I Am So Glad to Be Back! Theatre Majors Handbook 20-21

I Am So Glad To Be Back! Theatre Majors Handbook 20-21

Page 1 Theatre Handbook 16-17 Page 2 THEATRETheatre HANDBOOK Handbook 2020-21 16-17 TABLE OF CONTENTS

Mission Statement...... 4 Major Objectives...... 4 Productions...... 5 Curriculum for Bachelor of Fine Arts...... 9 Theatre Generalist...... 10 Musical Theatre...... 11 Theatre Education...... 12 Appeals Procedures...... 13 Department Appeals Process...... 14 Contracts...... 16 End of Term Evaluation...... 16 Production Notes...... 16 Call Board...... 16 Performance Production Liability...... 16 Lab Requirements, Practicum, Rehearsal, and Performance...... 17 Attendance...... 17 Grading...... 17 Safety Rules...... 18 Dress Code...... 18 Cell Phones...... 19 Costume Shop Guidelines...... 19 Theatre Production Contract...... 21 Production Meetings...... 23 Tech Weekends...... 23 Post-Production Critique...... 24 Security...... 26 Emergencies...... 26 Fine Arts Center Rules...... 26 Lockers...... 26 Lost and Found...... 28 Student Organizations...... 28 Faculty...... 28 Stage Manger Responsibilities...... 30 Costume Designer...... 31 Make Up/Hair Designer...... 32 Lighting Designer...... 33 Costume Shop Positions...... 34 Costume Shop Assistant...... 34 Student Costume Shop Manger...... 35 Dresser/Wardrobe master/Mistress...... 36 Scene/Costume Shop Lab Students...... 36 Learning in Blended Hybrid-Hyflex Courses...... 37 Fine Arts Center Map...... 41 Updated Safety Rules (Covid-19)...... 42

Page 3 TheatreTheatre Handbook Handbook 20-21 16-17 MISSION STATEMENT

THEATRE AREA

Within the Department of Fine Arts, the Theatre area encourages creative thinking and the development of the multiple crafts of theatre through experiences explored in rehearsal, performance, and the classroom.

OBJECTIVES

1. Provide a comprehensive program in Theatre to include all performance, design, and technical elements.

2. Expose theatre students to a wide variety of performance styles and historical periods.

3. Improve self discipline of students in preparation for a deadline driven, production oriented career.

4. Create an environment in which a student may fail gloriously in a protective environment as part of the learning process.

PLAN

1. The faculty will encourage "risk-taking" in the students to promote artistic development.

2. The faculty will give, whenever possible, individualized instruction within the classroom to challenge each student at his or her particular level.

3. Delegate many more specific rehearsal, production, and design responsibilities to students.

4. Choose a season with a wide variety of styles and historical periods.

5. The faculty will demonstrate by example the necessity of commitment to deadlines.

Page 4 Theatre Handbook 20-2116-17 THEATRE PRODUCTIONS SINCE THE OPENING OF THE CLYDE H. WELLS FINE ARTS CENTER 1980-81 Charley’s Aunt the Rimers of Eldritch the John Tarleton Story — A Readers’ Theatre arsenic and Old Lace the Chalk Garden 1981-82 the Solid Gold Cadillac the Butterfly that Blushed Gold in the Hills our Town royal Gambit Bell, Book and Candle 1982-83 auntie Mame the Night of January 16th anything Goes summer and Smoke 1983-84 the Crucible under the Sycamore Tree a Christmas Memory Camelot night Watch 1984-85 the Matchmaker my Three Angels amahl and the Night Visitors Carnival a Thurber Carnival 1985-86 a Curious Savage a Clearing in the Woods scrooge Guys and Dolls the Spiral Staircase 1986-87 a Streetcar Named Desire alice in Wonderland the Boyfriend the Diviners 1987-88 the Taming of the Shrew the Honorable Urashima Taro the Legend of Sleepy Hollow foxfire my Fair Lady dark Victory 1988-89 romeo and Juliet a.B.C. noises Off a Christmas Scrapbook - A Readers’ Theatre amahl and the Night Visitors man of La Mancha Cactus Wildcat the Mousetrap 1989-90 the Imaginary Invalid Buckskin and Prairie Flower death of a Salesman scenes From the Marriage of Figarro an Evening of Dickens - A Readers’ Theatre south Pacific dracula the White Buffalo: A Vision 1990-91 the Importance of Being Earnest the Emperor’s New Clothes medea a Woman’s Perspective - A Readers' Theatre a Funny Thing Happened on the Way to the Forum steel Magnolias 1991-92 tom Jones the Lion, The Witch, and The Wardrobe the House of Blue Leaves a Midsummer Night's Dream

Page 5 TheatreTheatreTheatre Handbook Handbook Handbook 20-21 18-19 16-17

THEATRE PRODUCTIONS CONTINUED SINCE THE OPENING OF THE CLYDE H. WELLS FINE ARTS CENTER

Godspell Charlotte's Web 1992-93 the Foreigner through the Storybook hamlet texas and Christmas - A Readers' Theatre oklahoma! Quilters 1993-94 fools Jack and the Beanstalk a Little Night Music scrooge something's Afoot the Land of the Dragon anges of God 1994–95 you Can't Take It With You puss in Boots Going Ape Brigadoon six Characters in Search of an Author 1995–96 wait Until Dark the Prince Who Wouldn't Talk to Gillian on Her 37th Birthday women In. . . . .(And Out Of) Love kismet snow White plaza Suite 1996-97 lend Me a Tenor my Name Is Rumpelstiltskin the Dining Room into the Woods ladyhouse Blues the Summer Studio Barefoot in the Park 1997-98 lysistrata the Wind in the Willows Cat on a Hot Tin Roof the Magician's Nephew little Shop of Horrors all in the Timing the Summer Studio the Odd Couple: Female Version 1998-99 one Flew Over the Cuckoo's Nest the Ant and the Grasshopper nunsense the Tempest sylvia the Summer Studio Crimes of the Heart 1999-2000 Bedroom Farce rapunzel a Doll's House the 1940's Radio Hour terra Nova robin Hood the Summer Studio the Foreigner 2000-2001 harvey the Rude Mechanicals scrooge agamemnon Blithe Spirit

Page 6 Theatre Handbook 20-21 16-17 THEATRE PRODUCTIONS CONTINUED SINCE THE OPENING OF THE CLYDE H. WELLS FINE ARTS CENTER The Summer Studio the Mousetrap 2001-2002 God's Favorite are There Alligators in the Sewers of the City of New York? tartuffe the Fantasticks Ghosts the Summer Studio the Odd Couple 2002-2003 the Butler Did It Charlie and the Chocolate Factory equus the Vagina Monologues fiddler on the Roof a Night of One Acts L laundry and Bourbon T the Man in a Case when Shakespeare's Ladies Meet the Summer Studio you Can't Take It With You 2003-2004 a Funny Thing Happened on the Way to the Forum aesop's (Oh, So Slightly) Updated Fables the Laramie Project a Flea in Her Ear the Glass Menagerie the Summer Studio plaza Suite dearly Departed 2004-2005 the Last Meeting of the Knights of the White Magnolia once Upon a Wolf the Trojan Women Cinderella Confidential the Mikado play It Again, Sam the Summer Studio steel Magnolias lend Me a Tenor 2005-2006 25th ANNIVERSARY SEASON noises Off through the Looking Glass and What Alice Found There royal Gambit Guys and Dolls romeo and Juliet the Summer Studio the Nerd daddy's Dyin' (Who's Got the Will?) 2006-2007 Brighton Beach Memoirs the Legend of Pocahontas the Underpants Grease aladdin, a Participation Play a Piece of My Heart the Summer Studio Blithe Spirit the Rude Mechanicals 2007-2008 fuddy Meers the BFG, Big Friendly Giant the Crucible you Never Know five Women Wearing the Same Dress the Summer Studio California Suite Greater Tuna 2008-2009 Godspell wiley and the Hairy Man stop Kiss west Side Story the Frog Princess the Misanthrope

Page 7 TheatreTheatre Handbook Handbook 20-21 16-17 THEATRE PRODUCTIONS CONTINUED SINCE THE OPENING OF THE CLYDE H. WELLS FINE ARTS CENTER

