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.
PLEASE BE AWARE IN CASTING THAT THE FIRE MARSHAL HAS SET MAXIMUM CAPACITY FOR THE THEATRE AT 125 PERSONS. The theatre seats 92, so once you add your cast and running crew, your total number needs to be no more than 125.
WORKING WITH MINORS:
Please read the policy on Working With Minors at Pull-Tight, and have any minor cast or crew members (under age 18) and their parents sign and return the Minors Form in the Production Packet. These should be kept on file by the Producer until several months after the show has closed.
PUBLICITY WAIVER:
Please note that all cast members sign a waiver on the Audition Form giving Pull-Tight authorization to use their name and photos for marketing and publicity materials. If you add a cast member later in the process, you should have them sign an audition form just for this purpose. This waiver is also included and signed off on in the Minors Form.
REHEARSALS :
Early rehearsals are generally conducted offsite from the theatre while the prior show is running and during set construction for your production. Make arrangements well in advance to calendar audition dates and rehearsal dates with the facility you are using.
Traditionally we hold many of our rehearsals at St. Paul’s Episcopal Church at 510 W. Main Street in downtown Franklin. All requests for audition and rehearsal space at St. Paul’s must be coordinated through Iain and Peggy Macpherson, Peggy 615-308-2215, Iain 615-308-5091, Home 615-794-8518, [email protected], [email protected].
If your team has other options for audition and rehearsal space, you may certainly use them, keeping in mind any possible safety issues and that we do not provide funds in the production budget to pay for rehearsal space.
Also check with Iain and Peggy Macpherson regarding the key and arrangements to get into St. Paul’s. Be aware that due to the security system at St. Paul’s, everyone must be out of the church before 10:00 p.m.
At the first read-through, hand out Minor Forms and maintain a list of your minor cast and crew members and stay on top of getting their signed forms returned (see Working with Minors above).
MOVING INTO THE THEATRE :
Coordinate with your Set Construction Chief on a likely date that the cast will be able to move into the theatre.
Cast and crew may be asked to help with set build and painting, but please use extreme caution when involving minors in these activities. Having minors participate in set construction is generally discouraged, and in no case can it be seen as a REQUIREMENT that cast and crew participate in these activities, with the exception of helping with strike.
Keys to the theatre are distributed to the incoming production team at set strike of the outgoing show, so make arrangements for your Director or Producer to be there at that time. Keys are distributed by a member of the Security Committee (Lynda Gibbs or Iain Macpherson), and must be signed for by the Director or Producer of the incoming show. Keys are numbered, and a separate list must be kept by the production team and each individual key signed out by individual crew members as needed. All keys must be returned at set strike of your show.
On the first day the cast is in the theatre, the production team should go over the House Rules with the cast and running crew. The Stage Manager should collect the signature pages for each cast member and member of the running crew and keep them on file until the show closes. The Stage Manager, working with the Director and Producer, has the authority to enforce the rules, and the team may contact the Executive Producer and/or Board of Directors for help with any unusual situations that arise.
Once in the theatre, the Stage Manager takes responsibility for things like turning lights on and off and unlocking and locking doors. Please make sure your Stage Manager has the Stage Manager Checklist provided in the Production Packet. This can be modified to fit the specific needs of your show, and is an invaluable list of reminders, especially for anyone new to stage managing at Pull-Tight.
It is a good idea to post a complete list of cast and crew backstage once you are in the theatre.
NOTE: If the air conditioning is running, leave it on when you close the house at the end of a show.
PUBLICITY :
It is the responsibility of the production team to make sure auditions and the show opening are publicized. See note under “Auditions” regarding places this information should be sent. Decide whose responsibility this will be and calendar deadlines.
YOUTH GUILD SHOWS:
Youth Guild shows generally have a shorter time in the theatre and a smaller budget. Therefore the incoming Youth Guild show traditionally tries to use/modify the preceding set as much as possible rather than building from scratch. The program for a YAG show is also simpler, typically a single sheet of 8-1/2 x 11 paper folded in half.
Please note that Youth Actors Guild shows should be clearly publicized as such in all publicity including newspaper ads, billboard, program, opening announcement, etc. by including a line such as: “A production of the Pull-Tight Youth Actors Guild.”
T-SHIRTS : We traditionally offer the cast and crew an opportunity to purchase a souvenir show T-shirt. This is not a Pull-Tight fundraiser, but simply something the cast and crew enjoy. The production team can use the vendor of their choice. Sizes, colors, design, and price can be entered into the T-Shirt Order Form in the Production Packet and this can be provided to cast and crew with a deadline set for orders to be returned.
ACCOMPANIST/MUSICIANS :
The accompanist and musicians should sign the Contract for Musical Services. A copy should be given to each accompanist/musician and copies retained by the Producer. Social Security numbers, mailing addresses, phone numbers, and email addresses of all accompanists/musicians should be provided to the Treasurer for tax purposes.
Accompanists are the only paid positions at Pull-Tight. See the Musician Fees Policy in the Production Packet for current pay rates.
COSTUMES, PROPS, SET PIECES
We have a large collection of costumes stored offsite from the theatre. Coordinate with the Pull- Tight Costume Coordinator to assess what is available before purchasing or procuring anything new, and to coordinate pickup and return of items. The current Costume Coordinator is Anne Rittenberry, 615-790-7734, [email protected].
At present there is no storage of Pull-Tight props or set pieces other than some items upstairs and in the shed behind the theatre, which can be checked before making purchases. However, many individual members have items stored, and the Data and Communications Committee Chair can send out an email to the membership asking for specific items.
