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ACADEMIC PROGRAMS

Communication Studies

Theatre Arts

Digital Film & Television

CO-CURRICULAR ACTIVITIES

NCA Student Club

Lambda Pi Eta

Forensics

Focus On U

University Theatre

2009-2010 Season

University Theatre Student Handbook

Prices & Ticket Information

Production Calendar

Photographs of Past Productions

Masquers student theatre organization

Alpha Psi Omega - Iota Beta Cast

St. Croix Valley Summer Theatre

About Us

Box Office Information

Ticket Order Form

Parking and Directions

Seating Layout (PDF)

Supporting the SCVST

Photos of Past Productions

FORMS

Independent Study

Internship Guidelines

Internship Sample Proposal

Request to Use Theatre

Theatre Scholarship Application

For more information, contact:
Prof. Robin Murray,
Chair,CSTA
B24 KFA, 715-425-4895
robin.e.murray@uwrf.edu

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General

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Purpose of Handbook

This Handbook has been designed to help you gain the most out of your education within the Department of Communication Studies and Theatre Arts at the University of Wisconsin –River Falls. It is intended as a resource regarding general information, policies, procedures, expectations, and requirements of the Theatre Program.

Mission Statement

The Theatre Major is a liberal arts degree that will train students to use theatre as a tool to learn about culture, communication, creativity, and performance.

The Department Structure

Department of Communication Studies and Theatre Arts
Majors: Communication Studies, Theatre Arts, Digital Film and Television.

Co circular Student Organization
University Theatre, Masquers, Alpha Psi Omega, Forensics, Focus Productions, NCASC (National Communication Association Student Club)

Theatre Faculty

Gorden O. Hedahl (1998) Professor
BS, University of North Dakota
MA, University of North Dakota
PhD, University of Minnesota
Courses include: Acting, Directing, Creative Dramatics, Children’s Theatre
KFA B22 425-4896 gorden.o.hedahl@uwrf.edu

Margaret M. Swanson (1980) Professor
BA, University of Wisconsin-Madison
MA, PhD, University of Minnesota
Courses include: Theatre History, Acting, Playwrights of Color, Directing
KFA 122 425-3115 margaret.l.swanson@uwrf.edu

Robin E. Murray (1987) Professor
BS, Oklahoma City University
MFA, University of Oklahoma
DEPARTMENT CHAIR
Courses include: Costume Design, History of Fashion, Stage Make-up, Children's Theatre and Puppetry
KFA B23 425-3097 robin.e.murray@uwrf.edu

James A. Zimmerman (1984) Professor
BS, Dickinson State College
MFA, University of Southern Illinois
Courses include: Acting, Oral Interpretation, Playwriting, Musical Theatre, Mass Communication
KFA 121 425-4288 james.a.zimmerman@uwrf.edu

Kenneth W. Stofferahn (1987) Professor
BS, MA, South Dakota State University
MFA, University of Virginia
Director of Theatre
Courses include: Design for Theatre, Stage Lighting, Stage Technology and Scene Painting, Arts and Stage Management, Film Courses, Introduction to Theatre
KFA B2 425-3101 kenneth.w.stofferahn@uwrf.edu

Staff

Helen Turner, Program Assistant KFA B24 425-3971 helen.c.turner@uwrf.edu

Part Time Staff

Denise Baker, Costume Designer and Costume Shop Supervisor
KFA B3 425-3096 denise.k.baker@uwrf.edu

Lu Rhomeberg, Box Office
Daniel Rivera, Box Office
KFA 135 425-3114

CSTA Office

The Communication Studies and Theatre Arts Department Office, B24 KFA, is the theatre “headquarters.” Helen Turner, the CSTA program assistant. The office phone number is 715-425-3971. The mailing address is, B24KFA, UW-River Falls, 410 S. Third St., River Falls, WI 54022-5001

Mailboxes

Faculty, Staff, and organizations have mailboxes in the main department office. KFA B24. These are used for sending and receiving messages.

Communication / Callboards

Call Boards at located in two areas of KFA: one in the hallway outside the Green Room KFA B19 and the hallway outside KFA119. These are strictly for the use of University Theatre and Student Theatre Organizations. This is where the production calendar, rehearsal reports, audition notices, cast list, field trip sign up and other important information is located. There is also an information board outside the green room that is used for non essential information such as job postings and graduate schools.

Costume Shop Bulletin Board: The Costume Shop Bulletin Board is located outside the costume shop and is to be utilized for notices pertinent to work in the Costume Shop.

Scene Shop Bulletin Board: The Scene Shop Bulletin Board is located outside the scene shop and is to be utilized for notices pertinent to work in the Scene Shop.

Department Calendar

At the beginning of each academic year a Production Calendar will be posted on the Green Room callboard. Please examine this calendar carefully. It will contain important information, dates, and deadlines. Note especially dates and times of scheduled auditions, performances, and any other required activities. If and when changes need to be made on the Calendar, announcements will be made and notices will be posted.

UWRF Telephone Numbers

All telephone numbers are area code 715:

CSTA Office/Helen Turner - 425 - 3971

Theatre Box Office - 425 - 3114

Theatre Costume Shop - 425 - 3097

Theatre Scene Shop - 425 - 3101

Other useful UW - River Falls telephone numbers:

EMERGENCY Dial 911

General Information - 425 - 3911

University Police/Security - 425 - 3133

Arts and Sciences Office - 425 - 3366

University News Bureau - 425 - 3771

Student Services Center - 425 - 4663

Theatre Students Listserv

The Department maintains a listserv dedicated to Theatre business. Every Theatre major will automatically be subscribed to the list after submitting his or her address to the Program Assistant. Messages sent to this address will be posted to everyone on the list. Keep this in mind when replying to messages from the listserv. If you want to send a private message to an individual, send it to that person's e-mail address not to the listserv. The listserv is reserved for departmental and production oriented messages. All theatre majors should acquire an e-mail account and check it regularly for important information.

Academics - Department Requirements for Degree Programs in Theatre Arts

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Major in Theatre Arts–Liberal Arts B.S.

37 Credits
Required Courses: 22 cr. hrs.
CSTA 121 Acting I: Basic Techniques 3 cr.
CSTA 131 Design for the Theatre 3 cr.
CSTA 294 Sophomore Seminar: Theatre 3 cr.
CSTA 335 Directing I 3 cr.
CSTA 379 Internship 3-12 cr.
CSTA 484 Senior Portfolio Seminar in CSTA 1 cr.
Choose Two
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
CSTA 339 American Theatre 3 cr.

Performance Track 15 Credits
Required Courses: 9 cr. hrs.
CSTA 222 Voice and Articulation 3 cr.
CSTA 231 Stage Technology and Scene Painting 3 cr.
CSTA 332 Stage Costuming 3 cr.
Electives: 6 cr.
CSTA 221 Acting II: Characterization 3 cr.
CSTA 225 Musical Theatre Performance 3 cr.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 435 Directing II 3 cr.
Or approved substitution

Design/Tech Track 15 Credits
Required Courses: 12 cr. hrs.
CSTA 231 Stage Technology and Scene Painting 3 cr.
CSTA 332 Stage Costuming 3 cr.
CSTA 333 Stage Lighting 3 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
Electives: 3 cr. hrs.
CSTA 234 Stage Management 3 cr.
CSTA 336 Fashion History 3 cr.
Or approved substitution

Management Track 15 Credits
Required Courses: 12 cr. hrs.
CSTA 231 Stage Technology and Scene Painting 3 cr.
Or CSTA 333 Stage Lighting 3 cr.
CSTA 234 Stage Management 3 cr.
CSTA 323 Arts Management 3 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
Electives: 3 cr. hrs.
CSTA 334 Playwriting 3 cr.
CSTA 435 Directing II 3 cr.
Or approved substitution

Dramaturgy Track 15 Credits
Required Courses: 9 cr. hrs.
CSTA 230 Playwrights of Color 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
Or CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
Or CSTA 339 American Theatre 3 cr.
Electives: 6 cr. hrs.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 301 History of Film 3 cr.
CSTA 336 Fashion History 3 cr.
ENGL 232 Contemporary Drama 3 cr.
Or approved substitution

Minor in Theatre Arts–Liberal Arts B.S.

24 Total Credits
Required: 15 cr. hrs.
CSTA 121 Acting I: Basic Techniques 3 cr.
CSTA 131 Design for the Theatre 3 cr.
Choose one
CSTA 231 Stage Technology and Scene Painting 3 cr.
Or CSTA 332 Stage Costuming 3 cr.
Or CSTA 333 Stage Lighting 3 cr.
Choose one
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
Or CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
Or CSTA 339 American Theatre 3 cr.
CSTA 335 Directing I 3 cr.
General Electives: 9 cr. hrs.
CSTA 221 Acting II: Characterization 3 cr.
CSTA 222 Voice and Articulation 3 cr.
CSTA 225 Musical Theatre Performance 3 cr.
CSTA 230 Playwrights of Color 3 cr.
CSTA 231 Stage Technology and Scene Painting (if not chosen under required) 3 cr.
CSTA 232 Makeup for Theatre, Film, and Video 3 cr.
CSTA 234 Stage Management 3 cr.
CSTA 294 Sophomore Seminar: Theatre 3 cr.
CSTA 323 Arts Management 3 cr.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 332 Stage Costuming 3 cr.
CSTA 333 Stage Lighting 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 336 Fashion History 3 cr.
CSTA 375 Theatre Practicum: Production 1 cr.
CSTA 376 Theatre Practicum: Design and Technology 1 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
CSTA 435 Directing II 3 cr.
CSTA 499 Independent Study/Independent Research 1-3 cr.
Or Approved Substitution

A research/writing course experience is required in the major or another field; CSTA 294 Sophomore Seminar or another course approved by the department chair, will satisfy this requirement. A senior portfolio experience is required in the major or another field; CSTA 484, Senior Portfolio Seminar or another course approved by the department chair, will satisfy this requirement.

Musical Theatre Minor

24 Total Credits
Required Courses: 18 cr. hrs.
MUS 103 Class Voice 1 cr.
MUS 130 Music Theory and Ear Training I 4 cr.
MUS 131 Music Theory and Ear Training II 4 cr.
MUS 225 Voice for the Actor 1 cr.
SCTA 121 Acting I: Basic Techniques 3 cr.
SCTA 225 Musical Theatre Performance 3 cr.
SCTA 375 Theatre Practicum: Production 2 cr.
Directed Electives: 2 cr. hrs.
Select from the following:
DANC 107 Social Dance .5 cr.
DANC 110 Basic Jazz Dance .5 cr.
DANC 120 Fundamentals of Movement through Dance 1 cr.
DANC 150 Dance Improvisation 1 cr.
DANC 224 Ballet I 1 cr.
Electives: 4 cr. hrs.
Select from the following:
DANC 107 Social Dance .5 cr.
DANC 110 Basic Jazz Dance .5 cr.
DANC 224 Ballet I 1 cr.
DANC 260 Dance Repertory 1-3 cr.
SCTA 131 Design for the Theatre 3 cr.
A maximum of 3 credits from the following 3 courses may be applied toward electives:
SCTA 231 Stage Technology and Scene Painting 3 cr.
or SCTA 332 Stage Costuming
or SCTA 333 Stage Lighting
SCTA 221 Acting II: Characterization 3 cr.
SCTA 222 Voice and Articulation 3 cr.
SCTA 288 Career Development: Theatre Arts 1 cr.
SCTA 339 American Theatre 3 cr.
MUSA 127 Applied Voice (a maximum of 2 may be applied toward electives) 1 cr.
MUS 230 Music Theory and Ear Training III 4 cr.
MUS 340 Opera Techniques 3 cr.

Students majoring in Music or Speech (any emphasis) may not double count any course when completing the Musical Theatre Minor.
Speech Communication and Theatre Arts and Music majors should consult with an adviser and substitute other electives (from the list above) for those required in both their major and minor.

Internship: CSTA 379: COMMUNICATION STUDIES AND THEATRE ARTS INTERNSHIP

1. CATALOG DESCRIPTION:
   The Communication Studies and Theatre Arts internship is a program that places selected students in businesses, industries, or organizations to provide opportunities to practically apply their knowledge of and skill in speech, mass media, or theatre arts. Students may elect a 3-12 credit internship; only 4 credits can be counted in the major/minor. The intern's duties and responsibilities will be tailored to the needs of the sponsoring organization and the background of the student. The organizational supervisor, a department supervisor, and the intern will conduct periodic and final evaluations of the intern's progress and products. Prerequisite: consent of department internship supervisor and the dean, College of Arts and Sciences.
2. OBJECTIVES OF THE INTERNSHIP:
1. To provide students with practical experience in applying their knowledge and skills in communication, theatre arts, and mass media.
2. To give students first hand understanding of career opportunities available to specialists in communication, theatre arts, and mass media.
3. To serve businesses, organizations, theatres and groups by assisting in improving their communication practices.
3. STUDENT REQUIREMENTS AND PREPARATION:
   Student background and preparation will vary with the requirements and desires of the host organization and the interests of the student. The internship should, in almost all circumstances, be an upper division major or minor in the areas of speech, business communication, theatre, or mass communication. The internship director will thoroughly evaluate the prospective intern's academic preparation to assure that qualified students are accepted for the program.
4. TIME AND CREDIT:
   The amount of time an intern would be expected to devote to the experience will be dependent upon the number of credits selected (from 3 to 12) and the nature of the work agreed upon by the supervisor, host organization, and intern. As a guide, interns will be expected to work a minimum of 45 hours per credit. Typically, these hours (ranging from 135 to 540) will be completed during the semester at a pace of from 9 to 36 hours per week during the 15 weeks of the semester. This pattern is only a guide, however, and other schedules may be approved to meet the needs of the student and the host organization. Once the schedule is approved, the student is expected to begin and end on established dates. Changes in schedule must be pre-approved by internship advisor. More than 45 hours per credit may also be required.
5. TERMINATION OF INTERNSHIP:
   Both the CSTA Department and host organization have the right to release or dismiss an intern from his/her duties at any time. Interns are subject to the rules and regulations of the host organization. Further, interns have an ethical responsibility (1) to maintain confidentiality on specified organizational issues and (2) to assure anonymity when requested in any oral and/or written reports.
6. RESPONSIBILITIES OF HOST ORGANIZATION:
   To facilitate the student's learning and to enhance benefits to the host organization, the sponsoring group should provide the intern with:
1. access to meetings, records, documents or equipment necessary for the intern to carry out his/her work assignments
2. working space, office supplies or equipment needed in conducting his/her projects
3. a representative of the organization to (a) supervise the intern (see suggestions in the following section) and (b) serve as a liaison between the intern and other members of the organization.
4. The CSTA Department does not seek direct compensation for the interns at this stage of the program. Host organizations are viewed as providing an important learning opportunity for students. Equally important, however, the department believes that interns can offer significant benefits to organizations. Consequently, when possible, we hope the host organization could reimburse interns for transportation and other expenses directly related to on-the-job duties. Such arrangements will be negotiated at the time the intern is placed.
7. PLACEMENT OF INTERNS:
   Interns are placed in positions relating to their professional career objective. The CSTA Department prepares students in such diverse areas as sales, personnel, public relations, mass communication, theatre, promotions, hospitality, management and others involving a great deal of oral communication. Because of this diversity, students seeking an internship often identify and make initial contact with prospective host organizations. These prospects and contacts should be discussed at a very early point with a faculty member in the CSTA Department who agrees to work with the intern. The faculty member may have referrals and may make initial contact. As soon as all parties (intern, faculty supervisor, and work supervisor) agree upon hours, duties, supervision, and other facets of the experience, a proposal is prepared by the intern. This proposal is signed by the parties and submitted to the Chair of the Department and subsequently the Dean of Arts and Sciences for approval. Upon approval, the student registers for CSTA 379.
8. SUPERVISION OF INTERNS:
   The host organization should provide direct supervision of the intern. The faculty supervisor in the CSTA Department will maintain contact with both the intern and work supervisor. The role of the faculty supervisor is to develop and maintain an educational experience for the intern.
9. EVALUATION OF INTERNS:
   On-going feedback and evaluation throughout the internship is to be expected. The work supervisor should provide such feedback regularly. The intern should ask for reactions. The faculty supervisor should see that feedback and evaluation is on-going. The student will submit weekly a journal describing what duties the intern performed, what was learned and how this relates to specific course theories/skills/concepts. With this report, the student will include a worklog signed by the work supervisor. As per the policy of the College of Arts and Sciences, the following is to be submitted at the conclusion of the internship:
   1. A summary of the work experience (THREE TO FOUR SINGLE-SPACED PAGES, AT MOST) written by the individual, to include an indication of the range, focus, and quality of the experience as well as a reaction to the experience.
   2. An evaluation by the academic supervisor of the work experience with regard to both the student's performance and the "agency" itself. The latter should be in terms of the validity and recommendation of this particular internship site, and
   3. An evaluation by the work supervisor as to the student's performance and learning in terms of skills, processes, concepts, understandings and/or attitudes.
   These items will be collected by the faculty supervisor and submitted to the Dean as soon after the internship as possible. The faculty supervisor will also recommend a satisfactory/unsatisfactory grade for the internship. The Dean will review these materials. A grade of satisfactory or unsatisfactory will then be submitted to the registrar. The final paper (“a.” above) must include a brief (1 page maximum) description of the intern experience explicating duties/tasks/projects. The bulk of the paper should explain what was learned and how this learning applies to specific course concepts/theories/skills. The student is expected to illustrate knowledge gained in courses completed to date (as listed in proposal). The paper should conclude with a paragraph summarizing how the internship experience directly relates to career goals.

