Theatre Department Handbook

Home , Of Thee I Sing

The departmental handbook is intended to be a quick resource to help you find important information pertaining to your study of theatre at Belhaven, both in the classroom and in productions.

All theatre majors and minors are encouraged to read through the handbook and are responsible for knowing and understanding the policies and procedures identified herein.

All theatre majors and minors are expected to regularly check their Belhaven email or arrange for their Belhaven email to be forwarded to an email account of their choice. All official department communication with theatre majors and minors will be done via email.

A Theatre Department Canvas page is accessible by all students in the department. Departmental forms, handbooks, and calendars can be accessed on this Canvas page. Additionally, announcements and discussions within the Canvas page may be utilized for departmental communications. Theatre majors and minors are encouraged to stay up to date with the Canvas page.

TABLE OF CONTENTS

DEPARTMENTAL OVERVIEW 7

Mission Statements ...... 8 Belhaven University Theatre Department

Accreditation and Memberships ...... 9

Departmental Goals ...... 10

Theatre Faculty and Staff ...... 11

Academic Organizational Chart ...... 12

Theatre Ambassadors ...... 13

How to Deal with Questions and Concerns ...... 14 Classroom-Related Concerns Production-Related Concerns Title IX Concerns

Physical Contact ...... 15

University and Departmental Forms ...... 16 Academic Forms Departmental Forms

Performance and Production Work Outside of the Department ...... 17

ACADEMIC INFORMATION 18

Degree Requirements and Course Offering ...... 19 Academic Grievances

Admission to the Department ...... 20 B.A. in Theatre B.A. in Theatre (Performance Emphasis) B.A. in Theatre (Production Emphasis)

Student Learning Competencies ...... 22 Core Learning Competencies for All Theatre Students Competencies for B.A. in Theatre (Performance emphasis) Competencies for B.A. in Theatre (Production emphasis) Competencies for B.A. in Theatre (no emphasis)

Theatre Seminar ...... 23

Theatre Juries ...... 24 The Purpose of Juries The Format of Juries

Senior Showcases and Projects ...... 27 Senior Showcases (for B.F.A. students who are using 2017-2019 catalog years) Senior Projects (for students using the new curriculum)

Recommended Reading List ...... 28

PRODUCTION POLICIES 31

The Production Season ...... 32

Season Selection ...... 32

Auditions ...... 33 Audition Schedule Audition Requirements Callbacks

Casting Policy ...... 35

Typical Production Schedule ...... 35

Rehearsals ...... 36

Safe Practices: Movement, Fight Choreography, & Intimacy ...... 37

Theatre Practicum ...... 38

Theatre Practicum Assignment Job Descriptions ...... 38

Tech Week ...... 39 Paper Tech Dry Tech Technical Rehearsal (10 out of 12) First Dress Rehearsal Final Dress Rehearsal Additional Rules for Tech Week and Performances

Photo Call ...... 41

Box Office Policy ...... 42

Social Media Policy ...... 43 Share Away! Keep It Positive Photos, Videos, etc.

Production Strike ...... 44

CARING FOR HEART, MIND, SOUL & BODY 45

General Suggestions for a Healthy Life in Theatre ...... 46

Healthcare Information ...... 47

Counseling Services ...... 48

Academic Support ...... 48

Safety Guidelines ...... 48

First Aid Stations ...... 49

In Case of an Injury ...... 49

Drug and Alcohol Policy ...... 50 Drugs and Narcotics Alcohol Tobacco

FACILITIES 51

The Center for the Arts ...... 52 Faculty and Staff Offices The Fishbowl Classrooms and Work Spaces Shops The BlackBox Theatre Student Lockers Faculty and Staff Offices

Barber Theatre ...... 59

ADDENDUM 60 Fall 2021Covid Safety Procedures ...... 61

DEPARTMENTAL

OVERVIEW

7 MISSION STATEMENTS

BELHAVEN UNIVERSITY Belhaven University prepares students academically and spiritually to serve Christ Jesus in their careers, in human relationships, and in the world of ideas.

THEATRE DEPARTMENT It is the mission of the Belhaven University Theatre Department to prepare students academically, technically, artistically, and spiritually to serve their Community, their Collaborators, and their Creator in the world of theatre and related vocations.

THESE SHINING LIVES - FALL 2018

ACCREDITATION AND MEMBERSHIPS

Belhaven University is accredited by the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC) to award associate, baccalaureate, and master degrees. Belhaven University is one of 36 institutions accredited in all four of the major arts – music, dance, theater and visual arts. The Department of Theatre is an accredited institutional member of the National Association of Schools of Theatre (NAST).

The Belhaven University Theatre Department and/or faculty is a member of the following organizations: • Southeastern Theatre Conference • Christians in Theatre Arts • Mississippi Theatre Association • Theatre Communications Group

DEPARTMENTAL GOALS

The Theatre Department at Belhaven University strives to accomplish the following goals:

1. To provide opportunities for participation in course work and production for majors leading to a Bachelor of Arts degree.

2. To provide an engaging forum for discourse on the Belhaven campus through the staging of plays and musicals.

3. To foster interdisciplinary arts participation, making Belhaven a distinctive experience in arts education in a Christian context.

4. To cultivate an increased sense of the professionalism and self-discipline required of all theatre artists.

5. To provide introductory exposure in theatre arts to students from other departments on campus.

WHITE CHRISTMAS - FALL 2018

THEATRE FACULTY AND STAFF

DR. ELISSA SARTWELL, Department Chair and Professor of Theatre Ph.D., Louisiana State University M.A.T., B.A., George Fox University

Courses Taught: Acting 2, Script Analysis, Selected Topics in Acting, Scriptwriting, Acting Studio, Directing, History & Literature of Theatre, Dramaturgy

JAKE YENISH, Assistant Professor of Theatre Design & Production M.F.A., Minnesota State University at Mankato B.A., A.A. Bethany Lutheran College

Courses Taught: Stagecraft, Stage Management, Perspectives in Theatre, Lighting Design, Theatre Design 2, Scenic Design

RUTH DENTEL, Assistant Professor of Theatre M.F.A, University of Virginia B.A., Liberty University

Courses Taught: Makeup for the Stage, Costume Design, Costume Construction, Intro to Design, Design 2, Acting 1

MELINDA PIERCE, Administrative Assistant B.S., Mississippi College

ADJUNCTS AND GUEST ARTISTS FOR 2021-2022

JOHN BARNTS, Accompanist for THE 333 Acting in Musical Theatre and Wizard of Oz

CHRISSY HRIVNAK, Acting in Musical Theatre

BEN KAHRE, Fight Director for Two Gentlemen of Verona

ALBERTO MEZA, Sound Designer Wizard of Oz

HYPERLINK TO THIS PAGE

THEATRE AMBASSADORS

Each year, a team of seven (7) students serves as “Theatre Ambassadors.” Theatre Ambassadors are selected as follows: • The theatre faculty select 4 students to be Ambassadors • APO elects a member of their organization to be the APO Ambassador • Theatre majors elect 2 Ambassadors in a vote held within the first two weeks of the fall semester • The Ambassadors serve a one year term

We use the term “Ambassador” because our Theatre Ambassadors function as representatives in a couple different ways. The Ambassadors represent the department to prospective students and outside groups. The Ambassadors also act as representatives for the larger group of theatre students; Theatre Ambassadors provide a voice for theatre students, especially in the season selection process.

Theatre Ambassadors help with recruiting new students by leading tours of the department and by communicating with prospective students. At times, Theatre Ambassadors travel to area high schools to watch and provide feedback on productions. In addition to these outreach responsibilities, Theatre Ambassadors have the privilege of participating in the department’s season planning process.

Ambassadors who do not fulfill their responsibilities may be replaced by the faculty.

EZEKIEL - FALL 2018

HOW TO DEAL WITH QUESTIONS & CONCERNS

When a difficulty or concern arises, we encourage you to talk with the appropriate student, faculty member, or administrator immediately. Please refer to the Academic Organizational Chart for guidance on the chain of command.

Try to assess the situation or difficulty and be straightforward and honest with the other party or parties. Strive to maintain a Christ-like attitude in your difficulty and avoid spreading rumors or disparaging other people. Refer to Matthew 18:15-17 for the biblical model of reconciliation.

CLASSROOM- RELATED CONCERNS If the difficulty concerns a class, speak first with your professor. If that discussion is not satisfactory, you should share your concern with the chair of the department, Dr. Elissa Sartwell.