Pull-Tight has the following items in storage. Contact Iain Macpherson (615-794-8518, [email protected]) if you need to use these: • 2 8x4 platforms • 2 fireplaces (one working electric) • 1 set French doors • An assortment of doors and window frames
We have a dry cleaning arrangement with Fashion Cleaners located at 117 7 th Avenue South in Franklin where they provide us a discount, so any costume items which must be dry cleaned should be taken to that location. How often costumes are cleaned during the run of a show is at the discretion of the production team working with the cast, and the team should agree beforehand whose responsibility this will be and how often it will be done. We do attempt to keep dry cleaning to a minimum. However, ALL costumes must be laundered or dry cleaned before being returned to costume storage. The production crew is responsible for picking up items from the dry cleaning facility and returning them to the Costume Coordinator. Dry cleaning expenses are a general theatre expense, and do not come out of your show budget.
TECHNICAL NEEDS :
All lighting and sound equipment is kept in a locked tech room at the theatre, the combination of which will be provided to the Director and/or Stage Manager of the show. Use discretion about sharing this combination and do so as sparingly as possible.
There is no current Technical Director for help in the areas of lighting, sound, setting up the headsets, etc. Please check with the Executive Producer on volunteers who may help you in these areas.
Please note that the Fire Marshal has stipulated that there can be no lighting of matches or any type of open fire (including candles) in the theatre building.
PROGRAM/SHOW ARTWORK :
Terri Merrill is currently doing graphic design for Pull-Tight. Please work through the Executive Producer on coordinating with her on your design needs. Please refer to detailed information in the Show Graphic Design Package document.
Program layout is currently being done by Becky Leopard, 615-584-4187, [email protected], and the production team needs to coordinate closely with her regarding calendar deadlines and content. Becky has information on all items that need to be included for the entire season, and will only need show-specific information from the production team. Coordinate with Becky on who will physically get files to the printer and pick up the programs.
The production team should obtain from the Chair of the Contracts & Royalties Committee any stipulations from the publisher as to how the title and playwright’s name need to appear in the program, billboard, and publicity and whether any other special wording needs to be included, and pass this information along to Becky Leopard and Terri Merrill.
Arrange to have programs delivered to the theatre by the Wednesday or Thursday before opening night so they can be reviewed for any problems with the order. An invoice arrives with the order, and this should be given to the Producer, who will record the amount and pass it along to the Treasurer.
SETTING UP AND MAINTAINING THE THEATRE :
The Director and Producer are responsible for assigning workers to set up chairs and do a thorough cleaning of the auditorium, lobby, and restrooms before the opening of the show. Do not rearrange the usual configuration of the seating area without approval of the Board of Directors.
We currently sell 90 seats per show. It is usually possible to set up 92 seats in the theatre, but you must at a minimum have 90 set up. The extra two serve as a float in case of possible error/overbooking; or can be sold at the door when all guests for the evening are accounted for; or can allow for door workers to have a seat if they have not purchased tickets.
Plan your production with awareness of the theatre’s stage limitations and lack of wing space, and in such a way as to minimize set and prop pieces that must be stored in the lobby. No props or set pieces may be stored in the hallway by the restrooms.
Cleaning of the theatre during the run of the show is the responsibility of the cast and crew supervised by the Stage Manager. This includes the lobby, auditorium, restrooms, and green rooms (backstage areas). Usually the Stage Manager posts a rotating schedule so this is covered after each show by cast members. Restrooms should be checked for supplies to include toilet tissue, paper towels, and hand soap, and be restocked as needed. If these items are in low supply, the Stage Manager should contact the House Manager. The House Manager can also be contacted for cleaning supplies, light bulbs, or issues with the vacuum cleaner. The current House Manager is Iain Macpherson, 615-308-5091, [email protected].
Trash should be emptied when full in the lobby, restrooms, and green rooms. Used trash bags may be placed in the dumpster in the fenced-in area behind the building.
A water cooler and cups are provided for cast and crew backstage. Replacement water bottles are generally stored somewhere backstage, and cast and crew are requested to exchange the bottles as needed. The Stage Manager should contact the House Manager if low on cups or replacement water bottles.
INVITED DRESS REHEARSAL:
If you schedule an “invited dress” rehearsal for family members/friends of cast and crew, take care not to publicize this and make sure to emphasize that it is definitely a rehearsal. Not doing so can cause it to be seen as an additional “performance” and will cause royalties to be due on that event.
OPENING ANNOUNCEMENT :
The opening announcement or “curtain warmer” for your show can either be done live by a member of the production crew or a cast member or can be recorded. Items that should be contained in the announcement include the following:
• Location of exits and restrooms (to your right—please be aware of the two steps down into the hallway) • Please turn off all cell phones and other electronic devices • No smoking in the building • No photography or videotaping • How many intermissions you will have and for how long • Refreshments may be obtained in the lobby during intermission (note: policy now allows patrons to bring them back into the theatre) • Information on the upcoming show/season • Other information (i.e. season tickets on sale) as requested
SCRIPTS & SCORES :
These are obtained from the Contracts & Royalties Chair, and are generally given out at the first read-through. The current Chair is Stephanie Dillard, 615-969-1490, [email protected].
Nonmusical scripts do not need to be returned. Musical scores are on rental and must be returned to the publisher . The Director and Producer should work with the Stage Manager on numbering all scores and keeping a written list of who has each score, and then being aggressive about getting them returned, generally during the last week of the show. All scripts must be returned by strike or it becomes the responsibility of the production crew to pursue them individually. They are then to be returned no later than one week after closing of the show to the Contracts & Royalties Chair or mailed back to the publisher depending on your instructions from the Contracts & Royalties Chair.
