Theatre Ink Proudly Presents…

Translations “It’s easier to stamp out learning than recall it.”

by Brian Friel Directed by Tim Finnegan February 6th, 7th and 8th, and 9th 2013 at 7:30pm in the Little Theatre Tech Day on February 2, 9am – 6pm

GENERAL INTEREST MEETING: Thursday, October 11th at 3:30pm in Room 171

AUDITIONS will be held on Monday, October 22nd from 3:30-5:30pm and Tuesday, October 23rd from 4- 6pm in the Little Theatre

Sign up for a slot at the Translations Callboard by room 171. Pick up a callback packet or get one at theatreink.net!

Callbacks will be held on Wednesday, October 24th from 3-6pm

Questions? Contact us!

[email protected] [email protected]

“Vesperal Salutations To You All!”

Thank you, and welcome to the audition process for Brian Friel’s “Translations”: the story of a small group of local tenant farmers who are unwittingly being forced to give up their land rights under the façade of “mapping” by the English government. The show will prove rewarding by giving its actors the honor of bringing it to life through their own decisions, and indecisions, on the stage. It’s a minimal show, which gives each character the challenge of holding the play up with his wit, or her sharp tongue, or their overall inability to just live life the way they want to live it. Read through the packet carefully and follow its suggestions. This will ensure the best possible audition experience.

Tips for Pre-Audition

-Please read the play in advance. Understanding the character’s overall arc in the play will help you make more informed decisions about your audition monologue. The summary is basic, and will only help supplement the play itself. Read it. Please.  -Make use of your “teachable” resources. Talk to myself, Mr. Brown, Mr. Barrington- Haber, or someone about the show and get clarity, get excited, or just plain get mad! We can’t tell you how to audition, but we can talk about stuff that make you more confident in the show and its characters. That’s a pretty good start!

Please Post: Go BIG, or Go Home!

-Own your choices. While you are in the spotlight, I am looking for a lot of what I call “intangibles”—decisions that show you are willing to go deep, or search into this character. Getting the words right is great, but turning into someone else takes guts. Use ‘em! -Move with The Meaning of Life. Do your characters have “a-ha” moments? What are they searching for? Help them find it by moving around when you feel it appropriate. Nerves are all over this play, so a few nicely selected nervous “tics” may make you real in the role. But rule them! If you let them rule you, then you’re just being nervous.... -Fall in line, soldier! A-tten-tion! Speak up (unless your character doesn’t), own your voice, loud and clear, and don’t forget the basics: what do you want to get out of the moment (intention), why do you want it (motivation), and what’s standing in your way (obstacle)? -Relax. Prepare the part and it will show in everything you do. You’re already a winner for showing up choosing such a sweet show! So have a little fun with it, too. -Accents Encouraged. The show will utilize both Irish and English accents, so why not try it out as you prepare your audition. Not only could it add to the speeches / your sense of the characters, but it shows an actor who is ready and willing to “go big” with his/her choices.

AUDITIONS: Sign up for a 30-minute audition slot on the callboard. Make sure you fill out your audition card and conflict information before hand. You will be called in with the rest of the people in your slot, and we will introduce ourselves, warm you up, and remind you of what we are looking for. You will be dismissed and called in based on the order on the signup sheet. Please “Slate Yourself” before you bring your monologues—tell us your name and which monologue/character you will be reading for. Once you have finished the first reading, in all likelihood, we will give you a note (something we would like you to try, something you could improve upon), and ask you to read again, keeping that note in mind. We may or may not ask you to read your second monologue, again with the possibility of doing it once more with our notes in mind. Since good actors try things out, a better actor is willing to try different things out each time.

CALLBACKS: If we feel that we need more information about you as an actor in order to make good casting choices, we will call you back. This means that you will be put into pairs or groups of people and asked to read selected scenes from the play as a specific character. If you are called back you may be reading for more than one role or you may be asked to read a given scene more than once. Basically, the callback process is going to help us as directors see the full extent of your acting ability so that we can make the most informed casting decisions. To help you prepare for the possibility of a callback, please pick up a callback packet at the callboard or get it from www.theatreink.net as early as possible.

So What’s This “Translations” All About, Sir?

