College Liberal Arts and Social Sciences Theatre Department Student Handbook 2017-2018

Welcome to the Avila University Theatre Department. The faculty and staff have compiled a short summary of departmental policies that will help our theatre run smoothly. We encourage students to read this and, if there are questions, to please discuss them with the appropriate faculty member.

Section I: Members of the Full-Time Faculty

Mr. Jason Harris is Associate Professor of Theatre and Director of Theatre Design/Technology. He designs, builds, and/or supervises all design and technical aspects for the main stage shows and teaches theatre design and technology courses. Mr. Harris’ recent research interest is theatre environmental sustainability. While at Avila, his students have won awards for their work at the American College Theatre Festival. Professor Harris provides his students with internship opportunities and, after graduation, they are prepared to work professionally and/or advance to highly-selective graduate programs. Mr. Harris holds an MFA from the University of Missouri at Kansas City. His undergraduate work was in secondary education from Kansas State. Before joining the Avila faculty, he worked at the Kansas City Repertory Theatre, Quality Hill Playhouse, and the Coterie Theatre. Since coming to Avila, Professor Harris has worked during the summer, alongside his students, as Technical Director Theatre in the Park and Starlight Theatre, and he continues to design for many local theatres. Mr. Harris, who was the 2006-2007 Avila University Professor of the Year, is a member of United States Institute for Theatre Technology, a top association for performing arts professionals

Dr. Charlene Gould is Professor and Chair of Theatre/Producing Artistic Director of Goppert Theatre. She also serves as the College of Liberal Arts and Social Sciences Dean. Dr. Gould earned her Ph.D. from the University of Kansas in theatre and media arts with specialization in directing, theatre history/critical theory, and women’s studies. While at KU she studied with all-women professional theatres in New York and Minneapolis. She wrote her doctoral dissertation on working-class women’s theatres. She was a recipient of a post-doctoral fellowship at Northwestern University where she participated in historical and interdisciplinary representation of the Holocaust. Dr. Gould co-authored, with historian Dr. Jeffrey Myers, “The Performance of Memory: Diane Samuels’ Kindertransport, Tim Blake Nelson’s The Grey Zone, and Holocaust Representation,” which was published in Trajectories of Memory: Intergenerational Representation of the Holocaust in History and the Arts (Cambridge Scholars Press, 2008). Additionally, she has served as a referee for the Holocaust and Genocide Studies Journal for the Center for Advanced Holocaust Studies at the United States Memorial Holocaust Museum in Washington, DC. Dr. Gould, is a member of and has presented several times at the Association for Theatre in Higher Education, which is the premiere professional organization for theatre educators. Dr. Charlene Gould’s commitment to social justice issues is best found in the productions she directs, which include: Silence, The Diviners, A Piece of My Heart, Marisol, Dead Man Walking, The Grey Zone, and Kindertransport. She will direct These Shining Lives next spring.

Ms. Erin Joy Schmidt, Visiting Assistant Professor of Theatre, is a nationally recognized actor, director, and teaching artist. She holds an M.F.A. in Acting from The Actors Studio Drama School at New School University, where she was awarded the prestigious Shubert Scholarship for Excellence by her peers. She also holds additional training in Meisner Technique from The Ward Studio and Alexander Technique from the Alexander Technique Center for Performance and Development in New York City. She is a lifetime member of the Actors Studio. As an actor, Professor Schmidt has performed regionally in over forty productions, including several world premieres. She has worked at the Williamstown Theatre Festival, Mirror Rep, City Theatre, and Palm Beach Dramaworks, among others. She has been an acting company member at Mad Cat Theatre Company since 2007, and is a proud member of the Actors Equity Association. Prior to joining the faculty at Avila, Ms. Schmidt was a Professor of Theatre at Broward College and New World School of the Arts, where she taught all levels of acting, and most recently, she was Artistic Director at the Frierson Theatre in Chattanooga, Tennessee where she directed several productions, including Into The Woods, The Grapes of Wrath, Uncommon Women and Others, and Pippin.

