Adapted from work by

Katheryn Michele Busti

DIRECTOR JOB RESPONSIBILITIES

ASSISTANT DIRECTOR JOB RESPONSIBILITIES

TECHNICAL DIRECTOR JOB RESPONSIBILITIES

STAGE MANAGER JOB RESPONSIBILITIES

Stage Manager's Checklist

ASSISTANT STAGE MANAGER JOB RESPONSIBILITIES

SET DESIGNER JOB RESPONSIBILITIES

STAGE DESIGN

ANALYSIS OF PLAY

SET FLOOR PLAN

LIGHTING DESIGNER JOB RESPONSIBILITIES

LIGHTING PLAN

GEL INVENTORY

INSTRUMENT INVENTORY

LIGHTING INSTRUMENT SCHEDULE

LIGHTING SCHEDULE HOOK-UP

LIGHTING CUE SHEET

COSTUME DESIGNER JOB RESPONSIBILITIES

PRELIMINARY FULL PLAY COSTUME CHART

INDIVIDUAL COSTUME PROFILE

COSTUME MEASUREMENT CHART

COSTUME SKETCHES

MALE ACTOR COSTUME CHECKSHEET

FEMALE ACTOR COSTUME CHECKSHEET

CHECKLIST OF RENTED OR BORROWED COSTUMES

PROPS MASTER JOB RESPONSIBILITIES

PRELIMINARY FULL PLAY PROPS CHART

PROPS CHECKLIST

CHECKLIST OF RENTED OR BORROWED FURNITURE & PROPS

SCENERY & PROPS PRESET CHECKLIST

SCENERY & PROPS SHIFT CHECKLIST

MASTER CARPENTER JOB RESPONSIBILITIES

THEATRE SEASON TOOL INVENTORY

SCENIC ARTIST JOB RESPONSIBILITIES

PAINT INVENTORY

SOUND DESIGNER JOB RESPONSIBILITIES

SOUND CUE SHEET

MAKE-UP ARTIST JOB RESPONSIBILITIES

MAKE-UP WORKSHEET

MAKE-UP CHECKLIST / INVENTORY

PUBLICIST JOB RESPONSIBILITIES

PROMOTION IDEAS FOR A SCHOOL PLAY

SAMPLE FACT SHEET

FACT SHEET

PROGRAM EDITOR JOB RESPONSIBILITIES

ITEMS TO INCLUDE IN A PROGRAM

SAMPLE THEATRE PHILOSOPHIES

HOUSE MANAGER JOB RESPONSIBILITIES

HOUSE SEATING PLAN

BOX OFFICE RULES

GUIDELINES FOR USHERS

TICKET SALES RECONCILIATION

GENERAL USE FORMS

PRODUCTION CALENDAR

PRODUCTION INFORMATION SHEET

AUDITION APPLICATION

REHEARSAL GUIDELINES

APPLICATION FOR TECHNICAL POSITIONS

PRODUCTION CONTRACT

ITEMS FOR PERSONAL MAKE-UP KIT

REHEARSAL SCHEDULE

SHOP SAFETY RULES

EMERGENCY NUMBERS

19 PRODUCER JOB RESPONSIBILITIES

20 CHOREOGRAPHER RESPONSIBILITIES

21 VOCAL DIRECTOR RESPONSIBILITIES

1. DIRECTOR JOB RESPONSIBILITIES

The director is the creative, artistic leader of the production and the production team. The director is the controlling force for unifying all crews working on the production and for maintaining the morale of the cast. The director is responsible for interpreting the script, assembling the production team, auditioning the actors, selecting a cast, blocking and rehearsing the cast, meeting with and coordinating the efforts of all crews, polishing the production, and presenting the artistic creation for an audience. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Select a play.

( )

Secure performing rights from the play leasing agent or company. PAY THE ROYALTY IN RECOGNITION OF THE PLAYWRIGHT'S ARTISTIC CREATION.

( )

Schedule and secure the performance space for rehearsal and performance dates.

( )

Purchase the scripts.

( )

Read the play several times. With each focused reading make notes on set, props, lighting; sound, costumes, etc.

( )

Prepare audition monologues.

( )

Visit the rehearsal space and become familiar with the potential of the space as well as any legal requirements or restrictions for your locality.

( )

Arrange a meeting with yourself and the technical director, stage manager, set designer, lighting and sound designers, and costume designer. Discuss production concept, design, and plans. Discuss master calendar for production team.

( )

Organize a rehearsal schedule. Post it.

( )

Together with the tech director and stage manager, select a production team from the applications.

( )

Approve all designs, drawings, and models. Share with the core design team.

( )

Prepare and monitor a production budget.

DURING AUDITIONS

BEGUN

DONE

( )

Advertise auditions (or delegate it to the stage manager). Make copies of audition materials and applications.

( )

Audition the actors.

( )

Select a cast.

( )

Notify cast members.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Meet with production team to explain and coordinate all production activities.

( )

Arrange for first meeting of the entire cast and the entire production team. Discuss potential schedule conflicts.

( )

Provide the cast with a rehearsal calendar. Revise calendar if necessary.

( )

Provide "table talk" time with the actors.

( )

Block and rehearse the actors.

( )

Explore and discuss sub-text and character motivation.

( )

Encourage actors to keep personal journals and character diaries.

( )

Meet with the production team regularly.

( )

Continue to monitor the budget.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Encourage the sharing of journals and diaries.

( )

Provide time for external and internal character analysis and discussion.

( )

Arrange for special guests to share script experiences with the cast. (Members of the Center On Deafness could speak with the cast of Children Of a Lesser God).

( )

Begin taking notes on the actor's performance as you shape and mold their character concept to fit the concept of the show.

( )

Encourage and thank the actors for their efforts.

( )

Polish the performers and their performances.

( )

Continue to meet with the production team.

( )

Thank the production team and crew members for their efforts.

( )

Monitor the budget.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Arrive ½ hour before the first cast/crew call. Open the building.

( )

Coordinate all activities of technical rehearsals with the stage manager and tech director.

( )

Check all technical elements of the production. Discuss notes with the tech director and the stage manager.

( )

Observe dress rehearsal and continue to make notes on items for the actors.

( )

Monitor the budget.

( )

Compliment and thank the technical director, actors, production team, and crew members for their efforts.

( )

Leave the building after everything is secure.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Coordinate with facilities personnel to schedule environmental control systems.

( )

Arrive ½ hour before the first cast/crew call. Open the building.

( )

Attend all performances. Note any problems and see that they are corrected.

( )

Monitor the budget.

( )

Compliment and thank the technical director, actors, production team, and crew members.

( )

Remind all crew heads to write a letter of advice to the person who will have that job for the next show.

( )

Meet with the technical director, stage manager, and master carpenter to arrange a strike schedule.

( )

Leave the building after everything is secure.

DURING STRIKE

BEGUN

DONE

( )

Assist the stage manager in organizing strike.

( )

Guide the production team through their final responsibilities.

( )

Monitor the budget. Pay all bills. Prepare a financial statement.

( )

Collect all production team 3-ring binders and store for the next show.

( )

Gather everyone connected with the production for closing comments or closing ceremonies when strike is over.

( )

Thank EVERYONE, especially the techies.

( )

A hug for the tech director would be nice!

( )

Leave the building after everything is secure.

( )

Write any necessary thank you notes. Relax after a great job!