The Summer Studio the Star Spangled Girl a Tuna Christmas 2009-2010 a Woman in Mind the Somewhat True Tales of Robin Hood the Taming of the Shrew the Boy Friend major Barbara the Summer Studio the Foriegner red, White and Tuna

2010-2011 picasso at the Lapin Agile peter Pan the Servant of Two Masters 25th Annual Putnam County Spelling Bee the Glass Slipper summer and Smoke the Summer Studio Barefoot in the Park

2011-2012 deathtrap paper or Plastic seussical, the Musical our Town string of Pearls the Summer Studio the Last of the Red Hot Lovers 2012-2013 44 Plays for 44 Presidents the Skokie Detective Charter School the Best Little Whorehouse in Texas Glenngarry Glen Ross the Tolstoy Story Play who's Afraid of Virginia Wolf 2013-2014 Jakes Women James and the Giant Peach rashomon the Sound of Music the Heidi Chronicles the Summer Studio arsenic and Old Lace 2014-15 oedipus moon Over Buffalo Charlie and the Chocolate Factory the Drowsy Chaperone legend of Sleepy Hollow three Ststers the Summer Studio steel Magnolias 2015-16 lopsided treasure Island Crimes of the Heart your a Good Man Charlie Brown 'night Mother the Summer Studio dearly Departed 2016-17 you Can't Take it With You The Wizard of Oz twelfth Night shrek The Musical sir Gawain and the Green Knight master Harold...and the boys the Summer Studio plaza Suite

Page 8 Theatre Handbook 20-21 16-17 THEATRE PRODUCTIONS CONTINUED SINCE THE OPENING OF THE CLYDE H. WELLS FINE ARTS CENTER

2017-18 rumors the Lion, The Witch, and The Wardrobe dracula a Funny Thing Happened on the Way to the Forum no Exit the Summer Studio love Letters 2018-19 streetcar named Desire macbeth miss Nelson Is Missing

sisterAct 2019-2020 true West the Brothers Grimm Spectactlathon oleanna next to Normal

next TO Normal

CURRICULUM FOR THE BACHELOR OF FINE ARTS DEGREE IN THEATRE All students are required to complete a "Core" of classes determined by the State of Texas and the Texas A&M University System. For more information, please check out: http://www.tarleton.edu/generaleducation/generaleducation/core.html The CORE consists of the following: I. Communications (9 hrs) Composition I (ENGL 1301) Composition II (ENGL 1302) along with a choice of one course from three offerings of the Department of Communication Studies Fundamentals of Speech Communication (COMM 1311) Public Speaking (COMM 1312) Business and Professional Speaking (COMM 2302). II. Mathematics (3 hrs) MATH 1314 College Algebra (MATH 1314) MATH 1332 Contemporary Mathematics (MATH 1332) MATH 1324 Math for Business and Social Sciences (MATH 1324) MATH 2412 Precalculus (MATH 2412) MATH 2413 Calculus I (MATH 2413) III. Life and Natural Sciences (8 hrs) Biology for Science Majors I (BIOL 1406) Biology for Science Majors II (BIOL 1407) Anatomy and Physiology I (BIOL 2401) Anatomy and Physiology II (BIOL 2402) Essential Elements of Chemistry (CHEM 1302) (a 3 hr course for Education majors) Introductory Chemistry II (CHEM 1407) General Chemistry I (CHEM 1411) General Chemistry II (CHEM 1412) Earth Systems Science (EASC 2310) (a 3 hr course for Education majors) Physical Geology (GEOL 1403) Natural Disasters (GEOL 1408) Historical Geology (GEOL 1404) Environmental Science (GEOL 1407) Great Ideas of Physics (PHYS 1410) Essential Elements of Physics (PHYS 1302) (a 3 hr course for Education majors) Introductory Astronomy I (PHYS 1411) College Physics I (PHYS 1401) College Physics II (PHYS 1402) Stars and Galaxies (PHYS 1403) University Physics I (PHYS 2425) University Physics II (PHYS 2426) IV. Language, Philosophy and Culture (3 hrs) The Short Story (ENGL 2310) Introduction to Literature (ENGL 2320)* Theatre Majors must take this class Literature and Film (ENGL 2340) Backgrounds of Western Literature (ENGL 2350) Introduction to Philosophy (PHIL 1301) World Civilizations I (HIST 2321) World Civilizations II (HIST 2322) V. Creative Arts (3 hrs) * This requirement will be fulfilled by required Major courses. Art Appreciation (ARTS 1301) Art History I (ARTS 1303) Art History II (ARTS 1304) Page 9 TheatreTheatre HandbookHandbook 20-2116-17 Page 10 Theatre Handbook 20-21 16-17 Page 11 TheaterTheatre Handbook Handbook 20-21 16-17 Page 12 TheaterTheatre Handbook Handbook 20-21 16-17 APPEALS PROCEDURES:

ACADEMIC APPEALS POLICY FOR THE DEPARTMENT OF FINE ARTS Student academic appeals in the Department of Fine Arts shall follow the procedures listed below: The student will appeal directly to the faculty member involved. If the student is not satisfied with the outcome of the appeal to the faculty member, then The student will appeal directly to the Department Head of Fine Arts. The appeal to the department head should be in writing. If the student is not satisfied with the outcome of the appeal to the department head, then The student will appeal to the Dean of the College of Liberal & Fine Arts. If the student is not satisfied with the outcome of the appeal to the Dean of the College of Liberal & FineArts, then The student will appeal to the Vice President of Academic Affairs. Student Grievance and Appeals Procedures

Tarleton State University is committed to providing an educational environment that is conducive to the personal and professional development of each individual. To further that commitment, the university has developed procedures for students to pursue grievances and appeals within the university community. This section describes various grievance and appeals procedures.

Academic Appeals Student academic appeals are handled according to the following guidelines: Each academic department shall develop its own formula for dealing with student grievances of an academic nature. Such a policy should be in writing in the departmental office and available to students. A student who wishes to appeal a decision of a faculty member or staff member of an academic department should ask for a review by that person within 60 days of the originating event unless the departmental procedures specifically give more time than this. The person is expected to give the student a response within 30 days. If the person is unavailable, if a response is not made within 30 days or if the student is unsatisfied with the response then the student should inform the department head of the appeal. For an appeal of a course grade the originating event shall be considered to be the posting of the grade to the university record. A student wishing to appeal a decision to the department head must do so within 120 days of the originating event unless the departmental procedures specifically give more time.The department head will review as specified by the departmental grievance procedures. A student who is unsatisfied with the outcome of the departmental grievance process may appeal to the dean of the academic college. This must be within 30 days of the notification of the departmental decision. The dean will review the appeal and render a decision. The dean may require that the appeal be in writing. A student unsatisfied with the decision of the dean, may appeal in writing to the Provost and Vice President of Academic Affairs within 30 days of notification of the decision of the college. The Vice President for Academic Affairs may decide that no further review is justified, may render a decision upon review or may appoint a five-member committee to consider the appeal.The committee will consist of a faculty member from outside the involved department as chair, two other faculty members and two student members. After hearing both sides of the grievance, the committee shall render an opinion to the Vice President for Academic Affairs, who shall render the final judgment.

Links that should be listed in all Handbooks: Page 13 TheaterTheatre Handbook Handbook 20-21 16-17

Department of Fine Arts: https://www.tarleton.edu/finearts/

Scholarship Page: https://www.tarleton.edu/finearts/scholarships.html

Student Conduct Code: https://www.tarleton.edu/studentrules/code-of-student-conduct.html

Student affairs: http://catalog.tarleton.edu/undergrad/academicaffairs/ Appeals Procedures:

Academic Appeals Student academic appeals are handled according to the following guidelines: Each academic department shall develop its own formula for dealing with student grievances of an academic nature. Such a policy should be in writing in the departmental office and available to students. A student who wishes to appeal a decision of a faculty member or staff member of an academic department should ask for a review by that person within 60 days of the originating event unless the departmental procedures specifically give more time than this. The person is expected to give the student a response within 30 days. If the person is unavailable, if a response is not made within 30 days or if the student is unsatisfied with the response then the student should inform the department head of the appeal. For an appeal of a course grade the originating event shall be considered to be the posting of the grade to the university record. A student wishing to appeal a decision to the department head must do so within 120 days of the originating event unless the departmental procedures specifically give more time.The department head will review as specified by the departmental grievance procedures. A student who is unsatisfied with the outcome of the departmental grievance process may appeal to the dean of the academic college. This must be within 30 days of the notification of the departmental decision. The dean will review the appeal and render a decision. The dean may require that the appeal be in writing. A student unsatisfied with the decision of the dean, may appeal in writing to the Provost and Vice President of Academic Affairs within 30 days of notification of the decision of the college. The Vice Page 14 TheaterTheatre Handbook Handbook 20-21 16-17 President for Academic Affairs may decide that no further review is justified, may render a decision upon review or may appoint a five-member committee to consider the appeal.The committee will consist of a faculty member from outside the involved department as chair, two other faculty members and two student members. After hearing both sides of the grievance, the committee shall render an opinion to the Vice President for Academic Affairs, who shall render the final judgment.