ACT I The play opens with a man, apparently a teacher, working with a student who is struggling to learn to pronounce words, though she’s fully grown. Already translation and communication is happening. While this happens, Jimmy Jack Cassie, the Infant Prodigy, reads Homer in the corner to himself. He loves the concept of “the Classics” and reads Latin and Greek almost exclusively. He and Manus, the teacher, talk about Athene and how much Jimmy loves her. Maire, a young field hand, arrives and starts preparing for class as she talks to Jimmy and Manus. The group continues to grow. Bridget and “Doalty” enter and spill all the local gossip, including the apparent drunkenness of Hugh, Manus’s father and the teacher of this apparent school. A community takes shape as they all share jokes, stories, and flirtation – this is how Ireland is. Simple, but romantic. Hugh enters the scene, drunk but fully functional, and begins immediately conducting his own particular “brand” of education, incorporating Mathematics, Geography, and Latin into his stories of the baptism of Nelly Ruadh’s baby and the concurrent party at the local pub. It is here that the plot of the play starts to take shape, when Hugh mentions several English officers, “Royal Engineers” he calls them, and their task to rename the entire country of Ireland piece by piece from its original Gaelic into a more Anglo-friendly English version of the name.

As soon as Hugh leaves, Owen, his older, more enterprising son, enters and mingles with everyone at the school, which he hasn’t seen in six years. Apparently, after introductions, he comes on business to introduce the very English officers Hugh just spoke of, and they enter. Captain Lancey comes in and tries to tell the people about the renaming process and what it means for the people of Ireland. In his words, it means nothing will change but the names, but to the very few who understand any English, Owen and Manus, he is also telling them that changing the names means “re-deeding” the land, which would ultimately take the people’s land ownership rights away. “Roland,” as Lancey mistakenly keeps calling him, tries to translate all of the Captain’s speech, but oversimplifies it, which puts the class at ease, but upsets Manus, who knows the proclamation intends something worse. At this moment, Lietenant Yolland, a young, recently enlisted, bumbling English soldier, tries to say a few words, but fails and embarrasses himself. The act ends with Manus and Owen arguing over what Lancey meant.

ACT II The act opens with Owen and Yolland undertaking the process of renaming, becoming tired and bored with how meticulous everything is, and frustrated by how Yolland’s superiors are yelling at them to move faster. It is here that Yolland starts to show his infatuation with Ireland—its land, its people, its culture, and even its language, and shows a willingness to learn Irish himself. Owen tries to encourage him in following his whim, but both Manus and Doalty seem baffled by Yolland’s apparent contradictory behaviors: “I understand the Lanceys perfectly but people like you puzzle me.” Yolland continues to open up after Manus and Doalty leave and talks about his father and how he never related to him because he was cold and calculating, “like Lancey,” while Yolland himself feels much warmer, much more “Irish.” He reveals here that he was supposed to go to Bombay, India for his military assignment but “missed the boat. Literally,” and ended up being shipped to Dublin for this map renaming duty.

Hugh enters at this point and provides Yolland with a beautiful lecture about what Ireland is, and what its problems are. Owen dismisses him, and then gets upset, telling Yolland about how his father represents Ireland, too, their stubbornness in resisting change and only appreciating their past and staying blind to the future. It is also here that Owen is so upset that he sets Yolland straight about constantly misnaming of him: “For God’s sake! My name is not Roland!” This brings them back on the positive and joins them together in a moment. They start drinking when Manus arrives. He tells the two about a new job he was offered, but that he’d have to leave to take it. Everyone seems excited by the prospect when Maire joins them. It is here where the “love triangle” gets its first attention. It is obvious that Yolland is smitten by her, and is trying to use Owen to translate to get information about her. Maire seems interested in Yolland, too, which creates one of two hilarious moments of two people who don’t understand each other trying to talk through a single translator. Yolland hears about and accepts Maire’s invitation to join her at a dance the following night, then gets drunk on Irish moonshine and starts dancing on a stool!

In the following scene, Maire and Yolland come in after running away from the Fiddler’s dance, both out of breath, hand-in-hand, and laughing excitedly. The two of them don’t understand each other, but are clearly attracted to each other. The scene then goes from comical to beautiful as the two do their best to communicate their feelings to each other, trying everything they can. Eventually, they kiss, which Sarah, who comes on stage looking for Manus, sees, and runs off.