2. ASSISTANT DIRECTOR JOB RESPONSIBILITIES

When the director chooses to use an assistant director in place of, or in addition to, the stage manager, the people involved should agree upon the SPECIFIC RESPONSIBILITIES OF EACH to avoid conflicts during rehearsals and the run of the show. Some items not listed for the stage manager which could be done by an assistant director or by an assistant stage manager are:

BEGUN DONE

( )

( ) Post the sign in/sign out sheet and tally it weekly.

( )

( ) Secure valuable personal items for cast and crew. Be available to lock and unlock the secured area as cast and crew sign in and sign out.

( )

( ) Design a schedule for warm-ups at the beginning of each rehearsal period using cast members to lead the warm-ups.

( )

( ) Serve as the rehearsal prompter so the stage manager is free to make blocking notations.

( )

( ) Rehearse lines with individual cast members as requested by the director.

( )

( ) Assist the director and stage manager with paper work.

( )

( ) Post notices or deliver them to the appropriate cast or crew. Remove outdated notices.

( )

( ) Call cast or crew members when necessary.

( )

( ) Perform any other task necessary for the smooth running of rehearsals and the production as requested by the director.

( )

( ) Arrange a cast party

Addendum by Leslie Raab after A.D. for Man of La Mancha and Miracle on 34th Street. I went at the role of assistant director from a standpoint of a personal assistant to the director. I took care of the everyday stuff that goes along with the pre-production and gave the director the time and freedom to

direct the play without having to worry about the small stuff. After having been involved with NLT through my daughter being in a few plays, I realized that NLT could benefit from a better plan of communications between cast/crew and the director. That is where I placed my efforts.

New London Theatre now uses email as the primary form of contact to keep in touch with their cast and crew.

As soon as auditions are finished and the parts are cast, the A.D. should begin a data base of cast contact info. I used Microsoft Excel to keep this info.

I listed name (alpha order by last name), role, phone number, and email address. Set up an email address list in my email program for the cast and for the crew. It may take a week or so to work the bugs out of the email addresses but is well worth the time. Good communication between everyone is very important, (also for the parents of children that have been cast).

Work with the people in charge of the other crews (i.e., programs, insurance, t-shirts) as needed to get information out to the cast and crew.

Announce at the first meeting of the cast that you will be using email and how important it is that everyone check their email daily. Ask them to let you know if they are not receiving anything because there may be a problem with the address you need to know about.

Oversee the planning of the cast party. Use your email to ask for someone to be in charge of the planning and to send info to everyone.

Midway through rehearsals you can start getting crews together for the “House Management” (if we do not have a house manager). If we do, you can ask to see if they would like you to send out information asking for volunteers.

At the end of the rehearsal process, you can turn in the Audition Forms to the Artistic Director. They are saved and used for future contact information.

Any mass emails that need to be sent out to the New London data base should be sent to Linda Chambless: llc2007a@yahoo.com, work phone number: 770-267-1730, cell phone number 770-617-3209, home phone number 770-962-7435.

Linda keeps the data base for us and adds new email addresses from each performance.

TECHNICAL DIRECTOR JOB RESPONSIBILITIES

The technical director is an assistant to the director and supervises all technical aspects of the production including set construction, set painting, lights and sound. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the director, stage manager, set designer, lighting designer, sound designer, and costume designer. Discuss production concept, design, and plans

( )

Together with the director and stage manager, select a production team from applications. Review (with the director) all designs, drawings, and models submitted by the core design team.

( )

Locate a ground plan of the stage for the stage areas you will be using or supervise the stage manager as the SM measures the stage.

( )

Review the ground plan of the set with the set designer, stage manager, master carpenter, and scenic artist.

( )

With the stage manager, set designer and master carpenter, list everything which needs to be constructed.

( )

With the stage manager, set designer and master carpenter determine the amount of lumber, hardware, muslin, Styrofoam, etc. you will need to build the set. Check the tool inventory at the same time.

( )

Submit a shop budget to the director.

( )

After approval, purchase the items needed to build the set.

( )

Together with the director and stage manager, make a master calendar for the production team, cast, and various crews.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Supervise the stage manager as the set configuration is taped or marked on the rehearsal floor.

( )

Meet with the master carpenter to establish shop procedures.

( )

Meet with the entire crew from set construction, set painting, props construction, lighting, sound and video. Review shop safety with EVERYONE. Distribute RULES OF THE SHOP on handout sheets

( )

Teach all members of the crew the proper use of shop power tools. Have each crew member practice using power tools before they actually begin building the sets and props.

( )

Assist the master carpenter in drawing exploded detailed sections of the set.

( )

Meet with each member of the production team individually. Assist them in developing a production time line with deadline dates for their crew.

( )

Compile all above lists into one master deadline list.

( )

Supervise all instructional workshops and crew training sessions conducted by the crew chief for the various crew members.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Attend all meetings of the production team.

( )

Continue to supervise the activities of set construction, set painting, props and furniture construction, lights, sound and video. Remind them to meet deadlines.

( )

Continue to maintain safety and order in the shop.

( )

Review the lighting and sound designs.

( )

Meet with the stage manager and master carpenter to determine what jobs need to be done by the running crew for tech week and for the production dates.

( )

Supervise the choreography of scene changes.

( )

Supervise the lighting crew as they make adjustments prior to tech week.

( )

Thank the production team and crew members for their efforts.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Continue to supervise all crews, especially lighting and sound.

( )

Supervise all backstage running crews.

( )

Monitor the set for weak areas.

( )

Thank the production team and crew members for their efforts.

( )

Leave the building after everything is secure.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive at least ½ hour before the first cast/crew call.

( )

Work with the director to coordinate with facilities personnel to schedule environmental control systems.

( )

Assist the director in opening the building

( )

Keep a lookout for unacceptable behavior.

( )

Supervise the stage manager in running the cue check prior to the show.

( )

Meet with the stage manager and master carpenter to make a strike list.

( )

Using the post-production tool inventory, replace any broken, lost, or stolen tools before the end of the present production.

( )

Thank the production team and crew members for their efforts.

( )

Leave the building after everything is secure.

DURING STRIKE

BEGUN

DONE

( )

Supervise strike.

( )

At a closing meeting thank the production team and crews for a job well done.

( )

Guide the production team through their final responsibilities.

( )

Using a check list, assist the stage manager in dismissing the production team individually when their work is done.

( )

A hug for the director would be nice.

( )

Leave the building after everything is secure and put away. Relax after a great job!

STAGE MANAGER JOB RESPONSIBILITIES

The stage manager is responsible, along with the director, for supervising the entire production, on stage and backstage. The stage manager has important responsibilities in the production. The stage manager is responsible for calling all cues for the show during all performances. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Obtain a ground plan of your theatre's stage. If measurements are not indicated, measure all areas of the stage and wings which will be used for the production.

( )

Indicate on the stage ground plan the location of fire extinguishers, fuse boxes, phones.

( )

Make a production book (prompt book) in a thick 3-ring notebook with dividers. Consult with the director to determine the format and topics for the divided sections.

( )

Meet with the director, technical director, set designer, master carpenter, and scenic artist to determine the physical needs of the set.

( )

Accept applications for the job of assistant stage manager (ASM) or meet with the director and appoint a capable person to train as stage manager for future shows. Work with the ASM in all tasks listed below.

( )

Obtain from the set designer the ground plan of the set. Be certain you have all the correct measurements of the set.

( )

Meet with the director to determine the location of daily rehearsals. Decide on the best way to mark the rehearsal space with the set configuration.

( )

Reserve the rehearsal space with school or community administrators

( )

Meet with the production team (crew heads). Obtain from each their production time lines of deadline dates.