MONEY :
Any and all purchases for the show must be approved beforehand by the Producer. Generally, crew members are asked to make purchases and then be reimbursed. However, there are specific charge cards which can be obtained from the Treasurer and used at the discretion of the Producer and Treasurer. Additionally, crew members need to be informed concerning our tax-exempt status and provided with the form for this, as the Treasurer will not reimburse for taxes paid. The Producer should coordinate with the Treasurer on current instructions and forms and communicate these to the crew.
EVALUATION/SURVEY FORMS :
The cast and crew are given an opportunity to fill out an online evaluation form regarding their show experience and to vote for an outstanding crew member who will receive the “Techie” award for that particular show at the annual Banquet. The Executive Producer will provide a link to this form the final week of the show and provide the results to the Pull-Tight Board of Directors. The production team should encourage the cast and crew to fill these out and explain who is eligible for the Techie award. The Director and Producer of a show are not eligible; nor is any member of the crew who is in a paid position.
BOX OFFICE AND DOOR/CONCESSIONS CONCERNS :
The Box Office Manager handles all ticket sales, and will provide regular updates to the production crew on availability of tickets, as well as work with the production crew regarding early cast and crew ticket orders available one week before Box Office opens. The current Box Office Manager is Heather Bottoms, 615-268-6351, [email protected].
The production team is responsible for assigning a Door/Concessions Coordinator for their particular show, who lines up workers for each show date. A list of active workers can be obtained from the Box Office Manager, as well as detailed instructions on running door/concessions during shows.
The Box Office Manager has the discretion to advertise “buy one-get one free” or other ticket promotions as they seem appropriate. The production team works closely with the Board and the Box Office Manager regarding adding any holdovers. Please read and be familiar with the Holdover Policy. Of particular note, a holdover cannot be announced publicly or shared on social media until the production crew is given the go-ahead by the Box Office Manager, as there are specific steps that have to be followed.
The production team and the Box Office Manager will work closely together in the event a show must be canceled for any reason. Please see the Show Cancellation Policy.
The following notes have been found helpful by past Box Office and Door/Concessions personnel.
• The Stage Manager works closely with Door/Concessions workers to handle show beginning, intermission, and end of show. • The Stage Manager should place a rope and sign on the steps side of the front porch, blocking this entry off so that patrons form a queue on the ramp side of the porch. This should be placed before audience is expected to arrive (placing it at the end of the previous show is a good way to handle this). The rope is then to be taken down once the queue of audience has been seated. This was instituted due to complaints from patrons that having two separate lines affected who was first in line. • We do not provide comp tickets for cast and crew. Our seating area is simply too small for this to be practical. We do provide cast and crew an opportunity to order tickets before sales open to the general public. The Box Office Manager will contact the production crew with this information. • Cast and crew may not reserve seats in the auditorium for family and friends before the door opens. Cast and crew members should remind their families/friends to buy tickets early and arrive early. • If there is a special seating request due to a handicap, etc., this should be coordinated with the Door/Concessions personnel. Handicapped seating will be reserved up to a limit of four per party. • Doors open at 7:00 for evening shows, 2:00 for matinees. However, the Director and Stage Manager are asked to be sensitive to the possibility of allowing patrons in earlier during bad weather. The Door/Concessions workers should be reminded not to open the door to the general public before given the okay by the Stage Manager. • The Door/Concessions Coordinator for your show should post a written schedule with names and phone numbers of the workers for each performance. This list needs to be turned in to the Artist Membership Secretary at the close of the show in order to keep track of points for voting rights. The current Artist Membership Secretary is Pat Street, 615-456- 8427, [email protected]. • The Stage Manager is responsible for bringing up the show both at opening and after intermission. This includes checking the lobby, hallway, and restrooms for audience members, turning off lights, and closing the curtains to lobby and hallway. At intermission the curtains need to be opened, lights on, etc. Stage Managers need to plan on choreographing these activities and either doing them personally or having a backstage crew member available to do so. • The Stage Manager will be provided with the combination to the safe in the lobby that holds ticket and concessions money. The safe is to be opened when the house opens. Door workers are requested to keep the money boxes with them at their seats during intermission. The money boxes are to be locked in the safe at the end of the show.
ARCHIVAL VIDEOTAPING, CAST AND CREW PHOTO, CLOSING NIGHT GIFTS
Jeanne Drone of Three Wishes Photography is the official Pull-Tight photographer. Please refer to the detailed information contained in the Show Photography Package document.
Traditionally, a volunteer is available to make an archival recording of the show. The current volunteers are Chris and Stephanie Dillard, 615-969-1490, [email protected]. Please coordinate with them on a date for this and other details.
Finally, closing night gifts are entirely up to the cast and crew, but be aware of this tradition and discuss it amongst cast and crew so it is understood ahead to time who is taking charge of whatever is decided.
STRIKE
The outgoing production team coordinates with the incoming show production team on any lumber/hardware or set pieces that will be needed by the incoming show and can be left in the theatre. These should be stored on the “short side” of the theatre seating area once those seats have been removed (generally by stacking the front three rows onto the back row of seats). Any usable lumber that will fit can be organized and stored in the shed at the back of the theater. A general guideline is that any piece of lumber under 6 feet long is considered trash unless such pieces have been requested by the incoming show. All other lumber and set pieces must be removed from the theatre at strike. If lumber fits in the dumpster behind the theatre, it is acceptable to place it there. If it does not, the crew must arrange to take it off the premises.
