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Pull-Tight Production Packet Index Pull-Tight Production Packet Index 1. Index 2. Helpful Tips for Producing at Pull-Tight Job Descriptions: 3. Responsibilities of the Director 4. Responsibilities of the Producer 5. Responsibilities of the Stage Manager 6. Stage Manager Checklist Production Policies: 7. Holdover Policy 8. Responsibilities of the Executive Producer 9. Working With Minors at Pull-Tight 10. House Rules 11. House Rules – Set Crew 12. Fire Safety Rules 13. Musician Fees Policy 14. Show Cancellation Policy Forms: 15. Budget Form 16. Sample Budgets 17. Audition Form Page 1 Musical 18. Audition Form Page 1 Non-Musical 19. Audition Form Page 2 20. Postcard Sent to Individuals Not Cast 21. Minors’ Parents Form 22. Contract for Musical Services 23. Expense Report Form 24. Check Voucher Form 25. T-Shirt Order Form 26. Actor Bio Form 27. Costume Measurement Sheet Additional Policies, Forms, or Information: 28. Complimentary Tickets Policy 29. Crew Template for Program 30. Lobby Display Policy 31. General Box Office Information 32. Tips for Polyurethaning the Floor HELPFUL TIPS FOR PRODUCING AT PULL-TIGHT It is strongly recommended that these tips be read by the Director, Producer, and Stage Manager of the show before you go into production, discussed together at your first Production meeting, and then kept on hand to refer to frequently. RESOURCES : Pull-Tight Public Website: www.pull-tight.com Pull-Tight Private Website: www.pull-tight.com/production Password: breakaleg If you have questions regarding technical aspects of your production or “how things are done” at Pull-Tight, the Executive Producer is your primary contact. If the Executive Producer doesn’t know the answer, he or she will be able to help you find it, and can also alert you to any recent changes in Board policy. The Pull-Tight Bylaws and various policies, as well as a complete Production Packet including guidelines and forms for directing and producing a show at Pull-Tight are available on the Pull- Tight private website (see above). It is recommended that you download the entire Production Packet, available as a single PDF file, and provide copies to the Director, Producer, and Stage Manager of the show. This will give everyone the best overall sense of the things that need to take place and forms available. You can then return to the site to download and modify individual forms in Word format as needed. The Season Calendar and the Committee Chairs for the current season can be found on the Pull-Tight public website. Be Proactive : If you don’t know, find out! CALENDARING : Establishing a detailed calendar covering all deadlines for your production is critical for a smooth-running production. The Director and Producer should sit down well before auditions, go over all production guidelines, try to anticipate the needs of every technical area of the show, and place corresponding deadlines on the calendar. One tip on calendaring is to start from opening week of the show and work backwards. Modifications can always be made later, but having everything on the calendar will avoid areas being overlooked. Examples of important deadlines may include but are not limited to the following: • Production Meeting (to go over the artistic vision for the show, discuss budget amounts for each area) • Audition Dates • Tentative Rehearsal Block (including Dress Rehearsal) • Show Dates • Proposed Budget Submitted to Board of Directors (usually before auditions) • Audition Announcement sent to all publicity areas (see “Auditions” below) • Set Build • Costumes In • Props and Set Pieces In • Cast Off Book • Cast Bio’s in for Program • Headshots taken • Musicians Added to Rehearsals • Tech Observe • Tech Start Running • Picture & Article for Newsletter/Publicity • Order Forms in for T-Shirts • Set Painting Days • Floor Painting/Poly • Lights Hung/Set • Sound/Voiceover Done • Billboard Hung • Lobby Display Done • List of Door Workers Posted in Lobby • Rough Draft of Program to Director & Producer • Cast and Crew Ticket Order Week • Program to Printer • Pick up Program From Printer (Wednesday or Thursday before show opening) • Possible Holdover Dates (should be on the calendar from the beginning so cast and crew keep open) • Videotaping of Show • Cast and Crew Archival Photo • Evaluation Forms provided to Cast & Crew • Strike Before setting your audition and rehearsal calendar, check the Season Calendar on the Pull- Tight public website, and keep in mind the following: • Avoid scheduling auditions or rehearsals that will conflict with any Pull-Tight Artist Membership Meetings, tentatively held in October, December, and April. • When scheduling auditions, rehearsals, or set work, please note the dates once per month that the Junior Youth Guilds meets in the theatre. If you must have a conflict, please coordinate with the Junior Youth Guild Advisors. • Coordinate with your Set Construction Chief as to a likely date that the cast will be able to move into the theatre. PRODUCTION MEETING : The