Internship Opportunities – Theatre students have worked in internship location throughout the area and in the Twin Cities. Some of the locations have been the Guthrie, Minnesota Opera, Park Square Theatre, The Jungle Theatre, The History Theatre, and The Phipps. Recently UWRF has started ongoing Internships with the Festival Theatre and the SOS Players. Please see your advisor for possible locations and opportunities.

Academic Standards

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The University sets minimum standards of academic performance and places on probation any student who fails to meet these standards. Students placed on academic probation are not eligible to participation as cast or crew in any Departmental production.

Advisement

Theatre students are assigned an advisor. Academic advising takes place each semester on a schedule based on class rank. The Registrar will announce this schedule and you should arrange a meeting with your advisor. You are encouraged to prepare for your advisement meeting by examining your DARS (Degree Audit Report), the Master Schedule and establish a tentative plan for the ensuing semester.
You should meet with your advisor:

• when you wish to discuss any matter that affects your academic performance.
• when you wish to add or drop a class, take a class pass/fail, etc.
• when you are having trouble in your coursework.
• when you wish to share academic successes.
• when you wish to improve your study skills.
• if you are considering changing your major.
• if you're interests and/or goals have changed.
• to check-in periodically to say hello.
• when you don't know where else to go for help.

Although the university provides extensive advising and counseling services, it is ultimately your responsibility to monitor your own progress, and to understand and follow university standards for academic performance.

Class Attendance

In accordance with the University, the Faculty subscribes to a policy requiring students to attend class regularly. It is vital for theatre artists to establish professional work habits, especially punctuality. Therefore, it is expected that Theatre students will attend each and every class and be consistently on time. Illness, religious holidays, or participation in athletic or University sponsored activities are usually acceptable reasons for absences, but notification and arrangements should be made with the instructor by the student. Faculty establishes, publish, and enforce attendance policies for their classes. Faculty may request reasonable documentation or verification of claims regarding absences.

Preparation for Class

Majoring in Theatre requires extensive work outside of class preparing scenes and monologues for acting, voice, and directing courses, completing projects for design and technology courses, and preparing for academic courses. Successful balancing of all the demands placed on Theatre students requires a great deal of personal discipline and strong time management skills. In order to receive the most benefit from work in class, students must devote the time outside of class. Creative work takes time to incubate--rarely can the process be rushed successfully. Steady consistency throughout the semester is another important work habit to cultivate.

Résumé/Portfolio

Performers should always have a résumé ready and eventually should have 8x10 black and white headshots available. Designers and technicians should have an updated portfolio available. A portfolio is a visual record of your artistic and creative work. You should make photographs of any scenery, props, or costumes you design, build or paint. You should include examples of your drafting, painting, designs, swatches, renderings, etc. Students should start building a resume and portfolio early in their college career so it can be used for summer employment, internship opportunities as well as a final portfolio for graduation. This requires collecting and updating materials each year. Theatre Faculty and Career Services will assist you in preparing your resume, portfolio and audition pieces.

University Theatre Organizations and Awards

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University Theatre

Advisor: Ken Stofferahn
University Theatre is a Student Organization. It is led by a board of students, voted in by their peers - and completing certain requirements. Anyone could become a member of this student advisory board and learn the workings of a board similar to non-profit organizations and community theatres. This will look great on any job or graduate school application!
University Theatre only meets 3 times a semester - all other meetings are in actual committees - committees which actually accomplish things!
There is an EVENTS committee, where we plan parties, gatherings, Alumni and Friends night, our excursion to the American College Theatre Festival and trips to theatres in the Twin City area as well as those in Chicago.
There is a PLAY SELECTION committee. This committee will read plays throughout the semester and recommend them to the University Staff based on the University Theatre's mission and criteria.
There is the RECORDER committee. This committee will keep track of student involvement in University Theatre productions for eligibility to be one of the 8-12 Student Advisory Board Members.
Meeting Time: Check callboards by B18 & 119 KFA for meeting information

Masquers

Advisor: Robin Murray
Masquers is a student theatre organization that helps produce plays and supports fellow actors, technicians, and designers. This organization is open to all University Students. Voting members must meet set criteria.
Meeting Time: Usually once a week. Times vary each semester. Check Callboard by B18 KFA (Green Room)
Events: Annual Production, Directing I One-Act Plays, Annual Picnic and Awards, ACTF Participation and Travel

Alpha Psi Omega - Iota Beta

Advisor: Meg Swanson
Alpha Psi Omega was organized as an honorary dramatic fraternity for the purpose of providing an honor society for those doing a high standard of work in dramatics and, through the expansion of Alpha Psi Omega among the colleges and universities, to provide a wider fellowship for those interested in the college theatre. The fraternity is not intended to take the place of the regular dramatic club or other producing groups, but as students qualify, they are rewarded by election to membership in this society.

Membership Eligibility:

• A regularly enrolled student of the college, of satisfactory scholarship, who has participated in a major role of one long play, or two one-act plays, staged by the institution or acceptable organizations, and has done work of such merit and quality as to be approved by the dramatic director.
• A student who has written a play that has been produced.
• Efficient work as business manager, stage manager, or student director for two long plays.
• Staff work such as carpenter, prop man, electrician or work in scene painting, costume making and designing.
• Minor speaking parts in four full length plays or five one-act plays.
• Honorary and faculty membership may be conferred.
• A point system may be substituted for these provisions.
• Taken from Constitution and By-laws of the Alpha Psi Omega Fraternity

Awards and Scholarships

Every year, the University Theatre presents several awards to outstanding students. These awards are monetary and are used for tuition for students.

• New Student Scholarships: This scholar is awarded to freshman and transferring students who intend to major in Theatre and have been active in high school or other theatre organizations. Applications are submitted each spring and the Theatre Staff will determine the awards. Students selected for the scholarship are required to become active in theatre productions and maintain good academic performance. See scholarship application form for details.
• Sanford Syse Awards: Two to three Syse Awards are given each year to continuing theatre students who have demonstrated merit in theatre activities throughout the past year. These awards are determined by the Theatre Staff and the funds are used for tuition for the following year. Applications are accepted each spring and the scholarship can be awarded more than one time.
• Outstanding Senior Awards: Each year an outstanding senior awards is given. This is awarded to an individual who has made an outstanding contribution to University Theatre during their time at the University. No application is required and all graduating majors are eligible. The selection is chosen by the Theatre Staff.
• Carolyn Zimmerman Award: The Zimmerman scholarship is awarded annually to an individual who has made a significant contribution to University Theatre. The award may be given to any level of student and the choice is determine by the Theatre Staff. No application is required and all theatre students are eligible.

Department Policies

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CSTA Computer and Resource Room Use Policy

To make the department more secure place we must install new policies for the use of the department rooms. We are not trying to restrict use of the rooms we just need to make the rooms more secure and to not use up our supply budget.

Room Use Policy:

• The Resource Room, Main Office and Forensics room will only be open from 8:30 to 4:30 daily unless a faculty or staff member is present.
• Faculty and staff should not open rooms and leave them open for students if they are not present.
• The Stagemanager will no longer have office keys on their key rings.
• Directors will have keys for the main office if Xeroxing is needed after hours.
• Green room will be locked in the evening and on weekends at the same time the building is locked.

Computer Use Policy:

• A new computer in the Green Room is available for student use during building hours.
• The Green Room computer is for University Theatre and Masquers. Personal use is second priority.
• Personal use is for university related work
• Do not download any programs on the computer
• The user must supply paper for personal printing on all departmental computers.

University Theatre Display Case Policy

The Theatre Staff of University Theatre will control the use of the University Display cases. A specific coordinator shall be named to schedule and monitor the use of the display cases. During the summer the authority shall be turned over to the Managing Director of St. Croix Valley Summer Theatre.

Priority:

1. University Theatre related events.
2. Masquers, Alpha Psi Omega, Dance Theatre, Mass Communications and the CSTA Department and the Dean of Arts and Science.
3. Other Fine Arts Departments such as Art and Music.
4. Other University related organizations.

Scheduling:

• Scheduling should be done through the Coordinator
• Specific weeks during the year will be block out for events related to shows in production.
• Rotating displays may be used to promote University Theatre.
• Other displays will be scheduled according to the priority above.
• Scheduling will be done on a weekly basis with a turn around time of 3 days.
• Keys for displays can be check out from the coordinator for a limited time period.

Contents and Requirements:

• Display design and layout should be presented to the Coordinator for approval. This should include a drawing of the layout and samples of display materials.
• Displays should have professional graphics and use mounting boards and quality backgrounds. Avoid hand lettering and drawing unless it is appropriate to the intent of the design.
• Display material must be tasteful and avoid profanity and other inappropriate material.
• Avoid all food products or perishable items.
• Items that could be used are: fabric, photos, designs, painting, posters, props, costumes, video, books, magazines, and computer generated images.
• Use thumbtacks, and pins for mounting. Avoid tapes, large nails or other adhesives that are hard to repair or clean off.
• Do not display or attach items to the glass of the display cases.
• No painting of the displays board will be allowed. They shall remain white and will need to be repainted or touched up from time to time. See the coordinator for any painting or touch up.
• When finished with the display all items should be removed and returned to proper storage. Storage under cabinets is reserved for the permanent display and useful display and mounting materials.
• Materials should be taken down within three workdays of the closing on and event.
• Make sure displays are cleaned out after each use.

Purchasing For University Theatre

All purchases for University Theatre must have prior approval from the Director of Theatre, Technical Director, Costume Supervisor, Faculty Member or Program Assistant. Those given responsibility for purchasing University Theatre supplies must save all receipts and turn them in to the appropriate supervisor with a purchasing form. A University issued University Theatre credit card is used to order material over the telephone or via the Internet. That card is available from the Technical Director, Costume Supervisor or the Program Assistant, Helen Turner. Several local businesses have University Theatre charge accounts. Check with the appropriate supervisors about which stores currently have charge accounts. Authorized personal may purchase supplies themselves and be reimbursed provided the appropriate forms are completed. The appropriate tax exempt number should be used for all purchases. If a person arranges to borrow or rent a piece of equipment for a production it is that person’s responsibility to return the item once the production is over.

Student Personnel Supplies: Normally, University Theatre will supply all material required by students for productions. The exception is makeup (which can be ordered prior to the production), costume undergarments (unless required for a specific role), or anything which is deemed non-essential to the production(s). Consult with the show director or technical director for questions about a specific supply.

• Photocopying - A photocopier is available for University Theatre -authorized photocopying only. A key for the copying office and the University Theatre copier code are needed before photocopying can be completed. Personal photocopiers are available in the Student Center, or at many other locations in River Falls.
• Telephone Use - Telephones in the theatre complex are for University Theatre business use only. Collect telephone calls are not permissible.
• Travel - Trips made in personal vehicles to acquire University Theatre supplies are reimbursed per mile and should be approved in advance. Individuals responsible for buying supplies should try to order items that can be shipped. Try to consolidate trips. On a trip to Minneapolis, for instance, check with other individuals to see if they need particular supplies which you might be able to pick up. The best policy is to think a week or more ahead as to what supplies one will need.
• University Theatre Sponsored Travel - When students are traveling to conferences, productions or other events University vehicles will be used if available and if appropriate. They must be reserved in advance and only University approved individuals may drive the state vehicles. Consult with the Director of Theatre or Helen Turner on the current process for reserving vehicles and for becoming an approved driver. University vehicles may not be used for personal business.

Where to Charge and Who to Contact

• Credit card for University Theatre – Helen, Ken or Robin
• Charge card for Econo Foods
• Charge at Lunds
• Charge at ABC Lumber
• Foundations – Submit forms to Anne Schwebach – University Advancement – South Hall - 3505
• Copy Machine – Key in Office – Need Code
• Music
• Schedule – Talk with Program Assistant in office to arrange schedule - 3183
• Equipment – Talk with David Milen – Music chair
• Sound and video problems in theatre – Call Jay Unseth 715-760-1119
• Facilities – 3827 – They handle Dumpster, any building problems
• Publications- Poster/Ads/program/ Brochure – Tony Bredahl or Ritch Ellingson – 3768
• Dance Studio Use – Karla Zhe – 3131
• Electronic Repair- Mic/Cable/Etc – Al Murray – 3334
• Piano Tuning and Moving – Mike Drost – 425-6244
• Photography – Jens Gunnelson – 3772
• Purchasing – Tom Weiss – 3232
• Stage Technology – Supply Source – 1-800-889-4081
• Norcostco –Supply Source - 1-800-220-6920
• Mark Koski at Phipps – 386-4008

Keys

The following is the list of positions of responsibility that are assigned keys. Keys are the responsibility of that individual and should not be given to others. It is very expensive to re-key so security is very important. You must return your keys to the Technical Director immediately after completion of your assigned duties, usually during the post-strike week.