Links that should be listed in all Handbooks:

Department of Fine Arts: https://www.tarleton.edu/finearts/

Scholarship Page: https://www.tarleton.edu/finearts/scholarships.html

Student Conduct Code: https://www.tarleton.edu/studentrules/code-of-student-conduct.html

Student affairs: http://catalog.tarleton.edu/undergrad/academicaffairs/

Page 15 TheatreTheatre Handbook Handbook 20-21 16-17 Art History of America (ARTS 3331) Fine Arts Appreciation (HUMA 1315) Visual and Theatre Arts (FINA 1335) The Art of Film (FINA 1360) American Music (MUSI 1310) Music Appreciation (MUSI 1306) Jazz History (MUSI 3325) Fundamentals of Music (MUSI 1303) Introduction to the Theatre (DRAM 1310) History of Theatre I (DRAM 2361) Dramatic Theory and Criticism (DRAM 4304) VI. Social and Behavioral Sciences (3 hrs) Introduction to Agricultural Economics (AGEC 2317) Introduction to Economics (ECON 1301) Principles of Economics: Macroeconomics (ECON 2301) Engineering Economy (ENGR 2303) World Regional Geography (GEOG 1303) Introduction to Human Geography (GEOG 1320) The Geography of Texas (GEOG 2301) Introduction to Logic (PHIL 2303) Ethics in the Professions (PHIL 3301) General Psychology (PSYC 2301) Introduction To Sociology (SOCI 1301) Race and Ethnic Relations (SOCI 2303) Archeology (ANTH 2302) Cultural Anthropology (ANTH 2351) VII. Government and Political Science (6 hrs) Federal Government (GOVT 2305) Texas Government (GOVT 2306) VIII. American History (6 hrs) United States History I (HIST 1301) United States History II (HIST 1302) IX. Freshman Experience (1 hr) CONTRACTS It is the prerogative of the director for each show to issue a contract. You are responsible for fulfilling that contract. This is required for all participants in production. See Page 15.

END OF TERM EVALUATION CONFERENCES At the end of each Spring term, all Theatre majors are required to attend an End of Term Evaluation Conference with the Theatre faculty/staff. These evaluations are intended to give all concerned an opportunity to meet and discuss academic progress, production performance, and review resumés/ portfolios. The exchange of information is helpful to both faculty and students to improve the institutional effectiveness of the Theatre area and to insure continual progress by the student. Students must have a current resumé for the conference. Presentation of portfolio work and complete resume are required for all Theatre Majors. PRODUCTION NOTES There is much more to know and do than we could ever fit into a theatre handbook. A lot of it is practical and routine and is best explained once you become involved in the particular activity. The key is to ASK QUESTIONS WHENEVER YOU ARE UNCERTAIN ABOUT ANY PROCEDURE. Here are some special items to be aware of throughout the year. CALL BOARD Located in the backstage area by the Green Room is a special bulletin board known as the CALL BOARD. Rehearsal times, show dates, and information on the Fine Arts activities in the Center are posted here. Make it a habit to CHECK THE CALL BOARD AT LEAST THREE TIMES A DAY! IN THE MORNING AND ONCE IN THE AFTERNOON. Initial all calls with your name on them to indicate that you have read the notice or call. Most calls are posted at least 24 hours in advance. HOWEVER, there are emergency situations when that rule does not apply. If you are working on a production, IT IS YOUR RESPONSIBILITY TO KNOW HOW YOUR DIRECTOR OR CREW HEAD PLANS TO COMMUNICATE WITH YOU. Remember a message is not complete until both parties become involved.

PERFORMANCE/PRODUCTION LIABILITY It is important for each student to realize that the University carries no liability for you in the event of an accident. For your safety and protection, it is recommended that each student who participates in a theatrical production be registered in THEA 107, Rehearsal and Performance, or THEA 108, Production Page 16 Theatre Handbook 20-21 16-17 Crafts Practicum. This justifies your presence as a registered student in a course which requires you to be on campus after hours for rehearsal or shop work in the event of an insurance claim.

INSURANCE Tarleton State University does not maintain any type of insurance policy covering circumstances arising from your participation in labs. If you are not covered by an insurance policy, it is strongly recommended that you purchase medical insurance to cover emergency situations involving personal injury and/or sickness. The University is not to be held responsible for any expense incurred in conjunction with emergency treatment.

Tarleton State University has a program, offered by the Associated Insurance Group, whereby Tarleton students will be able to obtain accident, sickness, dental, vision, and life insurance to supplement the services offered by the Student Health Center. Brochures explaining the benefits and cost of these policies are available in the Student Health Center.

The Student Health Center provides health care to all currently enrolled Tarleton students. Services provided include: care of minor acute illnesses, first aid treatment of minor injuries, suturing simple lacerations, services of a medial doctor or nurse practitioner at specified times, administration of allergy injections as directed by student's allergist, consultations regarding any health problem, blood pressure checks, medications and other supplies available for the treatment of minor acute illnesses and injuries, crutches loaned, continuation of health care following surgery or any illness as directed by physician, vaccines available, selected lab tests ordered by your practitioner are available for a reduced cost, assistance with referral to physician or hospital when deemed necessary, health literature is available, women's health - birth control, physical exam by appointment only, and student advocate for physical disabilities. All x-rays, laboratory tests, and medical services outside of the Student Health Center are at the student's expense.

For additional information on the Student Health Center go to: http://www.tarleton.edu/~stuheal/services.htm

LAB REQUIREMENTS FOR THEATRE PRACTICUM AND REHEARSAL AND PERFORMANCE OVERVIEW These classes are intended to give the student practical, hands-on experience in the construction of scenery and costumes. Typically, students enrolled in Practicum will work in the Scene Shop, while students enrolled in Rehearsal and Performance work in the Costume Shop. It must be understood that the student will be expected to work during all lab hours, and the final grade will be based on the number of hours worked as well as the attitude and effort put into the work. Both Rehearsal and Performance and Practicum must be taken up two times as course content changes.

ATTENDANCE Students will sign up for a weekly time slot of three hours and attend lab during that time every week without fail. If a lab period is missed, it must be made up within one week or the student will lose the time. Only one absence is allowed and any absences beyond one will result in the final letter grade being dropped one letter for each absence. If a student works three hours per week, he/she will have a total of forty-five hours and be eligible for an "A."

GRADING A 45 hours B 30 hours C 25 hours Page 17 TheatreTheatre HandbookHandbook 20-2116-17 D 15 hours F Less that 15 hours It must be understood that the student will be expected to work during all lab hours, and the final grade will be based on the number of hours worked as well as the attitude and effort put into the work. ALL Theatre majors and minors as well as all cast and crew will attend Tech Weekend and Strike for all productions in a semester. The times will be posted the week prior to Tech Weekend of Strike on the callboard. They are also listed in the calendar in the "Theatre Major Handbook." These hours do not count toward the number of hours specified for a letter grade. For every absence from Tech Weekend and/or Strike your grade will be lowered one letter grade. SAFETY Safety is of prime concern when working in the theatre shops and all efforts will be taken to insure that proper safety precautions are enforced at all times. You may be asked to work on a machine or use a tool that you may not be familiar with. It is very important to tell the lab supervisor that you need training. The lab supervisor will fully instruct you and cover all safety issues concerning the machine and/or tool. If after the instruction, you are still not comfortable with the machine or tool, tell the lab supervisor and we will find another task that you are comfortable with.make it.

