscarrie d

offstage it should be place d on a prop table by the actor or hande d to a prop cre w pe rson.

Props are not to be ke pt in dre ssing rooms unle ss the y are spe cifie d as a pe rsonal prop and

thepropspe rsonisnotifie d.


35/59

11. Entrances. Actorsareresponsibleformakingalltheirentrances. Afteryoucallplacesit

istheirresponsibility.

12. Costumes. Actorsarerequiredtokeepallcostumeshungup. Attheendofrehearsalor

performance they are to pick up everything from the floor and place it on the racks

abovethecostumes.

13. CostumeRepairs. Attheendoftherehearsal,costumesneedingrepairsaretobehung

on the costume rack. Actors must speak with costume crew and make them aware of

theneededrepair. ActorsshouldalsomentionrepairneedstotheStageManager.

14. Laundry. The Costume Designer will determine what laundry needs to be done and

when. Thisschedulewillbeexplainedtothecostumecrewattheirorientation. Check

withtheCostumeDesignersoyoucanbeuptodateonthisinformation. Ifanyonehas

questions, they should speak to the Costume Designer or Shop Supervisor, Josie

Gardner.

TECHNICALREHEARSAL

INFORMATION

FOR

CAST

AND

CREW

Whileyoustillhavethecastandcrewassembledgivethemthefollowingtechrehearsal

information:

1. TechrehearsalisprimarilyfortheStageManagerandthetechnicalcrew,toallowthem

timetointegratethetechnicalaspectsoftheshowwiththeactors. Cuesarefrequently

repeateduntiltheStageManager,Director,andDesignersaresatisfied. Actorsshould

beremindedofthisfactsothattheyDONOTleavethestageareaimmediatelyafter

theirscene.

2. Becausetechrehearsalsareextremelycomplicatedactorsaretoremainquietonstage

andoffandaretobeavailableatalltimes.

3. Nomemberofthecastorcrewmayleavethetheatrewithoutyourpermission.

4. Notesaregiveninthehouseattheendofthetechnicalrehearsalafteractorsareoutof

costume.

5. Ifitisnecessarytorepeatacueyouwillcalltotheactors,StopPlease,andgivethem

necessary

instructions.

To

resume,

call

out

ContinuePlease.

6. Actorsareforbiddentousetheintercomsystem,orbeinthelightorsoundbooth,orin

theflygalley,unlessassignedasamemberofthecrew.


36/59

CALLINGOFCUES

1. Communicationbetweenthecrewandyouonheadsetisforessentialcueinformation

only. Youmustsetthetoneforcommunicationontheheadsets. (Remember,becareful

whatyousayonaheadsetbecauseyouneverknowwhomightpickoneuptolistenorifa

volumecontrolhasbeenleftuptoohigh).

2. Cuesshouldbecalledinthefollowingmanner:

Awarnshouldbegive n4060se condsbe forethecue ,followe dbyastandbyabout

20se condsbe forethecue ,followe dbythecueitse lf.

EX:WarnLights6. StandbyLights6. Lights6GO.

(Notetheorderofwords. BECERTAINthatGOisthelastwordsaidwhencallingacue,and

trytotimeitjustbeforeitshouldbeexecutedtoallowforoperatorreactiontime).

3.

All

warns

and

standbys

should

be

written

into

your

prompt

script.

Adjust

the

timing

of

thesecallsifyouroriginalapproximationsweregrosslyincorrect.

4. Besuretoexplainthissystemtoallcrewmembersinvolved.

CUELIGHTS

1. Usethecuelighttosignalallcuesthatarefeasible.

2. Whensignalingflyswiththeinstalledlightcuesystem:

a.

For

the

warn

simply

turn

the

cue

light

on

approximate ly

20

se conds

be fore

the

cue .b. Forthee xe cutionofthecue(theGO),simplyturnthelightoff.

c. Itissome time sne ce ssaryfortheflymantoe xe cutethecueonawordoractionof

whichhemustbeinforme d. Inthiscasethecuelightme re lyre inforce stheaction.

3. SeetheTechnicalDirectorandtheMasterElectriciantomakesuretheflycuelight

systemisinworkingcondition. Alwaystestthesystemeachtimeyouaregoingtouse

thesystem.