Technical Director
Costume Shop Manager
Scene Shop Student Manager
Stage Manager
Master Electrician
Props Designer

Work-Study and Assistantships

There are numerous opportunities to earn money working for the department in various areas. The amount of funding available differs each semester depending on the department’s allocation. Work study is paid on an hourly rate that is established by the financial aid office. Assistantships are usually paid as a lump sum on a per show basis. A student must fill out all forms from the financial aid office and the Program Assistant’s office before they can begin work. Employment opportunities are available for:

• Scene Shop Technicians – construct, paint, and supervise the construction of productions
• Costume Shop Assistants – construct costumes for productions
• Lighting technician – repair and clean lighting equipment and supervise light hangs
• Publicity – work on various promotions responsibilities for productions
• Display Case Artist – design and decorate University Theatre Display cases
• Office Assistant – Assist Program Assistant in a variety of office duties

Training Session - Training sessions usually occur at the beginning of each semester and are necessary for safety and knowledge in the work areas.

Timecards--Timecards are typically due on and every other week basis. Time cards should be submitted to the Program Assistant and sign by the area supervisor. The student is responsible of submitting the time card.

Complimentary Ticket Policy

Students involved in a production (such as actors, designers, run crew, management, etc) will receive two complimentary tickets for a single performance of that production. All theatre majors are welcome to attend the preview night of any production free of charge.

Costume / Prop Shops

Since the Costume/Prop Shops are continually thrown into disarray despite periodic reorganization, students are not to enter the Costume Shop without express permission of the Costume Shop Student Manager, or the Prop Shop without the permission of the Technical Director. ABSOLUTELY NO ONE is to remove a costume or props without the express permission of Costume Shop Student Manager, or the Technical Director. There are sign out forms that must be filled out for everything borrowed. Forms must be signed by the appropriate Manager when the items are checked out and when they are returned. Not all costumes, props and furniture will be available for Acting and Directing classes, but you should be able to find appropriate items. Stock rehearsal furniture will be made available for these classes.

Campus and Off-campus organizations or individuals may be able to barrow costumes and props. This is up to the discretion of the Costume Shop Manager and Technical Director. Some organization will be required to rent. Rental or loan forms are required to be completed.

Work Calls

Always wear work clothes and heavy shoes or boots to all Work Calls. Avoid loose clothing and jewelry that might become tangled in machinery or tools. You never know when you may be painting or working with materials that may permanently soil your clothing, so you should dress accordingly.

Front of House Personnel/Ushers

All Front of House personnel should wear appropriate professional attire. Men should wear dress slacks, dress shoes, and a button-down shirt. Women may wear dress slacks or skirts with blouses, or dresses, with dress shoes. Front of House personnel are the first contact a patron has with the Department of Theatre and should therefore strive to project a professional, businesslike image.

Stage Crew

All stage crew members (including Stage Managers and Board Ops) should dress in black pants, black shirt (with no writing or artwork), or black dress/skirt and top with black hose, and dark thin-soled shoes. Crew members who will be seen by the audience during scene changes, etc. should not wear any clothing that could prove distracting.

Eating

There will be no eating, smoking or drinking in either theatre, Dressing Rooms, Costume or Scene Shop without the express consent of a Faculty/Staff member (i.e. Strike Snacks, Load-in doughnuts, use in a scene, etc.). Actors must never eat, smoke or drink while in costume unless required for a scene. Cast and crew may have water backstage during rehearsal and performance.

Stage Manager Reports

Daily Rehearsal Reports: The Stage Manager will generate Daily Rehearsal Reports in both written and e-mail form for each rehearsal. These notes are posted on both Callboards. These reports will be the primary method of communication for the entire production team during the rehearsal process. They will include updates on production needs as they arise between weekly Production Meetings. Everyone in the cast, crew and those with positions of responsibility should check e-mail and/or the Callboard each day.

Production Meeting Reports: The Stage Manger runs weekly Production Meetings, and takes Production Meeting Report notes. The Stage Manager will then generate Production Meeting Reports in both written and e-mail form for each Theatre Production meeting. These notes are posted on both Callboards. These reports will be a primary method of communication for the entire Department. They will include updates from each of the faculty and staff, Student Managers, positions of responsibility, et al.

Running Notes: Once the show opens, the production Stage Manager will generate Running Notes in both written and e-mail form for each performance. These notes are posted on both Callboards. These notes will be a primary method of communication for members of the production team during the running of the production. They will include updates on production needs as they arise. It is imperative that everyone in the cast, crew and those with positions of responsibility check e-mail and/or the Callboard each day.

All notices posted on any Bulletin board should be typed and computer printed.

The Production Program for University Theatre

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Faculty-directed Theatre productions are presented in the Davis Theatre or the Syse Studio Theatre. There are usually three such productions per year. Directors demonstrate, through their varied approaches, the dramatic and production synthesis that should contribute to the students' total theatre education. Each theatre is truly considered another classroom or laboratory complementing the academic course work in Theatre. The Faculty makes season selection with input from the University Theatre Student Committee, any student or other faculty and staff.

The season usually consist of:

• Three Faculty or Guest Artist direct productions
• A Masquers Production
• Directing Class One Acts
• Dance Theatre (two week use of Davis Theatre)
• Student generated productions (see Studio Series)
• Guest Artist may serve in a variety of artistic positions. University Theatre works to obtain funding for Guest Artist as often as possible.

Mainstage

The Blanche Davis Theatre: The mainstage theater is named the Blanche Davis Theatre which has 300 seats in a traditional proscenium arch configuration and includes fly, wing, and backstage space. This theatre is used for larger scale productions, usually, but not exclusively Faculty directed. The theatre is also used as a classroom for theatre and film classes.

Studio Theatre

The Syse Theatre: The Studio Theatre is named the Syse Theatre, seating approximately 100, is often set up in a three-quarter or thrust black box-style space for classes and rehearsals. The space and seating can be reconfigured to create whatever the designer feels is suitable to a particular production. It is utilized as a classroom, for Faculty directed productions, to showcase acting and directing scenes, and for student generated performances such as the Student Directed Projects and original works.

Space Scheduling

Scheduling of the theatre spaces is maintained by the Technical Director. Classroom assignments are made through the Program Assistant. Since the space are in heavy use throughout the year it is important to make sure the space is available for a requested time and that the request are made in advance. There are usually open times each week in each space and this can be used for student/faculty rehearsal or design work. Please check with the technical director. Most days the spaces have scheduled class in the morning, set construction in the afternoon and rehearsals in the evening. During directing class one act rehearsals a scheduled will be posted out the Syse Theatre doors for sign up. You are encouraged to make use of the space to produce your own projects for public performance whether connected with a class or not. Faculty directed productions and their rehearsals take precedent, but every effort will be made to accommodate anyone interested in using the space.

Studio Series

The Studio Series is designed to give students an outlet for alternative programs that they wish to create. The goal is to give students a space to perform various types of live presentations ranging from improvisation to performance of scripted plays. The style or type of performance may vary depending on the student’s interest. Each semester several weekends will be scheduled for the Studio Series. Performances will usually take place on Friday and Saturday evenings that do not conflict with the Mainstage schedule or other scheduled events in the theatre facilities.

Approval: Students who are interested in scheduling the Studio Series should fill out the attached proposal and submit it to the Theatre Staff. Submit the proposal six weeks prior to the production dates so that final approval can take place four weeks prior to opening.

Policies and Goal: These productions are not intended to be full-scale productions. The intent is to produce works that require limited technical elements and use imagination rather than realism. Therefore, the Technical Director must approve all technical requirements before the project can begin.

• Lighting- General lighting should be hung and focused and cued. Specials can be used but will be limited by the number of instruments available. Color can be used from the cut gel stock.
• Props – The prop room is available for your use. Use rehearsal furniture for the majority of your needs. All props checked out must be returned to the proper location.
• Costumes – Limited stock costumes may be used. Check these out through the Costumer by making a scheduled appointment well in advance of the production.
• Scenery – No scenery will be available for you use other than a stock door unit. If there is a special need to build an item this should be approved by the technical director.
• Sound – The sound system and two speakers will be available for your use. A CD player, Cassette player and mixer will be available. You are responsible for all sound recording.

When the production is finished the theatre must be returned to its’ original condition and all borrowed items returned to the proper location. You must also keep the space clean and organized at all time during the rehearsal process.

Support: If you need assistance and are not trained on the equipment you are required to find other students to assist with your needs. You should have a stagemanager, lighting and sound operator and prop manager.

Publicity: Limited to what you can do on a computer and Xerox machine. Remember to budget for Xerox copies as this should not come out of the department budget. You should contact the Theatre Promotions Manager to find out how to promote the show and how notices should be sent out.

Royalties: If Royalties are required for the production you are responsible for obtaining the rights and paying the fees for scripts and license. You may seek financial support from Masquers or Alpha Psi Omega.

Rehearsals: Rehearsals should be scheduled around scene shop hours and other scheduled uses of the studio theatre space.

Studio Series Proposal: See attached document.

Auditions and Call for Crew Members:

Auditions for Faculty directed productions will usually be held in the first weeks of each semester or as announced in the Department Calendar. These auditions are open to all UWRF students’ community. Theatre majors are encouraged to perform prepared monologues unless otherwise noted in the audition notices posted on the Callboard. Non-majors without prepared monologues will be given cuttings to read. Callback lists will be posted on the Callboard. Roles are cast to facilitate the educational growth of the performers as well as to meet production demands. Supplementary auditions throughout the semester will be held as needed. UWRF students are give priority in casting. There are times when a production may require a specific need (age, ethnicity, etc.) in these situations the cast may be done from off campus.

Anyone interested in working on any crew for a production should be encouraged to stop by the auditions and notify the stagemanager or contact the Technical Director.

Box Office Policies and Procedures

Office Hours:

10:00 – 3:00 p.m. Monday through Friday for three weeks. This is one week before the production and the two weeks of the performance.
1 hr. prior to curtain on performance nights - 15 min. after show opens
(box office personnel need to arrive at least 20 minutes prior to box office open time for pre-curtain hours, so that all opening procedures are finished PRIOR to one hour before curtain)

General Guidelines:

• Box office assistants are expected to provide courteous, efficient, and accurate service to patrons. The patron ALWAYS deserves the most courteous attitude and thorough attention that we can possibly provide. In the event of difficult patron issues, contact the Box Office Manager.
• Box Office Assistants are expected to abide by the schedule posted in the box office. If there is an instance when an assistant is not able to work his or her scheduled hours, he or she is responsible for locating a replacement and notifying the Box Office Manager of the change. Assistants are expected to be on time and to work the entire shift on the schedule.
• During regular office hours, assistants are expected to answer both phones, check e-mail regularly, and promptly assist patrons at the window. Assistants may attend to personal duties (studying, checking personal e-mail, etc.) ONLY when all other box office duties have been fulfilled. The patrons and box office work must remain top priority.
• Frequent and thorough communication with the Box Office Manager and all Box Office Assistants is essential to maintain consistent and smooth operating procedures. Assistants should keep track of when the box office is running low on office materials (ticket stock, envelopes, etc.), or when additional new materials are needed, and should report these needs to the Box Office Manager.
• Box Office Assistants should familiarize themselves with the season theatre productions and be able to communicate this information with patrons when they call. Be sure always to alert patrons when there is subject matter inappropriate for children or when certain health risks will be posed, such as smoking or strobe lights being used onstage. Assistants should also be comfortable giving directions to the university, and answering a variety of other random questions. In the even that you don't have the requested information, try your best to get it and return the patron's call. Requests to be added to (or removed from) the mailing list should be e-mailed from the BOA to the Box Office Manager.
• Box Office Assistants should familiarize themselves with emergency procedures and be ready to assist should the need arise.

Strike

All cast, and crewmembers of a production are expected to attend Strike. Strikes will usually (but not always) occur immediately following the last performance. Strike is traditionally a rather chaotic affair, so every effort must be made to insure safety and efficiency. The Technical Director and Stagemanger will work together coordinating tasks to facilitate a safe and smooth strike. You must remain alert and continue to take initiative--the more effective each individual is, the sooner everyone can go home.

Weekly Production Meetings

For each production a designated time each week will be scheduled for a production meeting. This time is scheduled around participant’s conflicts. The meetings are very important to communicate important information necessary for the success of the production. The meetings require the attendance of the Director, All Designers, Technical Director, Properties, Promotion, Musical Director, and other specific personal. Additional meeting may be required for specific purposes such as design or promotions. The Stagemanager will generate a report for each production meeting.

Rehearsal/Performance Etiquette

Two cardinal rules of the theatre are to be on time and to be prepared. If you are not at least ten minutes early for rehearsal or a work call, you are late. Chronic tardiness is grounds for removal from a production or crew. Although the assumption is that everyone will be on time and ready to work, there may be isolated instances when a cast or crew member is late. If you have a conflict such as classes or other necessary activities you must notify and seek approval from the Director and Stagemanger of the production. Not only must you be present at every rehearsal and work call for which you are called, but you are also expected to be prepared. In performance, this is particularly applicable to the memorization of lines. One of the basic requirements of acting is to have your lines down cold--no real work can happen in rehearsal until this is accomplished.

• Cast members are required to provide make-up their own personal makeup. This is required for health reasons. Make-up kits must be ordered in advance and paid for by the student. The Costume Supervisor or Stagemanger will do the ordering. To maintain good hygiene, do not share pencils, make-up brushes, sponges, etc., and wash out all brushes and sponges after each use.
• As a common courtesy, any rehearsal furniture or props set up or brought into a theatre space must be struck and the room returned to its original condition (or better). You are expected to clean up after yourself--do not leave furniture or a mess for the next person to remove.
• During tech rehearsals, dress rehearsals, and performances, headset chatter should be kept to a minimum. The purpose of headsets is to facilitate communication. Excessive talking about nonessential topics interferes with the communication process and must be avoided. Stage Managers may set their own individual policies regarding penalties for continued excessive headset chatter. See Headset Etiquette below
• Always bring your scripts and a pencil to rehearsal. You are expected to review blocking, character work, and any changes that occur during rehearsal prior to the next rehearsal of that scene. You are encouraged to go over the work done in rehearsal immediately following that rehearsal to set it in your mind and again immediately prior to rehearsing the material the next time so it is fresh.
• Any production costume pieces that require laundering must be hung up on the designated rack in the Dressing Room or Costume Shop immediately following rehearsal or performance. Any production costume pieces that require mending must be brought to the attention of a member of the Costume Crew.
• Do not leave valuables in Dressing Rooms during performance--the Stage Manager will collect them. To ease this responsibility, please leave all unessential valuables at home during performance.
• All cast and crew members are to sign-in at each dress rehearsal and performance. You are only to sign yourself in.