• PLEASE NO food or drink in the costume shop (we don't like bugs or mice!). If you need a drink you may keep it out on the landing. No food in loading dock trash cans.

• No smoking. If you are a smoker you must wash your hands before continuing to work on your garment, and smoking will only be done during the break time from 3-3:15.

• Shoes must be worn at all times.

• All backpacks, and satchels must be left on the landing outside the shop.

• If you feel you have made a mistake, damaged equipment, or don’t understand a task.. Ask me/tell me.

• USE THE stepladder for anything you cannot reach. It is a safety and liability issue and we do not want anyone to get hurt.

• SPRAY PAINT OUTSIDE ONLY and COVER DUMMIES IN PLASTIC if painting on the dummy.

• COVER SURFACES with scrap paper IF PAINTING OR CRAFTING WITH GLUE and use the LOADING DOCK for large painting projects.

• Use the shop phone for LOCAL CALLS ONLY. NO CELL PHONES!!

• NO PARTIES OR MEETINGS IN THE SHOP WITHOUT SPECIAL PERMISSION.

• CHECKOUT must occur if you are taking the costumes out of the costume shop. ONLY shop staff can check out costumes and related accessories.

• COSTUMES YOU HAVE USED FOR A SHOW OR PROJECT MUST BE CLEANED BEFORE RETURNING TO STOCK. The student who borrowed the garment is responsible for restocking it.

• All costume pieces must have a label. Ask shop manager about placement. Use a laundry marker, not a

Page 18 Theatre Handbook 20-21 16-17 sharpie for inside labels.

• Continually CLEAN UP YOUR MESS!!! This means clearing the worktables, ironing board, and floor of any and all debris, pins and remnants when finished. I am not your mother and will not pick up after you. A lot of time has been invested to organize the shop, and we do not want to regress. Pick up items on the floor immediately as they could trip someone.

• RETURN UNUSED STOCK ITEMS TO THEIR PROPER PLACES. If you are unsure where something should go, ASK.

• UNPLUG THE IRON or the steamer when not in use and at end of day.

• We stop our workday at 4:45 and EVERYONE must help clean. After sweeping, run a magnet over the pile to rescue pins and expensive machine parts. Dust off sewing machines and cover.

REMEMBER: WHAT YOU DON'T KNOW CAN HURT YOU! SAFETY RULES

1. NEVER USE ANY TOOL UNLESS YOU HAVE BEEN TAUGHT HOW TO SAFELY OPERATE IT.

2. ALWAYS USE EYE PROTECTION.

3. NO OPEN TOED SHOES ALLOWED IN THE SCENE SHOP, NO BARE FEET ALLOWED IN SCENE SHOP.

4. REMOVE OR FASTEN ANY LOOSE OR DANGLY JEWELRY AND CLOTHING.

5. LONG HAIR MUST BE TIED BACK OR COVERED UP.

6. NO HORSEPLAY.

7. DO NOT DISTRACT, STARTLE, OR TALK TO ANYONE USING A POWER TOOL.

8. ONLY USE A TOOL IN THE MANNER IT WAS DESIGNED. (WRENCHES ARE NOT HAMMERS!)

9. NEVER WALK AWAY FROM A TOOL THAT IS STILL TURNED ON.

10.ALWAYS USE ALL OF A TOOL’S SAFETY GUARDS AND GUIDES.

11.NEVER ATTEMPT TO USE A TOOL THAT IS BROKEN.

12.NOTIFY THE SHOP STAFF WHEN YOU FIND A BROKEN TOOL.

13.ALWAYS CLEAN UP YOUR WORKSPACE BEFORE MOVING ON TO A NEW PROJECT OR LEAVING FOR THE DAY.

14.CLEAN UP ALL SPILLS IMMEDIATELY.

15.KNOW THE LOCATIONS OF ALL FIRST AID, FIRE, AND SAFETY EQUIPMENT.

16.WHEN IN DOUBT ASK FOR HELP.

Proper clothing must be worn at all times in the scene shop. Be prepared to get dirty. No loose clothing should be worn and long hair needs to be tied back. Remove all jewelry. Enclosed shoes must be worn at all times in the shop.

Page 19 TheatreTheatre Handbook Handbook 20-21 16-17 DRESS CODE Avoid large rings, bracelets, long necklaces, dangly earrings or any dangly jewelry. Long hair should be tied back. T-shirts and jeans are best. Do not wear worn or ripped clothing as it can cause potential injury. When working on lighting shorts are not allowed. Wear closed-toed shoes, sneakers or preferably boots. Sandals, dress shoes or any other form of non-protective shoe is unacceptable.

EYE PROTECTION Eye protection MUST be worn at all times in the scene shop. While safety glasses are provided, students are encouraged to provide their own approved eye protection for personal comfort and safety.

CELL PHONES CELL PHONES ARE PROHIBITED FROM ALL CLASSES AND LABS. Get in the habit of turning your cell phones off prior to classes. Do not bring cell phones into the scene or costume shop. Labs are for your education and production work, not a time to take care of personal business on the phone.

• If you feel you have made a mistake, damaged equipment, or don’t understand a task.. ask me/tell me.

• USE THE stepladder for anything you cannot reach. It is a safety and liability issue and we do not want anyone to get hurt. You MUST return the ladder after use.

• SPRAY PAINT OUTSIDE ONLY and COVER DUMMIES IN PLASTIC if painting on the dummy.

• COVER SURFACES with scrap paper IF PAINTING OR CRAFTING WITH GLUE and use the LOADING DOCK for large painting projects.

• NO PARTIES OR MEETINGS IN THE SHOP WITHOUT SPECIAL PERMISSION.

• CHECKOUT must occur if you are taking the costumes out of the costume shop. ONLY shop staff can check out costumes and related accessories.

• COSTUMES YOU HAVE USED FOR A SHOW OR PROJECT MUST BE CLEANED BEFORE RETURNING TO STOCK. The student who borrowed the garment is responsible for restocking it.

• All costume pieces must have a label. Ask shop manager about placement. Use a laundry marker, not a sharpie for inside labels.

• If you see something out of place (ie: hangers, tools, pins, tags, etc…) take the time to put it away.

• RETURN UNUSED STOCK ITEMS TO THEIR PROPER PLACES. If you are unsure where something should go, ASK. Use similar hangers & face them the same way. TAGS & LABELS ALWAYS OUT

Page 20 Theatre Handbook 20-2116-17 RETURNING TO STOCK. The student who borrowed the garment is responsible for restocking it.

• All costume pieces must have a label. Ask shop manager about placement. Use a laundry marker, not a sharpie for inside labels.

• If you see something out of place (ie: hangers, tools, pins, tags, etc…) take the time to put it away.

• RETURN UNUSED STOCK ITEMS TO THEIR PROPER PLACES. If you are unsure where something should go, ASK. Use similar hangers & face them the same way. TAGS & LABELS ALWAYS OUT

• UNPLUG THE IRON or the steamer when not in use and at end of day.

TARLETON STATE UNIVERSITY THEATRE PRODUCTION CONTRACT

♦ I agree to follow the rules, attend rehearsals, and participate on an assigned crew for______. ♦ I understand I may be replaced if I have one (1) unexcused absence from crew or rehearsal. Absences must be cleared by the Director or Stage Manager in written form. It is my responsibility to notify, whenever possible, the Director or Stage Manager well in advance of being absent from Crew or Rehearsal. In case of an emergency, an exception will be granted. ♦ I agree to maintain a minimum cumulative grade point average in all course work of 2.25 to take an active role in a production. ♦ I agree to replace, rebuild or pay for any costume, prop or set piece damaged or destroyed by abuse or mishandling. ♦ I agree to provide my own makeup including panty hose and false eyelashes. Specialty makeup and special undergarments will be provided by Tarleton State University. ♦ I agree to be free of body odor, bad breath, and excessive colognes/perfumes at all rehearsals and performances. ♦ I will attend all rehearsals and crew calls and be on time for all calls including Makeup, Costume Fittings, and Photo Sessions.