CREWSAllcrewsareassignedthroughtheProductionOffice.

1. Pickupacrewlistfromtheproductionofficeabout2weeksbeforetech.

2. Makeadistributionlistonemailandcontactyourcrewtocheckiftheyarestillableto

dothecrew.

a. Contactthe me arly.

b. Makesurethe yhaveaproductionsche dule .


37/59

c. Che ckwithGe ne ralManage rforProductiontose eifanyonehasbe e npreassigne dtoa

spe cificcre worne e dstobeassigne dtoaspe cificcre w.

d. ContactLightingDe signe rtose ewhe nboardope ratorne e dstobe gin(thisisusually

e arlie rthanothe rcre wme mbe rs).

e.

Contact

Costume

Shop

Supe rvisor,

Josie

Garde ne r,

to

se e

whe n

costume

cre worie ntationissche dule dandinformthosecre wme mbe rs.

f. Assignallcre wme mbe rstospe cificcre ws(alwaysle tthe mknowthatassignme ntsare

subje cttochange ). Andre mindthe mwhe nthec r e worie ntationswillbe(aspe rthe

productioncale ndar).

TECHNICALREHEARSALPROCEDURE

1. BesureDirector,designers,cast,andcrewareready.

2.

Call

places

and

inform

everyone

where

you

will

start

from

to

set

your

first

cue

3. Wheneveryoneisready,givethemthebeginfromthespotinthescriptyouarestarting

from.

4. Callthecueaswritten. Thencallthestoptoeithergobackanddothecueagainor

continuethescene.

5. Followthesameprocedureforallcuesandrepeatasmanytimesasnecessarytogetthe

cueright.

6.

If

a

dry

tech

was

not

possible

and

each

cue

must

be

written

in

the

theatre,

stop

the

scene

at

eachcue,lettheDirectoranddesignerssetlightlevels,thesoundoperatorsetthesound

levels,andthecrewthechangeofsetoruseofflies. Assignthecorrectnumberforeach

cueandbesureeachpersonknowsthenumber. Thengobackandrepeatthecuetomake

sureeveryoneknowswhattheyaredoing.

7. Makealistoftechnicalmistakesthataretoosmalltogobackandrepeatthewholecue.

Thesenotesshouldbeforcastandcrewasneeded. Givethenotesattheendofthe

technicalrehearsal.

8.

Make

a

list

of

every

item

from

the

technical

department

that

is

not

at

the

rehearsal.

Consultwiththedepartmentpersonnelinvolvedafterthetechaboutwhentheitemsare

goingtobehere. TurnthislistintotheGeneralManagerearlythenextmorningfor

correctiveaction. Ifanythingisstillmissingafterthenextnightsrehearsal(itsometimes

takestwonightstotechthemorecomplexshows)turninanotherlist. Ifanythingismissing

afterthatandyouandtheDirectordontknowwhy,seetheGeneralManagerfor

Production. Ifyoudonthaveresultsbythethirdnightsrehearsalthefollowingmorning

makeanappointmenttoseetheExecutiveDirector. ListalleffortsontheStageManagers

Report.


38/59

9. FollowthesameprocedureforthecostumesexceptthelistgoesthroughtheCostume

ShopSupervisorandtheCostumeFacultySupervisor.

10. BeawareofproblemsarisingbetweentheDirectorandanymemberofthestaff,designers,

orTechnicalDirector. Ifitappearsthingswillgetoutofhandatthenextrehearsalseethe

General

Manager

for

Production

early

the

next

morning.

If

anything

drastic

happens

at

the

rehearsalthatresultsinchaosbetweenthedirectorandthetechnicalsupportstaff,callthe

GeneralManagerforProduction.Besureitisaproblemthatcannotbesolvedbythe

peoplepresentattherehearsal. Directorquestionsconcerningsetandcostumescan

usuallybeansweredatthetechastheCostumeandSceneShopFacultySupervisorsare

normallyatthetech.

ENDOFREHEARSAL(tech,dress)

ENDINGTHEREHEARSAL:

1. AllRe he arsalsmuststopat11:00pm. Thethe atremustbecle are dby12:00am. Informthe

Dire ctorofthispolicy,sheorhemaywanttostopabite arlie r(youmaywanttoalso)togive

ne ce ssarynote sconce rningte ch. Youcallthee ndofthete ch.