Headset Etiquette

• There should be no talking over the headsets during technical rehearsals, dress rehearsals, previews, or performances with the following exception: when the Stage Manager gives a stand-by cue, all crew members on headset should reply with "standing" or "standing by."
• There should be NO talking when a cue is in standby
• Cues should not be taken until the Stage Manager's "go" command.
• If requested, crewmembers may notify the Stage Manager when a cue has completed by saying, "cue X complete" or similar.
• There should be no discussion about a cue until after the cue has been taken.
• Everyone on headsets should be aware that they can be heard by anyone else picking up a headset or even walking near an unused headset with the volume turned up. Crewmembers should take into consideration this public nature and should refrain from derogatory comments, profanity, etc.

Technical Rehearsal Definitions

There are a number of different kinds of rehearsals that are (or may be) scheduled during the final phase of a production's rehearsal process. Please refer to the following chart to determine which rehearsals you are expected to attend.

• First Runthrough--the first rehearsal in which the cast runs through the entire show, usually mid-way through the rehearsal process. Designers and crewmembers are encouraged to attend.
• Runthrough--Just prior to Tech Weekend, most directors will hold one or more runthrough rehearsals in which the cast performs the entire play, without interruption. This is an opportunity for those working backstage, front of house, designers, faculty, staff, et al., to see the show in its entirety prior to the beginning of technical rehearsals.
• Dry Tech--a technical rehearsal without actors. It is an opportunity to set and rehearse cues and other technical elements without the actors. Not every production will include a dry tech.
• Shift Rehearsal--a rehearsal for the stage management team and the running crew to rehearse scene changes. Not every production will require a shift rehearsal.
• Tech Rehearsal--a rehearsal putting together all of the technical elements except costumes and hair/make-up. The cast performs the dialogue surrounding cues. The entire production company works through the play one cue at a time, skipping portions of the dialogue in which there are no technical cues or events.
• Dress/Tech (Dress Rehearsal)--the final rehearsals prior to Preview(s) in which all technical elements including costumes and hair/make-up are included. Usually, these rehearsals are run without interruption as if an audience were present.
• Preview(s)--the final rehearsal(s) just prior to opening night, which includes an audience for the first time.

Positions of Responsibility / Job Descriptions

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These descriptions are only a listing of the major requirements for each position. Each show is unique and there are other duties and demands that may be assigned. These assignments should be clarified at production meetings for each show.

Director of Theatre

The Director of Theatre is responsible for the day-to-day operation of University Theatre. The Director works with the Chair of the Department of Communication Studies and Theatre Arts regarding academic decisions and departmental policies. The Director, in collaboration with the Theatre Staff, makes decisions on the academic standards of the program, the season selection and scheduling, budgeting, and all major decisions that affect the program. If you have any questions about University Theatre please direct them to the Director of Theatre.

Director

A theatre director has artistic control over a performance, co-coordinating all the stylistic and conceptual aspects of a theatrical presentation. Directors are responsible for interpreting and delivering a text and enabling a production team and cast to work imaginatively under their artistic vision. Typical activities include:

• breaking down a script and analyzing and exploring the content;
• translating and interpreting text;
• auditioning for productions, hiring designers, musicians, etc;
• conducting rehearsals;
• managing time and organizing people and space;
• communicating and liaising with all parties involved, including actors, the creative team, technicians and producers;
• programming and budgeting;
• adapting a script and, if the play is to be newly written, working with the writer or collaborating with playwrights;
• working with writers through workshops or script development schemes;
• working with the designer to conceive the overall look and feel of the production;
• liaising with choreographers, musical directors and fight directors for certain productions.

Technical Director

The Technical Director is responsible for the construction, mounting, rigging and maintenance of all scenic elements in departmental productions. The Technical Director implements equipment and facility maintenance, upgrades, and purchases. The Technical Director trains students in all areas of technical theatre, including appropriate safety procedures.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play.
• The Technical Director discusses possible scenic treatments with the Director and Designers, and receives ground plans, working plans, sketches, elevations, etc.

Rehearsal/Production Period:

• The Technical Director supervises the Master Carpenter, Master Electrician, and Props, and insures that all designs are implemented.
• The Technical Director is present at load-ins, strikes, rehearsals, and performances as necessary.
• Attends Technical and Dress Rehearsals taking note of any details yet to be finished.
• Attends and gives report at weekly Production Meetings.
• After Final Performance the Technical Director consults with the Stage Manager in coordinating Strikes. The Technical Director takes charge of striking all scenic elements.

Set Designer

The Set Designer is responsible for the design and implementation of all scenic elements of a production in a timely manner and within budgetary limits.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible scenic treatments with the Director and Technical Director.
• Does research on architecture, furniture and decor of the period as well as the locale of the setting and style of the play.
• Generates thumbnail sketches for presentation to the Director by the established deadline. Discusses any suggested modifications with the Director and Technical Director.
• Generates ground plans, color samples and/or models in collaboration with Director and Technical Director. Revises sketches and scale ground plan for final approval.

Rehearsal Period:

• Explains designs, sketches, or models to cast and crew at first rehearsal. Discusses in detail with what each item of furniture and set dressing should be. Works closely with Props in selecting and approving drapery materials and other set dressing.
• Makes complete working drawings and painters' elevations for Construction and Painting Crews.
• Works with Stage Manager in taping out the ground plan on the floor of the stage or rehearsal hall.
• Coordinates colors of set and furniture with Costume Designer and Props Designer.
• Meets with Lighting Designer to discuss color choices and practicals, and to coordinate lighting and scenic elements.
• Assists the Stage Manager in placing and spiking furniture, rugs, etc.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.
• Attends at least one final Run through.
• In cooperation with Props Designer establishes the placing of trim, pictures, ornaments, and any other set dressing on the set.
• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.

After Final Performance:

• During Strike, the Set Designer will collaborate with the Technical Director in returning material to storage and insuring all items are returned in good condition. For participating ACTF productions, the Set Designer will assist the Technical Director in storing material for possible travel to festival. All Designers will make copies of all of their designs, portfolio photographs, paperwork, rough sketches, etc

Lighting Designer

The Lighting Designer is responsible for the design and implementation of lighting design including all design, cueing, and paperwork. In collaboration with the Master Electrician, the Lighting Designer is ultimately responsible for the hanging, focusing, and upkeep of the lighting design. In certain productions, this position may be combined with that of Master Electrician.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible lighting treatments with the Director and the Technical Director.

Rehearsal Period:

• Works with ground plan and elevations provided by Set Designer to create lighting design and generates the Light Plot.
• Works closely with Set and Costume Designers to coordinate color choices and other scenic and costume elements.
• Works closely with Master Electrician in hanging, cabling, and focusing during the day marked "Light Hang" on Department Calendar. Participates in Light Hang.
• Lighting Designer creates all paperwork including the Hook-up Schedule necessary for implementing the design.
• Collaborates with the Director and in setting cues, providing the Stage Manager with preliminary Light Cue List. Typically, the Lighting Designer and Director work together with the Stage Manager and the Light Board Operator in setting cues.
• Attends First Runthrough.
• Attends Tech and Dress Rehearsal
• Insures that show is saved to several discs kept in separate safe places.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Lighting Designer will collaborate with the Master Electrician and Technical Director in returning equipment to proper storage.

Costume Designer

The Costume Designer is responsible for the design and implementation of all elements of costume design including designing, building and/or acquisition in a timely manner and within budgetary limits. In collaboration with the Costumes Assistants, the Costume Designer is also ultimately responsible for the upkeep, repair and running of all costumes

• Consults with the Costume Faculty member.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible costume treatments with the Director, Costume Faculty, and Technical Director.
• Does research on costumes of the period as well as the style of the play.
• The Costume Designer collaborates with the Director and the Set and Lighting Designers in choice of color, texture, fabric, line, and so on. Costume Designer discusses hair design.
• The Costume Designer determines available costume stock. Keeps track of the source of costumes: pulled from Costume Storage; borrowed from cast, crew or friends in the community; built in shop; borrowed from merchant; etc. If not bought, built or pulled from stock, Costume Designer makes sure the source is thanked in the program.
• The Costume Designer consults with the Stage Manager/Technical Director to determine the number of dressers necessary for running performances.

Rehearsal Period:

• The Costume Designer attends production conferences with Director and insures that the costume design is complete by the established deadline.
• The Costume Designer schedules costume fitting through the stage manager at the first read through. All measurements should be recorded using the.
• The Costume Designer is responsible for obtaining or building all costumes for the production.
• Attends First Run through.

Dress Rehearsal/Performance Period:

• The Costume Designer is responsible for scheduling costume fittings. These fittings will be scheduled through the Stage Manager to occur at the convenience of the Designer and cast. They may take place during a rehearsal only if they do not unduly interfere with that rehearsal.
• The Costume Designer is responsible for having all costumes ready by the established deadline.
• Schedules a Costume Parade usually a week before the beginning of Tech Rehearsals.
• Attends Tech Rehearsal if there are any quick changes or other cueing issues.
• Attends all Dress Rehearsals making notes of any details yet to be completed or necessary alterations.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Costume Designer will supervise the return of costumes to storage or lending agencies and insuring all items are returned in good, clean condition.

Hair/Make-up Designer

The designer is responsible for make-up design, assisting performers with make-up application as necessary, setting up make-up area, insuring adequate make-up supplies are available for the run of the production, procuring needed supplies, keeping make-up area clean and sanitary, and supervising any Make-up Crew members.

• Reads and studies the play and does research on hair of the period as well as the style of the play.
• Discusses possible make-up and hair treatments with the Director and discusses hair design with Costume Designer.
• Creates make-up design
• In consultation with Stage Manager, coordinates make-up calls, especially for large cast shows. During Strike, Hair/Make-up Designer is responsible for cleaning and storing make-up supplies and cleaning make-up area.
• This position may also include Hair design. If this is the case, the Hair/Make-up designer will be responsible for hair design, assisting performers with implementing this design, insuring adequate hair supplies are available for the run of the production, and procuring needed supplies.
• Attends at least one final Runthrough.
• Attends all Dress Rehearsals taking note of any details yet to be completed.
• During Strike, Hair/Make-up Designer is responsible for cleaning and storing make-up supplies and cleaning make-up area.
• Attends and gives report at weekly Production Meetings.

Props Designer

The Prop Designer is responsible for the building, procurement, upkeep, and repair of all props for a particular production in a timely manner within budgetary limits.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible props with the Director and Set Designer, and Technical Director.
• Does research on the period/style of properties (and furniture if the set designer is not responsible for furniture).
• If necessary, obtains a ground plan showing location of all furniture, and notes whatever comments the director and/or designer makes concerning the size, color, style, or function of each piece of furniture or prop.

Rehearsal Period:

• Makes a detailed property list in consultation with the Stage Manager. Keeps track of the source of props: pulled from Prop Room; borrowed from cast, crew or friends in the community; built in shop; borrowed from merchant; etc. If not bought, built or pulled from stock, Props Designer makes sure the source is thanked in the program.
• The Props Designer stocks the on stage prop cabinet with props as needed in conjunction with the Stage Manager.
• The Props Designer discusses the budget with the Technical Director and determines if any props will have to be bought or rented. The Props Designer is responsible for obtaining purchasing information from the Technical Director. (See purchasing policy)
• Discusses in detail with Set Designer what each item of set dressing (and furniture, if necessary) should be. Works closely with Set Designer in selecting and approving drapery materials and other set dressing.
• If consumables are used in a performance, the Props Designer is responsible for obtaining purchasing information from the Technical Director. Props Designer consults with the Director of the production regarding when consumables should first be used in rehearsals.
• Props Designer insures the safety and sanitation of all props and consumables until such time as the Stage Manager or Running Crew take over this responsibility.
• Attends and gives report at weekly Production Meetings.
• Attends rehearsals as necessary to note placement and use of props.
• Attends First Runthrough.
• Insures that all props are ready by the "Final Props Due" deadline.

Dress Rehearsal Period:

• Attends at least one final Runthrough.
• Collaborates with Scene Designer in placing trim, pictures, ornaments, and any other set dressing on the set.
• The Props Designer makes sure that all food props or consumables are purchased or prepared daily or as appropriate.
• Attends all Technical and Dress Rehearsals taking note of any details yet to be completed.

After Final Performance:

• During Strike for each production the Props Designer is responsible for returning props to Storage in good repair and suitable for future use. Makes sure all borrowed or rented props are returned in good condition.

Sound Designer

The Sound Designer is responsible for the sound design and the implementation, loading-in, maintenance, and striking of the sound equipment necessary for a particular production. This position may be combined with that of the Master Electrician or with that of the Sound Board Operator. On occasion, a sound technician may be assigned to assist with set-up of equipment, mics, etc.

Rehearsal Period:

• Reads and studies the play. Discusses sound design with the Director.
• Gathers all sound effects and/or music required for the production for approval by the Director.
• Consults with the Technical Director regarding the availability of sound output devices and determines the most efficient method for sound production and/or reinforcement.
• Creates a sound tape or plot. Collaborates with the Director and Stage Manager in setting cues and sound levels, providing the Stage Manager with preliminary Sound Cue Sheets.
• Determines if voice and/or musician reinforcement is necessary and consults with the Technical Director regarding type and placement of microphones and speakers.
• Attends First Runthrough.
• Attends weekly Production Meetings.

Load-in Period:

• The Sound Designer insures the safe and efficient cabling and dressing of all speakers, headsets, boards, monitors, and other equipment, and trains the Sound Board Operator if necessary.
• All headsets will be setup, tested, and in good working order prior to the first Technical Rehearsal.

Dress Rehearsal/Performance Period:

• Insures that all sound effects, sound tapes/CDs/Minidisks, and music is ready by the "Sound Recording Due" deadline on the Department Calendar.
• Insures that all mics have fresh batteries.
• Once all sound cues, special effects, and so on have been established, the Sound Designer records a master sound CD which is to be kept in a safe place. This master can be used in the event of an emergency such as a CD breaking or being scratched, etc.
• Attends at least one final Runthrough.
• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Sound Designer will collaborate with Technical Director in returning sound equipment to storage and insuring all items are returned in good condition. The Sound Designer is responsible for striking all sound equipment, cables, speakers, headsets, microphones, and so on.
• Sound Designer is also responsible for cleaning and neatening the Sound Storage during the Post-Strike period.

Assistant Director

The duties of the Assistant Director are quite flexible and will vary from production to production and director to director. Sometimes a director will expect the Assistant Director to perform duties normally assigned to the Stage Manager and vice versa. Communication and negotiation are important in clarifying the assignment of these duties. The Assistant Director will typically act as another set of eyes and ears and as a sounding board for the Director at auditions, rehearsals, and performances. When asked, the AD will offer constructive suggestions to the Director regarding all elements of the production from design to performances. It is important to keep in mind that the Director should be the only person communicating these suggestions with the production team including performers. The Assistant Director should restrict comments to the Director in order to avoid confusing or possibly contradictory messages. It is also important to realize that the Assistant Director position is one of trust and confidentiality--the Director may share thoughts or concerns that should not be common knowledge. The Assistant Director position is an opportunity for students to learn firsthand an individual director's process and the production process as a whole. The following are some of the duties and responsibilities a Director may require of an Assistant Director.