Page 21 TheatreTheatre HandbookHandbook 20-2116-17 ♦ Crew work must proceed on schedule and deadlines must be met; therefore, I agree to learn lines, songs, dances and complete crew assignments by the date set on the production calendar. ♦ I will read the Call Board at least once a day and initial all calls. ♦ I will be cooperative and take direction graciously. ♦ I realize that there will be no excuses for technical weekend, pickup rehearsals, and dress rehearsals. ♦ I realize that the Cast and Crew will participate in setup and strike until released by the Technical Director. ♦ I agree to leave attitude problems at home. ♦ I understand that no use of alcohol or drugs will be tolerated. ♦ I have read, understand and freely sign this contract knowing that not fulfilling any part of it may result in my being replaced in the cast and/or crew. ______

Name Date

Termination of Contract:

Reason______

______

By______Date______

STUDENT GRADE POINT REQUIREMENTS The primary reason a student attends college is to get a quality education. This includes not just theatre classes, but the entire realm of courses an undergraduate must take. Many students have let class work slip while being involved in a production and this is unacceptable! :(

A student must maintain a minimum cumulative grade point average in all course work of 2.25 to take an active role in a production. An active role is defined as any of the following:

Cast Designer Stage Manager Assistant Director Musical Director Crew Head Grades will be checked prior to casting and production/design assignments.

"C" OR BETTER Theatre majors must pass all theatre courses (those with DRAM prefix) with a grade of "C" or better. DRAM courses with a grade lower than "C" must be repeated.

Page 22 Theatre Handbook 20-21 16-17 AUDITIONS AND CASTING Auditions will be held prior to each production. (See dates on Calendar.) Auditions are open to all who are interested including Theatre majors, minors, non-majors, faculty, staff and members of the community. Dates and times are posted on the Call Board, email, and through advertising on campus. Acting auditions are conducted by the director and may vary depending on the production. Musicals require singing and dancing auditions as well as acting. Specific instructions may be obtained from the director and/or stage manager prior to auditions. The director selects a cast based on what he/she believes to be the best balance for a production. As a Theatre major, you must learn to respect the director's casting choices, celebrate with those who are cast, and perhaps must important, gracefully accept those times you may not be cast in a production. Acting is arguably one of the most difficult professions and one that comes with many rejections.

PRODUCTION MEETING Production meetings are an extremely important part of the theatrical process. Prior to each production an initial production meeting will be called to set schedule, review designs, etc. Other meetings will be called when necessary. Meeting times and locations will be posted on the Call Board.

The following staff are required to attend production meetings: director, assistant director, stage manager, designers, and crew heads. For musicals: choreographer, accompanist, conductor, vocal director, and chorus director must also be present. Come prepared to report progress and problems. If you cannot come to a meeting, send a member of your crew to give a report and to fill you in on what took place.

TECH WEEKENDS The weekend prior to the opening of each production is when final phases of technical work are completed on the scenery, costumes, props, lighting, sound, and publicity. ALL THEATRE MAJORS ARE REQUIRED TO ATTEND THE WORK CALLS FOR THE ENTIRE WEEKEND EVEN IF YOU ARE NOT PART OF THE CAST OR CREW FOR A PARTICULAR PRODUCTION. Work calls are:

Sat: 9-12, 1-? As needed Sun: 9-12 (as called)

Come prepared to work promptly at 8:45 a. m. each morning (Eat breakfast before you come to work!).

With the exception of the musical, which runs Wednesday through Saturday, all productions will open on Tuesday and run through Saturday. The first technical rehearsal will be on Sunday at 1 p.m. A technical rehearsal will be on Sunday at 7:30 p.m. Dress rehearsal will be on Monday at 7:30 p.m. Technical/dress rehearsals for Young People Series shows are on Wednesdays beginning at 5:30 p.m.

Refer to the calendar at the end of this handbook for all production dates.

PLAY ATTENDANCE Theatre majors are required to attend all productions. Our productions serve as a major learning resource for prospective theatre professionals. Production experiences put to practical use fundamentals learned in the classroom. A complete learning experience takes place when the student practices the craft as well as studies it.

Page 23 TheatreTheatre Handbook Handbook 20-21 16-17 Each registered Theatre major and minor will receive 1 (one) complementary ticket for each production. This ticket can be reserved any time the box office is open and must be picked up the night of the performance. This ticket is for the use of the Theatre major/minor only and is not transferable.

STRIKE NIGHT At the end of each show or production, ALL THEATRE MAJORS, MINORS, CAST AND CREWS ARE REQUIRED TO PARTICIPATE IN “STRIKE.” All costumes, props, lights, sets and sound equipment are put away at this time. All areas are cleaned including the stage, dressing rooms, shops, Green Room and backstage area. Booths are cleaned and equipment is put back into ready order for the next event. STRIKE IS CALLED AFTER THE FINAL CURTAIN OF THE SHOW. The more quickly it begins, the sooner it is over.

POST PRODUCTION CRITIQUE

The learning experience continues after a play has closed. Every production will have a postmortem during which all aspects of the show will be discussed. Postmortems are typically scheduled the first Monday following the close of a show at 4 p.m. in the Workshop Theater. Check the calendar for exact dates. Cast, production crew, designers, theatre majors and minors are required to attend if your class/outside work schedule permits.

ABSENCE POLICY FOR STUDENTS 1. Student absences are considered by the University to be strictly between the individual student and faculty member. The faculty member has the responsibility and authority to determine whether makeup work can be done because of absences. Students may request consideration for valid and verifiable reasons such as the following:

Illness Death in the immediate family Legal proceedings Participation in sponsored University activities

(It is the responsibility of the students who participate in University-sponsored activities to obtain a written explanation for absences from the faculty/staff member who is responsible for the activity.)

2. Students who wish to appeal the faculty member’s decision on absences may appeal through the academic appeals procedure.

FIELD TRIPS The State does not pay for student travel or student expenses. If students will miss classes, the faculty member in charge of the trip must prepare and distribute to students a memo listing the students involved at least a week before departure, briefly describing the field trip, and requesting that students be excused from classes for the period of the field trip. Students must give a copy of this list to the teachers who classes they will miss. Many professors send campus emails for this purpose.

Page 24 Theatre Handbook 20-21 16-17 Tarleton faculty are not obligated to honor the request for absence from class. It is each student’s responsibility to make up work missed, and it is the student’s responsibility to be sure that his/her teachers know about the trip far in advance.

BACKSTAGE REGULATIONS

1. Arrangements for use of all backstage equipment for a rehearsal and/or performance must be made two weeks in advance through the Technical Director.

2. Stage equipment, including lights, scenery and draperies belonging to Tarleton State University shall be handled only by authorized personnel. 3. If specialized personnel or equipment other than those furnished by the Fine Arts Center are needed, the sponsoring organization will bear the necessary expenses and must be responsible for delivering these special items to the backstage areas at the time assigned by the Technical Director.

4. All technical plans, ideas, and program content should be specified to the Technical Director at least two weeks in advance. The Technical Director will have the final approval and authority for all stage items including, but not limited to, equipment, decorations, props, and platforms.

5. Center facilities and equipment shall not be used for personal gain.

6. All damaged or unsafe equipment or working conditions shall be reported immediately to the Technical Director. The Technical Director will issue a “Damaged or Unsafe Equipment Report” immediately. No unsafe situation or condition will be allowed to compromise safety standards.

7. All public areas, shop areas, and dressing rooms must remain locked when not in use.

8. Backstage access before or during a performance, except for production related faculty, staff and students, is at the discretion of the director of the event. Visitors will normally be permitted in the Green Room after a performance.

9. The consumption of food and beverages are barred from control booths and any area outside of the backstage at all times.

10. Access to shop areas, control booths, cat walks, or work areas is at the discretion of the Technical Director.

11. All persons using or working in the theater or shop areas shall conduct themselves in a businesslike manner.

12. Loud or unnecessary noise in the backstage areas during performances and rehearsals will not be permitted.

13. Dressing rooms must be kept neat and orderly by each organization using these areas. Their use is limited to current production-related staff and performers, scheduled through the Center office.

Page 25 TheatreTheatre Handbook Handbook 20-21 16-17 14. All persons working above stage level shall remove all items from their pockets, wear nonskid shoes, and have tools secured to prevent them from falling to stage level.

15. All properties and materials used for rehearsals and performances shall be removed and stored in their assigned places at the end of these time periods. The facility shall be left in broom-clean condition after use. The sponsor is responsible for these duties. 16. All Federal, State, and University safety rules must be observed.