PRODUCTION- RELATED CONCERNS

If the question, concern, or difficulty concerns a production, first try discussing your concern or question with the person most directly related to the problem. If you still have difficulties, please proceed as follows, adhering to the order listed:

ACTORS: 1. Speak to the stage manager 2. If still unresolved, speak to the director of the production 3. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.

SHOP WORKERS: 1. Speak to the appropriate shop manager 2. If still unresolved, speak to one of the department’s production faculty: Ruth Dentel or Jake Yenish. 3. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.

CREW: 1. Speak to the stage manager 2. If still unresolved, speak to the department’s production manager, Jake Yenish. 3. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.

TITLE IX CONCERNS

Concerns related to bullying, physical, or sexual harassment may be addressed to the department chair, Dr. Elissa Sartwell, or in the case of conflict of interest, any appropriate mandatory reporter on campus.

PHYSICAL CONTACT

In addition to the following information, please see pp 61-62 for Belhaven University’s Fall 2021 Covid safety requirements.

In classes, rehearsals, and in performances that involve movement, physical contact between teacher and student, student and student, and student and self may be used as part of the training and/or rehearsal process or required for performance. Examples of physical contact are dance lifts, an extension of character interaction in an acting scene, or tactile feedback used to guide alignment placement.

Physical contact will always be conducted in a professional manner and with respect to the body. If a student is uncomfortable with physical contact, they should inform the instructor, choreographer, or director. Physical contact will always take place during class time and rehearsals with other students present and aware that the contact is being made. This physical contact is never intended to be sexual in nature nor demean the student in any way and will never be used on the breast or genital area.

If you have an injury, chronic condition, or an area that is prone to sensitivity or pain, please notify the instructor immediately. If the student is uncomfortable at any time with the physical contact, he or she should immediately inform the instructor, or wait until after class, whichever the student prefers. In the case where a student feels uncomfortable with the physical contact, the instructor will immediately cease this practice with the particular student and discuss the issue at a later time. The student may also say “STOP”, or move away from the contact in order to end it. A REQUEST BY THE STUDENT TO CEASE ANY PHYSICAL CONTACT WILL HAVE NO EFFECT ON THE STUDENT’S GRADE.

UNIVERSITY AND DEPARTMENTAL FORMS

ACADEMIC FORMS Students may access the following forms on BlazeNet • Address Change Request Form • Major Selection Form • Name Change Form • Request to Take a Couse Online Form • Request to Take a Course at Another Institution • Special Request Form • Transcript Request Form • Transferability of Credits Notice • Withdrawal Form

DEPARTMENTAL FORMS

The following forms and sample forms are available in the Theatre Office and on the Theatre Seminar Canvas page. • Belhaven University Theatre Department Accident Report • Trip Waiver • Forms related to the Registrar’s Office o Major/Minor Declaration Form o Special Request Form • Proposal to Direct Form (2022-2023) • Forms related to juries for BA students o Performance Jury Form o Production Jury Form o Review of Critical Work Jury form o Review of Creative Work Jury form • THE499 Senior Project Proposal Form • Forms for BFA students who are using the 2017-2019 catalog years o BFA Acting Jury Form o BFA Musical Theatre Jury Form o BFA Musical Theatre Dance Jury Form o BFA Musical Theatre Piano Proficiency Form o Senior Showcase Jury Form • Forms related to season selection o Belhaven Theatre Mainstage Recommendation Form (2022-2023 season) o Proposal to Direct Form (2022-2023 Season)

PERFORMANCE & PRODUCTION WORK OUTSIDE OF THE DEPARTMENT

Students must first petition the chair of the Theatre Department if they wish to audition, apply for, accept and/or participate in outside activities such as productions or events that require off campus rehearsal and performance obligations during the academic year.

A letter detailing the opportunity, audition/application dates, location and the timeline of the rehearsal, production, and/or performance requirements of the activity must be presented to the theatre chair IN ADVANCE of the audition or commitment to the outside activity. Each request will be considered individually. Any approved performance/production work outside of the department MUST NOT: • Conflict with department classes, practicum work, rehearsals, or performances • Overtax the student’s energy so that department and academic work suffers

THE SECRET GARDEN – SPRING 2019

ACADEMIC

INFORMATION

DEGREE REQUIREMENTS AND COURSE OFFERINGS

The Department of Theatre offers a number of majors and degree options: • Bachelor of Arts in Theatre (42 hour major) • Bachelor of Arts in Theatre, Performance Emphasis (48 hour major) • Bachelor of Arts in Theatre, Production Emphasis (48 hour major) Information about degree requirements and course offerings can be accessed online at https://www.belhaven.edu/theatre/courses.htm. Click on “View Theatre Course Descriptions” to access information.

ACADEMIC GRIEVANCES

Students wishing to file grievances on academic issues, including grades, should submit written appeals to the Academic Appeals Committee, which may be done through the Registrar’s Office. Appeals regarding course grades must be filed before the end of the next semester in which the grade was received. Decisions made by the Academic Appeals Committee shall be final.

GODSPELL– SPRING 2015

ADMISSION TO THE DEPARTMENT

Students who have applied for and been granted admission to Belhaven University can declare a major in theatre (B.A. in Theatre) without audition or portfolio review. If a student wishes to receive a theatre scholarship or to be considered for admission to the Performance or Production majors, the student will need to complete an audition or portfolio review.

In addition to applying for admission to Belhaven University, current and prospective students who wish to declare a major in. Theatre (Performance) or Theatre (Production) must audition and/or present a portfolio in order to be considered for admission to the major of their choice.

On-campus auditions and portfolio reviews are held once each semester in connection with the University’s Arts Discover Days. Typically, these dates are in November and February. Students whose circumstances prevent them from traveling to campus should contact Mrs. Melinda Pierce to discuss alternate ways to audition or submit a portfolio.

Please see the following to determine the audition requirements for the major of your choice:

B.A. IN THEATRE

Students wishing to pursue the B.A. in Theatre do not need to audition for admission to the program, however, if a student wishes to be considered for a theatre scholarship, he/she will need to perform an audition or submit a portfolio for consideration. Scholarship auditions and/or portfolio reviews can be done in person or via digital/video submission. Contact Mrs. Melinda Pierce ([email protected]) for instructions for digital submissions.

B.A. IN THEATRE (Performance emphasis)

Students wishing to pursue the BA in Theatre (Performance emphasis) must audition with three of the following. This audition should be done in person during one of our upcoming Arts Discover Days (November 12, 2021 or February 11, 2022). Students who are unavailable to travel to campus on either of those dates should contact Mrs. Melinda Pierce ([email protected]) for instructions on alternate audition options. • Comedic monologue, 45-90 seconds in length • Dramatic monologue, 45-90 seconds in length • Classical verse monologue, 1-2 minutes in length

• Excerpt from a musical song, 30-45 seconds in length*

NOTE: You will need to provide your own accompaniment. We recommend that you bring a CD player or use your smart phone with a Bluetooth speaker.

B.A. IN THEATRE (Production emphasis)

Students wishing to pursue the BA in Theatre (Production emphasis) must present a portfolio and complete an interview with faculty in person during one of our upcoming Arts Discover Days (November 12, 2021 or February 11, 2022). Students who are unavailable to travel to campus on either of those dates should contact Mrs. Melinda Pierce ([email protected]) for instructions on alternate submission options.

THE FANTASTICKS – FALL 2019

STUDENT LEARNING COMPETENCIES

CORE LEARNING COMPETENCIES FOR ALL THEATRE STUDENTS Every student who successfully completes a degree in theatre at Belhaven will be able to do the following: 1. Demonstrate knowledge and basic application of multiple aspects of theatre production, including acting, construction, design, direction, and management. 2. Apply knowledge of theatre history, dramatic literature, and script analysis to the creation and evaluation of theatre. 3. Examine the role of faith, ethical responsibility, and collaboration in the theatre arts.

COMPETENCIES FOR COMPETENCIES FOR COMPETENCIES FOR B.A. IN THEATRE B.A. IN THEATRE B.A. IN THEATRE (PERFORMANCE EMPHASIS) ( PRODUCTION EMPHASIS) (NO EMPHASIS)

In addition to Learning In addition to Learning In addition to Learning Competencies 1-3, students Competencies 1-3, students who Competencies 1-3, students who successfully complete a successfully complete a Bachelor of who successfully complete a Bachelor of Arts in Theatre Arts in Theatre (Production) degree Bachelor of Arts in Theatre (Performance) degree at at Belhaven will be able to do the (no emphasis) at Belhaven: • Meet at least one of Belhaven will be able to do the following: following: 6. Demonstrate a solid command Learning Competencies 4. Examine a character in of skill competency and 4-5 terms of objectives, tactics, materials to safely achieve and obstacles, and images. technical or creative solutions • Meet at least one of 5. Demonstrate a solid in: Stage Management, Scenic, Learning Competencies command of voice, body, Costume, Lighting, Projection, 6-7 and imagination as Sound, Hair and Makeup, Stage instruments of Properties, and/or Technical

characterization in works Direction.

from a variety of eras and 7. Analyze a script to creatively genres. serve specific production areas as a designer and/or technician.