( )

Together with the director and technical director, make a master calendar for the production team, cast, and crews. Post it in a central location for all to check daily. (Laminated two-month calendars available in office supply stores are perfect for this. They can be color coded by crew deadlines with dry marker pens.)

( )

Meet with the director to plan procedures for auditions

( )

Post audition notices. Post necessary information.

DURING AUDITIONS

BEGUN

DONE

( )

Prepare the audition space. Set out any necessary forms. Post notes about readings, callbacks, etc.

( )

Greet the auditioners. Explain procedures. Accept resumes.

( )

Assist the director during auditions.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Mark or tape the set configuration to the rehearsal floor.

( )

Spike all set furniture within the confines of the rehearsal set configuration.

( )

Review all rehearsal rules with the cast.

( )

Type and photocopy a complete list of everyone connected with the production. Phone numbers for each is a must! Include phone numbers for a nearby doctor, hospital, police, fire station, hot lines, and poison control.

( )

Prepare the space for that day's rehearsal

( )

Post daily rehearsal schedule.

( )

Post sign-in sheets on board.

( )

Take all blocking notations, cues for lights, sound, special effects.

( )

Call all rehearsal cues.

( )

Supply actor lines when the actor calls "line".

( )

Strike the rehearsal set.

( )

Keep a rehearsal log.

( )

Meet with the production team (crew heads) on a regular basis. Have each report on the progress of their crew. Check on items completed on their time lines

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Prepare the space for that day's rehearsal.

( )

Notify the props master which props need to be set for each day's rehearsal.

( )

Post sign-in sheets on board.

( )

Call all rehearsal cues. Continue to record all cues or cue changes in your prompt book.

( )

Strike the rehearsal set.

( )

Meet with the lighting designer and the sound designer. Obtain from them their lighting and sound cue sheets. Review the material with them.

( )

Meet with all other members of the production team to coordinate final activities for tech week with them.

( )

Meet with the master carpenter to determine the running crew for the show. Assign responsibilities.

( )

Choreograph all scene changes.

( )

Provide the production team and cast with a schedule of activities for tech week.

( )

Using a stop watch, time the actual production on a complete run day. Report that time to the director.

( )

Take notes from the director to give to the cast.

( )

Finalize your prompt book.

( )

Thank and compliment the cast, crews, and director

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Organize an "emergency kit". It can be a large fishing tackle box. Store in it a first-aid kit, scissors, masking tape, duct tape, scissors, flashlight, fresh batteries, pencils & pens, note paper, paper clips, gloves, police and fire phone numbers.

( )

Post sign-in sheets on board.

( )

Allow time for costumes and make-up. Announce the beginning of tech rehearsal or dress rehearsal.

( )

Have assistant stage manager make note of all problems.

( )

Listen to all problems with courtesy and patience. Try to find creative solutions.

( )

Together with the Assistant Stage Manager, give notes to cast and crew after rehearsal. Divide notes into full cast notes - individual cast notes - crew notes.

( )

Thank and compliment the cast, crews, and director.

( )

With production team, supervise striking or securing valuable parts of the set, costumes, and other items.

( )

Lock all doors and turn off the lights.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive ½ hour before the first cast/crew call. Turn on lights and unlock doors.

( )

With the production team, re-set the stage and prepare for the production

( )

Post sign-in sheets or take attendance (or delegate to ASM) of cast, production team and required crew members necessary for the show.

( )

Keep a lookout for unacceptable behavior. Speak to the director or parent before consequences are given.

( )

Run a cue check with light and sound crews.

( )

Consult with the house manager before you give warnings or call curtain.

( )

Call warning times for curtain: 15 minutes, 10 min., 5 min., places, curtain.

( )

Call all cues for the show.

( )

Confine all head-set conversation to cues, and emergency questions and answers for the production.

( )

Notify the house manager for appropriate time for the house manager to blink the lights or ring a bell for the end of intermission.

( )

Near the end of the run of the show, meet with the master carpenter to make a strike list.

( )

Type, photocopy, and post copies and give copies to all who need to attend strike.

( )

Before closing night write a letter to the person who will have your position for the next show. Give that person advice based on your experience. File the letter in your 3-ring binder behind your job description.

( )

With the production team, supervise striking or securing valuable parts of the set, costumes, etc.

( )

Lock all doors and turn off the lights.

DURING STRIKE

BEGUN

DONE

( )

Supervise strike.

( )

At a closing meeting after strike, thank the production team, cast, crew members, technical director and director.

( )

Announce the location of the cast party.

( )

Using a check list, dismiss the production team individually. Thank them individually for all their effort and dedication.

( )

Turn out the lights and lock the door. Relax after a great job!

Stage Manager's Checklist

( )

( ) Pre-show Checklist

( )

( ) Script in hand, ready with cues.

( )

( ) Doors to hallways closed and/or locked (both ends).

( )

( ) All actors and crew present and checked in (notify Director of any problems).

( )

( ) First aid kit present.

( )

( ) Stage Manager's kit present

( )

( ) Work lights off.

( )

( ) Props in place.

( )

( ) Set ready.

( )

( ) Strike chart of set posted for crew

( )

( ) Water for backstage ready with cups.

( )

( ) Flowers placed away from actors to be picked up after show.

( )

( ) Headsets on both sides ready.

( )

( ) Check headsets with booth.

( )

( ) Opening Checklist

( )

( ) Thirty minute call to dressing rooms, House Manager, backstage parent, and booth.

( )

( ) Actors, crew, and backstage parents ONLY allowed backstage

( )

( ) Tech crew ready for opening.

( )

( ) Sound cued.

( )

( ) Stage cleared of actors/crew

( )

( ) House opened ½ hour before show.

( )

( ) Stage Manager and House Manager confer as to need to delay opening.

( )

( ) Fifteen minute call. During this time, the actors should not be disturbed during warm-ups. No walkmans, gameboys, radios, tvs or homework.

( )

( ) Ten minute call

( )

( ) Five minute call

( )

( ) Two minute call to PLACES.

( )

( ) House lights down, sound down, first act lights up.

Show Checklist

( )

( ) Stay on task. Every cue is critical. Do not leave your post. Make sure there is no backstage noise.

( )

( ) No unauthorized person backstage. (Ask the backstage parent to handle this).

( )

( ) Keep voice level down on headset. No extraneous talk on headset. (Be careful of whom you talk about. Their best friend may pick up a headset).

( )

( ) Bring up house lights at end. Do not allow crew onstage until house lights are up.

Intermission Checklist

( )

( ) Make sure someone remains in booth.

( )

( ) Five minute call.

( )

( ) Two minute call to PLACES.

Post-Show Checklist

( )

( ) All props returned to table or props room Reset for next night's show.

( )

( ) Dressing rooms cleaned

( )

( ) Hallway/Lobby cleaned.

( )

( ) Make sure stage lights, light board and sound board are all off Headsets back in booth on shelves.

( )

( ) Outer doors, dressing room doors, prop room doors, and office doors locked.

( )

( ) Keys returned to the Director.

Remember, it's the Stage Manager's main job to keep the show running smoothly. The Stage Manager is in charge.

Do not leave until the Director locks up and leaves. Discuss problems with the Deputy or the Director. Turn checklist in to Director after every performance. Pat yourself on the back.

Stage Manager

Date

Director

Date

ASSISTANT STAGE MANAGER JOB RESPONSIBILITIES

The assistant stage manager is responsible for assisting the stage manager. The "assistant" is in training for the job of stage manager in the future.

NOTE: The stage manager and the assistant stage manager need to communicate daily to decide on who is doing what. This team of two needs to share responsibilities.