ACT III The scene is back in the hedge-school room with Sarah trying to tell Manus about what she saw, but Manus not paying attention because he already knows what she saw. He saw it, too. There is a real tension in the air, though, as Owen seems upset, too. We learn that everyone is on edge because Lieutenant Yolland has gone missing, and the English are getting angry, suspecting foul play. Manus, upset and unsure of what to do, decides he’s going to run away and hide out with some distant family in the West of Ireland (in Mayo), leaving Maire behind, as well as his recent job offer. Owen tries to stop him, but Manus is resolute. He says good-bye to Owen and Sarah, and disappears.

We start to see deterioration as Sarah tries to explain to Owen where Hugh is at, but Owen doesn’t understand her. Doalty and Bridget enter in truly excitable spirits because there are battalions of English soldiers arriving and running across the land, wreaking havoc as they do. It is now obvious that all the commotion is due to Yolland’s disappearance, and it appears as if Doalty and Bridget know something about it, but won’t say. Owen tries to get it out of them, but only hears something vague about “the Donnelly Twins” and nothing more. Maire arrives and tells all she knows about Yolland, which doesn’t solve any problems. She runs off. Then Lancey enters, this time a completely different person. He demands Owen translate his commands, and tells the locals that if the Lieutentant isn’t found he’s going to start killing all the livestock, destroying all the homes, and kicking the locals out of their homes and arresting them (or worse). This Owen does not try to misrepresent, but tells them exactly what’s going to happen. Lancey leaves, then Bridget runs off to warn people and start hiding their livestock.

Hugh and Jimmy Jack come in, exceedingly drunk, and start talking about some gentleman who has apparently taken the job Hugh thought to have secured for himself. Jimmy Jack tells Hugh that he’s getting married, to Athene, that he wants Hugh to be his best man, and if he can have his blessing. Hugh concedes. Owen comes down and he and Hugh talk about what’s about to happen to everyone, but Hugh only says that learning English is the future, so “we’d better learn those new names.” Owen takes off to get more information, while Hugh goes to Jimmy Jack, who is now passed out, and tells a great story of their young fighting days in 1798. Maire comes back to tell Hugh that she has nowhere to go, and that she wants to start learning to speak English. Hugh agrees to it, though “Indeed you may well be my own pupil.” She starts studying “The Name-Book,” while Hugh tells the story of a great war between a powerful kingdom and a little upstart kingdom from Greek mythology, only he can no longer remember the story. The end.

And Just Who ARE These Charming Blokes and Lasses?

10 Total: 6 males. 3 females. 1 male or female, depending on who best fits the role.

Owen. “Uncertainty in meaning is incipient poetry.” Male. Son to Hugh; Brother to Manus. He is the primary character who is torn between the obvious necessity of progress and his unwillingness to see the land he grew up in / the people he loves get erased to make progress happen.

Lieutenant Yolland. “He is already a committed Hibernophile!” Male. He is the romantic, English side of the play. He is English, and works for them, but he is a “Hibernophile,” or someone who is in love with the mysticism and lore of Ireland. He falls for Maire.

Manus. “Now we’re really started! Nothing’ll stop us now! Nothing in the wild world!” Male. Son to Hugh; Brother to Owen. He is stuck in a difficult position to want to make a life for himself, but not abandon or step over his father to get there. He has romantic feelings for Maire, but knows she won’t consider him seriously until he’s made something of himself.

Maire. “Honest to God, some of you people aren’t happy unless you’re miserable.” Female. She seems set on learning English and heading to America because that’s where she feels she’ll be free from a life that will keep her down. She cares for Manus, but doesn’t want to commit to someone with no prospects. She then is attracted to Yolland, who has position, and speaks English.

Hugh. “To remember everything is a form of madness.” Male. 60. A smart, nostalgic man who has made a career out of drinking and teaching the locals. He lacks vision, but teaches the past very well. He is sure of himself, and even more sure when he has many drinks in him.

Jimmy Jack. “I am a barbarian in this place because I am not understood by anyone.” Male. 60. A human encyclopedia on Greek mythology. Can recite whole portions of Horace, Ovid, or Homer from memory. He lives half in this world loving mythology and scaring away young girls, and half in the world of myth, trying to find a cure for a life of alcoholism and loneliness. Sentimental!