THE SKIN OF OUR TEETH – SPRING 2019 22

THEATRE SEMINAR

Each semester, theatre majors are required to enroll in and attend Theatre Seminar (THE 100). Theatre Seminar meets every Friday from 3:30 – 5:00. Students will receive a satisfactory/unsatisfactory (“S” or “U”) grade for Theatre Seminar.

Theatre Seminar exists to provide students an opportunity to present work from their courses and to work on portfolio development and audition techniques. Additionally, Theatre Seminar is a time for departmental announcements, guest speakers, and workshops.

As part of Theatre Seminar, each student will participate in an end-of-the-semester jury that will be critiqued by departmental faculty. Please see the section on Juries for more information.

THE SKIN OF OUR TEETH – SPRING 2019

THEATRE JURIES

As part of THE100 Theatre Seminar, all theatre majors are required to perform a Jury at the end of each semester. Juries will be scored by theatre faculty and/or guest adjudicators. Each student’s work will be evaluated using the following scale:

5 = Exemplary 4 = Proficient 3 = Satisfactory 2 = Developing 1 = Unsatisfactory

THE PURPOSE OF JURIES Juries are intended to help students track their progress and skills-development over the course of their time in the department. Jury forms include scores and written comments from faculty. Each student will receive their jury forms within one week of the jury. In some cases, jury feedback will also be provided in a face-to-face conversation between the student and theatre faculty.

Students will be expected to receive an average jury score of 4 or higher prior to enrolling in THE499 Senior Project.

*Note, B.F.A. students using catalog years 2017-2019 must receive an average jury score of 4 in order to enroll in THE498 Senior Showcase*

THE FORMAT OF JURIES Juries are held at the end of each semester. In most semesters, jury day is the day before final exams begin. In Fall 2021, jury day will be held Wednesday, December 1. Each student will develop a “List of Ten” based on the degree program in which they are enrolled. Each program’s jury will be formatted as follows:

B . A . IN THEATRE STUDENTS Because the BA in Theatre (with no emphasis) is a generalist degree, it is important for students to demonstrate ongoing progress in multiple areas of theatre studies, including performance, production, and critical work. Each semester, BA students can choose one of the following jury options, with the expectation that the student will not choose the same jury option two semesters in a row.

Option 1: Performance Jury The student should arrive to the jury with a headshot, resume, and List of Five audition pieces. After performing two pieces of the student’s choosing, the faculty will select a third piece from the student’s list, and the student will be expected to perform that piece.

Option #2: Production Portfolio Review Please refer to the instructions for the BA in Theatre (Production) jury below

Option #3: Review of Critical or Creative Work One week prior to the jury date, the student should submit to theatre faculty a critical or creative work for review. Examples of critical work include an academic paper, a critical review of a professional theatre production, and/or a dramaturgical casebook. Examples of creative work include a play script or screenplay. The student will arrive to the jury with an appropriate resume. Faculty will provide feedback on the critical work and evaluate the student’s resume.

B . A . IN THEATRE (PERFORMANCE) STUDENTS

The Performance student should arrive to the jury with a headshot, resume, and List of Ten. The student will then perform two selections of their choosing from their “List of Ten”. The faculty will then select a third piece from the student’s List, and the student will be expected to perform that piece. Each student’s “List of Ten” will vary somewhat depending on the student’s specific interests and career goals. Please work with Dr. Sartwell to develop a “List of Ten” that makes sense for you. Students will receive scores and feedback on each individual performance piece as well as on their headshot and resume.

B . A . IN THEATRE (PRODUCTION) STUDENTS

The Production student should arrive at the jury with a resume* and portfolio**. The student will select two items from their portfolio to present. The faculty will then select a third item from the Portfolio, and the student will be expected to present. Each student’s Portfolio will vary somewhat depending on the student’s interests and career goals. Please work with Professor Yenish to develop a Portfolio that is specific to you. Students will receive scores and feedback on each individual Portfolio piece as well as resume.

*Resumes should be written specific to a production area. For example, if applying for a position as an assistant stage manager, the student should title and organize the information within the resume to reflect that position. It is common to have multiple resumes available to highlight areas of interest and competency.

**Portfolio examples may include: Examples of construction techniques; technical work original to production requirements; creative work original to production requirements; unrealized design work specific to a production area; realized design work specific to a production area; and awards and honors received for design and production work.

B.F.A. IN ACTING AND B. F . A . IN MUSICAL THEATRE STUDENTS (using catalog years 2017-2019)

All B.F.A. students are required to perform a Jury at the end of each semester. In the jury, the student performs two contrasting monologues of his/her choice (musical theatre students perform a monologue and 16-32 bars from a song of their choice). The student then performs an additional monologue (or song, in some cases) of the faculty’s choice, selected from the student’s “List of Ten.”

B.F.A. students are expected to achieve the following minimum scores. If a B.F.A. student fails to receive passing scores for an end-of-the-semester Jury (see below), he or she will be placed on probation from the B.F.A. program. In the event that the student fails to receive passing scores on the subsequent semester’s Jury, he or she will be advised to switch to the B.A. track.

CLASS FALL SEMESTER SPRING SEMESTER Freshman 2.0 2.5 Sophomore 2.75 3.25 Junior 3.5 3.75 Senior 4.0 4.0

THE SECRET GARDEN – SPRING 2019

SENIOR SHOWCASES & PROJECTS

SENIOR SHOWCASES (for B.F.A. students using catalog years 2017-2019)

All BFA students are required to perform a senior showcase as part of the requirements for their degree. BFA students will receive a “Senior Showcase Checklist and Informational Packet” at the beginning of their senior year to help them prepare for their showcase. All senior showcases are supervised by a faculty mentor. The student’s showcase must pass a faculty jury two weeks in advance of the showcase performance date. Students who would like to see the Senior Showcase Checklist and Informational Packet in advance of their senior year may request a copy from Dr. Sartwell.

SENIOR PROJECTS (for students using catalog years 2020 to present)

Students who are enrolled in the new BA in Theatre, BA in Theatre (Performance), or BA In Theatre (Production) programs will be required to complete THE499 Senior Project as part of their core requirements. It is strongly recommended that THE499 be taken in the fall or spring of the student’s final year at Belhaven.

The student must submit a Senior Project Proposal form no later than August 1 for Fall semester projects and December 1 for Spring semester projects.

The student must have achieved an average of 4 on end-of-the-semester juries prior to the semester in which the Senior Project takes place.

A student’s Senior Project might take one of several possible forms. A production student interested in design might provide a mainstage design for their senior project. A student who wants a career in dramaturgy might act as production dramaturg for one or more productions. A student who is focusing on performance might prepare and present a program of scenes, monologues, and/or songs that convey excellence and breadth of performance skills. In some cases, it might be possible for a student’s senior project to be the performance of a mainstage role in conjunction with extensive scoring of the script. There are many possibilities, and students are encouraged to work closely with their faculty mentors to develop a project proposal that complements the needs of the student and of the department.

All senior projects will contain a written component. In most cases, this written component will require the student to contextualize their work within a broader historical, artistic, and critical framework. More information about the written component of the Senior Project will be available in the course syllabus.

RECOMMENDED READING LIST

The following list of plays and books has been compiled by the Belhaven University Theatre Department faculty. They represent only a few of the plays that an educated theatre artist should know. Please understand that this list is not comprehensive. Theatre artists must always be reading plays and books.