2. Actorsaretoge toutofcostume ,hangthe mupandcomebackintothehousefornote s. The y

mustplaceallcostume stobere paire dinprope rare a.

3. Whilethisishappe ninghavethecre wcloseupthe irre spe ctiveworkforthee ve ning. Prop

pe oplemustputallpropsawayandmustlockallswords,sabe rs,andwe aponswithdange rous

e dge sinthelockare a. (S.MboothPlayhouseLightBoothS.M.boothPe nthouse ). Sound

ope ratormustre windalltape sandplacethe minthe irboxe s. Lightboardope ratorshutsdown

all

lighting

e quipme nt.

The

flyman

must

insure

all

fly

bars

are

se cure .

(no

cre w

me mbe r

is

to

takecre wshe e tsoutofthethe atreunle ssthe yaretakingthe mhometore writethe mandhave

yourpe rmission). TheStageManage rshouldhaveacopyofallthecueshe e ts,asasafe guard

againstloss. Howe ve rthecre wsshouldbere sponsiblefortakingcareofthe irowncueshe e ts.

Ifthe ysode sire ,thecre wmayasktheStageManage rtoke e pthe ircueshe e tsbe twe e nshows.

4. ConsultwithDire ctortose ehowshe /hewantstohandlenote s. Ge tcre wnote sfromhim/he r,

ifthe rearenottoomany,be foreactorscomeoutofdre ssingrooms.

5. Re turnallvaluable s.

6.

Asse mble

cast

and

cre w

for

Dire ctors

note s

and

your

note s

to

the m.

7. Be foredismissingthecastandcre wmakesuree ve ryoneknowsthecallforthene xtre he arsal.

8. Afte rcastnote sfinishat11:30De signe rs,TD,andStageManage me ntme e twithDire ctorfor

te chnote s. Cre wdoe snotstayfornote s. Te chnotse ssionne e dstoe ndby11:55pm(if

workinginMeanyHall,checkwithhousestaffaboutdeadlineforbeingoutofbuilding).


39/59

9. Ifne ce ssaryme e twithyourcre wse parate lytogivethe mnote sandtodiscussproble msand

solutions. Ifacre wme mbe rwantstocomeine arlythene xte ve ningtoworkonhiscre w

assignme nts,besureyouareatthethe atretounlockitforthe m.

10. UsethePostShowChe cklistforclosingupthethe atre . Youaretobethelastpe rsontole ave

thethe atre . Asalways,ple asedonothe sitatetoaskthedire ctor,cre w,oracastme mbe rto

re mainwithyoutocloseupthethe atrespace . Yoursafe tyisve ryimportant.

DAMAGES

1. Costumes.Re mindallcastme mbe rstore portanycostumeproble msorre pairstothecostume

cre wandStageManage me ntatthee ndofallre he arsalandpe rformance s. Che ckwiththe

costumecre waboutthene e de dre pairs. Notere pairsinyourre h/pe rfre port. Ifare pairis

ne e de dduringthewe e k,che ckwiththecostumeshopthefollowingmorningtose eifthe yhave

re ce ive dthere port. Ifre pairsarene e de dove rawe e ke ndpe rformancethatre quiremorethan

asafe typin,calltheCostumeDe signe rathomeafte rthepe rformance .

2.

Scenery,

props,

lights.

Have

the

actors

and

cre w

re port

any

damage

to

you.

Se e

the

Sce ne

ShopSupe rvisore arlythene xtmorningsore pairscanbeaffe cte dforthene xtnightsre he arsal

orpe rformance .

FIREARMSANDWEAPONS

1. Youarere sponsibletose ethatallsuchite msaresafe lylocke dupafte re achpe rformance . The

proppe rsonistocle ananygunfire dduringtheshow.

2. Afte rthefirstte ch,theproppe rsonistoobtainallfire armsfromyouatthehalfhour. Besure

the yarecle ane d,loade d,andonsafe ty. The yaretore turnthewe aponstoyouafte rtheshow

nightly.