All props must be removed from the theater or stored in the outdoor shed. Please note that the shed is not water or weather-proof.
All costumes must be removed from the theatre and those that belong in our costume storage returned by coordinating with the Theatre Costume Coordinators. All costumes must be cleaned before they are returned .
The billboard should be removed and placed in the lobby, and the floodlight bulbs unscrewed to the point where they are off.
The lobby (including lobby display case), auditorium, restrooms, paint room, green rooms (backstage areas), and tech booth should be left tidy and cleaned (no items left pertaining to show, vacuumed, trash emptied, mirrors and countertops cleaned). Cast and crew are expected to help with strike, and this date should be on the show calendar from the very beginning. Minors should be encouraged to help with the cleaning aspects of strike rather than heavy set striking.
The goal is to leave a completely clean theatre on set strike day for the next production team. If anything needs to remain in the theatre, please communicate closely with the incoming production team about this. If there are problems negotiating this between the two shows, please ask for help from the Executive Producer.
COMMUNICATE, ANTICIPATE, COORDINATE :
• Review these guidelines periodically. • Calendar all production dates so nothing sneaks up on you. • Stay in contact regularly with all key crew people to make sure things are happening on time and according to expectations. • Have on hand the numbers of the Executive Producer, Board President, Box Office Manager, and House Manager for questions or emergencies. • The smooth running of this show is the responsibility of the Director, Producer, and Stage Manager working together. Communicate as a team, and don’t be afraid to ask for help.
DIRECTOR RESPONSIBILITIES
The Director is responsible for all artistic aspects of the production and for making all decisions regarding the production.
The Pull-Tight Board of Directors reserves the right to oversee productions and make creative suggestions where necessary in order to keep season quality consistent.
PRE-PRODUCTION • Familiarize yourself with script and all production needs (costumes, props, technical requirements, etc). • Select Producer, Stage Manager and production team. • Select audition dates and location. • Work with Producer to establish budget to be presented for approval to the Board of Directors. • Prepare a preliminary rehearsal schedule to be posted at auditions. • Read entire show contract, which can be obtained from the Executive Producer. • Hold auditions to select cast. The director is responsible for all casting decisions. • Prepare a final rehearsal schedule after taking into account any casting conflicts. • Hold production meeting(s) with entire team (Producer, Stage Manager, Set Crew Chief, Choreographer, Music Director, etc.) to discuss artistic vision for the show.
PRODUCTION • Develop and oversee all artistic aspects of the show. • Conduct initial script read-through with cast and introduce any available team and crew members in order to familiarize cast with team. • Conduct rehearsals in an effective and organized manner, respecting cast time. • Work with Producer to communicate consistently with crew. • Communicate consistently with cast maintaining a positive and encouraging atmosphere. • Work with Stage Manager to communicate any necessary changes to rehearsal schedule as soon as possible in order to respect cast and crew time.
POST-PRODUCTION • Assist Producer in compiling list of cast and crew who worked on the show, and provide this to the Artist Membership Secretary within 30 days of show closing. • Work with Producer to ensure a smooth transition is accomplished for the next production. • Send a final email to all cast and crew thanking them for participating, educating them on Pull-Tight artist membership and informing them of the date for Pull-Tight Knot Awards Banquet.
Last Updated: 7/19/14 PRODUCER RESPONSIBILITIES
At Pull-Tight Theatre, the duties of the Producer are mainly twofold:
1. Total fiscal responsibility for the production 2. Supervision of certain areas of the production as requested by the Director
PRE-PRODUCTION • Develop the Production Budget with Director and submit to Board of Directors for approval. • Obtain keys from Executive Producer or Security Committee member and distribute to team members as needed. • Distribute all script/score materials to cast and crew. • Enforce and monitor all production expenses. • Collect all invoices/receipts, approve payment/reimbursement, and forward to the Treasurer for payment. This continues through production and should be completed by closing. Producer signature is required prior to reimbursement/cash advances by the Treasurer. • Communicate budget constraints to production team members, including Props Manager, Set Crew Chief, Costume Coordinator, etc. and assist in gaining access to any existing Pull-Tight resources. • Coordinate with Executive Producer, Producer, and Director of previous show to determine what portion of the set can be re-used. • Recruit and supervise various crew positions as determined with the Director. • Maintain communication with Director and Stage Manager to assure job assignments are being completed in an effective and timely manner. • Communicate cast and crew ticket purchase process with assistance from Box Office Manager. • Facilitate ordering/creation of posters, t-shirts, publicity materials, photos, etc. with the appropriate contacts. • Schedule use of facilities (theatre, church, other venues) needed for rehearsals with the appropriate contacts.
POST-PRODUCTION • Collect all script/score materials from cast and crew (if show is a musical) and see that they are returned to the publishing company according to contract guidelines. • Coordinate and supervise set strike with Director and Stage Manager. The ultimate responsibility of the set strike lies with the Producer! All items are to be struck from the theatre premises within one week of show closing. • Ensure all costumes are cleaned and returned to the appropriate place or people. • Ensure all props are returned or struck from the theatre. • Ensure all lighting not needed by the next production is struck. • Remove all large set pieces from the theatre premises. Nothing can be stored on theatre premises. • Ensure theatre is thoroughly cleaned - restrooms, paint room, dressing rooms (both upstairs and downstairs), lobby, and tech area. • Work with Executive Producer, Director and next production team to ensure a smooth transition for next production, including transferring keys. • Provide a list of ALL cast and crew involved in the production, including a list of box office workers, to the Artist Membership Secretary within 30 days of closing. • Complete final budget report and submit to the Board of Directors.