ANCIENT GREECE FRANCE Lysistrata by Aristophanes Le Cid, by Corneille Oedipus the King, by Sophocles Phaedra, by Racine The Oresteia, by Aeschylus Tartuffe, by Moliere Medea, by Euripides The Imaginary Cuckold, by Moliere Triumph of Love, by Marivaux

ANCIENT ROME The Brothers Menaechmus, by Plautus GOLDEN AGE SPAIN Phaedra, by Seneca Life is a Dream, by Calderon The Eunuch, by Terence Fuente Ovejuna, by Lope de Vega

MEDIEVAL ITALY Dulcitius, by Hrosvitha Servant of Two Masters, by Goldoni Everyman, by Anonymous The Second Shepherd’s Play, by Anonymous EARLY AMERICAN DRAMA The Contrast, by Tyler NON-WESTERN Fashion, by Mowatt Snow in Midsummer, by Guan Hanqing Uncle Tom’s Cabin, adapted by Aiken Shakuntala, by Kalidasa The Octoroon, by Boucicault Atsumori, by Zeami

19TH & EARLY 20TH CENTURY EUROPE 1600-1800 ENGLAND The Importance of Being Earnest, by Wilde Doctor Faustus, by Marlowe Arms and the Man, by Shaw Duchess of Malfi, by Webster Ubu Roi, by Jarry Hamlet, by Shakespeare A Doll’s House, by Ibsen The Merchant of Venice, by Shakespeare Miss Julie, by Strindberg A Midsummer Night’s Dream, by Shakespeare The Cherry Orchard, by Chekhov The Country Wife, by Wycherley The Seagull, by Chekhov The Rover, by Behn Woyzeck, by Buchner The Way of the World, by Congreve The Lower Depths, by Gorky School for Scandal, by Sheridan She Stoops to Conquer, by Goldsmith

Reading List Cont’d

20TH CENTURY EUROPE MUSICALS Playboy of the Western World, by Synge Of Thee I Sing Good Person of Szechwan, by Brecht Hamilton Betrayal, by Pinter Sunday in the Park with George Cloud 9, by Churchill Showboat Translations, by Friel Oklahoma Six Characters in Search …, by Pirandello A Chorus Line Blood Wedding, by Lorca West Side Story The House of Bernarda Alba, by Lorca Carousel Waiting for Godot, by Beckett Sweeney Todd The Bald Soprano, by Ionesco Assassins Look Back in Anger, by Osborne The Band’s Visit Arcadia, by Stoppard Next to Normal Rosencrantz and Gildenstern are Dead, by Come from Away Stoppard Hadestown

20TH CENTURY NORTH AMERICA, 21ST CENTURY LATIN AMERICA, & SOUTH AMERICA The Clean House, by Ruhl Angels in America, by Kushner August Osage County, by Letts A Streetcar Named Desire, by Williams The Laramie Project, by Kauffman, et al The Glass Menagerie, by Williams Topdog/Underdog, by Parks The Colored Museum, by Wolfe Rabbit Hole, by Lindsay-Abaire Death of a Salesman, by Miller Doubt, by Shanley Dutchman, by Baraka Proof, by Auburn How I Learned to Drive, by Vogel Last Days of Judas Iscariot, by Guirgis Machinal, by Treadwell Bengal Tiger at the Bagdad Zoo, by Joseph M. Butterfly, by Hwang Metamorphosis, by Zimmerman Joe Turner’s Come and Gone, by Wilson Sweat, by Nottage Fences, by Wilson The Wolves, by De Lappe Our Town, by Wilder The Humans, by Karam A Raisin in the Sun, by Hansberry The Christians, by Hnath Long Day’s Journey Into Night, by O’Neill A Doll’s House, Part 2, by Hnath The Heidi Chronicles, by Wasserstein Silent Sky, by Gunderson Trifles, by Glaspell Red, by Logan Who’s Afraid of Virginia Woolf?, by Albee Disgraced, by Akhtar Information for Foreigners, by Gambaro Choir Boy, by McCraney The Children’s Hour, by Hellman An Octoroon, by Jacobs Jenkins Glengarry Glen Ross, by Mamet Fairview, by Sibblies-Drury You Can’t Take It With You, by Kaufman/Hart Indecent, by Vogel Buried Child, by Shepard Cost of Living, by Majok Water by the Spoonful, by Hudes

The Thanksgiving Play, by FastHorse 20TH CENTURY AFRICA Death and the King’s Horseman, by Soyinka Master Harold and the Boys, by Fugard Sizwe Bansi is Dead, by Fugard, Kani, & Ntshona

Reading List Cont’d

CRITICISM, ACTING, AND DIRECTING TEXTS The Republic, by Plato The Poetics, by Aristotle Art of Poetry, by Horace City of God, by St. Augustine A Short View of the Immorality and Profaneness of the English Stage, by Jeremy Collier An Actor Prepares, by Stanislavski The Dramatic Imagination, by Robert Edmond Jones The Empty Space, by Peter Brook Towards a Poor Theatre, by Jerzy Grotowski Theatre of the Oppressed, by Augusto Boal The Actor and the Target, by Declan Donnellan A Director Prepares, by Anne Bogart

SKETCHING THE SOUL – SPRING 2017

PRODUCTIONPRODUCTION

INFORMATIONPOLICIES

THE PRODUCTION SEASON

Each year, the Belhaven University Theatre Department presents four mainstage productions, including one musical. Mainstage productions are directed by faculty, guest directors, and/or select seniors who demonstrate interest and skill in directing. In a typical year, one or two productions will be directed by students. To be considered for a directing opportunity, outstanding juniors must submit a Proposal to Direct form for the subsequent season. Please see the “Season Selection” section for more information.

In addition to the mainstage season, the department oversees a variety of second stage performances over the course of the year which may include events such as the 24 Hour Theatre Event, the Directing Class Festival of Shorts, Senior Showcases, Improv shows, and/or off-campus storytelling and community presentations.

SEASON SELECTION

Each fall, the faculty meets with Theatre Ambassadors to begin the season selection process for the following academic year. After several weeks of meetings and discussions, the faculty will submit a proposed season to the Provost and President for approval. The decision for which shows to submit for production is based on numerous factors, including: • A rotation of theatrical styles and genres • The skill levels of and opportunities for the current enrollment of theatre students • Thematic value for the university community • Scheduling and Budget • The production feasibility of a given show In all decisions, the theatre faculty strives to provide theatre students with production opportunities that will best serve them as well-rounded theatre artists.

Students are encouraged to offer suggestions for which plays and musicals they would like to see included in the following season! • Students who wish to propose a particular play or musical for the following season should submit a "Mainstage Suggestion Form" using the link on the Theatre Department Canvas page. Deadline for submission is October 13, 2021. • Juniors who wish to be considered for a directing slot in the following season should submit a “Proposal to Direct” form to Mrs. Melinda Pierce no later than October 13, 2021

AUDITIONS

All Belhaven University students are permitted to audition for Belhaven theatre productions, regardless of major or minor.

AUDITION SCHEDULE The Theatre Department holds two auditions during the academic year: • The first is held at the beginning of the fall semester in August and is used to cast all productions to be presented in the fall semester. • The second audition is held at the beginning of the spring semester and is used to cast all productions in the spring semester.

Auditions will be publicized through department communications, via email, social media postings, and callboards.

AUDITION REQUIREMENTS For the general auditions, students will sign up for an individual slot (either on the callboard or electronically) and prepare an audition that adheres to the specific guidelines indicated for that semester’s audition. Specific guidelines will be communicated in advance via email, social media postings, and/or callboards. • In semesters in which no musical will be performed, students will typically be asked to perform 2 contrasting monologues. In semesters in which a musical will be performed, students may be asked to perform a monologue and a song. • In semesters in which a musical will be performed, an accompanist will be provided at the audition. Please bring sheet music. A capella singing or singing with a recording will not be acceptable. A dance audition may also be required for some productions.

CALLBACKS Following the general audition, directors will hold callbacks for their respective plays.

While the directors will endeavor to complete the casting process in a two-day period, there may be a need to extend callbacks for a third day.

The final cast list will be posted on the primary department callboard and be distributed to all auditionees via email.

Except in rare circumstances, students will not be cast in more than one production per semester.

Please make every effort to read the scripts and/or be familiar with the production before you audition!

IMPORTANT NOTE ABOUT AUDITIONS: BFA students (Acting and Musical Theatre) and BA Theatre (Performance) students MUST audition and must be available for all productions. Other BA students, minors, and non-majors will be given an opportunity on your audition form to indicate if there are any plays or roles that they are unable or unwilling to accept. Once cast in a role, the student is expected to accept the role. Once casting is complete, if a role must be declined, an actor drops out or is dismissed from production, that student will forfeit the opportunity to perform on the Belhaven stage for one calendar year. Similarly, if a student is assigned to a technical position and has to be replaced or withdraws, he or she will not be able to audition for the main stage during the following semester. Exceptions may be made in cases of severe illness or emergency; a doctor’s note or other documentation will be expected.