17. Individual areas may have additional restrictions and regulations. Consult the Technical Director for specific listings.

18. Shoes must be worn at all times while working in the theater or shop areas.

19. Any person or group in violation of any of these safety policies risk the loss of the privilege of public presentations in the Fine Arts Center.

SECURITY Lock and shut all doors to theaters, classrooms, and shop spaces not in use. All exterior doors should be treated as though they do not latch automatically. Double check them whenever they are supposed to be locked as you or your guests exit the center. If you notice a door open or ajar which should be locked, lock it, or request that a faculty member or custodian lock it. Outside doors must never be propped open. The building is either locked or unlocked, according to the Center calendar.

EMERGENCIES

SEE: EMERGENCY 9 - 1 - 1 AND 3 - 1 -1 (SEE: Page 32) SEE: EVACUATION ROUTES (SEE: Page 33) SEE: TORNADO SAFETY AREAS (SEE: Page 33)

In the event of medical emergencies, fire, or situations in which police assistance is needed, call 911. Stay on the phone long enough to answer any questions the operator might have. This will ensure that proper equipment and personnel respond. Give the nature of the emergency and the location. Also give the phone number where you can be called back. The operator will notify the Campus Police, Stephenville Fire Department, (Paramedical) and others to react upon verification of the emergency. The police will provide immediate rescue, traffic, communications, and crowd control as required at the site of the emergency.

If an emergency requires an ambulance, it will come to only one entrance, the main East Entrance by the Theater lobby. You or your representative must meet the paramedics there and lead them to the emergency site in the Fine Arts Center.

NOTIFY THE DEPARTMENT HEAD OF ALL ACCIDENTS INVOLVING STUDENTS, FACULTY, OR STAFF SO THAT THE PROPER ACCIDENT REPORTS CAN BE FILED.

Page 26 Theatre Handbook 20-21 16-17 LOCKERS

Theatre area lockers are assigned by the Theatre Technical Director. Specific rules will be available upon recieving your locker assignment.

RULES FOR THE CENTER

1. Tarleton is an alcohol and drug free campus. The simple possession and/or use of any controlled, dangerous substance as defined by Texas law on campus or at a University sponsored or sanctioned activity, may result, after a due process hearing, in suspension from the University.

2. Live flame (including candles) is prohibited in the Center.

3. Food and beverages are prohibited in the four performing areas and all classrooms.

4. Posters and flyers are allowed only on bulletin boards in the Center. Thumb tacks are provided on all bulletin boards. Posters or flyers are not to be placed on the doors, windows, or walls.

5. In compliance with Presidential Executive Order #01-92 of August 1, 1992, all buildings on the Tarleton State University campus will be tobacco free. No tobacco products (cigars, cigarettes, chewing tobacco, etc.) may be used in any University building, enclosed facility, or vehicle.

6. The backs of the seats and the armrests in the performing areas are not to be used as footrests.

7. Ticketing for all events held in the Fine Arts Center must be handled by authorized Box Office Staff personnel. University Departments will be billed for a set-up fee plus a 10% Box Office Fee for total ticket revenues from the event (subject to minimum fee).

8. The use of any photographic or recording equipment during public presentation must have prior approval by the event director, who must obtain authorization and make appropriate arrangements for use through the Technical Director in advance.

9. The Fine Arts Center and the University reserve the right to retain or release concession rights. Written approval for selling concessions must be secured from the Center Office at least two weeks prior to the event.

10. The lobby restrooms located on either side of the Art Gallery may not be used as dressing rooms for any event.

11. Furniture, rugs, plants, etc. in the Center are not to be moved, or used as properties for events.

12. No parking is allowed in the loading dock area except for loading and unloading. It is a fire lane. School buses used to transport students to the Fine Arts Center may unload and load in the East driveway. Buses are required to park, however, in the stadium parking lot. HOURS OF OPERATION DURING FALL AND SPRING TERMS

Page 27 TheatreTheatre Handbook Handbook 20-21 16-17 Public Areas: Monday-Friday 7:30 AM-10:00 PM Practice Rooms: Monday-Friday 7:00 AM-11:00 PM Saturday 7:00 AM-10:00 PM Sunday 11:00 AM-10:00 PM

Between semesters, on holidays, and during summer sessions, hours are changed.

LOST AND FOUND Any personal items of value found in the Center may be claimed in the Department of Fine Arts office Room 105. PARKING Parking for the Fine Arts Center is on the East side of the Center. Please respect all reserved and posted parking spaces. You can and will be ticketed for parking in reserved spaces on campus. No parking is allowed in the loading dock area except for loading and unloading. It is a fire lane.

STUDENT ORGANIZATIONS THE TARLETON PLAYERS Mark Holtorf, faculty sponsor The purpose of the Tarleton Players, the oldest theatre organization at Tarleton, is to promote interest and encourage further knowledge and experience in theatrical arts by the presentation of productions for the benefit of the college and community. Any student of Tarleton may be a member of the Tarleton Players. The Tarleton Players host the annual Players Banquet at the end of each academic year.

ALPHA PSI OMEGA Carol Stavish, faculty sponsor The purpose of Alpha Psi Omega is to stimulate interest in theatre activities at Tarleton and to secure for the university all the advantages and mutual helpfulness provided by a large national honorary fraternity. By electing students to membership, the fraternity provides a reward for participation in theatre activities of the university.

USITT, United States Institute for Theatre Technology Prudence Jones, faculty Sponsor The purpose of USITT is to stimulate interest in technical theatre activities at Tarleton. Students attend national and state conferences and present workshops on a variety of technical areas including lighting, scenic construction, costume design and construction and make-up.

FACULTY

Mr. Mark Holtorf - Associate Professor of Theatre - 968-9888

Mark Holtorf, an avid Packer fan, is in his twenty-ninth year as Associate Professor of Theatre for the Department of Fine Arts. Born in Minneapolis, Minnesota, but raised in Eau Claire, Wisconsin, Holtorf received his BA in Theatre from the University of Wisconsin at Eau Claire and the MFA in Drama from the University of Virginia. His background work includes involvement in community theatre and summer theatre productions. He has served as the Technical Director for The Ohio Light Opera Company for seven summers and for Heritage Repertory Theatre in Virginia two summers. Mark is the sponsor of Tarleton Players. He's also a critic judge and contest director for regional UIL theatre competitions. Mark conceived and developed The Summer Studio, Tarleton's summer theatre.

Ms. Carol Stavish - Associate Professor of Theatre - 968-9381

Page 28 Theatre Handbook 20-21 16-17 Carol has taught at Oakland University in Rochester, Michigan, specializing in scenic and costume design and scene painting. A native of Pittsburgh, Pennsylvania, Carol has had the opportunity to work on a number of films shot on location in her hometown. She holds an MFA in Design from the University of Virginia. Her professional career in scene painting and design has included work at Barter Theatre in Abingdon, Virginia, Pittsburgh Public Theatre and Meadow Brook Theatre in Rochester, Michigan. Carol is the sponsor for Alpha Psi Omega, the national honor society for drama students. She is also a member of USITT.

Ms. Prudence Jones- Associate Professor of Theatre - 968-9669

Prudence Jones is currently Associate Professor and Technical Director (TD) here at Tarleton State University. Before joining the Tarleton family Prudence was Part-time Faculty and Technical Director for the University of Scranton’s Theatre Dept. in Scranton Pa. She was also Faculty/Technical Director at Stephens College in Columbia Mo. Prudence earned a B.A. from Cedar Crest College, and an MFA from California Institute of the Arts (Cal ARTS). Her professional credits include Scenic Designer for African American Repertory Theatre, Dallas, Texas, Assistant Technical Director (ATD) for ACT Theatre in Seattle, ATD for A Little Night Music at 5th Ave Theatre in Seattle, Production Stage Manager for Long Beach Opera, TD for Reprise in Los Angles, ATD for Richard Foreman’s Bad Boy Nietzsche tour in NYC, Europe and Asia, ATD for King Lear in Los Angeles, and TD for Michael Counts’ Listen to Me in Los Angeles, ATD for Ether Telegrams at St. Ann’s in NYC. Along with her many technical credits Prudence is a designer, actor and director as well but her most valued credit is being the proud mother of her two wonderful children, Peyton and Phillip.