Captain Lancey. “Do they speak any English, Roland?” Male. The cold, calculated official in charge of England’s renaming campaign in Ireland. He tries to be civil, but it’s clear that he’s trying (not succeeding). His true nature is in getting things done, and letting people know who is in charge, and who’s under the boot.

Sarah. “My name is Sarah Johnny Sally.” Female. She communicates well with people, though she has a speech impediment which renders her virtually incapable of speaking. She uses non-verbal communication primarily to pass information along. She’s warm, good-natured, and in love with Manus, though she can’t tell him.

Bridget. “Question C, Master – When were you last sober?” Female. Town gossip, and spitfire! She has a natural inclination toward mischievous behavior, and then telling in great detail / with great vigor “exactly what happened.” She is habitually partnered with her alter-ego, Doalty.

Doalty. “To know nothing is the sweetest life.” Male or Female. A practical joker and general shenanigan-organizer. He/she can’t do math, or translate Latin, but can surely make fun of people and mess with the English’s campaign. He/she sees himself/herself as an iconoclast (a revolutionary), when really, he’s/she’s more like the lovable village idiot.

Give Us A Good Speech, Love!

Please select two monologues to read, hopefully two that show a range of ability and emotion. You should be at least somewhat familiar with all of the monologues for your gender, as you may be asked to do a “cold reading” of one of the other speeches.

Male Roles:

JIMMY: I was just thinking to myself last night: if you had the choosing between Athene and Artemis and Helen of Troy – all three of them Zeus’s girls – imagine three powerful-looking daughters like that all in the one parish of Athens! – now, if you had the picking between them, which would you take? No harm to Helen; and no harm to Artemis; and indeed no harm to our own Grania, Manus. But I think I’ve no choice but to go bull-straight for Athene. By God, sir, them flashing eyes would fair keep a man jigged up constant!

Suddenly and momentarily, as if in spasm, JIMMY stands to attention and salutes, his face raised in pained ecstacy.

HUGH: I encountered Captain Lancey of the Royal Engineers who is engaged in the ordinance survey of this area. He tells me that in the past few days two of his horses have strayed and some of his equipment seems to be mislaid. I expressed my regret and suggested he address you himself on these matters. He then explained that he did not speak Irish. Latin? I asked. None. Greek? Not a syllable. He speaks – on his own admission – only English; and to his credit he seemed suitably verecund – James? Indeed – he voiced some surprise that we did not speak his language. I explained that a few of us did, on occasion – outside the parish of course – and then usually for the purposes of commerce, a use to which his tongue seemed particularly suited – (shouts) and a slice of soda bread – and I went on to propose that our own culture and the classical tongues made a happier conjugation.

YOLLAND: I was washing outside my tent this morning and he was passing with a scythe across his shoulder and he came up to me and pointed to the long grass and then cut a pathway round my tent and from down to the road – so that my feet won’t get wet with the dew. Wasn’t that kind of him? And I have no words to thank him…I suppose you’re right: I suppose I couldn’t live here…Just before Doalty came up to me this morning, I was thinking that at that moment I might have been in Bombay instead of Ballybeg. You see, my father was at his wits’ end with me and finally he got me a job with the East India Company – some kind of clerkship. This was ten, eleven months ago. So I set off for London. Unfortunately I – I – I missed the boat. Literally. And since I couldn’t face Father and hadn’t enough money to hang about until the next sailing, I joined the Army. And they stuck me into the Engineers and posted me to Dublin. And Dublin sent me here. And while I was washing this morning and looking across the Tra Bahn, I was thinking how very, very luck I am to be here and not in Bombay.

DOALTY: I know nothing, Owen – nothing at all – I swear to God. All I know is this: on my way to the dance I saw their boat beached at Port. It wasn’t there on my way home, after I left Bridget. And that’s all I know. As God’s my judge. The half-dozen times I met him I didn’t know a word he said to me; but he seemed a right enough sort…(with sudden interest in the scene outside) Cripes, they’re crawling all over the place. Cripes, there’s millions of them! Cripes, they’re leveling the whole land!

MANUS: I had a stone in my hand when I went out looking for him – I was going to fell him. The lame scholar turned violent….(close to tears) But when I saw him standing there at the side of the road – smiling – and her face buried in his shoulder – I couldn’t even go close to them. I just shouted something stupid like, ‘You’re a bastard, Yolland.’ If I’d even said it in English… ‘cos he kept saying ‘Sorry-sorry?’ The wrong gesture in the wrong language.