Last Updated: 7/19/14
STAGE MANAGER RESPONSIBILITIES
The Stage Manager is primarily responsible for providing organizational support to the Director. The Stage Manager should work closely with Director and be present at all rehearsals to document all blocking and creative notes as given by the Director. An effective Stage Manager ensures a smooth-running production.
PRE-PRODUCTION • Meet with Director and identify anything he or she may want you to do prior to and during rehearsals. • Read through and be completely familiar with the script. • Assist with auditions as determined by the Director and Producer.
PRODUCTION • Unlock theatre prior to each rehearsal/performance. The Stage Manager should be the first to arrive and last to leave, securing and locking the theatre at the end of the rehearsal/performance. • Attend all rehearsals unless otherwise specified by the Director. • Record all blocking, business and cues in the Stage Manager’s script as designated by the Director. Ensure crew is informed and equipped to carry • out production requirements. • Assist Director in maintaining the schedule set forth for each rehearsal, monitoring for effective use of time allotted. • Organize backstage areas in cooperation with production team. Establish and assign individual locations for actors. • Maintain an orderly backstage area during rehearsals and performances respective of noise levels and traffic flow. • Prepare and maintain cast sign-in sheet. • Work with production team members to set the stage before each rehearsal and performance, ensuring all props and set pieces are in place. • Call all cues during rehearsals and performances, including circle-up, places, and lighting and sound. • Maintain a clean theatre, communicating with the House Manager on stock levels of cleaning supplies and paper products; creating a cleaning schedule; and ensuring the theatre is ready for patrons before each performance. • Go over Pre-Show Checklist with Door Workers before each performance. • Refer to Stage Manager Checklist for more particulars. • During final week of show, work with Producer to collect all scripts and scores from cast and crew (if a musical).
POST-PRODUCTION • Work with Producer to coordinate set strike and cleanup.
Last Updated: 7/19/14 PULL-TIGHT STAGE MANAGER CHECKLIST (modify for your own use)
5:45 Unlock back door and shed door Turn on front porch and outdoor flood lights Check front porch and ash urns, clean if necessary; check lobby, clean & sweep if necessary Place sign at step side of front porch (patrons to line up on ramp side)
6:00 Dust stage furniture, sweep & mop stage if necessary Check auditorium, clean if necessary (should have been done night before) Check restrooms, clean and supply if necessary (extra roll of toilet paper, paper towels) Lobby & Hall curtains open Turn on any blue lights behind set Turn on stage light breakers both upstairs and behind stage manager’s desk (per posted instructions)
6:15 Start checking on cast & crew arrival Print ticket list from computer and put a copy in the Lobby Turn backstage monitors on
6:30 Vocal warm-ups, body stretching in auditorium; run numbers if musical Actors checking their costumes and props, getting into costumes & makeup Check props on shelves backstage, do onstage presets of furnishings and props Greet door workers and give any special instructions Open safe and instruct door workers on taking money boxes to their seat during Act I
6:45 Check that Tech Crew is in, Tech Crew checking lights, sound, spotlights, headsets Stage Work-Lights OFF Close curtain to crew area in hall
6:55 Lights in Preshow cue, Preshow Music on Go to Blue Lights backstage upstairs & down
7:00 Doors opened to audience Remove sign from step side of front porch once initial influx of audience is inside
7:15 Circle-Up; any special announcements
7:25 PLACES— Check to see that Tech Crew is in place Have lighting tech flash auditorium lights Work with door workers regarding clearing lobby, curtains closed, lights dimmed Check bathrooms, close doors; hall curtains closed and light off
7:30 CURTAIN UP
INTERMISSION: Beginning NOTICE TIME – so you can time the intermission for 15 minutes Open curtains hall and lobby Hall light on Lobby light on Start any set change and clean-up once audience is milling around
15 Minutes Later PLACES tech and cast – Check to see that Tech Crew is in place Have lighting tech flash auditorium lights Work with door workers regarding clearing lobby, curtains closed, lights dimmed Put money boxes in safe and lock safe Close curtains hall and lobby Hall light off, lobby light dimmed CURTAIN UP
END OF SHOW: Open curtains hall and lobby Hall light on Lobby light on Turn backstage and upstairs lights on, blue lights off Turn monitors off
Start set change/cleanup once audience is mostly out the door Tidy up backstage and props area Turn off and rinse out coffeepot if used Supervise auditorium and bathroom cleanup and trash emptying by cast
Finally : Turn off any blue lights behind set Check that light and sound decks are off upstairs Front porch and outdoor flood lights off Lights off upstairs and down All doors locked including shed Turn off stage light breakers both upstairs and behind stage manager’s desk (per posted instructions
EXECUTIVE PRODUCER RESPONSIBILITIES
The Executive Producer acts as the season coordinator by keeping the Theatre master calendar and being the transition coordinator between shows. The Executive Producer term shall run from the first main stage production through the conclusion of the final main stage production, and any Youth Actors Guild productions if applicable.
SEASON OVERALL • Conduct a pre-season orientation for all producers and directors of the upcoming season. Provide current production packet, individual job responsibility • documents, etc. • Be available throughout the season for consultation with individual show production teams. • Order awards for the individual show Techie awards, keeping the results confidential until awards night. • Be present at all set strikes to help efficiently transition from show to show. • Work with succeeding Executive Producer to ensure smooth transition of responsibilities for the next season.
PRE-PRODUCTION • Work with Producer and Director of both immediately preceding and incoming productions to ensure smooth transition from show to show, including the transfer of theatre keys.