SKIN OF OUR TEETH – SPRING 2019

CASTING POLICY

Casting is a complex and difficult process. A director can spend hours putting together the right combination of people for the cast. A number of factors can go into the director’s decisions: • physical characteristics (height, age) • physical ability and skills (i.e., dance, combat, acrobatics) • vocal quality • the individual actor in relation to the actors being considered for roles that interact with the character for which the individual actor is being considered • talent and performance capability • the actor’s track-record of attendance, attitude, and direct-ability • the need for individual actors to receive a performance opportunity as part of their major • the schedule and availability of the actor

While it is difficult to accept that you can’t control many of the factors that go into casting decisions, it is a reality of the theatre business. If you are not on the cast list, don’t assume that you had a “bad” audition, or that the director just doesn’t like you, or that you have no talent. Instead, consider making an appointment with the director(s) to ask for feedback on your audition.

While auditions are open to all Belhaven students, the Theatre Department honors its commitment to provide performance opportunities for its performance majors. As such, casting preference will usually be given to students who are declared theatre majors.

Because of the specific skill set required for musicals, operas, and some plays, the Theatre Department reserves the right to cast outside of the department when necessary. On rare occasions, the department may invite community members and/or guest artists to audition.

TYPICAL PRODUCTION SCHEDULE

A detailed schedule for each production will be published and posted either on that production’s specific call board in the theatre hallway or on a digital callboard; it will also be made available to all production staff and cast via email, or other declared communication methods. However, please note that all schedules are tentative.

REHEARSALS

Rehearsals for Mainstage productions are held Monday through Friday between the hours of 6:00 and 10:00pm. Saturday rehearsals, when scheduled, will be between the hours of 10:00am and 4:00pm. Technical and dress rehearsals will have a different (and longer) schedule. Some exceptions are to be expected, but must be posted at least 24 hours in advance. If you wish to be cast in productions, make every effort to ensure that you are available during the hours indicated on the production schedule!!!

Once you are cast, you will be expected to attend every rehearsal for which you are called. Each director (and /or stage manager) will develop a rehearsal schedule specific to the production. Rehearsal schedules will be posted on the production’s callboard, located across from the lockers in the Center for the Arts, and will be distributed electronically. Be sure you understand the schedule!

Rehearsal Guidelines • Be on time! o The scheduled rehearsal time is the time to begin work. Arrive early enough to warm up and get any rehearsal props, costumes, or rehearsals required to start the scene. • Be prepared! o Bring your script and a pencil to every rehearsal o Bring something to read or work on quietly when you are not on stage. • Be a team player! o Pay attention to instructions o Be quiet when you are not onstage o Don’t gossip o Be mentally present at rehearsal, not distracted by outside strife. • Respect the process of producing theatre! o Always respond to a note with “Thank you” o Receive the director’s notes and feedback graciously, even if you disagree § Ask to speak with the director after rehearsal for clarification o Never give an acting note to another actor o Never accept an acting note from another actor o Check props and costume pieces prior to the start of rehearsal o Don’t touch props that aren’t yours o Turn your cellphone to SILENT. (No sound, not even vibrate) If cellphones or other electronic devices begin to interfere with the rehearsal or production process, the stage manager and/or director reserve the right to hold on to the device until the end of the rehearsal or performance. • Be the kind of person other people want to work with. • Any student who is an RA or is participating in extra-curricular activities such as cheerleading or other athletics, must make themselves available—exclusively—to the production on which you are working beginning two weeks prior to opening night; no exceptions. These students must also make themselves available for every performance; no exceptions.

SAFE PRACTICES: MOVEMENT, FIGHT CHOREOGRAPHY, & INTIMACY

BU Theatre endeavors to support and maintain safety through adhering to recommended practices in Movement, Fight Choreography, and Intimacy through employing appropriately certified individuals and reserving specific rehearsal periods for the development thereof.

THE WHITE SNAKE – FALL 2016

THEATRE PRACTICUM

Theatre Practicum is the heart and soul of our production season at Belhaven Theatre! Students are required to enroll in Theatre Practicum (THE-Pxx) for a total of 6 semesters. In Theatre Practicum, theatre students perform production and/or performance roles in the department’s mainstage season. It is hard work to produce plays, and Theatre Practicum is the way students receive academic credit for their participation in the production season.

Following the semester’s audition process, each student who is enrolled in Theatre Practicum will be notified of their Practicum assignments for that semester’s shows. Each student is typically given two practicum assignments for each semester in which they are enrolled in the course: a primary production assignment and a secondary production assignment.

Example practicum assignments include the following: Participation in the CAST of a production Participation on the CREW of a production Participation in the BOX OFFICE/HOUSE MANAGEMENT team for a production Participation on the DESIGN team of a production Participation in one of the shops (30 hours for primary assignment or 15 hours for secondary assignment)

Remember that each student enrolled in Theatre Practicum will be assigned two of the above. Efforts will be made to rotate students through various Practicum assignments to ensure breadth of experience and knowledge of the production process.

THEATRE PRACTICUM ASSIGNMENT JOB DESCRIPTIONS

A job description exists for each Practicum assignment. These job descriptions are located in the document library of the departmental email group. Job descriptions are also available in the Practicum Assignment Job Descriptions folder located in the Theatre office.

TECH WEEK

In most theatres, tech week is notoriously difficult. But solid planning, preparation of expectations, and patient attitudes can go a long way toward completing a successful tech week with both professionalism and grace.

Tech week is made up of a series of specific rehearsals and activities designed to integrate all technical elements into the production. Here are some terms that we will be using during tech week:

PAPER TECH Paper tech involves the director, stage manager, lighting designer, sound designer, and the costume or scene designer if the show involves complicated or numerous quick changes or scene shifts. Paper Tech is a step-by-step going-through of all cues and special requirements needed in the production, in a meeting, without executing any of the technical or performance events. All cues are finalized and noted in the stage manager’s script, as a preparation for Dry Tech

DRY TECH A Dry Tech is a rehearsal without actors. The designers and area heads will run through each of their components, fixing problems as they go. This will involve executing all lighting, sound, scene shift, projections or any other cues – just without the actors. This rehearsal is a good way to prep for the Cue-to-Cue rehearsal.

TECHNICAL REHEARSAL (“10 of 12”) A 10 of 12 technical rehearsal typically takes place the Saturday prior to Opening Night. It consists of 3 components.

• DRESS PARADE Dress parade is a time for the costume designer to work with dressers and actors to coordinate costume and quick-change processes for the show. Typically, Dress Parade happens on the Saturday morning prior to opening night. For certain productions, a makeup workshop will be held alongside Dress Parade to instruct actors on makeup application techniques and hair styling. All actors, dressers, and pertinent designers are required to attend.

• CUE-to-CUE In this part of the technical rehearsal, the technical crew will have the opportunity to rehearse their light, sound, and special effect cues. All actors are required to be in attendance, running the production as directed by the stage manager. In most cases, this will involve running lines prior to and up through the execution of a cue. If the cue is not executed to the satisfaction of the director and designers, or if adjustments need to be made in lighting and sound levels, the cue will be repeated until it is executed as envisioned. Patience is the key to a cue-to-cue rehearsal. Actors must be tolerant of errors and be prepared to repeat entrances, exits, and

other important moments involving cues so that the technical crew can learn their role in the production. Actors have had weeks of rehearsal – this is the one rehearsal for the technical crew to finalize all of their assignments and practice technical changes. Actors are expected to remain quiet during periods of discussion and clarification. Actors should not “help the crew” unless requested to do so. Actors should also remain in the vicinity of the stage so that if the cue is to be run again, it can be done so quickly.

• RUN WITH TECH Run with Tech follows the Cue-to-Cue session. In the Run with Tech, the stage manager is able to practice the coordination of the calling of cues within a complete run of the show. Actors and crew should expect that the show might need to be stopped so that a cue can be repeated and/or fixed. Again, patience is imperative in this portion of the rehearsal.

Beginning with the first Technical Rehearsal, ALL crew (stage crew, board ops, dressers, etc.) MUST wear black clothing from neck to foot. This is the proper attire for all crew members and, even though you may not be seen, you will be required to dress in this manner. If you show up to rehearsal or a performance not in proper dress, you will be asked to change.

FIRST DRESS REHEARSAL Dress rehearsals should be run as if the show were in production. Sometimes we call this “show conditions.” Typically, the first dress rehearsal takes place on the Monday of Performance Week.

FINAL DRESS REHEARSAL The final dress rehearsal is typically held the night prior to opening. At the director’s discretion, there may be invited audience members to this rehearsal, as a preview test audience.

ADDITIONAL RULES FOR TECH WEEK AND PERFORMANCES • Cell phones must be turned OFF during all rehearsals and performances. There is no need for any actor or crewmember to be texting, surfing the internet, or making phone calls during the tech, dress, or performance process. We have a reliable communication system to communicate between areas of the theatre. If you have an emergency in your family and need to stay in touch, you must alert the stage manager and director. • Absolutely NO ONE may be backstage, in the dressing rooms, or in the Theatre office during technical/dress rehearsals or performances unless they are a member of the cast, crew, or faculty.