OWEN: Look where we’ve got to. We’ve come to this crossroads. Come here and look at it, man! Look at it! And we call that crossroads Tobair Vree. And why do we call it Tobair Vree? I’ll tell you why. Tobair means a well. But what does Vree mean? It’s a corruption of Brian…an erosion of Tobair Bhriain. Because a hundred-and-fifty years ago there used to be a well there, not at the crossroads, mind you – that would be too simple – but in a field close to the crossroads. And the old man called Brian, whose face was disfigured by an enormous growth, got it into his head that the water in that well was blessed; and every day for seven months he wnet there and bathed his face in it. But the growth didn’t go away; and one morning Brian was found drowned in that well. And ever since that crossroads is known as Tobair Vree – even though that well has long since dried up.

LANCEY: Lieutenant Yolland is missing. We are searching for him. If we don’t find him, or if we receive no information as to where he is to be found, I will pursue the following course of action…Commencing twenty-four hours from now we will shoot all livestock in Ballybeg. (Staring at Owen) At once….If that doesn’t bear results, commencing forty-eight hours from now we will embark on a series of evictions and leveling of every abode in the following selected areas. (OWEN: You’re not!) Do your job! Translate.

And for the Ladies…

MAIRE #1: Sweet smell! Sweet smell! Every year at this time somebody comes back with stories of the sweet smell. Sweet God, did the potatoes ever fail in Baile Beag? Well, did they ever – ever? Never! There was never blight here. Never. Never. But we’re always sniffing about for it, aren’t we? – looking for disaster. The rents are going to go up again – the harvest’s going to be lost – the herring have gone away forever – there’s going to be evictions. Honest to God, some of you people aren’t happy unless you’re miserable and you’ll not be content until you’re dead!

MAIRE #2: Something very bad’s happened to him, Owen. I know. He wouldn’t go away without telling me. Where is he, Owen? You’re his friend – where is he? (Looking around for a place to sit) I didn’t get a chance to do my geography last night. The master’ll be angry with me. (She rises again) I think I’ll go home now. The wee ones have to be washed and put to bed and that black calf has to be fed…My hands are that rough; they’re still blistered from the hay. I’m ashamed of them. I hope to God there’s no hay to be saved in Brooklyn. (On the way out) Did you hear? Nellie Ruadh’s baby died in the middle of the night. I must go up to the wake. It didn’t last long, did it?

BRIDGET: Our Seamus says two of the soldiers’ horses were found last night at the foot of the cliffs at Machaire Buide and…(stops suddenly and begins writing on her slate) D’you hear the whistles of this aul slate? Sure nobody could write on an aul slippery thing like that.

SARAH (If selected, to be read with SM reading for Manus):

S: My… M: Great. ‘My name – ‘ S. My… my… M: Raise your head. Shout it out. Nobody’s listening….Good girl. Come on now. Head up. Mouth open. S. My… M. Good. S. My… M. Great. S. My name… M. Yes? S. My name is… M. Yes? (Sarah pauses. Then in a rush:) S. My name is Sarah.

AUDITION CARD

NAME: ______GRADE:______

ADDRESS:______

CELL:______HOME:______

PARENT NAME:______PARENT PHONE:______

EMAIL:______PARENT EMAIL:______

Please list any theatrical experience (onstage and off, middle school and up). You may attach a résumé if you have one.

Are you willing to accept all roles? If not, which are you unwilling to accept?

Are you comfortable kissing onstage? Y N Are you comfortable dyeing your hair? Y N Are you comfortable cutting your hair? Y N Are you comfortable engaging in stage combat? Y N

Do you have any dance, movement, or combat experience (e.g. karate, fencing, acrobatics, ballet)? If so, please list all training, including past shows in which you trained for stage combat.

How comfortable are you speaking / working to speak in an Irish/British accent? The show will require it.

How much would you say you know about Irish history? What’s the most amazing thing you do know about Ireland and its history?

What does it mean to you to be in a Theatre Ink production?

If you are not cast, would you be interested in working backstage? If so, please circle your areas of interest.

STAGE CREW PROPS COSTUMES

MAKEUP STUDENT PRODUCING MARKETING

CONFLICT INFORMATION: please list all of your weekly conflicts in the chart provided (incl. weekends and X Blocks) from November 6, 2012 thru February 9th, 2013.