Dr. Amity Bryson, Professor of Music and Music Department Chair, advises for the musical theatre concentration, teaches voice and diction classes, and serves as the music director for main stage musicals. Dr. Bryson holds a DMA. in vocal performance from the University of Missouri-KC Conservatory of Music. As a lyric soprano, Dr. Bryson continues to perform on both the recital and opera stage. Recent recitals include a program of art songs by women composers, featuring “In a Persian Garden” by Liza Lehmann. Opera roles have included Zerlina, Juliette, Ännchen, and Gretel in Hänsel und Gretel. Dr. Bryson is active in local, state, and national professional music organizations. She is the past- President for the K.C. Metro National Association of Teachers of Singing and Repertoire Standards Chair for Women’s Choirs for the American Choral Directors Association. Her choir, University Singers, has performed in Carnegie Hall and has taken two tours through Italy participating in an international music festival.

Dr. Michalis Koutsoupides is Music Artist in Residence and teaches violin, viola, piano, music theory courses and ensembles. Dr. Koutsoupides has taught in the public system and privately since 2007. He holds a Doctoral degree in Viola Performance from the University of Texas at Austin, a Master’s degree in Violin Performance, as well as a Bachelor’s in Violin and Composition from the University of Kansas, and piano Diplomas from the National Conservatory of Cyprus and the Royal Schools of Music. Dr. Koutsoupides appeared in music festivals across the United States, the Czech Republic, France, Italy, Greece, Cyprus and the United Kingdom. Dr. Koutsoupides was featured as a soloist with the Cyprus Chamber Orchestra, the St. Joseph Symphony, the University of Kansas Symphony Orchestra and the Austin Chamber Players. He recorded with groups in Texas, Kansas, Missouri and New York, and regularly performs with the St. Joseph Symphony, Kansas City Chamber Orchestra and the Kansas City Symphony. He enjoys playing in the orchestra pit and conducting for shows at the New Theater, KC Repertory theater, The Barn, Jewish Community Center, Johnson County Community College, Unicorn, American Heartland Theatre, Musical Theatre Heritage and other venues around town. Michalis has orchestrated for new productions, such as Have You Met Miss Jones?, Rhythm City and arranged for several other productions. He has had the honor of sharing the stage with names such as Sir. Peter Gabriel, Idina Menzel, Shirley Jones, Ron Bohmer, Stevie Wonder and many others. Originally a native of Cyprus, Dr. Koutsoupides is proud to be calling Kansas City home.

Section II: College Degree Program

 Academic Advising and Faculty Advisors Who students see for academic advising depends on the major/minor. Advising for spring begins in mid-October and for fall/summer in mid-March. o BFA Acting and Directing: Gould o BFA Design/Technical Theatre: Harris o BFA Musical Theatre: Bryson o BA Theatre: Gould or Harris o Theatre Minor: Gould or Harris o Dance Minor: Gould

All students are responsible for the planning and execution of their academic programs. Even though an advisor is assigned to each student, the student has the responsibility for properly fulfilling all academic requirements. Students should access their online advising information and monitor their progress. Students should also refer to the academic university catalog the year of entry and abide by its pronouncements, including maintaining appropriate grades. Students are responsible for checking their email frequently for important enrollment and academic information.

 Student Academic and Production Concerns Students should feel free to approach any and all theatre faculty and are encouraged to drop by their offices or make appointments for lengthier discussions. For class concerns, see the instructor first, then the appropriate advisor if concerns persist. If the issue cannot be resolved with the instructor teaching the class or by the advisor, then the advisor will recommend making an appointment with the Chair.

Production concerns should be addressed first with the Director, Stage Manager, or faculty in charge of the production area. If the issue is not resolved or there remains a concern, please contact the Chair.

Section III: Theatre Major/Minor Expectations and Theatre Grant Obligations

The main stage productions are considered true co-curricular activities. What this means is that the academic curriculum is directly tied to the activity, in this case the productions. We provide a very interactive and hands-on learning environment, so we can readily transfer what we learn in the classroom to practical application on stage. With this said, all theatre majors and minors need to be involved in the production elements to fully understand theatre as an academic field. As in the past, we will try to accommodate schedules but, as a theatre major/minor, make production work a priority. There are a variety of assignments that allow for either afternoon or evening work. Everyone is expected to be a part of strike.