Director and Producer should coordinate a production meeting with key crew positions for the show before auditions and early enough to seek input from the crew in compiling the Proposed Budget. Examples of key crew positions might include but not be limited to: Stage Manager, Music Director, Choreographer, Accompanist, Set Construction Chief, Lighting/Sound Designer, Costume Coordinator, and Properties Coordinator. It can also be extremely helpful to invite the Executive Producer to attend this meeting. This is also a good time to coordinate with the Chair of the Contracts & Royalties Committee to ensure that scripts have been ordered and see when you can expect to receive them. The ordering of scripts and paying of royalties is handled by this individual and the Treasurer. The current Chair is Stephanie Dillard, 615-969-1490, [email protected]. The current Treasurer is Iain Macpherson, 615-308-5091, [email protected]. PRODUCTION CREW : The Director and Producer work together to assign crew positions. It is the responsibility of both that all positions be covered. Doing this early will make for a much smoother production. A few examples of crew positions are listed under Responsibilities of the Producer in the Production Packet, as well as in the Crew Template. Clarifying early on exactly what is expected from each crew position will help avoid future problems. Example: Is the “Props” person expected to simply obtain the props, or also be available to run them during performances? Is the Costume Coordinator expected to line up seamstresses, or are those crew positions being assigned by the Director and Producer? Will the Costume Coordinator do laundering/repairs during the run of the show, or does this need to be assigned to someone else? Compile early on a complete list of crew, along with contact numbers, and make this available to all cast and crew. It is helpful to have this posted on the bulletin board in the green room during rehearsals and the run of the show. Production crews are strongly encouraged to use Pull-Tight teens for crew positions and/or as apprentices in key crew positions. Please contact Youth Coordinator Jeremy Hargis for recommendations, 407-973-5389, [email protected]. BUDGET : The first deadline that needs to be on your calendar is submitting your Proposed Budget to the Board of Directors. This needs to take place at a Board Meeting that occurs prior to your auditions. Contact the Secretary of the Board of Directors to determine the best date and request to be put on the agenda for that meeting to present the Proposed Budget. Work with key crew positions and consult previous budgets (available on the PT private website) to help in determining likely expenses. AUDITIONS : The date and location of auditions need to be determined as early in the season as possible, at least several months before the auditions. Publicizing these auditions is the responsibility of the production team. Information on media outlets for publicizing auditions is available on the Pull- Tight private website under Suggested Publicity Outlets. This information should also be sent to: 1) Heather Bottoms to send out a group email, 615-268-6351, [email protected] 2) Pat Street to update the website, 615-456-8427, [email protected] 3) Johnny Peppers to post on Facebook, 615-642-8327, [email protected] You may work with the show that will be in the theatre at that time regarding the possibility of holding auditions in the theatre at a time when there is no show, or you may hold auditions at an alternate location. Traditionally, we hold many of our auditions and rehearsals at St. Paul’s Episcopal Church in downtown Franklin. See “Rehearsals” section below for important information on this facility. See the Pull-Tight private website for an Audition Form. All items on this form should be included on your own form, but you may add additional information as needed. Things to have on hand for your auditions: • Audition Forms • Pens/pencils, stapler (for resumes/headshots), tape (for hanging signs) • Directional/instructional signs • Cuttings from the script • Character ages and descriptions • Calendar showing tentative rehearsal block and show dates including holdover dates • For musicals: Choreographer, Accompanist, tape player • Camera to photograph auditonees if desired • Lots of extra help to hand out forms, explain procedures, answer questions Arrive early for set-up and to coordinate logistics with your helpers. After casting: Collect all Audition Forms and give them to Heather Bottoms 615-268-6351, [email protected], to be added to our mailing list. For those who are cast, the director may keep the forms, but please provide a list of names/addresses/email addresses to Heather. As soon as the cast is finalized and head shots are available, provide cast and crew information to Pat Street, 615-456-8427, [email protected], who will post it on the website, and Johnny Peppers, 615-642-8327, [email protected], who will publicize the show on Facebook.
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