PRODUCTION • Prepare show evaluation survey and send link out to cast and crew, communicating the deadline for final survey submissions. • Support current show production Producer and Director as needed.
POST-PRODUCTION • Compile survey results and comments, and present to the Board of Directors. • Distribute survey results to Producer and Director, per Board discretion.
Last Updated: 7/19/14 WORKING WITH MINORS AT PULL-TIGHT (children high school and younger) POLICIES AND GUIDELINES
We believe it is in the best interest of the children we work with at Pull-Tight to set some general guidelines for the time they spend under our supervision. These guidelines will 1) assure accountability and consistency from the adults in authority, 2) offer a measure of security to parents, who often do not know what to expect in a theater setting, 3) give everyone involved – directors, production staff, youth and parents - a clear idea of exactly what is expected of them, and 4) provide protection for both children and adults.
General Guidelines for Directors/Production Staff :
1) A 9:30 pm dismissal from rehearsals should be observed as long as possible in the rehearsal process (i.e. until dress rehearsal week and performances). Exceptions should be made clear in the rehearsal schedule and explained to parents. 2) A maximum rehearsal time period of 3 hours. If long Saturday or Sunday rehearsals are required, they should be broken up with a significant break in between. 3) Clearly state rehearsal times and schedule at auditions. 4) Directors and production staff are expected to use sensitivity in discipline and language (i.e. raised voices and yelling, swearing, abusive or degrading language). 5) Consider dismissing pre-teen and younger children when giving notes at the end of rehearsals or performances and give them their notes before the next rehearsal. Let children go home early if you are done with their scenes. 6) Observe the “two person” rule. To protect the child and the adult - no adult should be alone with a minor. If you need to work with a child actor, have another adult with you. If you need to take a child to the bathroom, stay outside the door. 7) An adult must be in the theater at all times if there are minors present. Two adults should be present whenever possible. 8) We encourage open auditions and rehearsals and parents should be welcome to attend. If you prefer not to have parents at rehearsals, make that request known at auditions. Parents should be let inside the theatre at the appointed dismissal time and not kept waiting outside. 9) Parents must come inside to pick up non-driving children. No kids waiting on the porch. Children should notify an adult staff member when leaving the theatre. 10) Minors should not be required to work on the set.
PPULL--TTIGHT TTHEATRE HOUSE RULES & EXPECTATIONS
Thank you for your involvement with Pull-Tight Players. Following is a list of items that experience has shown will make things run successfully and safely while doing a production at the theatre.
• No smoking is allowed in the theatre building.
• No alcohol or illicit drug consumption is allowed on theatre premises, including in the parking lot.
• All beverages consumed in the theatre must be in covered containers.
• Clean up after yourself. If you bring it in, take it out, especially food wrappings, containers, etc.
• Footwear must be worn at all times!
• The theatre is not responsible for any valuables, jewelry, or money left in the theatre. It is suggested that these items remain at home or be locked in your car.
• Be professional during rehearsals and performances—be punctual, respectful, positive, and attentive toward the production staff and fellow cast and crew members.
• The success of a volunteer activity depends on everyone being equally responsible for maintaining a mutually respectful environment. This includes refraining from inappropriate comments or actions and leaving your personal life and relationship issues at home.
• Keep entrances and exits clear at all times.
• Think safety first! Do not run. Watch where you are going. Do not leave items on the floor in traffic areas. Keep bathroom doors closed at all times to keep the hallway clear. Report any safety concerns to Stage Manager.
• Cell phones should be turned completely off during rehearsals and performances. If you have a legitimate need for access to your cell phone, clear this with the Stage Manager.
• Cast and crew members should enter and exit through the back entrance, and sign in on the chart located there. Cast should not be seen in the auditorium, lobby, or public part of the hallway once the door has opened for audience before a show.
• Only authorized and necessary personnel are allowed in the technical booths or on the catwalk.
• Cast members are responsible for care of personal costume items. Hang everything up as soon as it comes off. It is your responsibility that your costume be ready for the next day’s performance. Notify the Stage Manager of items that need cleaning or repair. • Cast and crew belongings must be stored under chair or on table space assigned to you. Leave backstage areas clean and orderly at the end of each performance.
• Talking backstage is extremely hazardous to you and your show! Please be aware that the walls are thin, and you can easily be heard by the audience. Noise backstage also makes it difficult for your fellow actors and crew members to hear cues and do their jobs. Respond immediately to any Stage Manager request for quiet.
• No one should leave the theatre during a rehearsal or performance without permission from the Stage Manager. This includes a run to Baskin Robbins or Starbucks!
• No one is to touch any prop or costume piece unless it is specifically assigned to that actor or member of the properties crew.
• Only cast and crew are allowed backstage during rehearsals and during the production. Flowers or other gifts may be brought backstage by door personnel or crew.
• Cast and crew members are to use only the designated Cast Restroom during the run of the show. Due to noise problems, do not flush the toilet during a performance. Avoiding use of the bathroom except before and after the show and during intermission is recommended.
• Cast and crew may not “save seats” in the auditorium for family and friends for any reason. If handicapped seating is required, the request must be made at the time of ticket purchase. Please advise ticket holders to be aware that Pull-Tight does have general seating and it is best to arrive when the door opens (half an hour before curtain) to have options for seating, especially when seating a group.
• Resident cast and crew are responsible for maintaining the auditorium and risers, bathrooms, and green room/dressing rooms during rehearsals and production. A schedule will be set and posted by the Stage Manager.
• The Pull-Tight Set Crew and Fire Safety Rules are posted in the Theatre. Please familiarize yourself with these as well so that you may comply with them.