PHOTO CALL

Photo Call is an opportunity for the department to properly archive the production in photographs that will be used for university publications, and be made available for portfolio and professional use.

Photo Calls for shows running two weekends will typically be held early in the week between performance weekends. For shows running only one weekend, the call will typically be held after the Thursday night performance.

All actors and crew are required to attend photo call. The Director and Stage Manager will run the photo call. Actors and crew should listen carefully for instructions and move quickly. Patience is appreciated.

Photo calls will begin promptly fifteen (15) minutes after the final bow or curtain of the performance. Students with family or friends at that evening’s performance should make them aware of Photo Call, and arrange to meet them at another time, so as not to delay the process.

• NO photo call may last longer than ninety (90) minutes. • The Stage Manager must keep strict time during the photo call. • Subsequent “make-up” photo calls to finish the shoot will be clearly announced with at least 24 hours notice.

LITTLE SHOP OF HORRORS – SPRING 2016

BOX OFFICE POLICY

All Belhaven students, faculty, and staff receive complimentary tickets to Belhaven University Theatre productions. Additionally, all immediate family members of Belhaven students, faculty, and staff receive complimentary tickets. For the purposes of the box office, “immediate family” refers to parents, siblings, and offspring. In cases where a grandparent or aunt/uncle lives with the family as a parental figure, that family member will be considered immediate family. Please note that family complimentary tickets are not guaranteed without an advanced reservation.

Because the theatre department is already providing free tickets for students’ families, student performers, crew, and designers do not receive additional complimentary tickets to give away.

Tickets can be reserved by calling 601-974-6478 or by emailing [email protected] or by seeing Melinda Pierce in person during office hours to make your ticket reservations. The department accepts payment in the form of cash or check. Sorry, no credit cards accepted.

SOCIAL MEDIA POLICY

SHARE AWAY! Belhaven University Theatre Department will create Facebook and Instagram posts pertaining to each production. We encourage all students to liberally share these posts on their own platforms.

KEEP IT POSITIVE When updating your status regarding rehearsals and the production, please be aware of the public image created by language regarding the production or the production process. Be careful in stating frustrations, as social media posts regarding the production will already begin to color the potential audience’s impression of the performance they will eventually come and see.

PHOTOS, VIDEOS, ETC You are welcome to take pictures during the production process for your own archives, but unless you are specifically asked to do so by the Chair of the Theatre Department, do not post such photos on any social media outlet. Photos of incomplete design elements, or inconsequential moments begin to dilute the impact of the production for the potential audience. If you have a photo that you think would be fun to share with the masses, please forward it to Melinda Pierce, who may post the photo to the department’s official social media outlets.

PRODUCTION STRIKE

Attendance at production strike is required for the following individuals: • Everyone enrolled in Theatre Practicum • Everyone in the cast including non-majors • All departmental work-study students • Theatre faculty • Scene Shop manager • The Costume Shop manager

Production Strike takes place on the Monday evening following the final performance of the production. Please plan accordingly.

Please wear appropriate clothing and footwear to the theatre so that you may participate safely in the strike.

WHITE CHRISTMAS DRESS REHEARSAL- 2018

CARING FOR PRODUCTIONHEART, MIND, SOUL & BODY INFORMATION

GENERAL SUGGESTIONS FOR A HEALTHY LIFE IN THEATRE

It is wise for theatre students to pay attention to their hearts, minds, bodies, and souls. Regardless of specialization within theatre, individuals are more likely to succeed if they have strength, endurance, and strong habits of spiritual and emotional health.

Actors require a strong, flexible body and a healthy voice. Theatre technicians must be able to lift, balance, stretch, and carry. As such, the theatre faculty strongly encourages students to • Eat well • Exercise regularly • Warm Up and Stretch prior to rehearsal and/or work • Drink plenty of water • Get adequate sleep • Don’t smoke! • Stay up-to-date on vaccinations including flu, Covid-19, and other infectious diseases.

In addition to caring for their bodies, all humans, including theatre artists, are wise to take time to practice healthy habits when it comes to the mind and the soul. • Make it a priority to find a local church/faith community • Spend time in prayer and/or meditation • Practice emotionally healthy approaches to your craft • Don’t be afraid to ask for help!

If you have questions about how to cultivate healthy practices and find balance in your daily life, please speak to your academic advisor or to one of our faculty or staff, who will be happy to assist you in finding the right resources for you.

HEALTHCARE INFORMATION

SPECIFIC INFORMATION REGARDING BELHAVEN UNIVERSITY’S FALL 2021 COVID-19 CAMPUS SAFETY REQUIREMENTS MAY BE FOUND ON PP. 60-62

If a student has a fever, he or she should not attend class or rehearsal so as to avoid spreading illness to others in the department. In all cases, the ill student should email professors to let them know that he/she won’t be in class. The student should email, text, or call the stage manager to communicate that he/she won’t be in rehearsal. If you are vomiting or your fever lasts more than a day, PLEASE seek medical attention before returning to class or rehearsal.

The following is a list of several of the excellent health service providers located near campus. • Baptist Medical Center is a full-service emergency care facility providing emergency services 24 hours a day. It is located at the intersection of N. State Street and Poplar Ave. Call 601-968-1000 for information. • TrustCare Urgent Care Clinic is a walk-in medical clinic located near the Kroger store on I- 55N Frontage Road. Hours vary. Call 601-487-9199 for information. • University of Mississippi Medical Center is a full-service hospital and training ground for future doctors and nurses. It is located less than a mile away at 2500 North State Street. o For uninsured students: UMC suggests that students who do not have insurance or who have international insurance go to the Federally Qualified Health Center at the Jackson Medical Mall, located at 350 W. Woodrow Wilson Ave, about 3 miles from campus. The FQHC is federally subsidized and staffed by UMC physicians. It provides quality care but will be less costly for uninsured patients. Call 601-982-8467 for information. • St. Dominic’s is a full-service hospital and emergency care facility located at 969 Lakeland Dr. in Jackson. Call 601-200-2000 for information.

Belhaven University recommends, but does not require, the bacterial meningitis vaccine for incoming residing students. There has never been a case of meningitis at Belhaven and the disease is very rare, but the University is concerned that students be protected. The vaccine costs approximately $130 and can be administered at the Mississippi Department of Health, just a short drive from campus.

Flu shots can be obtained at many local pharmacies, including Walgreens and Kroger.

THE GLASS MENAGERIE – September 2017

COUNSELING SERVICES

Professional counseling services are available on campus for all full-time traditional students during the academic year through our Campus Counselor. The Campus Counselor’s office is located on the second floor of Cleland Hall. Appointments can be scheduled by calling 601-965-1428 or by emailing [email protected]. A short-term model of counselling (4-6 sessions) is used in order to best serve the greatest number of students. The first appointment is free. Sessions two through six are $5 each. Subsequent visits are $40. Confidentiality Guaranteed: The campus counselor complies with all standard confidentiality laws. Information is only disclosed to the university as required by law for the safety of the client or other persons.

In situations where immediate attention is required, please seek help through St. Dominic’s Hospital in addition to notifying the campus counselor and, if necessary, security.

ACADEMIC SUPPORT

The Office of Student Care strives to facilitate the development and success of those students needing assistance of guidance in their adjustment to the academic program of Belhaven University. The office is located in the Think Center, on the first floor of the Library. The Student Care staff seeks to help students set and achieve academic goals by helping with: study skills, time management, discovering learning styles, note-taking, and providing information about tutoring services. Contact 601-968-8865 or email [email protected] for assistance.

SAFETY GUIDELINES

Safety Guidelines are clearly posted in all departmental shops. Additionally, safety standards and expectations will be clearly communicated to all students at the beginning of a course or practicum assignment.

At all times, students and workers must wear appropriate clothing, shoes, and personal protection equipment (PPE) while working in the shops.

FIRST AID STATIONS

There are six first aid stations located in the theatre facilities within the Center for the Arts. 1. Scene Shop a. First Aid kit is located at the SE corner of the scene shop b. Contains first aid supplies c. Eyewash station 2. Costume Shop a. First aid kit is located at the SE corner of the costume shop, near the washing machine b. Contains first aid supplies c. Eyewash station 3. Women’s dressing room a. First aid kit is located by the door b. Contains first aid supplies 4. Office Storage Room a. First aid kit is located in the storage room attached to the CFTA 150 office suite. b. Contains first aid supplies c. Contains medicine, such as ibuprofen, aspirin, pepto bismol, etc. 5. Classroom CFTA 151 a. First aid kit is located on the cinderblock wall behind the classroom door b. Contains first aid supplies 6. Flex/Blackbox Theatre a. First aid kit is located on the north wall near the spiral staircase

IN CASE OF AN INJURY

In the event of an injury, use first aid stations to provide immediate care. Alert a faculty or staff member immediately.