6. SET DESIGNER JOB RESPONSIBILITIES

The set designer, after discussing the interpretation of the play with the director, is responsible for designing a set for the production. Designing a set includes preparing a series of drawings and paintings which include all the information necessary for building the set, building a set model, and providing the master carpenter with detailed drawings of the set. The set designer coordinates the colors, tones, and shades used in the set. The designer oversees the work of the lighting, props, and costume crews to coordinate colors, tones and shades. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

( ) Read the play.

( )

Meet with the director to discuss the concept of the show.

( )

Analyze each act and scene for physical requirements: doors, stairs, windows, etc.

( )

Research the period of the play. Use set design books, art history books, history books, movies from the same period, magazines, and consult the back of the play script.

( )

Obtain a sketch of your stage complete with all the measurements you will need.

( )

Draw a ground plan of the set. Indicate elevations in the ground plan. Meet with the director for approval.

( )

Make a scale model of the set. (Consult Payne's text listed below)

( )

Meet with the director, tech director, stage manager, master carpenter, scenic artist, lighting designer, props master, and costume designer to discuss your drawings and model.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Present your drawings and model to the cast.

( )

Give your drawings and set model to the technical director and the master carpenter. Be on hand to answer questions for them.

( )

Be present when the stage manager marks the set configuration on the rehearsal floor for the first time.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Continue to consult with the technical director, stage manager, master carpenter, scenic artist, lighting designer, props master, and costume designer to answer design questions and to supervise the design execution.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

STRIKE

BEGUN

DONE

( )

Remove and store your set model or save it for your personal theatre portfolio.

STAGE DESIGN

THE ELEMENTS OF DESIGN

(The raw materials ready to be brought together into some order or purpose)

LINE

defines form

SPACE

the area you are sculpting

SHAPE

the visible makeup of the form

DIMENSION

the size or mass of form

MOVEMENT

the action (or energy) of form

LIGHT

reveals form

COLOR

modifies or enhances form

VALUE

relative lightness or darkness of a color

TEXTURE

the tactile part of form

PRINCIPLES OF COMPOSITION

(The organization of the above elements of design must be brought into a unified form. the designer must control and use the design elements to bring interest and meaning to the stage.)

HARMONY

a pleasing arrangement of parts, a relationship

CONTRAST

differences in color,emotion, tone

VARIATION

differences between items

PATTERN

a repeated design

GRADUATION

various degrees (of color, of light)

UNITY

bringing parts together to create a whole

BALANCE

a relationship of forces

PROPORTION

the ratio of something to something else

RHYTHM

alternating strong and weak elements

INTEREST

readiness to be concerns with or moved by objects, color, light, set design

CONSIDERATIONS - DESIGN IDEAS FOR THEATRE

STORY

the plot of the play

ACTION

consider the moment to moment events of the play or scene

CHARACTERIZATION

who are the people and what are their needs

TIME

when do the events of the lay occur (season, year, historical period)

PLACE

where does the play occur (city, state, region, nation

MOOD

the quality of a play which creates an emotional response from the audience

CONCEPT

what you want to stress or underscore in a production

WHATEVER TYPE OF THEATRICAL EVENT A DESIGNER MAY BE ASKED TO DO, S/HE ASKS THE SAME QUESTIONS:

WHAT IS THE REASON FOR THIS EVENT? (commercial, charity, historical, aesthetic)

WHAT IS THE ATMOSPHERE? (happy, serious, reflective, etc.)

WHAT IS IT SAYING? (and how will scenery, lights, costumes, etc., help you say it?)

HOW AND WHERE WILL IT BE STAGED? (theatre, stadium, street, etc.)

WHAT IS THE STYLE? (entertainment, documentary, pageant, etc.)

SUBTEXT FOR DESIGNERS

HOW LONG DID THE FAMILY LIVE IN THIS HOUSE?

WHAT ARE THEIR HABITS? HOBBIES?

WHAT HAVE THEY COLLECTED? WHAT THINGS ARE IMPORTANT AND WHY?

WHAT IS THEIR LIFESTYLE?

TIPS FOR DESIGNERS

PLACE THE DOORS AND WINDOWS AND IMPORTANT ELEMENTS FIRST. THEN BUILD THE WALLS AROUND THEM.

WHAT ARE IMPORTANT PARTS OF THE ACTION OF THE PLAY AND WHERE WILL THEY TAKE PLACE (blocking)

WRITE A PARAGRAPH ABOUT EACH ROOM OF THE HOUSE, AREA, SET DESCRIBE IT IN DETAIL.

ANALYSIS OF PLAY

PLAY

PLAYWRIGHT

TYPE OF THEATRE

DESIGN STYLE

NAME OF DESIGNER

ACT

SCENE

PAGE

SYNOPSIS OF SCENE

HISTORICAL PERIOD OR YEAR

TIME OF YEAR OR SEASON

LOCATION (country, area city, etc.)

TIME OF DAY / EVENING

WEATHER CIRCUMSTANCES

OTHER DESIGN CONCEPTS

THEME

MOOD

SYMBOLS

SET CONSIDERATIONS

ENTRANCES

EXITS

OFF STAGE ROOMS

DOORS/DOORWAYS

STAIRS

WINDOWS / FIREPLACE

REQUIRED FURNITURE

DESIRED FURNITURE

REQUIRED PROPS (set & hand props)

DESIRED PROPS (set & hand props)

OFF STAGE SCENERY (visible to audience)

LIGHTING CONSIDERATIONS

OTHER CONSIDERATIONS

ANALYSIS OF PLAY - PG. 2

PLAY

PLAYWRIGHT

TYPE OF THEATRE

DESIGN STYLE

NAME OF DESIGNER

CHARACTER CONSIDERATIONS (for set environment)

CHARACTER

AGE

EDUCATION

SOCIAL RANK

OCCUPATION

OTHER

COSTUME CONSIDERATIONS (for set)

MAKE-UP CONSIDERATIONS (for set)

SET FLOOR PLAN

PLAY

ACT

SCENE

SET FLOOR PLAN

PLAY

ACT

SCENE

LIGHTING DESIGNER JOB RESPONSIBILITIES

The lighting designer, after meeting with the director and set designer, is responsible for compiling an equipment inventory, designing a light plot, and hanging, focusing and circuiting the lighting design. The lighting designer or master electrician is responsible for running the board during technical rehearsals and performances. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks. (NOTE: If you have a lighting designer and a master electrician, separate the jobs listed below.)

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Analyze each act and scene for specific lighting needs. Make note of the location, time of day, motivating light sources, day and night transitions, practical light sources, and special lighting effects.

( )

Meet with the director, stage manager, set designer, and scenic artist, prop master, and costume designer to determine the mood and requirements of the show.

( )

Meet with the master carpenter, set designer, scenic artist for information and drawings of the set including the colors of paint to be used.

( )

Meet with the video master and view any instructional video tapes. Read any lighting texts for background information.

( )

Design a light plot which meets the needs of the show.

( )

Together with technical director, make a list of everything your crew needs to do. Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a lighting crew. Make a list of their names and phone numbers.

( )

Arrange a lighting workshop for your crew. Have them view any segments of the video tape you found useful. Share notes from chapters of books you read on stage lighting.

( )

Teach your crew how to use the light board in the booth.

( )

Together with your crew, check and clean all instruments. Report any needed lamps or parts to the stage manager and tech director (it is the TD's responsibility to order lamps).

( )

Inventory all instruments.

( )

Inventory your gel supply. Write the number on the gel with a grease pencil. File them in a gel cabinet or in manila folders.