• During shows, the cast and crew are asked to park in the City Parking Garage next to the theatre in order to reserve parking spaces beside the building for patrons. Also please observe the No Parking sign directly in front of the rear exits.
• If you have any concerns that have not been answered to your satisfaction by the Director, Stage Manager, or Producer of your show, please contact any member of the Pull-Tight Board of Directors. A list is posted on our Website (www.pull-tight.com) and appears in every Pull- Tight newsletter.
We appreciate you and are glad you are here!
PPULL--TTIGHT TTHEATRE HOUSE RULES & EXPECTATIONS
I have received and read a copy of the Pull-Tight Theatre Houses Rules & Expectations. I understand that I can be dismissed from my role in this production for infractions of the House Rules as perceived by the Director, Producer, or Stage Manager.
I understand that by accepting a role in this production I am making a commitment to my fellow actors, the production crew, and the theatre company to:
1) Know and comply with these Rules & Expectations.
2) Comply with the rehearsal and performance schedule.
3) Ensure that the Director and Stage Manager know how to reach me at all times.
______Print Name
______Signature Date
FIRE SAFETY RULES
1. In event of a fire or other theatre emergency, all adult cast and crew member’s first obligations are to clear the theatre. Please assist children and the elderly and anyone else you can help. Anyone upstairs during the emergency does not need to help anyone but themselves.
2. All who are upstairs need to familiarize themselves with all exits down – the back stairway, the wall ladder in the corner (near the lobby) in the auditorium, and the drop-down emergency ladder upstairs that is located where the catwalk begins, in the corner where the signers stay. NOTE: This ladder must stay in that location, preferably hooked over the inside edge, at all times, so that it can be quickly turned around and hung down into the auditorium in the event of an emergency. Important : Use the “catwalk” edge to hang the ladder, rather than the edge where the signers stand.
3. Only tech crews are allowed upstairs on the catwalk. Absolutely no audience or cast members are allowed on the catwalk or in the light booth.
4. There is a child monitor system upstairs in the back dressing room. If cast members are using this dressing room, the monitor should always stay plugged in, in the “on” (red light lit) position. The other end of the monitor is located downstairs by the TV screen. This should be turned “on” during productions. This system is to help notify people in that dressing room who may not otherwise hear of an emergency in the theatre.
5. There are four fire extinguishers in the theatre – two downstairs (one backstage by the stage manager’s desk, one in the lobby behind the counter), and two upstairs (one to the right of the light board facing the stage, and one on the wall outside the back dressing room, behind the signers’ area). All four of these are fully charged.
6. There can be absolutely no open flames in the theatre, either onstage or offstage.
7. There are smoke detectors in the building. If an alarm should go off, the building must be evacuated.
8. During performances , all exits must remain clear, unblocked, and unlocked. Bathroom doors are to remain closed. Nothing can block the hallways, such as set pieces or ladders. The paint room door is to be closed.
[Musical]
[Non-Musical]
PULL -TIGHT PLAYERS THEATRE P.O. Box 105 Franklin, TN 37065 (615)790-3204
Pull-Tight Players is pleased that your child has volunteered to assist with this production. We want this to be a safe and fun experience for you and your child. Included with this letter are a copy of our House Rules, a production schedule, Pull-Tight’s policies on working with minors, and a list of our Board of Directors. After reading this letter carefully, please sign and return to the show’s director.
Punctual attendance at any rehearsals for which your child is scheduled is a primary responsibility. Please take note of the attached rehearsal and performance schedule, and let the director know of any conflicts as soon as possible. Other rehearsals may be scheduled as needed. During the last two weeks prior to opening night, rehearsals may continue later in order to simulate performance times. Due consideration will be given to students’ work and school schedules, but your child must be made aware that this is a serious commitment. Adherence to the House Rules and proper theatre decorum will be enforced at all times.
We ask that you be responsible for providing your child’s transportation to the theatre, and that you be prompt in picking up your child.
The Director of this production and the Board of Directors are available to answer any questions you may have or address any concerns. Feel free to contact any one of us if we can be of service.
Please sign below and return as soon as possible.
Sincerely,
______Director Phone & the Pull-Tight Players Board of Directors
I have read and understand the above guidelines, House Rules, and policy regarding working with minors at Pull-Tight. I hereby release Pull-Tight Players, Inc. and its representatives from any liability in the event my minor child is injured while participating in a theatrical production at the Pull-Tight Theatre. I also hereby give my permission for any photos or other media taken of my child as a cast or crew member in this production to be used by Pull-Tight Players, Inc. in its promotional materials without expectation of remuneration.
______Parent or Legal Guardian Date
I acknowledge reading and understanding the above :
______Minor’s Signature
PULL-TIGHT PLAYERS, INC.
CONTRACT FOR MUSICAL SERVICES
This agreement is made between Pull-Tight Players, Inc. and
______as accompanist for the production (musician)
______. The fee for this production will be (production)
$______.
Included in this fee will be all performances and holdovers, a rehearsal tape if requested, and as many rehearsals as are agreed upon by the director of the production and the musician. Should Pull-Tight decide to terminate this agreement, the musician will be compensated $15.00 per rehearsal completed.
Signed ______Date ______(Musician)
Social Security #: ______
Mailing Address: ______
______
Phone: ______Email: ______
Signed ______Date ______(Producer)
Actor Bio for Program
• You may fill in this sheet, OR write a bio on the back, OR attach a bio already written. • About 5-6 sentences is a good estimate. We reserve the option to edit for space. • Please turn in by ______to the Stage Manager.