FACULTY ON RETIREMENT

Dr. Mary Jane Mingus - Professor Emeritus

Dr. Mingus directed and designed costumes for over 100 productions at Tarleton. She received her AB from Brenau College in Gainesville, Georgia, her MA from Baylor University through the Dallas Theatre Center, and her Ph.D. from Case Western Reserve University in Cleveland, Ohio. During her 30-year teaching career, she was actively involved in the University Interscholastic League One-Act Play productions and served on the boards of Texas Educational Theatre Association (TETA) and United States Institute for Theatre Technology (USITT), Texas. When she came to Tarleton, Dr. Mingus created the first formal home for theatre by presenting plays in an old storeroom dubbed "The Studio." Dr. Mingus was instrumental in the planning of the Clyde H. Wells Fine Arts Center. She was largely responsible for the rapid progression of the Theatre program from two speech courses to the BFA degree. Recognized for her years of service to the Tarleton Players as well as drama students on all educational levels across the state, Dr. Mingus was presented the Founder's Award by the Texas Educational Theatre Association and became the seventh recipient of the Presidential Award of Merit at Tarleton. She was chosen to serve as a delegate representing American Theatre in the Peoples Republic of China during the fall of 1993. In the spring of 1994, Dr. Mingus was the recipient of the Jack and Louise Arthur Distinguished Faculty Award for Excellence in Teaching. In 1997 she was awarded the Student Life Award by the Division of Student Services for outstanding contributions to the area of student life. She retired in May 1997. The Dr. Mary Jane Mingus Award for Outstanding Achievement

Page 29 TheatreTheatre Handbook Handbook 20-21 16-17 STAGE MANAGER RESPONSIBILITIES

This list is intended to be a guide to your duties and responsibilities. Check with your director to confirm this list.

AUDITIONS: 1. Communicate with Director to determine what your responsibilities will be during the audition process 2. Obtain character descriptions and tentative rehearsal schedule from director 3. Post audition procedures/character descriptions 4. Set up audition room/s and put audition sign on door/s 5. Have plenty of pencils on hand 6. Pass out contracts/schedule forms 7. Pass out cuttings 8. Monitor actors at the door and maintain order 9. Keep time for breaks 10. Assist the director as needed 11. Post call back list 12. Post cast list

REHEARSALS: 1. Maintain order 2. Post rehearsal calls 3. Create a phone list to pass out to cast and crew 4. Create and maintain prompt book 5. Obtain rehearsal props (possibly with assistance from prop crew head) 6. Wear a watch to all rehearsals 7. Arrive well before posted call to set up stage as required by director and/or musical director, accompanist and choreographer. 8. Obtain ground plan of set in order to spike set and set props 9. Set and check rehearsal props 10. Maintain a running props list for show 11. On a daily basis, make and distribute production notes to Mr. Holtorf, Ms. Stavish, Ms. Jones, Ms. Moose, and student designers 12. Call actors who are late for rehearsal 13. Warm-ups if required by director 14. Check with director to determine how and when you should prompt actors 15. Make blocking notation 16. Call Cues 17. Warn actors for certain calls 18. Time rehearsals and all breaks 19. Have extra supply of pencils and paper

Page 30 Theatre Handbook 18-19 16-17 PRODUCTION: 1. No matter what happens, DON’T PANIC AND ALWAYS MAINTAIN ORDER 2. Create and post sign-in sheet 3. Arrive well before posted call 4. Make sure all props are set and checked and stage is swept 5. Make sure that sound, special Effects and dimmers are checked 6. Check shift plot 7. Intercom and page system check 8. Set all legs and borders 9. Walk the stage as a final check for everything 10. Communicate with house manager prior to start of show, before and after intermissions 11. Make calls to actors 12. Call cues 13. Keep running time of production, intermissions, and shifts

POST PRODUCTION: 1. Preset for next performance immediately following final curtain 2. Set safety barrier around orchestra pit and place ghost light 3. Make sure all lights, sound, microphones, special effects, and running lights are off in booths and on stage 4. Leave grid lights on 5. Check all dressing rooms-costumes hung, electrical devices unplugged, lights off 6. Make note of any needed repairs and distribute to appropriate department 7. Lock up

COSTUME DESIGNER

The student costume designer’s primary goal is to create the vision/concept of the director and other members of the design team (which includes the costume designer). It is of paramount importance to communicate with the director and fellow members of the design team. It is important for the success of the production of costumes to collaborate with the Costume Shop Manager in the construction of costumes. If the director and design team are your partners in the creation of the idea of the show, the costume shop manager is your partner in the creation of costumes. Ultimately, your task is to do whatever is needed to get the show done, and done well. You aren’t expected to know everything, but you are expected to ask.

Duties include: Read and understand the play and the play within the context of the director’s concept Research according to the demands of the play Design costumes appropriate to the production Provide rough sketches and other materials for discussion/approval early in the design process Attend production meetings and dress rehearsals Attend auditions and run-throughs as required by the director Contribute daily to the work on the production by:

Page 31 TheatreTheatre Handbook Handbook 20-21 16-17 Arriving promptly to the costume shop at scheduled times Checking in with the Costume Shop Supervisor and Costume Shop Manager every day Provide renderings, swatches, working drawings (if necessary) and additional sketches and research for the shop manager Be prepared to discuss details of construction and design with the shop manager and other cutters Make design decisions Attend fittings Pull costumes, shoes, etc. Buy fabrics, trim and other items necessary for the completion of costumes Shop the show as necessary Stay within the budget allotted Provide swatches for the lighting designer Provide a costume plot for the dressers Other duties as necessary Meet regularly with the design faculty and staff – don’t be scared!

MAKEUP/HAIR DESIGNER

The makeup/hair designer works under the costume designer in order to achieve makeup and hair for characters that are appropriate to the production. It is important to experiment beforehand to make sure that the designs are achievable and will do what is required of them. Some experimentation will be involved in almost any production.

Duties include: Reading the script To do whatever research is necessary To be aware of the needs of the characters To provide visual information of designs for the costume designer, actors and production staff. To shop for and order items as needed To assure ahead of time that the necessary items for the show are available Attend dress rehearsals Attend run-throughs and production meetings as deemed necessary by the costume designer or director Assisting actors with makeup/hair application

SOUND DESIGNER Responsibilities During a Production 1. Read the play 2. Speak with the director 3. Figure out design concept a. What do I want the audience to take away about the play via sound

Page 32 Theatre Handbook 20-21 16-17 4. Read the play again a. Looking for sound cues and music 5. Create a list “Sound Requirements” a. List of sounds that you know you need for show b. Also sound you would like to use to will support those cues 6. Once you have list you can research time period, location and music style that will fit each of those sounds 7. Start creating cues a. Recording voice overs b. Decide on music, sounds etc. c. Editing sound or music or voice overs to fix your design ideas 8. Rehearsal a. Attend as many rehearsal as possible but you must ALL run-thru rehearsals and techs. b. GET SOUNDS INTO REHEARSAL AS REQUESTED BY DIRECTOR! 9. Burn CD or whatever form you are using to playback sounds during production. Ei: iPod, computer, or iPad 10. Create speaker plot 11. Load in speakers with engineer, headsets, mics and anything else you need Always done at least 1 day before tech Saturday. 12. Type up list into Master Cue Sheet. Copy for you, SM and Board op. This should be updated everyday of TECH and given out again to each person. 13. Attend Paper tech 14. Test all equipment 15. Attend tech Set base levels in the before tech. Great, time saver during Tech. 16. Strike a. Remove you equipment from booth are return to storage area b. Put speakers away and headsets in blue box. c. Coil cables correctly!!!!!!

LIGHTING DESIGNER Responsibilities During a Production 1. Read the play 2. Speak with the director 3. Figure out design concept a. What do I want the audience to take away about the play via lights? 4. Read the play again a. Looking for light cues location and time of day. 5. Create a list “Lighting Requirements” a. List of area, colors, and templates that you know you need for show. 6. Once you have list you can research time period, location and images that will fit desire style for each scene.