( )

Watch a full rehearsal of the show. On a set drawing note all acting areas.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Finalize your light plot.

( )

Complete your lighting schedule.

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE LIGHT BOARD AT ANY TIME.

( )

Make copies of the light plot for your crew. Be sure they know how to use and follow the light plot.

( )

Determine the color of gels to be used. Get the approval of the director.

( )

Prepare a budget for the gels and gobos. Get a purchase order and submit it to the tech director or to the bookkeeper.

( )

Buy the gels. Label the gel color with the proper code number using a grease pencil.

( )

Supervise your crew as they hang, focus and aim the lights on stage areas according to the plot.

( )

Write your preliminary light cues.

( )

Do a dry run of all light cues with the director (on the painted and decorated set). Make note of changes.

( )

Just before tech week, check the light plot with the actors doing a cue to cue. (Q2Q) Set and record levels of each dimmer and the sequence of lighting changes.

( )

Make note of any changes or adjustments needed as a result of the Q2Q. Supervise making the adjustments.

( )

Gel the instruments.

( )

Prepare light cue sheets and photocopy them.

( )

Give a light cue sheet to the stage manager and review all cues which the stage manager will call during tech week and during the run of the show.

( )

Compliment and thank your crew.

( )

Before leaving each night, turn off the light board.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Meet with the stage manager and review all light cues.

( )

Review all job responsibilities with your crew.

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE LIGHT BOARD AT ANY TIME.

( )

Run the show according to light cues called by the stage manager.

( )

After rehearsals, make any needed changes.

( )

Label and store all unused gels.

( )

Compliment and thank your crew.

( )

Before leaving each night, turn off the light board.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive at least ½ hour before the first cast/crew call.

( )

Run a check of all your light cues. Report to the stage manager when you are finished.

( )

Run a check of all light cues as they are called by the stage manager.

( )

Run the show according to calls from the stage manager or booth director

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE LIGHT BOARD AT ANY TIME.

( )

CELL PHONES, GAME BOYS, PERSONAL AUDIO DEVICES AND VISITORS ARE NOT ALLOWED IN THE LIGHTING BOOTH WHILE THE SHOW IS IN PROGRESS.

( )

Confine all head-set conversation to cues, and emergency questions and answers for the production.

( )

Compliment and thank your crew.

( )

Before leaving each night, turn off the light board.

DURING STRIKE

BEGUN

DONE

( )

Disconnect all instruments which were hung specially for this show. Return all specially hung instruments to their storage space.

( )

Label and store all gels (if they are still useable).

( )

Make sure the booth is completely clean.

( )

Compliment and thank your crew.

( )

Turn off the light board.

( )

Check out with the stage manager.

LIGHTING PLAN

PLAY

ACT

SCENE

GEL INVENTORY

Company

No.

Name

Trans.

Full

Scope

Other

INSTRUMENT INVENTORY

Instrument Number

Model

Type

Serial Number

Date Acquired

Date Disposed

Est. Purchase Price

Condition

Last Serviced

Comments

INSTRUMENT INVENTORY

Instrument Number

Model

Type

Serial Number

Date Acquired

Date Disposed

Est. Purchase Price

Condition

Last Serviced

Comments

LIGHTING INSTRUMENT SCHEDULE

LIGHT #

TYPE

WATTS

LAMP

GEL COLOR

AREA

BATTEN

DIMMER

PURPOSE

LIGHTING INSTRUMENT SCHEDULE

LIGHT #

TYPE

WATTS

LAMP

GEL COLOR

AREA

BATTEN

DIMMER

PURPOSE

LIGHTING SCHEDULE HOOK-UP

CIR

DIM

PAIR

TYPE

COLOR

AREA

PURPOSE.

REMARKS

LIGHTING SCHEDULE HOOK-UP

CIR

DIM

PAIR

TYPE

COLOR

AREA

PURPOSE.

REMARKS

LIGHTING CUE SHEET

PRODUCTION:

DESIGNER:

PRE-SET:

PAGE:

CUE #

ACT

SCENE

PAGE

NOTES

CUE #

ACT

SCENE

PAGE

NOTES

LIGHTING CUE SHEET

PRODUCTION:

DESIGNER:

PRE-SET:

PAGE:

CUE #

ACT

SCENE

PAGE

NOTES

CUE #

ACT

SCENE

PAGE

NOTES

COSTUME DESIGNER JOB RESPONSIBILITIES

The costume designer is responsible for identifying, building, buying, renting, caring for, and returning all costumes and accessories needed by the actors in the production. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the director to confer about the costumes. (The director may wish to change, add, or delete some costumes.)

( )

List every character in the play.

( )

Analyze each act and scene for costume requirements. Note the act and scene where that person appears on stage. Make note of the passage of time (i.e., the next day, two weeks later, etc.).

( )

Make 3 copies of the list. Give copies to the director, the stage manager, and file the other copy in your production book.

( )

Research the time period for the play - use costume books history books, and art books, paintings, etc.

( )

Meet with Video Master. Make arrangements to view any instructional video tapes on costuming. Read selected chapters from the texts in the bibliography.

( )

Photocopy outstanding pictures of people from the period of the play. Place the photo copied photos in a scrap book, on a poster board, or make a large collage for reference by yourself and the cast. Get the photos or collage approved by the director before you display it.

( )

Make a large planning chart of all costumes needed for the play. The chart should include the costume needed and the accessories, (shoes, hats, jewelry,). Make note of time changes, location changes, interior scenes, exterior scenes (for coats), and quick costume changes.

( )

Using the information above, make a written costume chart for each character in the play.

( )

Make sketches of costumes for each actor using copies of figures (see attached in case you are not an artist) and the information from your charts and lists. Add the accessories. Make notes on the sketches.

( )

Meet with the director, stage manager, lighting designer, set designer and props master for approval of the sketches. Then, post the sketches in your workspace.

( )

Prepare a costume budget.

( )

Check with your director for your school's policy on purchase orders. Do not spend money without authorization. Save all receipts. Present them to the director..

( )

Together with the director, make a list of everything your crew needs to do. Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a crew and post signs for crew meetings.

( )

Make copies of your character costume list (by acts & scenes) to distribute to your crew.

( )

At your first meeting make a list of your crew members names and phone numbers. File that list in your production book.

( )

Measure all actors (see attached charts). File measurement charts in your production book.

( )

Inventory available costumes in costume room which can be used in this production.

( )

Visit Thrift Stores, Salvation Army, etc. for possible costumes. Make note of prices.

( )

Call and visit local costume rental shops. Be sure to visit local college costume shops. Make note of prices, rental fees, and availability of costumes.

( )

Visit your local fabric store. (Check for a wholesale or discount fabric store first.) Scan pattern books for patterns of costumes the crew or a dressmaker will have to build. Locate the fabric you will use. Make note of the price per yard.

( )

Make note on your large costume chart of costumes your crew has found.

( )

Purchase the fabric, cut it, supervise the building of costumes and collection of all accessories.

( )

Check with your director to determine if rehearsal skirts or rehearsal costumes will be needed for any character. If so, furnish them.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Post a notice for costume fittings for each actor. (Confer with stage manager for best times.) Make appropriate alterations.

( )

Complete all costumes and add the trim where needed.

( )

Update your production costume chart and individual costume charts. Post them in the costume room.

( )

Pick up all the costumes being rented or borrowed from other sources. Complete the final fitting.

( )

Assign crew members to serve as dressers for actors who need to make quick or difficult costume changes.

( )

Assign places for dressers to store costumes for quick changes. Plan for racks, hooks, etc.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Supervise the dressers.