ACCIDENTS

1. Eme rge ncynumbe ris9911.

2. Takecareofthee me rge ncycallingforassistanceifne ce ssary.

3. The nphonetheGe ne ralManage rforProduction,AnneSte wartathomeifne ce ssary.

4. Thefollowingmorningyoumustfilloutanaccide ntre portformifanyme mbe rofthecastor

cre w

we re

take n

to

any

hospital

or

doctors

office .

Accide nt

Re port

Forms

are

in

the

ProductionOffice .

STAGEMANAGERSREPORT

1. Thisisyourre cordoftime softheshowandcomplaintsandge ne ralnote sforandaboutactors,

te chnicalstaff,andcre w. Itisaconfide ntialre portandshouldre maininyourpromptscript. It

iswisetohaveahardcopyofthisre portfore achpe rformanceanduseittowriteyoure mail

ve rsion.


40/59

2. StageManage me ntPe rformanceRe portise maile douttoe ve ryoneonyourproductionstaff

distributionlist.

3. Listallviolationsandcorre ctiveme asure syoutakefortheviolations.

4. Inthee ve ntthatititsne ce ssarytose etheGe ne ralManage rforProductionthene xtmorning

you

should

e mail

and/or

voice

mail

he r

a

me ssage .

5. Someite msshouldbere porte d:

a. Actorswhoarelateandwhy.

b. Alatecurtainbe causeofate chnicalproble morlateactororcre wme mbe r.

c. Violationsofalcoholanddrugpolicie s.

d. Poorconditionofthe atrere sultingfromne glige ncebythete chcre worjanitorial

se rvice s.

e. Anydamagetothethe atre ,itshe atingwate r,windows,e tc.

f. Conditionsofe xtre mehe atorcoldre sultingfromPhysicalPlantsnothavingthe atre

he at

on

or

off.g. Actorschangingtheshowafte rthedire ctorhasle ft.

h. Te chnicalite msnotpre se ntforthete chandwhy.

6. Youcannotre porttoomuch,butuseyourdiscre tion. TheProduce rdoe snotne e dtohe ar

aboutdaytodaysimpleproble msofthete chorpe rformance ,butmustknowaboutanyse rious

violations.

7. Pe rformancere portsshouldbese ntoutviae mailafte re achpe rformanceornolate rthan9:00

amthefollowingday. IncludingSaturdayandSunday.

8. Iftheproble misse rious,dontbeafraidtocalltheTe chnicalDire ctorand/orGe ne ralManage r

for

Production

at

home

ove r

the

we e ke nd.

The y

would

rathe r

he ar

about

a

proble m

e arly,

be foreitde ve lopsintoalarge roneandke e pstheshowfromcontinuing.

SUBSEQUENTTECHNICALREHEARSALS

1. Usethefirstte chre he arsalroutineasaguide ,adaptingandde le tingasne ce ssary.

2. Se condTe chRe he arsal

a. Iftheshowwasnotcomple te lyte che dthefirstnight,finishthete ch.

b.

Upon

comple tion

of

the

te ch

and/or

if

the

show

was

te che d

comple te ly

the

pre vious

night,sche duleaTe chRunThruwithstopsforadjustme ntsasne ce ssary.

3. Wednesday3rd

Tech/DressRehearsal

a. TryforanotherRunThru.


41/59

b. Thisshouldbetherehearsalwherethetechnicalaspectsbegintoworksmoothly

andtheactorscanstarttopulltheactingtogetheragainandstarttopacethe

show.

c. Thispacingisimportanttothecrewbecausetheybegintoworkintheconcept

oftherhythmsandlengthsofscenechangesallowingtheplaytoflowwithout

rupturing

it.

This

is

something

you

should

be

aware

of

as

the

stage

manager.Makeallscenechangesmoveasquicklyandquietlyaspossible.

d. Stopifnecessary. Donotstoptherehearsalifthemistakecanbecorrectedwith

anote. Itisstillatechrehearsalandyoushouldstriveforthecrewto

completelyunderstandtheirjob.

4. ThursdayTechDress

a. IfallgoeswellthisshouldbeaTechnicalDressRehearsal.

b.

This

means

technical

problems

have

been

worked

out,

and

actors

have

again

takenovertheplayanditisnearingperformancelevel.

c. Trynottostopthisrehearsalunlessabsolutelynecessary.