Students who are on grant will be assigned no fewer than two production duties each semester.

Students are expected to fulfill their production obligations. Please note the following process for grant assignments: o Semester production assignments will be posted on the call board the first week of rehearsal for the first show. o Students have an obligation to understand what the production assignment requires by contacting the faculty member in charge of their assigned area. o Students need to make weekly contributions to the production assignment, unless it is a running crew assignment or tech week through strike assignment; all participate in strike. o Students’ preferences for backstage assignments are considered, but everyone is required to get a well-rounded theatre experience. o The department has established a probationary status for those students who do not meet the academic and production standards. Each student is evaluated on her/his contribution/participation and is evaluated on a semester basis during reviews, which will occur during academic advising. o Theatre faculty determine continuation of grant money or if students are in good standing with the department. o Those in violation of grant requirements are counseled and, depending on the severity of the violation, given a letter of warning with an improvement plan and placed probation. If no improvement is made, grants may be withdrawn and a formal plan implemented for academic improvement. Students not on grant but who are theatre majors or minors are still expected to participate in co-curricular activities due to the integrated nature of programming. Students who refuse to participate in co-curricular learning activities will be placed on an individual improvement plan and will be considered in poor standing with the department until the probationary period is successfully completed. Anytime a student is put on probation, habitually does not attend classes, or is failing a class, the theatre department has the right to request the immediate removal of the student from production(s). Students who repeatedly violate policies risk being dismissed from the major.

Section IV: Production Policies

 The Goppert Theatre season consists of four main stage shows. There are also several other opportunities to perform throughout the year in performance classes. Acting and directing projects occur in the McKeon Performance Studio (located just off Goppert lobby), in Hodes (HOD) 714 Dance Studio, on the steps of Marian Center, by the fountain, or sometimes just about anywhere we can gather an audience. Approval for non-traditional sites needs to be confirmed before the performance is held. Avila Theatre also partners with Theatre for Young America, a local professional children’s theatre at Union Station.

 Off-Campus Work and Production Assignments In the past, students have been successful working around conflicts. Most work will arrange schedules if students discuss their university obligations. The policy concerning off-campus working and production assignments is: o Off campus production work that conflicts university obligations is prohibited to all Theatre Performance Grant recipients, without departmental approval. Please see the Director of Design and Technical Theatre for any technical production assignment conflicts. Please see Chair of for any acting production assignment conflicts.

 Production Eligibility Requirements Being cast in a Goppert production is considered a privilege not a right. All auditions and casting are handled as objectively as possible. Casting of Goppert productions will be decided by the Stage Director with input from the Chair/Producing Artistic Director. Auditions are open to all students, faculty, staff, and community members. Everyone is encouraged to audition and can be considered for all roles. Priority is given to Avila degree-seeking students. All students are expected to maintain at least a 2.0 GPA to be cast in productions.

All B.F.A. Acting majors and Musical Theatre majors are required to audition for the Goppert productions unless they have been assigned a technical position prior to the audition date. B.F.A. Tech and Directing and B.A. General Theatre majors have the option of auditioning, but are required to have a production assignment if they choose not to audition.

 Rehearsals Rehearsals begin on time. In the event that the Director is detained the Assistant Director or Stage Manager will begin the rehearsal. All actors are due in the theatre before rehearsal begins and are to remain until released by the Stage Manager. It is not departmental policy to conduct rehearsals past 11:30 p.m., although some rehearsals may occasionally run longer. During tech week or dress, expect late rehearsals. We are concerned with having a great product, but we also must balance this with keeping everyone healthy.

An unexpected absence from crew work, rehearsal or a performance should be handled in one of the following ways: o Contact the Stage Manager or Director in-person or by phone. Contact sheets are provided the first rehearsal. o Contact the Chair or the Director of Technical Theatre by email or voice mail, if the Stage Manger or Director is unavailable. o No contact is unacceptable.