( )

Meet with the director and stage manager to plan a costume or dress parade under the lights and gels to be used in the production. Sit by the director and stage manager and make note of any necessary changes.

( )

Watch the show and make note of any problems with costumes.

( )

Post a list of costume rules for the cast of the show (i.e., each actor must hang up individual costumes and put accessories in the appropriate place - each actor must report lost buttons, jammed zippers, torn fabric to the costume master/ mistress, etc.).

( )

Continue to attend dress rehearsals and make note of problems.

( )

Assign a crew member the job of ironing costumes two hours before the production.

( )

Keep a supply of pins, needles, thread, safety pins, a glue gun, and glue sticks near the sewing machine for quick fixes during the show.

( )

Instruct crew to secure all costumes.

( )

Compliment and thank your crew.

DURING THE RUN OF SHOW

BEGUN

DONE

( )

Assign a crew member the job of ironing costumes two hours before the production.

( )

Two hours before the show, inventory all costumes to make sure something has not disappeared.

( )

Check-in all costumes and accessories before actors leave. Check with actors for any repairs needed.

( )

Alter any costume in need of repair.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Give actors instructions for your strike. (What goes where).

( )

Check-in all rented or borrowed costumes. Take them to the dry cleaners or return them to the shop from which they were borrowed.

( )

Clean and store all costumes and accessories which you built or bought in your costume room.

( )

Compliment and thank your crew.

( )

Write any necessary thank you notes and mail them.

( )

Check out with the stage manager.

PRELIMINARY FULL PLAY COSTUME CHART

Read the play and indicate each act and scene where an actor appears. Write the location of each scene. On another chart, you will note what the character might be wearing.

PLAY

ACT

CHARACTER

PAGE

SC 1

SC 2

SC 3

SC 4

SC 5

SC 6

SC 7

SC 8

SC 9

SC 10

PRELIMINARY FULL PLAY COSTUME CHART

Read the play and indicate each act and scene where an actor appears. Write the location of each scene. On another chart, you will note what the character might be wearing.

PLAY

ACT

CHARACTER

PAGE

SC 1

SC 2

SC 3

SC 4

SC 5

SC 6

SC 7

SC 8

SC 9

SC 10

COSTUMER CHART

List the costumers and the costumes they are responsible for.

PLAY

ACT

COSTUMER

CHARACTER

ACTOR

SCENE

COSTUMER CHART

List the costumers and the costumes they are responsible for.

PLAY

ACT

COSTUMER

CHARACTER

ACTOR

SCENE

INDIVIDUAL COSTUME PROFILE

As you read the play, make costume notes on individual characters. Consider historical period, geographical location, age, social rank, the season of the year, and the time of day/night.

PLAY

ACT

NAME

CHARACTER

PAGE

SCENE

COSTUME DESCRIPTION/SUGGESTION/REQUIREMENT

_______

SC 1

_______

SC 2

_______

SC 3

_______

SC 4

_______

SC 5

_______

SC 6

_______

SC 7

_______

SC 8

_______

SC 9

_______

SC 10

COSTUME MEASUREMENT CHART

NAME

PHONE

PLAY

CHARACTER

HEIGHT

EYE COLOR

SHOE SIZE

WEIGHT

DRESS SIZE

SHIRT SIZE

HAIR COLOR

HAT SIZE

SUIT SIZE

Take the following measurements as needed.

MEASUREMENT

NOTES

Head

Neck/Collar

Shoulder Width

Bust

Chest

Upper Arm (elbow bent)

Lower Arm (elbow bent)

Neck to Waist Front

Neck to Waist Back

Underarm Seam

Neck to Floor

Waist

Hips (7" below waist)

Waist to Kneecap

Knee to Floor

Waist to Floor

Leg Outer Seam

Inseam (inside leg)

Other

FEMALE COSTUME SKETCHES

MALE COSTUME SKETCHES

FEMALE ACTOR COSTUME CHECKSHEET

NAME

PHONE

CHARACTER

ACT #

Scene _____

DESCRIPTION OF COSTUME

Slip/Camisole

Blouse/Bodice

Skirt

Dress/Eve Gown

Pants

Hose

Coat

Shoes

Hat

Gloves

Purse

Scene _____

DESCRIPTION OF COSTUME

Slip/Camisole

Blouse/Bodice

Skirt

Dress/Eve Gown

Pants

Hose

Coat

Shoes

Hat

Gloves

Purse

MALE ACTOR COSTUME CHECKSHEET

NAME

PHONE

CHARACTER

ACT #

Scene _____

DESCRIPTION OF COSTUME

Shirt

Tie

Vest

Pants

Suit Coat

Sweater

Socks

Shoes

Gloves

Hat

Scene _____

DESCRIPTION OF COSTUME

Shirt

Tie

Vest

Pants

Suit Coat

Sweater

Socks

Shoes

Gloves

Hat

CHECKLIST OF RENTED OR BORROWED COSTUMES

PLAY

DESCRIPTION OF COSTUME

RENTED FROM

DATE RECIVED

DATE RETURNED

CLEAN

FEE

PAID

9. PROPS MASTER JOB RESPONSIBILITIES

The props master is responsible for identifying locating, building, buying, renting, caring for, and returning all set furniture dressings, and props needed for a production. Props include set furniture, set dressings, trim props, set props, hand props, personal props, and greens. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the director to confer about the furniture and props. (The director may wish to change, add, or delete some furniture or props.)

( )

Make a list of all set pieces (furniture) and every prop needed. List hand props, set props, special effect props, and consumable food items.

( )

Meet with the set designer. Discuss furniture and props needed for the production. Make a final list of furniture and props. Include on your furniture list which act and scene the furniture will be needed and where. Include on your props list WHO will use the prop and in WHICH ACT OR SCENE the prop will be used. Include hand props and set props

( )

Divide your main list into sub-lists: 1) furniture and props which can be located; 2) furniture and props your crew needs to buy (including food used in the play); 3) furniture and props your crew will have to build.

( )

Make a list of each actor who will use personal props. List the act and scene where the actor will use the prop.

( )

When your lists are complete, type the list. Give one copy to the director and one copy to the stage manager.

( )

Together with stage manager, make a list of everything your crew needs to do.

( )

Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a crew and post signs for crew meetings. At your first meeting make a list of crew members and their phone numbers.

( )

Prepare copies of your furniture and props list for your crew.

( )

With your crew, inventory available furniture and props.

( )

With your crew, begin to collect and build the furniture and props which will be used during the run of the show. Store them in a secure place.

( )

Use the Yellow Pages to locate Salvation Army, Thrift Stores, etc. to buy inexpensive props.

( )

Prepare a furniture/props budget. Submit it to the director or tech director for approval.

( )

Check with your director for policy on purchase orders. Do not spend money without authorization. Save all receipts. Present them to the director or tech director.

( )

Collect "stand-in" rehearsal props for the director and actors to use during early rehearsals.

( )

After each rehearsal store and secure the rehearsal props

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Continue supervising the furniture and props construction.

( )

Watch the show and make notes of when and how the actor uses the props. Indicate that on your master list.

( )

Meet with the stage manager. Determine when the director will need the real props.

( )

Arrange for the pick-up or delivery of all stage furniture not in your theatre's possession.

( )

After each rehearsal, secure the props.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Purchase consumable food items used in the performance.

( )

Assign crew members their jobs for tech week and for the run of the show. Put your expectations for them in writing.

( )

With your crew, cover a large table with butcher paper. Place the props on that backstage table. With a black marker draw the shape of the prop. Inside the shape write the name of the prop. Add the act and scene where the prop will be used.