5. FridayFinalDress

a. Thisisrunasaperformance. ItusuallyfollowsthenormalTechtimewhichis

halfhourat6:30,curtainat7:00.

b.

The

technical

aspects

should

be

completely

under

control

so

you

dont

have

tostoptheshow. Ifthedirectordeemsastop,thatistheirprerogative. Ifthereis

asafetyissue,alwaysstoptherehearsalorperformance.

c. PhotoCallforSchoolofDramaBlockoffthefirsttworowsofseatsforthe

photographer.

6. Preview(Sunday/Tuesday)

a. FollowsthesameroutineasDressRehearsalexceptthecurtainshouldbeat

7:30.

b. Theshowshouldnotbestoppedforanypurpose,saveanemergency.

DRESSREHEARSALSPECIALINFORMATION

1. Rehearsalswithanaudiencepriortoopeningnightrequiresthatyouopenthehouse

door. Yourkeysincludeafrontdoorkey.


42/59

2. Havethecrewcleanupthehouseandtakeoutallladders,lumber,cords,etc.

3. IftheDirectornolongerneedsorwantsthedirectorstable,itshouldberemovedfrom

thehouse. Ifitistoremain,besurethevolumeontheintercomisturnedverylow.

4. AsktheDirectorifhe/shewishesittobeannouncedthattheperformanceisadress

rehearsal.

Either

you

or

he

may

make

the

announcement.

Be

certain

the

audience

isawarethatstoppingtheshowmaybenecessary.

5. Atthefirstdressrehearsal,getanaccuratetimingoftheshowfromopeningbyactsand

finalcurtain.ThisinformationisnecessaryfortheTheatreManagertoplanthecoffee

forintermissionduringtherun. SeethatBusinessManagergetstheinformation.

6. TimesforTechandDressrehearsalsaresetduringthefirstProductionMeeting.

7. Theongoingcle anline ssofthestageandbackstageare aisyourre sponsibility. Assigncre w

me mbe rs

to

cle an

the

stage

and

se e

that

the

actors

ke e p

the

dre ssing

rooms

cle an.

The

stage

is

normallycle ane dwhe nthecre wsignsin. Actorsarenotallowe donthestageuntilitiscle an.

The yarealsonotallowe donthestageoncethese tisinplace .

8. Normalsignintimeforthecre wisonehourbe forecurtain. Thisallowsthe me noughtimeto

cle anthestageandge ttheshowse tbe forethehouseisope ne d.

9. Theproppe rsonshouldse tallonstageandoffstageprops. Whe nthe yarese tatthehalfhour,

announce ,Halfhour,halfhour,noactorsallowe dinthehouse ,nogue stsallowe dbackstage .

Actorsche ckyourprops.

10.

Use

the

Pre

Show

and

Post

Show

che cklists

for

all

re he arsals.

11. Afte rthepropshavebe e nche cke dandthecre whasche cke doutthe ire quipme nt,youmay

ope nthehouseandannounce ,Thehouseisnowope n,nooneallowe donstage ,quie t

backstage .

12. Attheconclusionofthere he arsal,besuretolockthefrontdoor. UsethePostShowChe cklist

whe nlockingup.

13. PhotoCall:SchoolofDramaPROfficearrangesforthephotographer.

a.

Photos

are

usually

taken

during

the

dress

rehearsal

on

Friday.

Depending

on

photographeravailability,itmaybeduringtech/dressorpreview.

b. Thephotographerdoesnotinterrupttherehearsal. Hetakesthepictures

aroundtherehearsalasitisinprogress.

c. Informtheactorsatleast24hourspriortothecall.

d. Postthecallonthecallboard.


43/59

e. DesignersphotocallafterfirstSundayMatineeConsistsof1012setupshots;

alistmustbesubmittedtotheStageManager48hourspriorinordertogetthe

informationposted.

EMERGENCYPROCEDURE

Intheeventoffireoraseriousemergencyinthetheatre,dothefollowing:

a. Calmlyannouncetotheaudie ncethatane me rge ncye xists.

b. Askthe mtole avethroughthene are ste xituntilthesituationisbroughtunde rcontrol.

c. Pointoutthene are ste xitsfore achse ction.