Page 33 TheatreTheatre Handbook Handbook 20-21 16-17 7. Rehearsal a Attend as many rehearsals as possible but you must ALL run-thru rehearsals and techs. 8. Type up list into Master Cue Sheet a. Copy for you, SM and Board op. given to them at paper tech. b. This should be updated everyday of TECH and given out again to each person. 9. Create Light plot and paperwork 10. Hang and Focus lights a. Work with master electrician and crew. b. Test all equipment c. Focus d. Should be done at least 1 day before tech Saturday time permitting. 11. Attend Paper tech 12. Write cues 13. Attend tech a. Also speak with board opperator on how you like to run tech, and perform dimmer check. 14. Strike a. Remove you equipment from booth. b. Put away all lighting equipment and gels in proper storage area. c. Coil cables correctly!

GUIDELINES FOR COSTUME SHOP POSITIONS

The most important thing to think of when involved in a production is that the success or failure of a production begins with student involvement/commitment, or lack thereof. Please note that this is a learning process, and that you aren’t expected to know everything. Remember also that this is theatre, your chosen vocation, and it is supposed to be fun and satisfying, at least most of the time.

COSTUME SHOP ASSISTANT

The shop assistant should use initiative and a good work ethic to produce the best work possible and to keep the day to day running of the shop going smoothly and pleasantly. Sometimes working nights and weekends to finish work on a production is necessary. However, the best way to keep this at a minimum is to work as efficiently as possible during regular scheduled hours.

Duties include: Arriving promptly at the scheduled time, ready to work Sewing costumes for productions Patterning as needed (according to the current knowledge of the assistant) Staying in communication with the shop supervisor Keeping the shop and shop storage tidy, which also includes:

Page 34 Theatre Handbook 20-21 16-17 Helping with upkeep of machines Sweeping and daily clean up time Emptying the trash cans on a regular basis Doing laundry for productions during show, and once the show is struck Being willing and able to answer simple questions asked by lab students in a patient, clear manner Running errands, making phone calls, or other duties as required by the shop supervisor or costume designer

STUDENT COSTUME SHOP MANAGER

The student shop manager’s primary job is to assist the costumer designer in any way possible. You are a part of a team that collaborates intimately on the production of costumes for a show. This requires a certain amount of fluidity on your part. You need to do whatever is required to get the job done. You are the person who keeps things going smoothly by planning and communicating effectively. In order to ensure that lab students and volunteers are plentiful, it is necessary to create a pleasant, enjoyable working environment. The delegation of duties is not only possible, but necessary. Remember that it is useful to stay in communication with Costume Shop Supervisor so that your questions can be answered – you aren’t expected to know everything.

Duties include: Reading the script Arriving promptly at the scheduled time, ready to work Maintaining communication with Costume Shop Supervisor regarding the production Making sure that items needed to build costumes are in the shop soon enough that work can begin on them Keeping the show within the budget Maintaining paperwork created by purchases Ordering items for the show Knowing deadlines Distributing projects and labor to lab students and volunteers Assisting in cataloging stock and donations

With the costume designer, it is your job to: Assist in shopping the show Schedule and do fittings (give the actor 24 hour notice) Watch the dress rehearsal and take notes on things that need improvement or refinement Go to production meetings (remember to take notes) Discuss with the designer each rendering and the construction of the costumes Other duties include: Keeping the shop in clean working order Communicating with the dressers/wardrobe masters Assisting in the construction of costumes built by other students

Page 35 TheatreTheatre Handbook Handbook 20-21 16-17 DRESSER/WARDROBE MASTER OR MISTRESS

The dresser/wardrobe master or mistress is part of the running crew of a production. The main job is to ensure the smooth functioning of costumes during the run of a show. If emergencies come up, or tense moments arise regarding costumes, it is the job of the dresser/wardrobe master or mistress to calmly find a solution. Duties include: Doing any emergency repairs that arise during a performance Post a daily costume repair sheet in each dressing room or on the call board Doing daily laundry and repairs during the run of the show Quick changes of costumes Ensure that costumes are in the appropriate condition for performance Ensure that costumes are in place in the dressing room before the arrival of actors Additional minor duties may be requested of you by the Costume Shop Supervisor, designer, director or stage manger

SCENE/COSTUME SHOP LAB STUDENTS

The lab students comes to learn. No matter what their skill level or previous knowledge of the subject is, they should come away from a semester in both shops with more knowledge and a higher level of skill. The best ways to learn many techniques in both shops are through experience and asking questions. Therefore, hiding mistakes is not acceptable. The successful student is not passive in the acquisition of learning.

Duties include: To arrive at their scheduled time ready to work. To complete projects to the best of their abilities, in a timely manner. When a task is finished, come to the Shop Supervisor (or student manager), designer or assistant and ask for another task. Complete additional duties as requested by the Shop Supervisor (or student manager), shop assistants, or designer. Clean up work spaces prior to leaving the shop. NOTE! Every design position and crew is based on THE SHOW! Additional tasks and and responsibilities may be added or taken away based on the production. Each design and crew is a privilege and not a right.

Page 36 Theatre Handbook 20-21 16-17 PagePage 37 37 TheatreTheatreTheatre Handbook Handbook Handbook 20-21 20-21 16-17 Page 38 Page 38 TheatreTheatreTheatre Handbook Handbook Handbook 20-21 20-21 16-17 Page 39 Page 39 TheatreTheatreTheatre Handbook Handbook Handbook 20-21 20-21 16-17 Page 40 Page 40 TheatreTheatre HandbookHandbook 20-21 16-17 Page 41 WELLS FINETheatre ARTS Handbook CENTER 16-17 MAP Evacuation Routes Safety Rules

1. NEVER use any tool unless you have been taught how to safely operate it.

2. ALWAYS use eye protection.

3. NO open toed shoes allowed in the scene shop, NO bare feet allowed in scene shop.

4. REMOVE or FASTEN any loose or dangly jewelry and clothing.

5. LONG HAIR must be tied back or covered up.

6. NO HORSEPLAY.

7. DO NOT distract, startle, or talk to anyone using a power tool.

8. ONLY use a tool in the manner it was designed. (Wrenches are NOT hammers!)

9. NEVER walk away from a tool that is still turned on.

10.ALWAYS use all of a tool’s safety guards and guides.

11.NEVER attempt to use a tool that is broken.

12.NOTIFY the shop staff when you find a broken tool.

13.ALWAYS clean up your workspace before moving on to a new project or leaving for the day.

14.CLEAN UP all spills immediately.

15.KNOW the locations of ALL First Aid, Fire, and Safety Equipment.

16.When in doubt ask for help.

Dress Code

Avoid large rings, bracelets, long necklaces, dangly earrings or any dangly jewelry. Long hair should be tied back. T-shirts and jeans are best. Do not wear worn or ripped clothing as it can cause potential injury. When working on lighting shorts are not allowed. Wear closed-toed shoes, sneakers or preferably boots. Sandals, dress shoes or any other form of non-protective shoe is unacceptable. Costume Shop Guideline

In an effort to make the shop experience more efficient and pleasant for everyone involved within this chaotic world of costumes, please take note of the posted guidelines and actually follow them. Failure to do so will bring out Shay- la’s alter ego Shalaqua which should be highly avoided. Consider yourself warned. • ARRIVE ON TIME and READY TO WORK. Call 968.9131 to make other arrangements if you are unable to

Page 42 THEATRETheatre HANDBOOK Handbook 2020-21 16-17 Safety Rules

1. NEVER use any tool unless you have been taught how to safely operate it.

2. ALWAYS use eye protection.

3. NO open toed shoes allowed in the scene shop, NO bare feet allowed in scene shop.

4. REMOVE or FASTEN any loose or dangly jewelry and clothing.

5. LONG HAIR must be tied back or covered up.

6. NO HORSEPLAY.

7. DO NOT distract, startle, or talk to anyone using a power tool.

8. ONLY use a tool in the manner it was designed. (Wrenches are NOT hammers!)

9. NEVER walk away from a tool that is still turned on.

10.ALWAYS use all of a tool’s safety guards and guides.

11.NEVER attempt to use a tool that is broken.

12.NOTIFY the shop staff when you find a broken tool.

13.ALWAYS clean up your workspace before moving on to a new project or leaving for the day.

14.CLEAN UP all spills immediately.

15.KNOW the locations of ALL First Aid, Fire, and Safety Equipment.

16.When in doubt ask for help.

Dress Code

Page 43 THEATRETheatre HANDBOOK Handbook 2020-21 16-17 Page 44 THEATRETheatre HANDBOOK Handbook 2020-21 16-17