Pre-Production:

• Reads and studies the play; discusses interpretation and production concept with the Director.
• Attends all production conferences.

Rehearsal Period:

• Assists the Director as needed. Sits in on all rehearsals, taking notes and actively watching and listening. Communicates regularly with the Director regarding the progress of the production.
• Is in complete charge of rehearsals in absence of the Director. Director may also ask Assistant Director to run special rehearsals such as line-throughs, speed-throughs, etc.
• Although typically the Stage Manager's duty, the AD may be asked to walk through scenes for an absent actor.
• Some Directors may ask the AD to take blocking, line, and/or dialect notes. The Assistant Director should always be prepared for such duties.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

Dress Rehearsal/Performance Period:

• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.
• The Assistant Director may be asked to take rehearsal notes during final runthrough, Technical and Dress Rehearsals. These notes should be shared with the Director who may communicate them to the cast and/or crew.
• The AD may be asked to type up any rehearsal notes taken by the Director for distribution to the cast and/or crew.

Stage Manager

The Stage Manager is responsible for the smooth and efficient running of rehearsals and performances. The Stage Manager is responsible for keeping the master prompt script, setting up rehearsal space prior to each rehearsal and striking rehearsal furniture and props as necessary, running and calling show, posting Cast/Crew Sign-in sheets, collecting and securing valuables during performance, taking and posting Production Meeting Reports, Daily Rehearsal Reports, and Running Notes, and coordinating the production running crews. Reports and Notes should be posted on both Callboards and emailed to the production crew.

• Consults the Stage Manager Production Checklist.
• Rehearsal duties, to be negotiated with Director, include recording blocking, prompting, taking Line Notes, contacting absent or tardy actors/crew members, calling cast/crew members in from breaks, etc.
• The Stage Manager should maintain a Stage Manager's Box. The SM box should be stocked with supplies including, but not limited to:
• stop watch, pencils, pencil sharpener, erasers, highlighters, White-Out, Post-it notes, Band-Aids, aspirin/acetaminophen, cough drops, tissues, hard candy, cigarette lighter, stapler, paper clips, bobby pins, safety pins, hair bands, tape measure, chalk, flashlight, batteries, rubber bands, 3 hole punch, paper reinforcements, scissors, tape, spike tape, and, of course, gaff tape.

Pre-Production:

• Reads and studies the play; discusses duties and responsibilities with the Director.
• Attends all production conferences.
• Assists the Director at auditions. Distributes and collects Audition Forms, emphasizes to auditioners the need to list all conflicts, keeps track of the order of auditioners, keeps audition flowing smoothly, ushers auditioners into theatre, and announces them as per the Director's instructions.
• Assists the Designer and/or Technical Director in taping out the ground plan on floor of stage and/or rehearsal hall as needed.
• The Stage Manager should obtain a copier access code number for the copy machine.
• If Director requests, the Stage Manager generates a rehearsal schedule and makes copies for all cast, crew, and the Callboard.

Rehearsal Period:

• Attends and gives report at weekly Production Meetings.
• Places and spikes furniture, rugs, etc. as established by the Director.
• Obtains and maintains any rehearsal props called for by the Director. Rehearsal props are substitutes of comparable size and weight used by actors until the final props are available.
• The Stage Manger runs weekly Production Meetings, and takes Production Meeting Report notes. The Stage Manager will then generate Production Meeting Reports in both written and e-mail form for each Theatre Production meeting. These notes are posted on both Callboards and emailed to the production crew.
• At first readthrough, the Stage Manager obtains the cast's names, addresses, and telephone numbers, and then generates a contact sheet which is distributed to cast and production team.
• Stage Manager makes sure that every actor receives a rehearsal schedule and keeps cast advised of any changes.
• Takes Daily Rehearsal Reports at each rehearsal and posts them daily on both Callboards and emails them to the production crew. These reports will include all changes, additions, or deletions that arise during daily rehearsals. These changes could include the addition of a prop, a question to a designer, a change in rehearsal schedule, etc. This will be a written record of such requests and changes to facilitate the timely completion of tasks and to insure that all members of cast and crew receive notification of schedule changes and so on.
• Arrives at least ten minutes early for every rehearsal to set stage furniture and any rehearsal. Stage Manager insures that ALL stage furniture and rehearsal props are struck and stored after each rehearsal.
• Walks through scenes for any absent actor or assigns a delegate to do so. Attempts to contact any missing or unexcused actors.
• The Stage Manager insures that all actors are in place prior to the beginning of each scene.
• Records in Stage Manager's prompt book all blocking, intentional pauses, stage business, and all light, sound, music, special effects, and curtain cues, etc.
• Prompts the actors precisely and corrects mistakes to the extent that the Director wishes. It is important for the Stage Manager to keep up with the script during rehearsals and is ready to prompt an actor immediately upon receiving a "Line" request. Takes Line Notes of dropped lines, jumped lines, etc. and distributes to the cast.
• Taking down blocking OR prompting actors/taking line notes may be delegated to the Assistant Stage Manager at the Stage Manager's discretion.
• After all rehearsals and performances the Stage Manager insures that all doors are properly secured, and lights are turned off. Lights to be checked and turned off by every Stage Manager (both Mainstage and Studio Theatre) include all lights in the Studio Theatre, Make-up Room, Costume Shop, Trap Room, Light Booth, Mainstage, and Scene Shop (with the exception of the night circuit/ghost light). If students will be utilizing one of the spaces for rehearsal or other projects after the Stage Manager leaves, the Stage Manager secures all areas not directly involved in such use and the students involved will be responsible for their area. The Stage Manager notes who is using the space and directs complaints regarding misuse or negligence to those individuals. Continued abuse will be referred to the Technical Director.
• Stage Manager collaborates with the Lighting Designer, Light Board Op (if needed), Sound Designer, Sound Board Op (if needed), Costume Designer (if needed), ASM/Deck Captain, Director, Production Manager (SDP's), and Technical Director in holding a Paper Tech prior to tech weekend. This has often been on the Friday afternoon before Tech Weekend, but must be prior to Tech Rehearsal. During Paper Tech, the Stage Manager is responsible for penciling in all light, sound, fly, actor, and scene shift cues. The Stage Manager is responsible for obtaining cue sheets from the Lighting and Sound Designers in enough time to prepare the prompt book.
• The Stage Manager prepares for Tech Rehearsal in order to facilitate the efficient and smooth running of the rehearsal.
• The Stage Manager is the primary person responsible for communication among production staff, cast and crew.

Dress Rehearsal/Performance Period:

• The Stage Manager must be familiar with all Emergency Policies such as tornado warnings, fire, smoke, etc. The Stage Manager will contact the Faculty/Staff for any emergency situations (equipment failure, smell of smoke, severe weather). In the case of life threatening emergency, the Stage Manager notifies Security and takes charge of implementing proper procedures.
• The Stage Manager should generate a Run List for crew members that lists specific duties before, during and after each performance
• Takes note of any problems, unfinished details, painting touch ups, and/or changes and communicates these to the Technical Director.
• Stage Manager (or delegate such as ASM/Deck Captain or Run Crew) insures the safety and sanitation of all props and consumables.
• Stage Manager or Assistant Stage Manager is responsible for setting up and labeling any and all prop tables necessary for a production. Non- or semi-valuable props may be stored in the locked rolling Prop Cabinet. The Stage Manager should be responsible for locking and unlocking the Prop Cabinet before and after rehearsals and performances. No extremely valuable or delicate props, or weapons (especially firearms) should be stored in the Prop Cabinet. These items can be stored in the Technical Director's office.
• The Stage Manager should generate a Prop Cue Sheet and diagrams for Running Crew members. These should indicate where every prop is preset on stage and/or where every prop is moved on or off stage during the run of the show.
• Stage Manager is responsible for presetting all props both on and backstage prior to each Technical and Dress Rehearsal, and every Performance. These duties may be delegated to the Assistant Stage Manager or a member of the Running Crew, but the Stage Manager should confirm that all props are properly preset and that hand props are dealt with. Performers are responsible for checking their own individual props prior to each performance, and the Stage Manager is ultimately responsible that all props and furniture are correctly preset.
• Performers should pick up props from the props table(s) or designated area backstage and return them there, and are responsible for presetting any personal props in pockets, etc. If an actor wants to assume responsibility for keeping such personal props between rehearsals and performances, this should be negotiated with the Stage Manager or ASM/Deck Captain.
• Performers are responsible for bringing to the attention of the Stage Manager or ASM/Deck Captain any items needing repair.
• The Stage Manager posts and checks the Cast/Crew Sign-in sheet and attempts to contact any absent or tardy cast or crew member(s).
• Stage Manager turns off Light Booth and Scene Shop telephones and insures that all equipment and personnel are ready for performance. The Stage Manager should establish a check off list of duties including those that must be accomplished prior to opening the house and those that must be accomplished prior to curtain.
• Stage Manager insures that all work lights are turned off, front exit doors are unlocked. The stage is to be swept and/or mopped; the Stage Manager assigns this task to a Running Crew member and insures its completion prior to the house opening.
• The Stage Manager has the ultimate responsibility that the stage is set correctly and that all elements and members of the production team are ready for the performance. This typically requires a walkthrough of the entire stage and backstage area prior to the house opening.
• The Stage Manager gives the following calls to cast and crew: one hour; half hour; house open (after House Manager notifies SM); fifteen minutes; ten minutes; five minutes; and places (at two minutes).
• During Tech Rehearsals, the Stage Manager may stop rehearsal if necessary. The Stage Manager merely says "stop." The cast and running crews should hold quietly in place while the Stage Manager and the production team address the reason for stopping. The Stage Manager is responsible for choosing an appropriate restarting point in the script and restarting the rehearsal. The Stage Manager will inform the cast and crew where the rehearsal will restart (a line or cue) on the Stage Manager's command. The Stage Manager restarts the rehearsal by simply saying "Go please."
• At intermission, the Stage Manager insures that any necessary work lights are turned on backstage, that no visitors are allowed backstage, and that any changes are accomplished.
• During intermission, the Stage Manager informs the House Manager to signal the patrons back into the theatre for the next act five minute prior to the end of the intermission as determined by the Director. The SM follows the calling procedure from the top of the show including the following calls: ten minutes; five minutes; places (at two minutes). The Stage Manager cannot give the "places" call until given the go-ahead by the House Manager at three minutes.
• The Stage Manager is responsible for keeping any times requested by the Director which could include total running time, running time of each act, and running time of scene changes on the Running Notes form.
• The Stage Manager is responsible for posting Running Notes on the Callboard following every Dress Rehearsal and performance
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• The Stage Manager in consultation with the Technical Director will create a crew assignment list for all actors and technicians for the final strike.
• Stage Manager insures that everything in the theatre is returned to the pre-production state including the booth, backstage areas, and Dressing and Green Room.
• The Stage Manager will be issued keys necessary to perform these duties.

Master Electrician

Responsible for the implementation, loading-in, maintenance, and striking of the lighting design.

Light Hang Period:

• The Master Electrician insures the safe and efficient cabling, hanging, focusing and dressing of all lighting instruments according to the paperwork including the Hookup Schedule received from the Lighting Designer. If necessary, the Master Electrician trains the Light Board Operator. Master Electrician insures that trim heights are set with the Technical Director and/or Scene Designer prior to any focus begins.
• The Master Electrician helps maintain the Light Room in a safe, neat, and organized manner.

Dress Rehearsal/Performance Period:

• The Master Electrician insures that all lighting instruments remain focused and in proper working order throughout the performance period.
• The Master Electrician, or delegate (usually the Light Board Operator) performs a dimmer check no later than one hour prior to each Technical and Dress Rehearsal and each performance.
• The Stage Manager notifies the Master Electrician of any lighting problems in time for the Master Electrician to make adjustments or repairs prior to the next rehearsal or performance.
• The Master Electrician attends Technical and Dress Rehearsals as agreed upon with the Technical Director.

After Final Performance:

• The Master Electrician consults with the Technical Director and the Sound Designer in coordinating the Strike. The Master Electrician strikes all instruments, cables, gels, gel frames, and so on. During Strike, the Master Electrician will collaborate with the Lighting Designer in returning equipment to storage and insuring all items are returned in good condition.

Scenic Artist

Is responsible for all painting, and wall and (painted) floor treatments.

• Determines paint and material needs which are communicated to the Technical Director for ordering.
• Coordinates with the /Technical Director in establishing a painting schedule. The set will usually need at least a complete base coat to allow the Lighting Designer to set levels which must be accomplished prior to the first Technical Rehearsal. The Scenic Artist must keep in mind drying time when scheduling work calls--the set must be available for rehearsals as needed. Conflicts should be brought to the attention of the Director with enough lead time prior to the scheduled rehearsal to make alternate arrangements.
• The Scenic Artist is responsible for keeping all brushes, pans, sprayers, any other materials, and the paint area clean.

Dress Rehearsal/Performance Period:

• The Stage Manager and Set Designer take note of any details as yet unfinished, changes, or touch ups and communicate them to the Scenic Artist. The Scenic Artist is responsible for any touch up painting.

After Final Performance:

• The Scenic Artist makes sure stage floor is painted black if deemed necessary by the Technical Director.
• Cleans paint area in Scene Shop if necessary

Crews

• Crews will be assigned in various areas, depending upon the requirements of the particular production. These crews can include set construction, electrics (lighting), sound, painting, costumes, hair/make-up, audio/visual, publicity, or other specialty areas.
• Crew members will be supervised by a supervisor in that area (Designer, Technical Director, Costume Supervisor)
• As soon as possible, crew members must provide the supervisor with contact information and a class/work schedule.
• Crew members are required to attend all work calls for their crew as established by their supervisor. They must submit any conflicts to their supervisor as soon as requested.
• The supervisor will make every effort to maintain the posted work call schedule. However, if unforeseen circumstances require changes, crew members should be as flexible as possible in rearranging their schedules to accommodate those changes. Any conflicts in this area should be referred to the Technical Director.
• Crew members must arrive to all work calls on time and dressed appropriately. Unless prior arrangements are made, crew members should stay for the entire posted work call. Furthermore, crew members are expected to contribute full effort throughout the work call. If an assignment has been completed, the crew member should seek out the crew chief to receive the next project. There may be times during a work call when only a few crew members are actually working while others await a new assignment. Those unoccupied crew members should maintain focus and discipline until they are needed again.
• There may be instances where a crew in one area is called upon to help another crew in a different area. Again, crew members should be flexible and accommodating in these circumstances.
• Crews will usually include members with a variety of skills and experience, and may include non-majors and/or class students. More advanced students should make every effort to assist those less-experienced crew members and make them feel welcome and needed. Production crews are a learning experience for everyone, and should be considered opportunities to be inclusive and collegial.

Assistant Stage Manager/Deck Captain

• The ASM/Deck Captain has a twofold responsibility. During the rehearsal period, the ASM/Deck Captain operates as the Stage Manager's assistant helping set up and strike rehearsal furniture and props, taking down line notes, prompting actors, etc. as per the SM's instructions.
• During tech and dress rehearsals, and performances, the ASM/Deck Captain is responsible for the smooth and efficient running of the backstage area. The ASM/Deck Captain is stationed backstage and supervises and/or participates in all scenery changes and any props and/or costume changes as needed.
• Ultimately, the Stage Manager is responsible for presetting all props both on and backstage prior to each Technical and Dress Rehearsal, and every Performance. These duties may be delegated to the Assistant Stage Manager or a member of the Running Crew, but the Stage Manager should confirm that all props are properly preset and that hand props are dealt with. Performers are responsible for checking their own individual props prior to each performance, and the Stage Manager is ultimately responsible that all props and furniture are correctly preset.
• Performers should pick up props from the props table(s) or designated area backstage and return them there, and are responsible for presetting any personal props in pockets, etc. If an actor wants to assume responsibility for keeping such personal props between rehearsals and performances, this should be negotiated with the Stage Manager or ASM/Deck Captain.
• During performance, the ASM/Deck Captain is responsible for striking props during intermission or scene changes and storing all props immediately following each performance. These duties may be delegated to Running Crew members.
• The ASM/Deck Captain may be responsible for handing out props directly to actors going onstage and collecting them from actors leaving the stage. These duties may be delegated to Running Crew members.
• During scene changes, either the ASM/Deck Captain or a crew member designated by the ASM/Deck Captain is the last crew member to leave the stage and does a final check to insure all props and scenery have been properly set.
• Performers are responsible for bringing to the attention of the Stage Manager or ASM/Deck Captain any items needing repair.
• The ASM/Deck Captain remains on headset or insures that a Running Crew member is on headset at all times to facilitate communication with the backstage area.
• The ASM/Deck Captain is responsible for the clean and orderly upkeep of the entire backstage area.
• Attends all Runthroughs.
• Attends all Technical and Dress Rehearsals and all performances of the show.

Running Crew

• Responsible for changing any scenery during performance including but not limited to set pieces, set dressing, furniture, etc. and for any flying and some costume changes.
• Crew members are expected to attend at least one of the Runthrough rehearsals,
• Attends any Shift Rehearsals that may be scheduled.
• Attends all Technical and Dress Rehearsals, and, of course, all performances of the show they will be running.
• Running crew members are required to wear black clothing. During scene shifts, crew members should move with alacrity, but not rush. Scene changes are typically choreographed by the ASM/Deck Captain or the Stage Manager and should be accomplished with polish, professionalism and purpose. No crew members should ever be visible to audience members in hallways, restrooms, and particularly in the theatre proper except in the case of true emergency or if required by a unique production duty.
• Reports to Technical Director and ASM/Deck Captain who will delegate individual duties. Assignments will be made for each production.

Dressers

• Responsible for the upkeep, rpair, cleaning, and running of all costumes during the run of a particular production. Crew members may also be assigned to assist with quick changes. Crew members will take turns with all laundering and repairing costumes, and neatening of the Costume Shop.
• Crew members are expected to attend at least one of the final Runthrough rehearsals, all Dress Rehearsals, and performances of the show. As member of the Running Crew, Dressers adhere to the same guidelines listed above.
• Reports Costume Supervisor and Stage Manager. Assignments will be made for each production.

Light Board Operator

• Is responsible for helping set lighting cues and assisting the Lighting Designer during Hang and Focus and for implementing the Light Design during the run of the show. The Light Board Operator is responsible for maintaining any paperwork including Light Cue List for the show.
• The Light Board Operator is expected to attend at least one of the final Runthrough rehearsals.
• Attends Cue to Cue rehearsal if needed.
• Attends all Technical and Dress Rehearsals, and performances of the show.
• The Light Board Operator assists the Master Electrician in performing dimmer checks prior to each Technical and Dress Rehearsal, and each performance.
• Reports to Lighting Designer and Stage Manager.

Sound Board Operator

• Is responsible for implementing the Sound Design and maintaining all sound equipment for the show. The Sound Board Operator is responsible for maintaining any paperwork including Sound Cue Sheets for the show. The Sound Board Operator performs a sound check prior to each Technical and Dress Rehearsal, and each performance. The Sound Board Operator is responsible for safely storing all CDs after each rehearsal and performance. During Strike, the Sound Board Operator returns all CDs where they belong.
• The Sound Board Operator is expected to attend at least one of the final Runthrough rehearsals,
• Attends Cue to Cue rehearsal if held.
• Attends all Technical and Dress Rehearsals, and performances of the show.
• Reports to Sound Designer, Technical Director and Stage Manager.

House Manager

• The House Manager is responsible for Supervising Ushers, assembling programs, passing messages, seating patrons as needed and cleaning the house before and after performances.
• The House Manager acts as liaison with the Stage Manager, communicating the status of unclaimed reservations and the line at the Box Office as well as conveying the front of house authorization to the Stage Manager to begin the performance. The House Manager is responsible for insuring that the front of house does not cause a delay in a curtain, that all patrons sit in their assigned seats if appropriate, and that all doors are closed prior to house lights dimming. The House Manager will remain outside the theatre to hold latecomers to an appropriate moment in the performance as determined by the Director or Stage Manager. At intermission, the House Manager will open all doors as soon as but no sooner than the house lights rise. During intermission, the House Manager will insure that no food or drinks are brought into the theatre. At the end of the performance, the House Manager will open the doors as soon as but not sooner than the house lights rise and will wait until all patrons have exited the theatre to begin tidying up.

Dress Rehearsal/Performance Period:

• Attends at least one final Runthrough.
• For productions in both the Mainstage and Studio Theatres, the House Manager greets the public and may be required to assist in the Box Office if adequate staffing is not available.
• During Mainstage performances, House Manager sets up stub baskets, programs, and aisle lights.
• Insures that ushers arrive no later than 6:45 p.m for orientation and to assist in assembling programs, cleaning the theatre, etc. House Manager gives thorough briefing on seating plan, gives instructions on how to seat the audience in an efficient and courteous manner, and makes station assignments.

Ushers should be given the following instructions:

• Please sign in
• Greet patrons courteously
• Tear tickets along perforations and keep the larger portion, giving the smaller back to the patron
• Patrons may be told that seating is general if performing in the Studio Theatre.
• Patrons should be asked to turn off all pagers, cell phones and watch alarms or switch them to silent mode.
• House Manager maintains the Ushers Sign-in sheets for each performance, making sure every usher signs in and that they are dressed appropriately. Depending on the expected size of the house, one or two ushers will be assigned to tear tickets and the others will be assigned to show patrons to their seats. During Studio Theatre productions, the House Manager should assign an usher or two to insure that patrons do not walk across the set. The House Manager will indicate when ushers may take their seats prior to the beginning of a performance.
• The House Manager should arrive by 6:30 p.m. insure that ALL entrances are unlocked. The House Manager sees that the house is open at 7:00 p.m. Checks with the Stage Manager at 6:55 p.m. to make sure the stage is ready for the house to open. All communication should be via Clear Comm calls from the Box Office to the booth. The House Manager notifies the Stage Manager when the house is open.
• Stage Manager contacts House Manager three minutes prior to the scheduled curtain time. At this time, the House Manger assesses the house and determines if the show may begin on time. The House Manager ascertains the approximate number of unclaimed reservations, especially large groups, and counts the number of patrons in line at the Box Office window. It is imperative that curtain times are adhered to and that shows begin on time. However, if there are extenuating circumstances such as extremely inclement weather and the House Manager determines that there are too many patrons in line at the Box Office or that there is a late large group, the House Manager may hold the curtain until such circumstances are rectified. The House Manager notifies the Stage Manager when the house is ready and the Stage Manager gives the cast and crew a two minute "places" call.
• Before curtain, the House Manager makes sure exit doors are closed.
• After curtain is up, the House Manager maintains quiet in lobby. The House Manager should check with the Director to determine the latecomer policy for the individual show. There may be specific moments at the beginning of the play or following intermission(s) during which it would be inappropriate to seat patrons. In any case, the House Manager is responsible for insuring that no one enters the theatre during a blackout
• At each intermission, Patrons should be reminded of the length of intermission. Three minutes before the end of intermission, the Stage Manager contacts the House Manager who rings a bell in the lobby area to notify patrons that the intermission is ending. The House Manager repeats this procedure two minutes and one minute before the end of intermission. When audience is seated, procedure from beginning of performance is repeated: Stage Manager contacts House Manager three minutes prior to scheduled act curtain, House Manager determines if there are any special circumstances that would delay the curtain and notifies the Stage Manager. If there are none, the House Manager gives the Stage Manager a "lobby go" who gives the cast and crew the two minute "places" call. The House Manager makes sure exit doors are closed.
• The House Manager handles any special situations as they arise--doctors who wish to be on call, wheel chair patrons, people in wrong seats, etc. In general, the HM looks after heating, comfort, and safety in theatre.
• The House Manager remains on duty in lobby or back of the theatre throughout every performance to maintain quiet in the lobby/hallway and deal with any emergencies or special circumstances that arise. The House Manager must be familiar with all Emergency Policies such as tornado warnings, fire, smoke, etc. The House Manager will contact the Faculty for any emergency situations (equipment failure, smell of smoke, severe weather) and any issues involving unresolvable patron ticket problems, patron belligerence, intoxication, unruliness, etc. In the case of life threatening emergency, the House Manager notifies Security and takes charge of implementing proper procedures.
• Prior to and following the performance, the House Manager will insure that no cast or crew members enter the house or lobby areas until all patrons have exited. The House Manager will insure that no cast members greet family or friends in costume and/or make-up.
• After the performance, ushers will help pick up discarded programs and tidy the theatre after the theatre is clear. The House Manager is responsible removing any programs or trash from the house.

Organizations and Other Useful Information

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St. Croix Valley Summer Theatre

SCVST has been an important part of the Theatre Program of at UWRF for over 40 years. Each year students from the program are involved with the program for an intensive summer of learning and experiencing theatre. Students are hired as actors and technicians and can also receive academic and internship credit. The audition and hiring process usually takes place in January or February. Please see notices on the callboards and plan to spend at least one summer in the program to enhance your educational experiences at UWRF.

SCVST History, Mission and Goals: The St. Croix Valley Summer Theatre is a summer stock theatre founded in 1966 and housed on the campus of the University of Wisconsin - River Falls. That first season was performed in North Hall Auditorium with Sanford Syse and managing director. At least five shows were staged each summer for many years with a record eight productions in 1973 under managing director Ron Perrier. A complete season by season history can be found in an appendix to this handbook.

Today, a “typical” SCVST season runs from the second week of June until the second week of August with a company of professional actors, college theatre students, community actors and high school interns. Three productions are staged beginning in late June. The performances take place in the Blanche Davis Theatre. SCVST is under the leadership of a Managing Director/Artistic Director. The managing director has overall administrative and artistic managerial responsibility including show selection, hiring, personnel management and financial supervision.

In addition, the company employs the following individuals: directors for each show (2-4), scenic designer(s), lighting designer(s), costume designer(s)/coordinators, technical crews, a management crew and a core company from 6-8 performers. Other company members are hired on an “as needed” basis and may consist of stage manager(s), props manager(s), master electrician(s), board operator(s), and a scenic shop foreman. There is also a student internship program available for high school students to participate in while earning university college credit. The above positions are paid at varying levels. See the appendix for more detailed job descriptions.

Kennedy Center American College Theater Festival (KCACTF)

The KCACTF is a year-round program in eight geographic regions in the United States. Regional activities are coordinated through eight KCACTF regional chairs and eight KCACTF playwriting awards chairs. With funding and administrative support from the Kennedy Center, the regional chair coordinates with the Co-Managers of KCACTF all aspects of the adjudication of productions on the local and regional level and supervises regional-level KCACTF award competitions. The playwriting chair works with schools that have entered new and student-written plays by providing expertise in the development of new scripts--assessment specifically designed for a developing play--and by providing information on the numerous playwriting awards offered. Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide.

Through state, regional, and national festivals, KCACTF participants celebrate the creative process, see one another's work, and share experiences and insights within the community of theater artists. The KCACTF honors excellence of overall production and offers student artists individual recognition through awards and scholarships in playwriting, acting, criticism, directing, and design. Each year University Theatre participates in many programs that are offered through ACTF.

• Most productions at UWRF are entered as nonparticipating production and are critiqued by adjudicators. Some productions may be entered as participating productions to be critiqued and considered to participate in the festival. Outside adjudicators visit colleges to review productions, give feedback, and choose productions to advance to the regional festival held in January (one adjudicator for a nonparticipating production and two for a participating production). Chosen productions are performed at the regional festival where they undergo another round of adjudication. Regional winners travel to Washington, D.C. to perform at the Kennedy Center.
• Irene Ryan Acting Scholarship--A school is eligible to nominate at least one actor from the production under consideration for the Irene Ryan Acting Scholarship competition.
• In January of each year all interested students can attend the regional festival that showcases the finest of each region's entered productions and to participate in workshops, meet other theatre students from around the region, attend symposia, and participate in regional-level award programs.
• Playwriting, design and technical students may be nominated or submit their work to be critiqued at the regional festival.
• Students from UWRF have received regional recognition and some have advanced to the national level to become National Award winners.

Wisconsin Theatre Auditions

For over 30 years, theatre producers have participated in the opportunity to interview potential technical, design and management staff as well as audition actors, singers and dancers. The program always yields strong employment statistics for actors and technicians who participate. In addition, we offer a series of theatre workshops taught by producers and theatre educators. Many instructors of these workshops are the same individuals who will be attending the auditions the following day. Wisconsin Theatre Workshops and Auditions will be held at the Memorial Union on the University of Wisconsin-Madison campus. This is usually the in February

Alliance for Wisconsin Theatre Education (AWTE)

This organization is for educators in Wisconsin who find themselves with the difficult and often lonely task of producing theatre in Wisconsin’s high schools and universities. The membership believes that the study of theatre should be central to the education of all students in Wisconsin, and access to the theatrical arts should be a part of every Wisconsin citizen’s life. This organization holds and annual convention in September in Wisconsin, which is open to students and teachers of all levels.

Midwest Theatre Auditions

Every year, usually in February, the Midwest Theatre Audition/Interviews are held at Webster University in St. Louis. Representatives from summer stock companies, graduate programs, and year-round theatres attend. There are acting, dance, and tech/design opportunities.

Association for Theatre in Higher Education (ATHE)

This is the national organization for Theatre educators. ATHE holds a national conference annually (usually in early August) comprised of workshops, performances, and scholarly paper presentations. There are numerous Focus Groups within the organization that provide programs for special interests such as acting, directing, playwriting, theatre history, etc. ATHE also includes an employment service that brings employers and prospective employees together at the national conference. Members receive a subscription to Theatre Journal.

East Central Theatre Conference(ECTC), Midwest Theatre Conference (MWTC), South Eastern Theatre Conference (SETC), and South Western Theatre Association (SWTA)

These are regional organizations for theatre professionals. They hold annual conventions comprised of workshops, performances, and panels, and sponsors auditions and technical interviews every spring that you are encouraged to attend. Professional and summer stock companies attend these audition/interviews.

University and Regional Theatre Association (U/RTA)

This is a national organization made up of Universities and Regional Theatres around the country. They hold annual audition/interviews for admission into 32 Master of Fine Arts degree programs and producing companies in New York, Chicago, and Los Angeles.