VIII. OPENING THRU CLOSING

OPENINGANDPERFORMANCEINFORMATION

1. Hours: TuesdaythruThursday 6:30halfhour,7:00curtain

FridayandSaturday 7:30halfhour,8:00curtain

Matinees(ifscheduled) 1:30halfhour,2:00curtain

2. Followsamegeneralproceduresaslistedfortechnicalrehearsals,usingthePoseand

Preshowchecklistsasyourguideforopeningandclosingthetheatre.

3. Youarethefirstpersonatthetheatreandwillunlockthestagedoor.

4. Asofopeningnight,aHouseManagerandushersareassignedtothetheatre.

a. TheHouseManagerisresponsibleforeverythinginfrontofthehouse.

b. TheHouseMangerinsuresthehouseiscleanandturnsonlightsforoutside.

c. MeetwithHouseManagerpriortohalfhourofthefirstperformance. Tellthem

therunningtimeoftheactsandthenumberofintermissions. Ifthereisonly

oneintermission,itis15minuteslongandcoffeeisserved. Ifmorethanone

intermission,decidewhichoneisthecoffeeintermission,andalltheother

intermissionsarenottoexceedtenminutes.

d. Thehouseisusuallyopenonehalfhourpriortocurtain. TheHouseManager

mustmeetwithyoueacheveningandgetyourapprovalbeforeopeningthe

house. Thisisdonetoinsurethestageisset,clearedofallactorsandcrew,and

thecorrectlightingsetforthepreshow.


44/59

e. HavetheHouseManagerletyouknowatfiveminutesifthereistobeaholdof

thecurtain. Findouthowmuchandthenassume,unlessyouhearotherwise,

youwillgoatthattime.

f. TheHouseManagershouldcontrolthetimeoftheintermission,informingyou

only

if

a

hold

should

be

necessary.

5. Whenthecastsignsinathalfhourtheyarenotallowedoutofthedressingroomgreen

roomarea. Warmingupbyactorsmustbedonebeforethehalfhour.

6. Noactoristobeseenincostumebyaudiencememberspriortotheshoworduring

intermission.

7. Actorsarenotallowedoutsideofthebackstageareaaftertheperformanceincostume.

8. Noguestsareallowedbackstagepriortoperformanceorduringintermission. Guests

are

permitted

backstage

after

the

performance.

9. Youarenotexpectedtoconveymessagestoactorsfrommembersoftheaudience.

Openingnighttelegramsandgiftsrequirethatyouusegoodjudgment.

10. Youareresponsiblefortheentiremountedshowandmustmaintaincompletecontrol

overtheproduction.

11. CompleteadailyStageManagersReport.

12. Directorsfinalnotes. IftheDirectorisavisitingdirectorandwillleavebeforethe

production

closes,

be

sure

you

get

whatever

notes

she/he

has

for

you

to

maintain

theartisticintegrityoftheshow. Itisyourresponsibilitytoseethatactorsmaintainthe

standardsoftheshowassetbytheDirector. Violationsmustgoonreport.

13. Damageand/orBreakage. Shouldthisoccurtoset,props,lights,sound,etc.,reportit

earlythenextmorningtotheappropriateshopsupervisor. Reportingearlyisessential

toinsurethedamagewillberepairedintimefortheeveningperformance.

14. PropFoodSupplies. Propfoodisresuppliedbyyou. Drawenoughpettycashtocover

theentirerun. Havetheassignedproppersonfortheshowactuallypurchasetheitems,

beingsuretogetreceipts. Keepallthereceipts.

15. Youwillruntheentireshowfromthestagemanagersbooth. Ifforsomereasonyou

muststepoutofthebooth,dosowhennocuesarecomingup.

16. HoldingtheCurtain. IftheHouseManagerrequestsandyouallowahold,youmust

alteryourcallstotheactors.

a. Givethenormal5minutescall.

b. Atcurtaintime,informthecastandcrewofthelengthofthehold


45/59

c. Yournextcallisplaces.

17. Aftertheperformance,theHouseManagerlocksupandturnsoutlightsforeverything

frontofthecurtain. TheManagershouldreporttoyouwhenhehascompletedhisjob

eachevening.