If additional medical attention is required, the injured student will be taken to a local urgent care clinic or hospital. If immediate medical attention is necessary, call 911! Be sure to call the university’s security office as well – 601-968-5900. Using a campus phone, you may dial 5900 to reach security directly.

IN ALL CASES, an “Accident Report” form must be completed and signed following the incident. This form is available from the Administrative Assistant or Stage Manager. The Department Chair must be notified when an Accident Report has been submitted.

DRUG AND ALCOHOL POLICY

The Theatre Department complies with the University’s policies on drugs, alcohol, and smoking as stated in The Kilt, the university’s student handbook.

DRUGS AND NARCOTICS The University supports the federal and state laws with regard to drug use, possession, and distribution. No controlled substance shall be sold, possessed, or used on or off the University campus, in any of its facilities, or in a facility used by an organization recognized by Belhaven. Any person selling, possessing, or using controlled substances shall be subject to penalties, which may include immediate dismissal from the University.

Students who show up for classes, rehearsals, shop hours, and/or performances under the influence of a controlled substance will be referred to Campus Security. Additionally, students who show up for production-related activities under the influence of drugs and/or alcohol may be removed from their production responsibilities for the duration of the given production.

ALCOHOL Students or guests may not sell, possess, or consume alcoholic beverages on campus, on the premises of any organization granted recognition by Belhaven, or at any University-related event. This includes athletic, music, or recreational events, on or off campus. Possession of empty containers on campus is considered possession of alcohol. When law allows for the consumption of alcohol, students are expected to exhibit the highest standards of Christian principles and behavior at all times.

Students who show up for classes, rehearsals, shop hours, and/or performances under the influence of alcohol will be referred to Campus Security. Additionally, students who show up for production- related activities under the influence of drugs and/or alcohol may be removed from their production responsibilities for the duration of the given production.

TOBACCO In the interest of promoting a healthy living environment for all of the University community, the use of tobacco in any form is prohibited on the campus, including buildings, parking lots, lawns, and sidewalks, as well as at all University-sponsored events. Prohibited products include, but are not limited to cigarettes, cigars, chewing tobacco, snuff, and pipe tobacco.

Students are hereby warned that drug, alcohol, and tobacco violations may result in a ban from participation in productions, on-stage or off-stage.

FACILITIES

THE CENTER FOR THE ARTS

The Center for the Arts (CFTA) is located at 835 Riverside Drive. The Center for the Arts houses the theatre department, the music department, and the university’s weekly chapel services. The following rooms fall under the care and purview of the theatre department. Please note that many students refer to the building as the CFA, shortened from CFTA.

FACULTY AND STAFF OFFICES

CFTA 145 – Office, Professor Yenish

CFTA 146 – Office, Ruth Dentel

CFTA 147 – Office, Melinda Pierce, Administrative Assistant

CFTA 148 – Office, Dr. Elissa Sartwell

THE FISHBOWL

CFTA 150 (nicknamed “The Fishbowl”) is a suite of small offices and rooms lined with glass windows. It is made up of the Green Room, Conference Room, Design/AV Lab, Resource Library/APO Office, and Self-Tape Studio.

GREEN ROOM The central lobby area of The Fishbowl serves as the department’s Green Room.

Who Uses This Space: This is a shared space, available for students, faculty, and staff. While it is expected that the Green Room will function as a break room of sorts, it will be important for those visiting in the green room to respect those who might be working in adjoining spaces. Please “read the room” and adjust noise levels accordingly.

Who Maintains This Space: While the university’s housekeeping staff will vacuum and empty trash, it is incumbent upon each student, faculty, and staff member to clean up after themselves in the Green Room. The microwave/refrigerator/coffee station is provided as a convenience to students. Each student who uses this area is responsible for cleaning the area after each use. All food and drink must remain in the Green Room area and may not be taken into the Conference Room, Design/AV Lab, Resource Library/APO Office, or the Self-Tape Studio.

CFTA 150A - Conference Room

Who Uses This Space: This space is used for classes and production meetings. It is a space that is used with faculty present. Students do not have access to the conference room outside of classes and production meetings.

Who Maintains This Space: Faculty and staff maintain the space, ensuring that it is left in good shape after each use.

CFTA 150B - Design/A-V Lab This room contains design tools and equipment for student designers as well as a computer lab for student use for class and production work.

Who Uses This Space: Design students, faculty, and staff. Students who wish to use the space must first receive equipment training from Professor Yenish.

How to Reserve This Space: Students who have made a reservation to reserve this space by arranging with the department’s administrative assistant (Melinda Pierce) will be given priority for use at the time of their reservation. Students who do not have a confirmed reservation must yield the space to students who have a reservation.

Who Maintains This Space: Following each use, the space must be left in the same condition in which it was found. Faculty and staff reserve the right to limit access to students who are unable to use the space responsibly.

THE WOMEN OF LOCKERBIE – February 2020

CFTA 150C – Resource Library/APO Office This office space serves two functions: 1. It provides office space for APO’s officers 2. It houses the department’s script and resource library

Who Uses This Space: Theatre majors, minors, and officers of APO. For the most part, this space is designed for student use. That said, faculty may occasionally enter the space to look for a script or resource.

How to Reserve This Space: The APO Office and Script Library is managed and maintained by APO Officers. Please contact APO President Jenna Kahley for information about accessing the library.

Who Maintains This Space: Because CFTA 150C is a student space, it is up to the students to keep it clean and well-organized. APO Officers and Theatre Ambassadors have the authority to assign cleaning tasks and/or to limit access to students who are unable to use the space responsibly. Further, faculty and staff reserve the right to limit access to students in the event that the space is being misused.

CFTA 150D – Self-Tape Studio This room is specially designed and equipped with appropriate lighting for use as a space in which to record self-tape auditions.

Who Uses This Space: The Self Tape Studio can be used by any theatre student or faculty/staff member who is preparing a self-tape audition.

How to Reserve This Space: The Self Tape Studio must be reserved in advance of use. To make a reservation, please consult with the department’s administrative assistant (Melinda Pierce) at least 24 hours prior to the desired filming time. A camera is available for checkout with a $20 refundable deposit.

Who Maintains This Space: Each person who uses the space must leave it in the same condition in which it was found. All equipment must be turned off or unplugged. Faculty and staff reserve the right to deny access to students who are unable to use the space responsibly.

CLASSROOMS AND WORK SPACES

CFTA 151/153 - Classroom

Who Uses This Space: 151/153 is used for classes, rehearsals, coaching sessions, and meetings. It is typically unlocked throughout the day.

How to Reserve This Space: This room can be reserved for scene rehearsals and/or meetings during times in which the room is not needed for classes, departmental meetings, and/or production rehearsals. To reserve 151/153 for scene rehearsals and/or meetings, consult with Melinda Pierce at least 24 hours prior to the requested time.

Who Maintains This Space: Each person who uses the space must leave it in the same condition in which it was found. Do not sit on the tables.

CFTA 155 - Makeup classroom and women’s dressing room.

Who Uses This Space: CFTA155 is used for makeup and design classes. Student actors use this room as a dressing room. The Costume Instructor and work-study students use this room as a work space.

How to Reserve This Space: This room is not available outside of the uses listed above.

Who Maintains This Space: Each person who uses the space must leave it in the same condition in which it was found. Do not sit on the tables. During performances, the Stage Manager and Wardrobe staff have the authority to assign cleaning jobs as needed to ensure the space remains safe and clean.

CFTA 157 - Men’s dressing room.

Who Uses This Space: Student actors use this room as a dressing room. The Costume Instructor and work- study students may use this room as a work space.

How to Reserve This Space: This room is not available outside of the uses listed above.

SHOPS

CFTA 152 - The Props Room Who Uses This Space: The properties master and certain shop workers will need to use the props room in order to complete their production jobs. Production stage managers will also enter the props room to retrieve and to store props for specific productions. Others who will use this space include the scene shop supervisor and theatre faculty. NOTE: Unless students have been given a props-related production assignment or are entering the props room to retrieve an item at the request of a faculty or staff,

students should not have any need to enter the props room.