NAME (as you want it listed in the program) ______
ROLE YOU ARE PLAYING: ______
Fill out below only if you want us to write your bio. Otherwise attach a bio you have written or write one on the back.
ANY PERSONAL INFO (e.g., spouse, children, work, church, whatever you like): ______
PAST STAGE CREDITS: ______
PERSONAL COMMENTS YOU’D LIKE INCLUDED: ______
CHECK IF NEW TO PULL-TIGHT CHECK IF THIS IS YOUR STAGE DEBUT ANYWHERE
HOBBIES OR OTHER INTERESTS ______
Check here if bio is written on the back. MEASUREMENT SHEET
NAME: ______
CHARACTER: ______
Hat: ______
Neck: ______
Chest: ______
Waist: ______
Hips: ______
Wrist: ______
Waist to Just Below Knee: ______
Waist to Ankle: ______
Nape of Neck to Waist: ______
Shoulder to Shoulder (Back) ______
Shoulder Bone to Wrist (Arm Bent): ______
Shoe Size: ______
Normal Dress Size (Women): ______
Normal Top Size (Women): ______
Normal Skirt/Pants Size (Women): ______
Normal Jacket Size (Men): ______
Normal Pants Size (Men): ______
Normal Shirt Size (Men): ______PULL-TIGHT PLAYERS FRANKLIN COMMUNITY THEATRE P.O. Box 105 ••• Franklin, TN 37065 ••• (615) 790-3204 ••• (615) 790-6782 ______
COMPLIMENTARY TICKETS POLICY
1) The number of complimentary tickets allotted to each show is to be equal to the number of regularly scheduled performances of the show. Holdovers are excluded in determining this number.
2) These tickets are to be used at the discretion of the Director of the show.
3) Complimentary ticket requests can be submitted to the Box Office manager before and/or throughout the run of the show. Once the Box office opens to the general public, tickets are subject to availability.
Replaces “Comp” Tickets policy dated October 4, 1997
Adopted by Pull-Tight Board of Directors April 6, 2008
Production Crew
Director Producer Stage Manager Director’s Assistant Musical Director Accompanist Musicians Choreographers Set Design & Construction Chief Construction Crew Costume Coordinator Costume Assistants Props Light Design Sound Design Light & Sound Execution Program Billboard Photography Lobby Display Door & Concessions Coordinator Publicity House Manager Executive Producer
Special Thanks: PULL-TIGHT PLAYERS FRANKLIN COMMUNITY THEATRE P.O. Box 105 ••• Franklin, TN 37065 ••• (615) 790-3204 ••• (615) 790-6782 ______
LOBBY DISPLAYS
The Board of Directors has adopted the following policy for Lobby Displays. Please be sure that as a director or producer, whoever is in charge of the display is aware of the criteria.
All Lobby Displays are to be confined to the display case with the possible addition of the removable shelf found in the storage shed.
No painting, gluing, tacking, taping, or adhesive materials of any kind are to be used on the walls.
For the safety and comfort of our guests, the floor area is to be kept as free of display decorations and furniture as possible.
Replaces Lobby Display Policy/Production Packet insert dated January 19, 2003
Adopted by the Pull-Tight Board of Directors April 6, 2008 To be placed in production packet General Box Office Information
Cast and Crew Ticket Sales I will get Cast and Crew ticket sale info to the producer 2 weeks prior to sale date. It is the only chance to get tickets early. If holdovers are added, no early purchases will be arranged.
Door Workers Please send your Door Coordinator’s contact info to the Box Office Manager. I can give them email addresses to help with recruiting volunteers. I will also send them a Door Worker Duties List to send to the people who sign up to work. Emphasize that if the show is sold out and workers do not have a ticket, they are not guaranteed a seat. Please report to Box Office Manager if anything unusual happens when working door for a show.
Guest List I will get Guest List access login info to your Stage Manager one week prior to opening.
Theatre Seating Capacity We sell 90 seats per show. There is room for at least 92 or 93 seats in the theatre. These allow a little room if there are any seating problems (a season ticket holder shows up on the wrong night, etc…). Do not use the extra seats until all ticket holding patrons have been seated. Then they may be used/sold at the discretion of the show’s Director. Please do not advertise the availability of extra seats. They are for emergencies. (:
Ticket Availability Updates I will be in touch with the Producer and Pirector often to report on ticket availability for your show. If you have any questions or problems, please feel free to contact me any time.
Buy One, Get One Free Specials I will watch ticket sales and if there seems to be a particular performance that needs a boost, I will contact the Producer to let them know that we’d like to do a Buy one, Get one free special. This is not determined until the week of the show. We send an email to our PT list on the Monday of the week of the special date. These are just added as needed. Every show will not have one.
Holdovers or Cancellations Any time a holdover or cancellation is needed, the Director and Board will make that decision and let the Box Office Manager know as soon as possible so that I can get information out as quickly as possible.
Heather Bottoms, Box Office Manager [email protected] (H)794-7365 (C)268-6351
TIPS FOR POLYURETHANING THE FLOOR (thanks, TJ!)
--Buy a polyurethane that is SATIN (NOT GLOSS). Gloss will be too shiny and reflective in the lights.
--Buy one that is specifically FOR FLOORS. This will keep it from forming bubbles when applied.
--Buy one that is OIL-BASED, not water-based.
--Ask someone at the store to shake it in the machine. Otherwise, stir it well. The product tends to separate, and if not well mixed you will have areas of the floor that are shinier than others.
--Allow a good 24 hours for it to dry before use.
TJ’s Recommendation: