The Production Program for University Theatre

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.