United States Institute of Theatre Technology (USITT)

This is a national organization for technical theatre and design artists. USITT holds yearly meetings and includes an employment service. Members receive a subscription to Theatre Technology. Each spring a national convention is held in various locations throughout the US. May students have attended the convention and if you are interesting in Design or Technology this is an event to attend.

Listing of Local Theatre Companies (This list is always changing so please check for updates)

• Actors Theater of Minnesota
• Ballet of The Dolls
• Bloomington Civic Theatre
• Brave New Workshop, founded by Dudley Riggs in 1958
• Bryant-Lake Bowl Theater
• Caliban Theatre Company
• Center for Independent Artists
• The Chameleon Theatre Circle
• Chanhassen Dinner Theatres
• Chaska Civic Theatre
• Children's Theatre Company
• Cross Community Players
• Dream Lab Theatre
• Emigrant Theater
• Ensemble Productions
• Ethnic Dance Theatre
• 15 Head - a theatre lab
• Fifty Foot Penguin Theater
• Frank Theatre
• Gilbert & Sullivan Very Light Opera
• Girl Friday Productions
• Great American History Theatre
• GTC Dramatic Dialogues
• The Guthrie Theater
• Hardcover Theater
• Hauser Dance
• Heritage Theatre Community, Inc.
• Hey City Theatre
• Illusion Theater
• Intermedia Arts
• In The Heart of The Beast Puppet and Mask Theatre
• James Sewel Ballet
• Joking Apart Theater
• Jungle Theatre
• Lakeshore Players
• Lex-Ham Community Theater
• Lyric Arts Main Street Stage
• Macalester Players
• Margolis Brown Company
• Mary Worth Theatre Company
• Minneapolis Musical Theatre
• Minnesota Dance Theatre
• The Minnesota Fringe Festival
• The Minnesota Jewish Theatre Company
• The Minnesota Opera
• Mixed Blood Theatre Company
• Morris Park Players
• The Mounds Theatre
• Mu Performing Arts
• The Mystery Cafe
• Nautilus Theater Company
• Nimbus Theatre Company
• North Star Opera (see Skylark Opera)
• Off-Leash AREA
• Old Gem Theater
• Old Log Theatre
• Oops Dinner Theatre
• Open Eye Figure Theatre
• Ordway Center for the Performing Arts
• Orpheum Theatre
• O'Shaughnessy Auditorium
• Pangea World Theater
• Park Square Theatre
• Patrick's Cabaret
• The Penumbra Theatre Company
• The Phipps Center for the Arts
• Pillsbury House Theatre
• The Playwrights' Center
• Plymouth Playhouse
• The Red Eye Theater
• River's Edge Playback Theatre
• Rosetown Playhouse
• St. Paul City Ballet
• The Silly Sisters
• Skylark Opera
• The Southern Theatre
• South High Theater
• Stages Theatre Company
• Starting Gate Productions
• State Theatre
• SteppingStone Theatre
• Stevie Ray's Improv Company
• Stuart Pimsler Dance & Theater
• Théâtre de la Jeune Lune
• Theater Latté Da
• Theatre Pro Rata
• Theatre in the Round Players
• Theatre Unbound
• 13 Lunas Arts Collective
• Torch Theater Company
• Triple Espresso
• Troupe America
• University Theatre
• Urban Samurai Productions
• Walker Art Center
• The Wild Yam Cabaret
• Young Artists Initiative
• Youth Performance Company
• Zenon Dance Company

Emergency Protocol

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If there is an emergency during rehearsal or performance call Campus Police (3133). Inform Campus Police of the emergency and if they deem necessary, they will call the Fire Department (911).

Emergencies During Performance

• It is the House Manager's responsibility to notify audience members, cast, and crew of any emergency situation and to take charge of an evacuation. During potentially dangerous weather, the House Manager and the Faculty/Staff on Duty will monitor the emergency weather radio for severe weather announcements. Anyone in the cast or crew who notices a dangerous situation such as smoke or fire should notify the ASM/Deck Captain, who immediately notifies the Stage Manager, or the House Manager. The Stage Manager notifies the House Manager of the situation. The House Manager (or Stage Manager if the House Manager is unavailable) will initiate the emergency procedures described above by calling Campus Police and following their instructions.
• If evacuation is necessary, the House Manager will contact the Stage Manager to halt the performance. The Stage Manager will contact the ASM/Deck Captain to notify cast and crew members who are backstage. The Stage Manager will have the house lights brought to full and the House Manager will step out onstage from the wings to announce the emergency and the evacuation procedure. If the House Manager is not available, the Stage Manager will make the announcement over the in-house public address system. Those on stage should stop their performance when they see the house lights come up and the House Manager appear on stage or hear the Stage Manager's announcement. The performers should calmly leave the stage from the nearest exit.
• Panic should be avoided at all costs. The cast and crew should assist the House Manager or Stage Manager in evacuating the audience by holding doors, helping elderly or physically challenged patrons, and maintaining a sense of calm professionalism.
• If a fire breaks out onstage during a performance, the ASM/Deck Captain or another designated crew member should make sure performers and scenery are clear and lower the fire curtain immediately.
• If a patron suffers an apparent heart attack, has a seizure, or undergoes any similar medical emergency, the House Manager should quickly go to that patron and assess the situation. If the patron desires and is able to leave the auditorium, the House Manager should assist him or her out and then initiate the emergency procedures described above by calling Campus Police and following their instruction. If the patron is unable or unwilling to leave the theatre, the House Manager should contact the Stage Manager to stop the performance and initiate the emergency procedures. The Stage Manager follows the steps outlined above of notifying cast and crew, bringing house lights up, and so on. Cast members on stage should calmly leave the stage via the nearest exit. The House Manager should make a very brief announcement when the house lights come up that there will be a slight delay in the performance.
• If the emergency situation is rectified within a reasonable amount of time, the performance may continue. The House Manager should contact the Stage Manager and restart the performance as if it were the beginning of the show or after intermission. The Stage Manager chooses an appropriate moment prior to the point where the performance was halted and notifies the cast and crew. The Stage Manager makes sure all cast and crewmembers are set for restarting the performance and notifies the House Manager. After getting the go-ahead from the Stage Manager, the House Manager should step onto the stage from the wings and announce that the performance will begin in three minutes. The Stage Manager gives the cast and crew a three minute call followed by a two minute places call and the performance begins again. The Stage Manager should follow the typical house to half, house out, lights up pattern used at the beginning of the show.
• Again, panic should be avoided. In the unfortunate instance that a performance must be stopped, the cast and crew should remain calm and focused in order to be ready to recommence on short notice.

Fire/Disaster Evacuation Procedure

When the fire alarm sounds, ALL people are to evacuate the building. During productions or work calls, after evacuating the building all theatre personnel should meet at the bell tower. Students, faculty, and staff may return to the building when it is deemed safe to do so by competent authority.

Fire Speech: Ladies and gentlemen, we have a problem backstage. We don't' think it's serious, but for your safety and our piece of mind, we'd like to clear the theatre at this time. Staff members will be at the exits to assist you and we will resume the performance as soon as we can. Thank you.

Severe Weather Procedure

Before or during performances, upon hearing the severe weather siren or being notified of a tornado alert, the House Manager notifies patrons and directs them to shelter in the central hallway in the basement until the all-clear is given. If a performance must be interrupted, the procedure outline above should be followed. The House Manager contacts Campus Police to inform them of the situation and to receive further instructions

Weather Speech: Ladies and gentlemen, we have a weather emergency. We are going to file out of the theatre to the basement as directed by rows. Remain calm and we will begin the evacuation immediately. Thank you.

In the event of a real tornado, earthquake or other natural disaster, the stage manager and booth crew should evacuate themselves as soon as possible. Do not stage to assist with the audience. Emergency professionals suggest as many staff members get out of a large auditorium space as quickly as they can. Once the emergency is over the event staff that knows the building may be needed to search for survivors. As stark as this may sound, it is the best policy in the wake of a serious weather disaster.

Power Shortage: If a power shortage were to occur, the emergency lights throughout the theatre would come on. When this happens, the ASM should go out and inform the audience that we will wait to see if power can be restored in a timely manner. If this fails to happen, the audience will be told the performance is over for the evening. Lock-up the theatre as normal and release the cast and crew.

Medical Procedure

Medical Emergency Speech: Ladies and gentlemen, we have a problem backstage. If there is a doctor in the house could you please report to the lobby as quickly as possible? We are going to pause for just a few minutes. Please remain in your seats and we will resume the performance as soon as possible. Thank you

Standard Operation Procedures / University Theatre Safety

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The following is a list of safe operating procedures for the Blanche Davis Theatre, the Sanford Syse Theatre, and the University Scene Shop.

The Theaters

• Theatres should be kept clean at all times.
• Exits and access to exits are to be kept uncluttered and unobstructed at all times. During periods of occupancy, no exit door shall be locked, bolted, fastened or obstructed by any means so that the door cannot be readily opened from the inside.
• No exit lights brightness should be reduced during a performance or when the area is occupied.
• All broken, ripped, and loose seats must be repaired.
• All loose carpeting must be repaired.
• All house lights and safety lights must be in working order.
• All aisle lights must be in working order.
• All personnel should familiarize themselves with the location and operation of fire extinguishers, fire hose stations and fire alarms.
• All fire fighting equipment must be maintained clear and obstructed at all times.
• Open flames are not permitted on stage unless specifically approved by a faculty member who is in charge of the production and then only when adequately enclosed and safeguarded. This may only be done if the draperies have be recently flame retarded.
• All draperies should be kept in good repair and flamed retarded on a regular basis.
• All drapery tracks should be in good repair and operating correctly.
• All drapery should be positioned at least 12" away from lighting sources.
• The stage floor should be in good repair and free of splinters and broken boards.
• Flashlights should be available to all ushers.
• Telephones should be available with outside lines for emergencies.
• Emergency phone numbers should be posted near the phones.
• Procedures should be established to deal with emergencies such as heart attacks, seizures, fires, and electrical failures by the House Staff.
• ADA standards should be meet in the theatres and flexible seating productions must accommodate handicap seating and entrances and exits.
• Any temporary structures either on stage or in the theatres should be barricaded and labeled until the structures are tested and secure.
• When traps are out or the lift is down barriers should be present or personnel should be guarding the open pits.
• The lift should always be at stage or house level when not in use.
• A ghost light must be on when the theatres are not occupied.

General Shop

• A telephone with an outside line must be available whenever crew work, rehearsals, and performances are scheduled.
• In the event of serious injury or illness, fire, explosion, or any emergency where immediate assistance is required, dial3133 for campus security and 911 for ambulance and fire.
• Any injury or accident occurring within the University Theatre must be reported immediately to the faculty or staff member in charge.
• A fully stocked and properly maintained First Aid kit must be available in each shop or stagehouse work area. First Aid care of minor injuries should never be neglected. First Aid kits must be stocked on a regular basis.
• Running, practical jokes ("horseplay") throwing tools or materials, jumping off props or from one level to another, or activities which endanger either the individual or others are not permitted within the Drama Department.
• Good housekeeping is essential within all University Theatre operations! At the end of each work period, the shop, stagehouse or other work area shall be left in a safe condition. All tools should be returned, floors swept and trash emptied, and walkways and exits left clear and unobstructed. In short, any potential safety or fire hazard must be eliminated.
• The shop will be considered closed and no work undertaken unless there is a faculty member or student assistant present in the building and acting as supervisor.
• Before any ladder is used, it should be inspected to assure that it is in safe condition.
• Wood ladders should not be painted inasmuch as paint hides splits and defects (shellac or varnish are acceptable alternatives).
• Non-skid safety feet should be installed on any straight ladder before it is placed in service.
• The base of a straight ladder should rest on a level surface and should be placed so that the distance away from the wall or surface against which it leans is approximately one quarter in length of the ladder.
• Straight ladders should be tied off, blocked or otherwise secured when used.
• A step ladder should not be used as a substitute for a straight ladder. A step ladder should always be completely opened and climbed only on the side with the steps. Never stand or work from the top of a step ladder!
• Tools or other objects should be secured against falling while work is being performed from a ladder.
• After use, ladders should be returned to proper storage.
• There must be adequate lighting on all stairs.
• All railings on stairways must be secure.
• Don't walk through a safety zone when someone is operating the power equipment.
• When using sharp hand tolls, the cutting action should always be away from the body.
• Never substitute the correct tool for the job with a different tool
• Be sure you know what kind of fire you are dealing with before an attempt is made to put it out.
• The best fire extinguisher for all fires (electrical, petroleum, or wood) is a type A.B.C. fire extinguisher.
• Always lift heavy items with your legs, not you back.
• Don't overreach. Keep proper footing and balance at all times.
• Not only watch out for your own safety in the shop and on stage; watch out for others.
• Keep your mind on your work at all times.
• There must be at least two people in the shop area while tools and equipment are being operated.
• Keep children away. All visitors should be kept a safe distance from work area.

Shop Safety/Cleanliness

Cleanup will begin 15 minutes prior to the end of each and every Work Call: all tools, power cords, hardware, and other materials will be put away in their proper locations (Shop, Light Room, etc.); uncompleted projects will be neatened and moved to unobtrusive and safe locations in the shop; and the shop floor will be cleared and swept. All students are expected to straighten up their own work space, but also to help with the general cleanup. When working in one of the theatrical spaces, the same rules apply--all tools and materials must be put away and the floor cleared and swept. The Technical Director is responsible for the cleanliness and safe condition of the shop and work spaces.

Clothing and Shoes

• Hard-sole shoes should be worn while working in the shop (Scene Studio). Going bare-footed or wearing sandals is not acceptable.
• Goggles, face shields, "plano" (non-corrective) safety glasses, or heat-treated Rx glasses shall be worn while using power tools or equipment.
• Loose fitting clothing or jewelry shall not be worn while using power equipment. Long hair must be tied back or otherwise secured. Long sleeve shirts should be either buttoned at the cuffs or rolled to the upper arm.
• Never wear rings or watches while working in the scene shop. Crushed rings are the most common causes for lost fingers
• Books, clothing, and other personal property should not be left in the shop during working periods.