Who Maintains This Space: The Properties Master(s) is/are responsible for maintaining organization and cleanliness in the props room. The Scene Shop Supervisor and/or Professor Yenish have the authority to implement additional organizational or cleaning procedures if they become necessary.

CFTA 154 - The Costume Shop Who Uses This Space: The Costume Instructor has authority in this space. It is used by the costume instructor and by work-study and practicum students. During performances, the costume shop can be used as a passageway from the dressing rooms to the theatre.

How to Reserve This Space: This room is not available for reservation.

Who Maintains This Space: During regular business hours, the costume instructor maintains the space. S/he has the authority to assign cleaning jobs as necessary to maintain a safe and clean shop. During performances, the stage manager is responsible for ensuring the costume shop is left in good condition at the end of each performance.

CFTA 156 - Wardrobe/Laundry Room Who Uses This Space: The Costume Instructor and costume shop workers use this space for storage and for the purpose of doing laundry. During performances, students may pass through this space as a passageway between dressing rooms and the theatre. This room also contains a small restroom that is used by students during performances. NOTE: The department’s laundry facilities are not available to students, faculty, or staff for personal use.

Who Maintains This Space: The costume instructor has the responsibility to maintain the space and the authority to assign cleaning jobs as necessary to maintain a safe and clean space. The university’s housekeeping team is responsible for cleaning the restroom.

The Scene Shop Who Uses This Space: The Scene Shop Supervisor, student scene shop workers, stagecraft and practicum students, and Professor Yenish are the individuals who will be using the scene shop on a regular basis. NOTE: The scene shop is not available for personal use or projects.

Who Maintains This Space: The Scene Shop supervisor has the responsibility to maintain the space and the authority to assign cleaning jobs as necessary to maintain a safe and clean space.

The Grid Who Uses This Space: The grid is used by student workers, faculty, and staff as a means to provide lighting and scenic elements for the department’s production season. On occasion, stagecraft and/or design students will use the space as part of classwork.

Who Maintains This Space: Professor Yenish has full authority of the grid, its organization, and its equipment.

CENTER FOR THE ARTS: THEATRE DEPARTMENT

THE BLACKBOX THEATRE The Blackbox Theatre is located in the Center for the Arts. It is a well-equipped blackbox theatre that seats between 90 – 200 patrons, depending on how the seating and stage are arranged. Because the Blackbox serves as the department’s primary performance venue, a classroom, a scene-shop, and a venue used by outside groups, it is imperative that the space be treated with respect and consideration for others. Food and drink (other than water in a sealable container) MAY NOT be consumed in the Blackbox.

• Following a class o Return any classroom furniture, cubes, or props to the appropriate location o Remove any papers or trash • Following a rehearsal o Return all props and furniture to the appropriate location o Check to make sure furniture has been marked by spike tape before stowing furniture o Remove any papers or trash • Following shop hours o Return all tools and equipment to the scene shop o Sweep the floor and remove any debris o Ensure that the stage floor is clear for rehearsal and/or classes o If a scenic element is not yet safe to use and cannot be moved to another location, it must be clearly labeled as unsafe to use • Reserving the Blackbox Theatre o Requests to reserve the Blackbox theatre should be made via email to Dr. Sartwell and Melinda Pierce. o Note that the request itself does not guarantee a reservation. If you do not receive confirmation of your approved reservation, you may not use the space.

STUDENT LOCKERS Each student is assigned a locker, located opposite Rooms 151, 153, and 155. Locker assignments are made by Melinda Pierce. Students may choose to use a padlock or not. The department is not responsible for any items that are stolen from students’ lockers. It is incumbent upon each student to ensure that their locker is not negatively impacting the space. (In other words, don’t let food spoil in your locker, don’t use your locker to store dirty laundry, and be mindful that your locker does not offend the eyes or noses of those around you!)

BARBER THEATRE

Barber Theatre is an intimate 125 seat theatre located in the basement level of Hood Library. Barber is primarily used as a performance venue for smaller-cast plays and student-directed works. Barber is also used for theatre classes and (occasionally) classes in other departments. As such, it is essential that this space be kept clean. Food and drink (other than water in a sealable container) MAY NOT be consumed in Barber Theatre.

The fire exit corridor MUST be kept clear, and the fire exit door must not be blocked in any way.

• Following a class o Return any classroom furniture, cubes, or props to the appropriate location o Remove any papers or trash • Following a rehearsal o Return all props and furniture to the appropriate location o Check to make sure furniture has been marked by spike tape before stowing furniture o Remove any papers or trash • Special note for 2021-2022 academic year o Barber Theatre will be used for several non-theatre classes during the 2021-2022 academic year o Any props used in theatre classes must be stored in the props cabinet following each class o Any rehearsal cubes must be stored along the side wall or back wall of the auditorium following each class o Do not leave anything out that students from other classes might be tempted to pick up, play with, walk away with, or damage. • Reserving Barber Theatre o If you are interested in reserving Barber for a rehearsal or class project, your request must be emailed to Dr. Sartwell and Melinda Pierce. o Note that the request itself does not guarantee a reservation. If you do not receive confirmation of your approved reservation, you may not use the space.

APO CABARET REHEARSALS – BARBER THEATRE SPRING 2020

ADDENDUM

COVID-19 CAMPUS SAFETY REQUIREMENTS BELHAVEN UNIVERSITY – FALL SEMESTER

Students attending classes on campus must follow these campus safety measures. Belhaven has developed these protections in consultation with our medical advisors and built on the recommendations of the CDC, Mayo Clinic, and other top-level medical experts. They have also been prayerfully considered before being adopted. These requirements will be adjusted as medical advice responds to the virus.

In summary: 1. Masks must be worn indoors by everyone. 2. Unvaccinated athletes and dancers will be tested weekly in our on-campus Testing Center. 3. If unvaccinated, a 10-day quarantine is required if you are in close contact with someone with Covid-19. 4. Vaccinated students are EXEMPT from BOTH testing and quarantine (if asymptomatic).

------

MASKS

• The city of Jackson requires masks to be worn indoors by both vaccinated and unvaccinated adults. Belhaven University will follow the mandates of the city, state, or national government and make adjustments to our safety policy as their requirements change.

• Masks must be worn over your nose and mouth inside buildings at all times, except when eating in the dining commons, working/studying in an isolated place, or staying in your residence hall room.

TESTING

• Two groups of unvaccinated students are required to be tested weekly for Covid-19: 1. All athletes – testing is required by the American Southwest Conference 2. Students enrolled in dance classes – because of physical exertion required in close contact • If you miss your scheduled testing appointment, you must immediately quarantine and until tested during a regularly scheduled time of the Testing Center or on your own at a local testing clinic or pharmacy – see detailed quarantine requirements below.

• Vaccinated students are EXEMPT from weekly testing after they have submitted their vaccination card to the testing center [email protected]

QUARANTINE

• If you have NOT been vaccinated and identified as being in close contact with a person who tests positive for Covid-19, you must quarantine for 10 days. Quarantine will be required of ALL unvaccinated students exposed, not just those students required to test weekly.

• Close contact is 15 minutes or more in proximity to a contagious person over a 24 hour period - roommates, friends, teammates, arts performers.

QUARANTINE (continued)

• For 10 days after your last contact with the person who has Covid-19, students must quarantine at home or, if available, in a quarantine room in a residence hall. As guided by the CDC, you must quarantine the entire 10 days, even if you do not develop Covid-19 symptoms.

• If required to quarantine, you must immediately stop all campus activities and remain isolated. You will NOT be allowed to attend classes, athletic practices/events, fine arts rehearsals/events, or any other student activities. You also will NOT be permitted to enter any campus office, the dining commons, or any common areas (including outdoor areas).

• When in quarantine, faculty will do their best to work with you, as they would with any student who is out of class for an illness. Faculty will be encouraged to add additional course work to substitute for missed class attendance. Classes will not be live-streamed or recorded.

• Vaccinated students are EXEMPT from quarantine requirements after they have submitted their vaccination card to the testing center [email protected]

VACCINATIONS

• Vaccinated students are EXEMPT from:

ü 10-day quarantine requirements (if asymptomatic)

ü mandatory weekly testing for athletes and dancers

• Vaccinated students must submit a picture of their vaccination card to be exempt from quarantine requirements and weekly testing. [email protected].

• If you wish to be exempt before the semester begins, it is important that you get your first vaccine soon because it takes two weeks after your second shot to be fully immunized.

• If you are receiving the two-shot vaccine sequence and have not yet had a second shot, please send a note alerting the Testing Center that you’re in the process of being vaccinated.

Page 2 of 2