18.

You

are

responsible

for

locking

up

the

entire

backstage

area.

Use

the

Post

ShowChecklistasaguide. Youarethelastpersontoleavethetheatre.

CANCELLATIONOFPERFORMANCE

1. Asssoonasacancellationsituationisapparent,contacttheGeneralManagerfor

Production. Ifthesituationarisesatthetheatrepriortoperformance,calltheGeneral

ManagerathomeorcalltheExecutiveDirectoroftheSchoolofDramaathome.

2. Ifthecancellationisapproved,contacttheBoxOfficeManageratofficeorhome.

3. Thencallthecastandcrewandinformthemofthecancellation.

Postthecancellationonthestagedoorentranceintheeventyoucouldnotreach

everyoneconcernedwiththeproduction.

4. Ifcancellationisnotgranted,theGeneralManagerforProductionwillinformyouof

whattodotoprepareunderstudies(ifused)ortoprovideanotheractortogoon.

5. Undernocircumstancemayyoucancelaperformance. TheGeneralManagerfor

Productionand/ortheExecutiveDirectoraretheonlypersonswiththatauthority.

FINALPERFORMANCE

1. Inthecastofthemusical,wheretheactorshavegiventheStageManageradepositfor

scriptsandscores,rememberthescriptsandscoresmustbecleanbeforetheygoback

totherentalhouse. TheyshouldbecleanedbythecastmemberasthissavestheStage

Managerthechoreofcleaningallofthescripts.

2. Thefinalperformanceisalsostrikenightfortheshow. Theset,lights,andcostumesare

removedfromthetheatreaftertheperformance(oratalaterdate)bythetechnical

crewandreturnedtotheappropriateshops.

3. Announceat15minutes,intermissions,andaftertheperformancethatallcostumesare

tobehungupandtakenbytheactortothecostumeracksinthegreenroomandcheck

theminwiththecostumeperson. Thisincludesallshoes,hats,fans,andanycostume

item. (Actorsmaynottakeanycostumeshome. Theyarethepropertyofthe

University). Makeuptablesanddressingroomsaretobecleanedandactorsareto

takeallpersonalbelongingswiththemwhentheyleavethetheatre.


46/59

4. Allcastmembersaretoremaininthetheatreaftertheshowuntiltheyhavecleanedthe

dressingroomsandgottenyourapprovalbeforeleaving. Informcrewmemberswho

aredoingthisforcreditthattheyarerequiredtoremainforthestrike.

5. Strike

a.

Be

sure

you

have

the

prompt

script,

crew

sheets,

and

sound

tapes

andthatyoutakethemwithyouwhenyouleave.

b. Youinsurethattheactorscleanthedressingroomareaandleaveno

costumesorpersonalbelongingsbehind.

c. Closeandlockallpartsofthetheatre. Thismeansturningoffalllightsin

dressingrooms,lockingthem,lockingalldoorsnotbeingused,and

turningoffalllightsnotneeded.

IX

POST

PRODUCTION

Onthefirstschooldayaftertheproductioncloses:

1. TurninthefollowingtotheProductionOffice:

a. Soundtapes,crewsheets,andgroundplans(whichwillgointhecompleted

productionbook.

2. TurninthefollowingtotheDramaOffice:

a. Allkeyscheckedouttoyou.

b. Acorrectedcastlistsignedbyyou. Actorssignupfor498creditsforbeingina

production

the

following

quarter

and

they

can

not

get

credit

unless

you

have

turnedthecastlistin.

3. Insurethatallrehearsalclothes,props,andfurniturehavebeenreturnedtothe

appropriateshoporarrangewiththeshopsforthemtobereturned.

4. AllreceiptsforpettycashshouldgotoAlexDanilchikintheSceneShop.

5. Besurethepaintedgroundplanhasbeenremovedfromtherehearsalfloor.

6.

Return

all

unused

supplies

to

the

Production

Secretarys

Office.


47/59

PRODUCTIONBOOK

Thepromptbookisgivenitsfinalformbyyou. Itmustbecompletedandturnedintothe

ProductionOfficewithinoneweekaftertheshowcloses.