Power Tools

• No one is permitted to operate machinery or use a power tool without authorization and unless they have been checked out in its safe operation by the Scene Shop supervisor or his/her designated assistant.
• Understand the application, limitations, and potential hazards of any power tool or machine which you use.
• Select the proper power tool for the job to be done. Don't improvise!
• Ground all power tools (unless they are double insulated). If the power tool is equipped with a 3-prong plug, it must be plugged into a 3-hole electrical receptacle. If an adapter is used to accommodate a 2-hole receptacle, the adapter wire must be attached to a known ground.
• Remove adjusting keys and wrenches before turning on a tool or machine; never adjust, change bits, blades, cutters or belts with the power tool connected to electrical service.
• Keep the work area free of clutter and be alert to potential hazards such as wet floors, flammable vapors, inattentive persons in the area, etc. Never over-reach and always maintain proper footing and a secure grip on the tool you are using.
• Keep guards and safety devices in place and in working order and never remove or circumvent a guard or protective device.
• Use safety eye and/or face protection - wear safety glasses with side shields and impact goggles or full face shield.
• Avoid accidental startup by making sure that the switch is off before plugging in the cord or when power is interrupted. Never carry a power tool with you finger on the switch!
• Make sure saw blades, drill bits, router cutters, etc., are sharp, clean and properly maintained. Use only recommended accessories which are designed for use with a power tool or machine by its manufacturer.
• Never brush away chips or sawdust or attempt to clean with you hands or with a rag while machines or tools are operating.
• Compressed air should not be used to clean or blow down machinery or other surfaces except when the area has been completely cleared and the operator is wearing full face and eye protection. Air used for this purpose must never exceed 30 p.s.i.!
• All saws should be adjusted before use to expose only the minimum amount of blade necessary. The fingers and hands must be kept clear of the blade at all times!
• Use clamps or a vise to hold work in place and never force a power tool.
• Never surprise, touch, distract, or talk to anyone who is operating a power tool or machinery.
• Never leave a machine running unattended.
• Do not attempt field repairs on tools or machinery. Return any tool for servicing that shows any defect or that is not operating properly.
• Return tools to tool room after completing work.
• When helping support the end of a long board on the saw never pull the board being cut. Let the operator of the machine control the feed.
• Always unplug a machine or power tool when changing the cutting edge or making any changes or adjustments on the power equipment.
• Always stay with the power machine or tool until the cutting edge has come to a complete stop.
• Be very careful when removing waste material from a machine before the cutting edge has come to a "dead" stop.
• Make sure that no part of your body is in the cutting line of a machine.
• When narrow stock is being ripped with a power saw use a push stick.
• Use a feather board to hold narrow or thin stock close to the fence.
• Allow the motor to come up to full operating speed before a cut is made.
• Always use a Vee block when cutting round stock on the band saw.
• When cutting tight curves or circles on the bandsaw, make relief cuts.
• The upper blade guide of the bandsaw should be adjusted so it is no more than 1/8 inch above the stock being cut.
• The minimum distance the blade should be from the fence is 1/4 inch.
• When using the miter guage on the bandsaw at least 6 inches of stock should be in contact with the miter guage.
• When the table saw power is turned on make sure you are not in line with the blade.
• Do not cut, round or dowel stock on the saw table.
• The minimum width of stock that should be ripped on the table saw is 2 inches.
• The blade of the table saw should protrude no more than 1/8 inch above the stock being cut.
• When using the miter on the table saw, be sure 6 inches of stock is in contact with the miter guage (this is the same measure for the bandsaw).
• When you are finished using the radial saw be sure to push the blade unit behind the fence (toward the column).
• Do not remove waste stock from the radial saw until the blade has come to a "dead" stop.
• Allows allow the blade to coast to a stop.
• The anti-kickback guard is used on the radial saw only when stock is being ripped, and must be used when ripping.
• Never stack stock to be cut on the radial saw. Cut only one piece of stock at a time.
• When crosscutting with the radial saw always hold the stock being cut against the fence.
• The minimum length of stock that should be cut on the radial saw is 4 inches.
• Always remove the key from the chuck of a drill.
• Always let the drill chuck coast to a stop. Never grasp the chuck in an attempt to stop the drill bit.
• Use a drill press vice or some means of holding onto small parts (other than with your hands) when using a drill.
• When coming toward the end of the cut the feed should be reduced when using a drill.
• Insert the tang of the drill at least 1/4 inch into the chuck.
• When starting the disc sander always stand in front of the sander.
• Keep you fingers at a safe distance from the abrasive on the belt or disc sander.
• Always let the belt or disc sander coast to a stop. Never try and stop it by any other means.
• Never use the disc sander if the abrasive disc is worn or adhering loosely to the plate.
• Sand on the left side of the disc sander. The left side has a downward rotation.
• Sanding belts must be adjusted and tracking correct prior to use.
• Always operate sanding equipment, WITH THE GRAIN! Sand all surface areas an equal amount to prevent hollow or shallow spots. DO NOT DOWN PRESSURE. The weight of the machine with a small amount of pressure is enough for a good cutting action.
• Inspect the abrasive sheet or cloth frequently for resin-build-up or kernels that can harden and cause a groove in the stock surface. Clean the abrasive sheet belt or disk with an abrasive cleaning stick.
• Never feed a portable circular saw toward your body. Always saw away from you and other people.
• Do not allow the blade on a portable circular saw to be exposed more than 1/8 inch below the stock being cut.
• When using the sabre saw hold the base of the saw firmly against the stock being cut.
• Direct the sparks from the portable grinder toward the floor and away from other people.
• Before using the portable grinder always examine the abrasive well for cracks and signs of extreme wear. If there are cracks or extreme wear do not use the portable grinder.
• Before using a hammer be sure the handle is not cracked or loose.
• Do not hold work in one had and a screw driver in the other hand.
• Always direct a wood chisel away from your body.
• Never use a file without a handle.
• Don't use a power tool with wet hands.
• Never use a power machine while you are standing in water.
• Don't force tool. It will do the job better and safer at the rate for which it was designed.
• Don't abuse cord. Never carry tool by cord or yank it to disconnect from receptacle. Keep cord away from heat, oil, and sharp edges.
• Inspect all stock to be cut for loose knots, stones, nails, warp or splits. Remember such stock cannot be cut safely on the machine.
• Unusual operations must be done with the technical director's supervision.
• All resawing, beveling, tapering, or similar special set-up operations must be done with the aid & assistance of the supervisor.
• If a steady click should sound, or the blade break call the supervisor at once. Never operate the saw if something sounds unusual.
• Keep your hands OFF OF ALL EQUIPMENT, when not using it for an authorized operation, or an intended purpose.
• Always have the tool rest adjusted 1/16" above the wheel center and 1/16" from the grinding wheel.
• Always test run the grinding wheel when turning power on by standing to one side.
• Always grind on the grinding wheel face, and NEVER on the side.
• When grinding tool edges, always keep that tool edge cool by dipping it in water. NEVER grind an edge hard because you will burn the tool, damaging the temper of the tools. IT will not hold an edge as a result.
• Be extra careful when cleaning and brushing the machine, being cautious not to blow or dust the powder carelessly. Keep it away from your clothes, face, and hands.

Air Tools

• Keep your hands, feet, or any other part of your body at least 2 inches away from a staple gun.
• Handling: Air Tools are extremely rugged and durable but should never be abused by dropping on hard surfaces. Always disconnect air line pressure before servicing. Carefully secure cylinder cap an check for properly-functioning regulator before re-connecting air supply. Use proper tools for repair. Never force parts or assembly of tools.
• Air Supply: Use only clean, dry compressed air.
• Air Pressure: It is good operation practice to use the minimum air pressure required to accomplish the application. Most Air Tools operate at 60 lbs. P.S.I. Never exceed 110. lbs. p.s.i. compressed air.
• DO NOT UNDER ANY CIRCUMSTANCES, USE OXYGEN AS A POWER SOURCE TO DRIVE TOOLS.
• For safety's sake, do not fire tool into the open. Always test drive into wood or similar materials.
• DO NOT REMOVE ANY BOLTS OR SCREWS that secure parts of the tool together.
• Oil tools regularly because proper lubrication is very important for continued operation of the tools as well as increased safety of moving parts.
• In the event of a malfunction or jam:
1. Disconnect the airline.
2. Remove all fasteners (staples or nails) from the magazine.
3. With a clearing tool, push the driver all the way back into the driver track.
4. Open the guide body gate manually, if not already popped open, and remove all pieces of the jammed fasteners.
5. Check condition of fasteners and feed tension for cause of jam.
6. Tighten all screws and fittings.
7. Reload and test the tool.

Rigging

• At the beginning of each work period in which rigging is to be done, appropriate safety procedures must be explained to the entire crew.
• Work should be arranged so that all rigging and flying are done together. No other work will take place on stage at these times.
• When an arbor is being loaded, unloaded, or when a piece is coming in, there will be complete silence on stage.
• Only the technical director or crew head may call instructions to the grid crew. The director should inform both the grid and stage crew before a batten or piece is pulled in or out.
• IF YOU DISCOVER ANY IRREGULARITY IN A CABLE, ROPE, OR THE COUNTERWEIGHT SYSTEM, REPORT IT IMMEDIATELY TO THE FACULTY OR STAFF MEMBER IN CHARGE. Any repairs or modification to a system must be checked and approved by the appropriate faculty or staff member.
• Before loading or unloading an arbor, the grid worker must call out: "Clear the rail!" This call is a warning that everyone must clear the area of the stage adjacent to the locking rail. When this area is clear, someone on stage must call out "Rail Clear!" Only after this has been done should the grid worker commence loading or unloading the arbor. It is the responsibility of the stage worker who gives the "Rail Clear" call to keep the rail area vacant.
• When loading or unloading is complete, the grid worker should call out "Rail is Safe". This call should be acknowledged from the stage.
• A counterweight set must be left in a balanced position. This means neither "batten-heavy" nor "arbor-heavy" beyond the control of a single operator. If it is impossible to balance a set, the lock should be supplemented by a checkline and the condition of the set labeled accordingly.
• When not in use, every counterweight set should be locked off with the locking rings in place.
• A 10 lb. weight should not be place on the top of the stacked weights in an arbor--a 20 lb. or heavier weight should always be on top!
• Counterweights that are not in use on either the stage floor or loading platform must be neatly arranged. They must never be stacked above the toe rail height of the loading platform.
• When rigging pipes, battens and other flying pieces with a rope, secure the piece with a clove hitch finished with a half hitch and tape.
• When hanging scenery or goods, the load should be attached to the batten before the arbor is loaded. When striking scenery or goods, the arbor should be unloaded before the load is removed from the batten.
• Pipe extensions to battens must be securely bolted, lashed, or wedged into the batten. There should always be at least 3' of pipe extension inside the batten. Long weight bearing extensions must be bridled to the batten.
• When not is use, every batten must be stripped of hardware, extensions, hemp, other attachments and accessories.
• Stagehouse rigging must be checked and approved by a faculty or staff member before use.
• Tools brought onto the grid must be tied or secured to the worker. Pockets should be emptied before going on to the grid.
• Tools, hardware, shims, etc., must never be left loose on the grid.
• Dead hung masking or scenery should be lowered or raised with the batten parallel to the stage floor, never tipped.
• Ropes or electrical lines must never be dropped to the stage floor from the grid. They should be pulled up, coiled, and carried down.
• The correct call to warn of a batten, piece, or line coming in, under control, is "Head!" The emergency call for dropping objects is "Clear!". It is the responsibility of the crew heads that all persons working on stage understand these calls.
• All operating purchase lines must be in good condition.
• All tension pulleys must be free to move and holding the purchase lines taut.
• Rope lock brakes must be adjusted to hold purchase line and safety rings holding handles in place.
• Safety plates must be operable on arbors.
• Operating purchase lines and cables must be securely attached to arbor.
• Batten ends must be capped with a bright and impact absorbing material.
• All items (drapes, lights, drops, cyc, etc.) must be securely attached to battens.
• All temporary rigging must use appropriate rope or cable to support the weight of the items being held.
• The weights that need to remain on the arbor at all times in order to balance the empty batten, must be painted a bright color and everyone must know that they should not be removed.

Welding

• Never watch someone weld without the proper eye wear. Ultraviolet rays produced during welding can be very dangerous to the unprotected eye.
• When others are welding never assume that the metal pieces are cold. Always ask those involved whether it is safe to touch metal objects that may have been welded.
• Never work in the vicinity of someone welding when you have a disposable lighter in your pocket. It is possible that they will explode if a stray spark lands on them.
• Welding must only be done when proper ventelation is available.
• Make sure that the welding area is clear from all flamable objects and material.

Paint & Chemicals

• The main goal of the shop is to eliminate all toxic, flamable or potentially hazardous paints, chemicals and dyes from the area. Any materials that fall into this catigory should only be allow in the shop when no other acceptable subistitues can be found and then they must be handaled with strict safety precautions.
• Paints and chemicals brought into the shop and theatre facility should be water based, non-toxic, and non-flamable.
• All paints and chemicals brought into the shops or theatre facilities must have MSDS sheets.
• All flamble materials must be stored in the flamable starage cabinet.
• Sprays useage must be done in a controlled booth or done outside.
• Air pressure spraying of of scenic paint should be eliminated in the shop because of lack of ventilation.
• Old scenic paint should not be poured down the drain or thrown in the dumpster. The cover should be left off and the liquid allowed to vaporize.
• Any toxic paint or chemcal shold be given to the campus hazard control officer for proper disposal.
• When paint is mixed into larger of different than the origanial containers, these new containers must be labeled properly so other will know what is in the cantainer.

Strike

• The most dangerous time of a production is when the show is over and the set is struck. This is a time of pronounced exhilaration and exhaustion--or both--and warrants a greater degree of attention and vigilance than any other period in the life of a show. If you feel that you are emotionally, mentally, or physically unable to participate safely, immediately advise the director or representative who is in charge!

Training

• Given books and sign off that it has been read.
• Attend lab demos
• Understand the operation of each machine, tool, or instrument before using.

Electrical & Lighting

• Do not use any defective or questionable electrical tool, cord, connection or accessory! Immediately report any shortcoming for repair or replacement and make certain that hazardous equipment is adequately identified and removed from service.
• During rehearsals and performances, electrical lines running along the stage floor should be taped or otherwise secured to prevent tripping.
• Use only heavy duty U.L. listed extension cords of proper wire size and length.
• Only trained personnel are permitted to work on lighting and its circuitry.
• Only trained personnel who have received formal instruction in the operation of the dimmer boards and patch panels are permitted to work with this instrumentation.
• If an electrical cord is equipped with a 3-prong plug, it should be plugged into a 3-hole receptacle. If an adapter must be used to accommodate a 3-prong plug into a 2-hole receptacle, the 3rd or ground wire on the adapter must be properly attached to a known ground. Never remove the ground prong from a plug in order to make it fit a 2-hole receptacle or outlet!
• Any incident of electrical shock--no matter how slight--must be reported for immediate correction to the faculty or staff member in charge.
• All wires and insulation must be in good repair.
  (extension cords, lighting cables, and electrical tools)
• All electrical connectors must be in good repair
• The correct lamps must be used in each instrument.
• All yokes and "C" clamps on instruments must be securely fastened.
• All gel frames must be correctly fastened to the instruments.
• Safety chains or cables must be attached to all instruments in hanging positions.
• Lens housings and clips must be tight and secure.
• Dimmer capacities must be clearly indicated on the console.
• All circuit breakers must be working and of appropriate capacity.
• Contacts in the patch panel must be tight and in good repair.
• Follow spots must be in good repair and controls clearly marked.
• All switches, panels, and junction boxes must be covered.
• High-voltage circuits, panels, and switches must be marked as dangerous.
• Unused cables must be removed, coiled, tied, and put on storage rack.

*This Handbook was created in 2007 by Ken Stofferahn. Portions of the content were edited from the University of Indianapolis Student Handbook and other resources. The content is strictly for educational purposes of the students of UWRF.

 

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