( )

Arrive early for rehearsals with your crew. Set all furniture which needed to be removed. Set out all props either on the props table or on the set. Use your inventory or checklist. Test all "practical" props. (Lamps, clocks, running water, etc.).

( )

When all furniture and props have been set report that to the stage manager.

( )

Check with the stage manager daily to make certain the director has not added, deleted, or changed a furniture of props.

( )

After each rehearsal strike all valuable furniture and props and store them in a secure area. Use your checklist to make sure nothing has disappeared. Be sure to check for wear and/or breakage.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive early for rehearsals with your crew. Set our all furniture and props either on the props table or on the set. Use your inventory or checklist.

( )

Test all "practical" props.

( )

When all furniture and props have been set report that to the stage manager.

( )

After each performance strike all valuable furniture and props and store them in a secure area. Use your checklist to make sure nothing has disappeared. Be sure to check for wear and/or breakage.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Return all rented furniture and props.

( )

Store all purchased furniture and props.

( )

Compliment and thank your crew.

( )

Write any necessary thank you notes and mail them.

( )

Check out with the stage manager.

PRELIMINARY FULL PLAY PROPS CHART

Read the play and make note of each prop. Place and X in the box indicating the act and scene where the prop is needed. Make note whether the prop is set on stage or carried on by an actor.

PLAY

ACT

PROP

SET / CARRIED

PAGE

SC 1

SC 2

SC 3

SC 4

SC 5

SC 6

SC 7

SC 8

SC 9

SC 10

PROPS CHECKLIST

PLAY

PAGE

ACT

SCENE

PROP

USED BY

LOCATION

NOTES

CHECKLIST OF RENTED OR BORROWED FURNITURE & PROPS

PLAY

ITEM

RENTED FROM

DATE RECEIVED

DATE RETURNED

REPAIR

FEE

PAID

SCENERY & PROPS PRESET CHECKLIST

PLAY

ITEM

PLACED

BY WHOM

NOTES

SCENERY & PROPS SHIFT CHECKLIST

PLAY

CUE

ITEM

LOCATION

SHIFTED TO

BY WHOM

ENTER

EXIT

NOTES

10. MASTER CARPENTER JOB RESPONSIBILITIES

The master carpenter, after meeting with the director and set designer, is responsible for building a safe set. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the technical director and set designer. Look at the set drawings and set model. Make your own drawings of parts of the set so you can determine how much lumber you will need to build the set.

( )

Meet with the technical director, stage manager, set designer, and lighting designer after you have made your sketches. Make certain you understand all the details of what you need to build.

( )

Meet with the video master. Make arrangements to view any instructional video tapes which may help with your job. Read selected chapters from texts in the bibliography.

( )

Revise your drawings (if needed) and photocopy copies for your crew.

( )

Together with the technical director and set designer, determine the lumber, hardware, muslin, styrofoam, etc., you will need to build the set. (It is the responsibility of technical director to order the lumber, tools, etc.).

( )

Together with the technical director and set designer, make a list of everything which needs to be constructed.

( )

Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize your set construction crew. Be sure you make a list of all names and phone numbers.

( )

Post copies of your drawings in the shop. Call a meeting of your crew and explain what they need to build. You may want to draw exploded sections of the set where there is technical detail. Discuss your plan of attack. Will certain people build certain parts or will the crew report daily and do what needs to be done for that day?

( )

Together with your crew, take an inventory of the shop tools. Photocopy your inventory. Give copies to the director, technical director, stage manager, and keep one copy for your files.

( )

Teach your crew how to operate all power tools and review shop safety with them. Have each crew member practice using power tools before they actually begin building the set. Check with the video crew head to learn if any instructional video tapes are available. They are an excellent way to instruct your crew.

( )

Give your crew typed sheets of SHOP SAFETY RULES.

( )

Explain how they will be given shop tools. (Sign out/sign in or random choice).

( )

Supervise the set construction.

( )

Supervise storing and locking of all tools daily.

( )

Sweep the shop daily before leaving. SAWDUST IS A FIRE HAZARD.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Continue supervising set construction.

( )

When parts of the set are completed, notify the scenic artist so crew can begin their job.

( )

Supervise storing and locking of all tools daily.

( )

Sweep the shop daily before leaving. SAWDUST IS A FIRE HAZARD.

( )

Meet with the stage manager and technical director to determine what jobs need to be done by the running crew for tech week and the production dates. Assign jobs to crew members and notify them of their running crew responsibility.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Organize a "quick fix-up" box of items you might need for instant repair of the set during tech rehearsals.

( )

Assist the stage manager as needed.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Assist the stage manager as needed.

( )

Before the final performance, meet with the stage manager and the technical director. Make a strike list.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Follow the strike list. Have all tools ready for the strike crew

( )

After strike has been completed, together with your crew, make a post-production inventory. Give one copy of the inventory to the technical director and one to the director. Give both of them a list of all missing, broken or damaged tools.

( )

Sweep stage and shop floor; make certain the shop sinks are unclogged. Lock up all tools.

( )

Compliment and thank your crew.

( )

Check out with the stage manager.

THEATRE SEASON TOOL INVENTORY

TOOLS

SEASON START

SHOW 1

SHOW 2

SHOW 3

SEASON END

HAMMERS

MALLETS

SCREWDRIVERS

Standard

Phillips

Rachet

Cordless

YARDSTICKS

Metal

Wooden

12 h. Tape

36 ft. Tape

Framing Square

Combination Square

STAPLE GUN

SAWS

Crosscut

Rip Saw

Miter Box/Saw

Keyhole Saw

Coping Saw

Hack Saw

PLANE

CHISELS

PUTTY KNIFE

PLIERS

VISE GRIP

CRESCENT WRENCH

Small

Large

Sockett

CHANNEL LOCK

SCISSORS

THEATRE SEASON TOOL INVENTORY cont.

TOOLS

SEASON START

SHOW 1

SHOW 2

SHOW 3

SEASON END

TIN SNIPS

WIRE CUTTERS

UTILITY KNIFE

MATT KNIFE

SOULDERING KIT

CROW BAR (Ig)

CROW BAR (sm)

LEVEL

CHALK LINE

GOGGLES

HARD HATS

GLUE GUN

"C" CLAMPS

6 inch

8 inch

EXTENSION CORD reg

EXTENSION CORD power

HAND POWER TOOLS

Saber Saw

Circular Saw

Electric Drill

Power Drill

SCENIC ARTIST JOB RESPONSIBILITIES

The scenic artist, after meeting with the director and set designer, is responsible for painting the set and the drops. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the tech director, stage manager, set designer, and master carpenter. Determine what paint and supplies you will need to paint the set.

( )

Meet with the Video Master. Make arrangements to view any instructional video tapes which may help you with your job. Read selected chapters from scene painting texts in the bibliography.

( )

Make drawings of parts of the set, flats, background, etc.

( )

Make a inventory list - include paint, drop cloths, glue, dutchman, short and long brushes, buckets, cans, stir-sticks, sponges, rags, newspapers, feather dusters, cleaning agents, and general supplies.

( )

Prepare an order of items you will need to paint the set. Call several hardware stores for the best price.

( )

Submit your budget to the director or TD for approval.

( )

Obtain a purchase order form and submit it to the bookkeeper. When it is ready, meet with the tech director and purchase the items needed

( )

Together with the technical director, make a list of everything your crew needs to do.

( )

Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a crew. Some of your crew members may be serving on the set construction crew before they join your crew.