1. Removeanyunnecessarymarksfromthebook.

2. Includealltechnicallistsfromtheproductionconferences.

3. Includegroundplan(getfromTechnicalDirector).

4. Includelightplot(getfromLightingDesigner).

5. Includeacorrectedcopyoftheprogram.

6. IncludeacorrectedfinalPropListasusedintheshow.

7. Seethatalladditionsand/ordeletionstothescriptareincludedintheircorrectorder.


48/59

UNIVERSITYOFWASHINGTON

SCHOOLOFDRAMA

AcademicandProduction

PolicyNotebook


49/59

EMERGENCYEVACUATIONPROCEDURESFORTHEMEANYSTUDIO

1. Ifemergencyservicessuchaspolice,fire,orambulanceareneeded,call9911.

2.

If

the

House

Manager

is

aware

of

the

emergency

situation

before

the

stage

manager,

informthestagemanagerimmediatelysothatshe/hecanstoptheshowandmakean

announcementtotheaudience.

3. HouseStaffisresponsibleforevacuationoftheaudienceandshouldundertakeany

measurestoinsuretheirsafetyandthesafetyofthehouseandlobbyarea.

4. TheHouseManagershouldopenthelobbydoorsandthefrontdoorsintothetheatre.

Theotherusherinthelobbyshouldstationthemselfinfrontofthehouse(infrontof

thestageforinstance)tohelpwithspecialproblems. Theusherinsidethetheatre

should

go

to

the

house

left

door.

In

the

unlikely

event

of

a

fire

or

other

emergency

in

thelobbyarea,allpatronsshouldberoutedoutofthehouseleftdoorandanusher

shouldremainpostedatthefrontdoortopreventexitthere.

5. Housestaffshouldstandatdoorswithflashlightsuntilallpatronsareevacuated,

assistinganyelderly,young,ordisabledpersonsthatmightneedassistance.

6. Wheelchairpatronsarethelasttoexit(asperfiredepartmentpolicy). Usher/House

Managershouldremainwiththemuntilallothershaveexitedoremergencypersonnel

arrivetoassistintheirevacuation.

7. AfterallpatronshavebeenevacuatedtheHouseManagershouldcallAnneStewartat

7238226,andTristanat6851919. Youshouldstayoutsideandlocateallyourcastand

crew*

*AtTe chRe he arsal,whe ndiscussinge me rge ncie s,youshouldse taplacetome e te ve ryoneincastof

e vacuation;some whe reclosetothethe atreandobvioustoe ve ryone .

EX:Frontste psoftheArchite cturebuilding.


50/59

EMERGENCYEVACUATIONPROCEDURESFORTHEPENTHOUSE

1. Ifemergencyservicessuchaspolice,fire,orambulanceareneeded,call9911.

2.

If

the

House

Manager

is

aware

of

the

emergency

situation

before

the

stage

manager,

informthestagemanagerimmediatelysothatshe/hecanstoptheshowandmakean

announcementtotheaudience.

3. HouseStaffisresponsibleforevacuationoftheaudienceandshouldundertakeany

measurestoinsuretheirsafetyandthesafetyofthehouseandlobbyarea.

4. TheHouseManagershouldopenallfrontdoorsandtheNorthdoorsintothetheatre.

TheotherusherinthelobbyshouldopenallbackdoorsandtheSouthdoorsintothe

theatre. TheusherinsidethetheatreshouldgotoeithertheEastorWestdoor;ifina

given

stage

arrangement

he/she

could

be

needed,

or

offer

special

assistance

to

wheelchairpatrons. IntheunlikelyeventofafireorotheremergencyintheNorthor

Southareasofthelobby,allpatronsshouldberoutedoutofthehouseleftdoorandan

ushershouldremainpostedatthedangerousdoortopreventexitthere.

5. Housestaffshouldstandatdoorswithflashlightsuntilallpatronsareevacuated,

assistinganyelderly,young,ordisabledpersonsthatmightneedassistance.

6. Wheelchairpatronsarethelasttoexit(asperfiredepartmentpolicy). Usher/House

Managershouldremainwiththemuntilallothershaveexitedoremergencypersonnel

arrivetoassistintheirevacuation.

7. HouseManagersh

stage management manual

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