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

Please list all of your one-time conflicts below (incl. doctors appts and vacations) from November 6, 2012 thru February 9th, 2013.

DATE TIME CONFLICT

THEATRE INK CASTING POLICY Both student and staff Directors always strive to cast fairly, with the guiding objective of assembling the overall cast that will best serve the directorial vision for the show. This requires many hours of careful analysis by the Directors and Mr. Brown, who take their responsibility in this area very seriously. Mr. Brown watches every audition and participates as a mediator and guide through every casting process.

Theatre Ink casting decisions are not based on seniority (grade level in school), or years of participation in the program. This is a firm programmatic value arrived at after years of assembling casts, and seeing the exciting results that come from having students collaborate across the grade spectrum from freshman to senior, each cast solely on his or her fit for a given role as revealed through a rigorous and thoughtful audition process.

Auditioning for a show can be competitive and sometimes daunting. In keeping with the program’s emphasis on theatre as a vehicle for learning and individual development, Mr. Brown is available to coach and support students as they seek to improve their speaking, presentation, and performance skills through the audition process. DIVERSITY Theatre Ink values and celebrates diversity of all kinds. Encouraging diversity of participation is an overall goal of the program. Theatre Ink actively encourages all students to participate in productions as members of cast or crew. All students who audition are considered equally in an inclusive environment and in accordance with Theatre Ink casting principles. Theatre Ink hopes to be a reflection not only of the varied backgrounds and experiences of Newton North’s staff and students but also of diverse world cultures, life experiences, and theatrical traditions. By carefully selecting a range of different shows each year we strive to tell theatrical stories that represent the richness of our world while offering a wide range of opportunities for all students.

On Casting Casting is a very complex process. In the end, the Directors must choose the students who best fit the roles in many dimensions, both by the individual skills they present in audition, but also in the dynamics that develop between actors who will be creating the driving energy of the show in scenes together. Such dynamics are a large part of what is explored in the “Callback” round of auditions. For students, auditioning is an exciting, yet difficult, process that can bring about greater success, whether cast in the production or not. The more a student auditions, the better they will become, especially if they seek and receive feedback and guidance. The feeling of “rejection” over not getting cast seems disappointing at first, but we strongly urge you to encourage your child to get right back to work as soon as possible so they can sharpen their skills for a future audition. In theatre, as in life, all of us experience both disappointment and success. Our goal is to teach our students how to deal with both, so when they leave Newton North High School they will be well prepared to navigate their way toward success in a complex world. To Parents: Due to the large audition pool Theatre Ink shows typically experience, your child’s audition does not guarantee him or her a role in the show. If your child is not cast (and also if he or she is cast), we strongly suggest that (s)he meet with the Directors and/or Mr. Brown to obtain valuable feedback while it is freshly in mind, in order to further develop skills for future auditions.

While disappointment for some is an inevitable part of the experience in any competitive tryout situation, be it an academic, athletic or artistic pursuit, one of the hallmarks of Theatre Ink is that there are many other ways to get involved working on the production if you are not cast in an on-stage role. These include technical crew (set design and construction, lights, sound) working with Mr. Barrington-Haber, Theatre Ink’s Technical Director; or on the many other teams, such as props, costumes, publicity and makeup. There are also opportunities to be a student producer or stage manager, which you can discuss with Mr. Brown or the Directors. If slots of interest are not available in the current show, please consider looking into such opportunities in an upcoming show. The wide range of types of shows, and the large number (11-12 per year) is designed to make as many theatre arts opportunities available to as many students as is feasible within the resources provided by the Newton Public Schools. We also strongly encourage each student to take a Theatre Arts and Speech class -- offered as an elective to all grade levels -- and go to Improv Club during X- blocks. These theatre education experiences will further enhance your child’s skills in these areas and give them more confidence for the audition process. The wonderful spirit of camaraderie and collaboration that develops during shows is equally shared by on- and off-stage participants. Talking to students who have worked in various roles and jobs will confirm this for your student. Keep an open mind, and seek out a new experience!

GET INVOLVED!