Students working in Goppert Theatre and McKeon should keep mindful about safety concerns. Spaces are available for all theatre students to rehearse and work but doors will be locked by Security after midnight. Students who remain to work should be cautious, work with another person, and avoid propping doors. For Goppert rehearsals and productions, the Stage Manager is charged with clearing the building, turning off the lights, and will enforce this regulation. For McKeon, please make sure that all doors are shut and locked when leaving the building.

 Security and Health Emergencies Do not leave valuables—purses, book bags, computer laptops, and so forth—on the couches during the day or evening unless someone is there to oversee the items. We have had several instances of missing property, unfortunately. Please don’t hesitate to call the Security number for immediate assistance or 911 if there is an emergency. It is recommended you have Security mobile number programmed into cell phones. Please notify the Stage Manager and/or faculty immediately if there are any security concerns or equipment missing. Report any health issues on your rehearsal medical form completed at auditions. Report any injury during rehearsal immediately to the Stage Manager or faculty member in charge.

The Public Safety Office is located in Whitfield Center by Subway.

o Public Safety Mobile: 816-501-2474 o Public Safety Office: 816-985-6079 o Extension on campus: ext. 2474

Section V. General Information

 Props and Costumes

No props or costumes may be removed from their respective storage areas without permission of the student managers in charge of these areas. The Director of Design/Tech assigns students to these duties. Costumes or props are not loaned out for private use. For class scenes, a checkout policy for both costumes and props is in place. Please respect the student workers and faculty members in charge and abide by the rules below so our scenes, classes, and productions run smoothly. o Costume Shop and Prop Room Managers will be assigned for each semester. o Students must check out items from the managers during the posted arranged hours. o Students must return all items to the manager at the appropriate assigned times, immediately after performance, or it could impact project grade. o This policy will be stated on all performance class syllabi and be a part of the class assessment.

 Keys A student requiring a key to any office or supply room must have departmental permission. Keys to the Costume Shop and Prop Room cannot be obtained from the Theatre Office. Special arrangements are made for Stage Managers or Senior Directors who need to view available items.

 Call Board and Mailboxes Call board is located in the Theatre Production office. Casting and production assignments are posted after auditions each semester. Rehearsal communication or class cancellation is done via email so please check your Avila email account on a regular basis.

Mailboxes are located in the Goppert Coat Room. Please check your mailboxes weekly. Items stored on the floor or on top of the boxes run the risk of being thrown away.

 No Smoking Rules There is to be no smoking in any area of Goppert Theatre, the Dance HOD 714, or McKeon, unless it is in the context of a scene or production.

 Lobby Cleanliness Please be mindful of the lobby and kitchen areas. Students are to pick up after themselves, recycle and thrown away trash as needed.

 Complimentary Ticket Policy Ms. Xanda Pilley is in charge of the Box Office. She will be distributing the comp policy to theatre students via the mailboxes. Be respectful of Ms. Pilley and the student workers in the Box Office.

 Senior Projects Senior projects are incorporated in the Goppert main stage shows. In rare instances where this is not possible, individual projects must be arranged through the Chair and sponsoring faculty member. Guidelines must be established for the show before rehearsals begin. Please note that arranged projects are not fully produced shows, and students should work for a minimal staging and production concept, yet one that does not limit creativity.

 Equipment Use of power tools and equipment must be done in the presence of at least one other person for safety purposes. Any accident, broken tools, inoperable equipment or damage to the physical plant must be reported immediately to the Director of Design/Technical Theatre. Section VI: Philosophy The objective of the Theatre Department is to provide students with expansive and immersive training in their chosen field while challenging their growth and development on the physical, intellectual, social, and spiritual levels. This is done in a variety of ways: o Through the experience of working with and for others, students develop an awareness of what it means to be human and to be an educated person who is open and tolerant. o A liberal arts education is offered providing a solid basis for the needs of professional areas. o Graduates are assisted in discovering available opportunities such as graduate fellowships and grants, professional auditions, and professional or academic employment. o We are “ensemble oriented,” which means learning our craft in the spirit of togetherness and friendliness, while obtaining and giving the best possible training in theatre. There is no reason for public displays of personal problems or personality conflicts. The integrity of each individual as an artist is sacred to all, but the good of the group is of prime importance. The goal of the department is to foster an environment that is supportive of both concerns.