If you and/or your child are not satisfied with the casting decision and wish to inquire as to the reasons for it, the first step is for the student to meet with the show’s Directors. If further discussion is desired, the student should then meet with Mr. Brown. If, after those meetings, you and/or your child do not feel you received valuable feedback or information you are satisfied with, you are then encouraged to make a joint parent/student appointment with Mr. Brown. Please be assured that a student’s future participation in Theatre Ink will not be jeopardized in any way by seeking to have concerns addressed according to this established process.

Student signature______Date______

Parent signature______Date______

Theatre Ink Production Agreement (Please read and fill out the following Theatre Ink Agreement)

I, ______, agree to the following terms in this agreement and promise to abide by the conditions and expectations set forth by my director, choreographers, music director, technical director, producer and fellow cast and crew members. I will dedicate myself as a true team member to this production process in order to present a show that we as a cast, crew and production team will be proud of.

1. All actors, technical stage crewmembers and musicians should have fun working on this production as collaborative artists. We expect a positive attitude, open communication, and ownership from beginning to end.

2. All actors, technical stage crewmembers and musicians must be in good academic standing to participate in and remain in this production. All actors, technical stage crewmembers and musicians are expected to be in school during the day in order to participate in rehearsals and performances after-school. It is also required that a progress report be completely filled out every two weeks and returned to Mr. Brown via your stage manager. You will not be allowed to attend rehearsal if this is not turned in on time.

3. All participants must be passing a minimum of 20 credits each marking period or they will be removed from the process when the report card is issued. N’s in a class do not count as passing.

4. All actors, technical stage crewmembers and musicians must be on time to all scheduled rehearsals and technical crew duties. If late for three rehearsals you may be cut from the production.

5. All actors, technical stage crewmembers and musicians must be present at all scheduled rehearsals. Rehearsals will generally be Monday through Friday from 3:00 p.m. to 6:30 p.m. Some weekend rehearsals may be requested in advance. If you have three unexcused absences from rehearsal may be cut from the production.

Please Note: In order to be excused you must have a legitimate note as to why. A valid excuse could be an illness, death in the family, etc. It is also important to turn in all notes to the director, and notify them directly in advance if you cannot make any rehearsal. In case of emergency, you must call 617-559-6306 and leave a message. Communication is the key to good relationships during a production.

6. All actors, technical stage crewmembers and musicians will keep the rehearsal spaces, stage, dressing rooms and costume room clean throughout the rehearsal and performance process.

There will be no food or drink allowed on the stage at anytime. Water Only! 7. All actors, technical stage crewmembers and musicians are responsible for their props and costumes. If props or costumes are damaged or lost while in your possession, you are responsible for the replacement cost.

8. All actors, technical stage crewmembers and musicians will use the rehearsal process productively. Actors who are waiting to work on stage should be memorizing lines, reviewing blocking, dances, music, or reading materials related to the production.

Remember: you are a student first, so you must stay current with your class assignments. We strongly encourage you to do homework at rehearsal if there is time.

Please bring snacks and water in case you are hungry.

9. All actors, technical stage crewmembers and musicians must stay in the rehearsal area during a rehearsal unless given permission to leave. Your presence may be called upon at anytime while you are at rehearsal.

10. All actors, technical stage crew and musicians must be supportive of each other's roles in this production. It is important to communicate with one another in a respectful manner. Whether on stage or offstage, all roles in this production are equally important.

11. All actors will complete 8 technical theatre shop/stage crew hours during the rehearsal process. This may include painting, set construction, lighting, costumes, props, or other related areas as designated by the technical director or producer.

12. All actors, technical stage crew members and musicians are required to take part in a full stage strike directed by the technical director, Michael Barrington-Haber, on the Monday and Tuesday (if necessary), after the production. All cast and crew will remain until the strike is complete and the stage, costume room, dressing rooms, music rooms and shop is cleared and cleaned. Any cast, crew member or musician who misses strike will not be allowed to work on the next show unless they put in the hours they missed with the technical director.

The spirit of this agreement is to ensure that all actors, technical stage crewmembers and musicians are treated fairly as creative, collaborative artists who are working towards the same goal. Mr. Adam Brown, Director of Theatre Ink; Mr. Michael Barrington-Haber, Technical Director, and your Directors will enforce this agreement to the best of their ability in the spirit of a high quality theatrical production process.

This production can be an incredible experience if the entire cast, crew, musicians and production staff work together, create together and have fun together!

Actor/crew/musician signature ______Date______Parent Signature ______Date______