( )

Present your drawings to your crew and explain their jobs. Place the drawings in plastic protective sheets and mount on shop wall or place in a 3-ring notebook for reference.

( )

Have your crew view segments of any instructional video tape which will be helpful for your production. Recommend chapters of books which you read or give them notes from your readings.

( )

Make a DO and DON'T list for your crew. Make multiple copies and post them in the shop.

( )

Make a large sign near the sink that says: WASH BRUSHES THOROUGHLY AFTER EACH USE AND HANG TO DRY

( )

Meet with the master carpenter daily to determine what parts of the set are ready for your crew.

( )

As portions of the set are constructed, assign them to crew members for painting. Always review design drawings and instructions with crew members before they begin their job. DON'T PRESUME ANYTHING.

( )

Keep your work area as clean and unobstructed as possible. Cover the shop floor with drop cloths before painting.

( )

Mix paint as needed. Supervise the painting of the set.

( )

Before going home daily, cover all paint containers securely.

( )

Reserve small amounts of each shade of paint in clean containers for touch up jobs during tech week and the run of the show.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Continue mixing the paint and supervising the painting of the set.

( )

Cover all paint containers securely and make sure all paint brushes are cleaned daily.

( )

Continue to reserve small amounts of each shade of paint in clean containers for touch up jobs.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

After each tech week rehearsal, walk around the set. Make note of anything in need of touch-up. If your crew needs to paint anything, make sure it will be dry before the next rehearsal.

( )

Begin to clean the shop and any paint items which will not be used again and store them in the proper place in the shop.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

After each performance, walk around the set. Make note of anything in need of touchup. If your crew needs to paint anything, make sure it will be dry before the next rehearsal

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Clean all items used by the set painting crew. Store them in the proper place in the shop.

( )

Make certain shop sinks are scoured clean and the drains are unclogged.

( )

Compliment and thank your crew

( )

Check in your locality for laws about discarding unwanted paint.

( )

Check out with the stage manager.

PAINT INVENTORY

PRIMER / SIZING

PAINT – Color

Type

Size / Amount

DRY PIGMENT – Color

Type

Size / Amount

PRIMER / SIZING

SPRAY PAINT

PAINT INVENTORY cont.

BRUSHES – Type

Size

PAINT ROLLERS

PAINT PANS

SPRAY GUN / SPRAYERS / CARRIERS

CLEANERS / THINNERS

GLUES / STARCH

SOUND DESIGNER JOB RESPONSIBILITIES

The sound designer is responsible for identifying, locating, and taping or producing live all the sounds needed in the production. The sound designer is responsible for running the sound board during technical rehearsals and performances. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the director and stage manager to determine sound needs: introduction, blackouts, intermission music, sound effects.

( )

Make a list of all sound cues. (See attached sample). Mark all sound cues in the script. Add the director's notes to your script.

( )

Become very familiar with the audio equipment in your booth. Learn the capabilities of the equipment.

( )

Together with the technical director, make a list of everything your crew needs to do

( )

Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a crew. Teach them to use the sound equipment in the booth.

( )

Give the crew a list of music and sound effects needed for the production. Determine who will locate each item needed. Libraries have sound effects tapes and so do local college theatre departments. Give them a call. Sometimes you need to invent a sound on a synthesizer. Don't overlook your own music department.

( )

Record each sound effect onto the minidisc and label each sound effect. If needed, make cassettes or cd's to be used for multiple rehearsals.

( )

Meet with the stage manager and or the director for approval of the sound you have recorded.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Make a rehearsal tape for use during rehearsal. Give the cassette to the stage manager and assign a crew member to be present for sound purposes during rehearsal. A small tape recorder is usually sufficient for these rehearsals.

( )

During the rehearsals prior to tech week, make a sound plot cue sheet. Revise as needed before tech week.

( )

Meet with the stage manager. Give the sound plot sheet to the stage manager who will call the sound cues to you during the show.

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE SOUND EQUIPMENT AT ANY TIME.

( )

MAKE A BACK-UP MINIDISC, CD, OR TAPE OF ALL SOUND USED IN THE SHOW. Store the back-ups in a safe location.

( )

Check the headsets. If batteries are needed, buy them and some back-ups.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Cue all effects.

( )

Meet with the stage manager to review all sound cues before the rehearsal begins.

( )

Make adjustments as needed. Meet with the stage manager to agree on all changes, substitutions, modifications, etc.

( )

REVISE THE BACK-UPS IF CHANGES HAVE BEEN MADE. Compliment and thank your crew.

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE SOUND EQUIPMENT AT ANY TIME.

( )

CELL PHONES, GAME BOYS, PERSONAL AUDIO DEVICES AND VISITORS ARE NOT ALLOWED IN THE BOOTH WHILE THE SHOW IS IN PROGRESS.

( )

Confine all head-set conversation to cues, and emergency questions and answers for the production.

( )

Secure all tapes and headsets before leaving and turn off the sound equipment.

( )

Before you leave the booth, secure all tapes and headsets. Turn off all the equipment

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive at least ½ hour before the first cast/crew call. Set up all sound equipment and check all sound cues.

( )

Run a sound cue check when stage manager calls for it.

( )

Cue all tapes.

( )

Run the show according to the cues called by the stage manager.

( )

DO NOT ALLOW ANY FOOD, DRINK, OR SMOKING NEAR THE SOUND EQUIPMENT AT ANY TIME.

( )

CELL PHONES, GAME BOYS, PERSONAL AUDIO DEVICES AND VISITORS ARE NOT ALLOWED IN THE BOOTH WHILE THE SHOW IS IN PROGRESS.

( )

Confine all head-set conversation to cues, and emergency questions and answers for the production.

( )

Before closing night write a letter to the person who has your position for the next show. Give that person advice based on your experience. File the letter in your 3-ring binder behind your job description.

( )

Compliment and thank your crew.

( )

Before you leave the booth, secure all tapes and headsets. Turn off all the equipment

DURING STRIKE

BEGUN

DONE

( )

Store the cds, minidiscs, or tapes. Store the headsets.

( )

Return any borrowed equipment, cables, etc.

( )

Compliment and thank your crew.

( )

Check out with the stage manager.

( )

Before you leave the booth, secure all tapes and headsets. Turn off all the equipment

SOUND CUE SHEET

PRODUCTION

DESIGNER

PRE-SET

CUE#

ACT

SCENE

PAGE

LENGTH OF CUE

FROM

INPUT

OUTPUT

ACTION

NOTES

14. MAKE-UP ARTIST JOB RESPONSIBILITIES

The make-up artist is responsible for providing make-up for the actors and assisting them in applying stage make-up and hair styling for their character. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIP

BEGUN

DONE

( )

Read the play.

( )

Meet with the director to learn if there are any special needs make-up for any character. Present your make-up list to the director for approval.

( )

Make a list of the make-up requirements for each character as far as you can determine them.

( )

Determine with the director which items of make-up will be shared by the cast and which items reed to be purchased by each individual cast member.

( )

Meet with video master. Make arrangements to view any instructional video tapes on make-up. Read selected chapters from the texts in the bibliography.

( )

Together with the director, make a list of everything your crew needs to do. Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Post a list and organize a make-up crew.

( )

Together with your crew inventory the make-up on hand. (See attached sample inventory sheet).

( )

Determine what make-up needs to be ordered and make a list of those items.

( )

Call local distributors to check their stock and to obtain a price quote. Make lists of which items will be ordered from what company.

( )

Prepare a make-up budget. Present it to the director for approval.

( )

Obtain a purchase order for each company or vendor with whom you will place an order.

( )

Place your make-up order.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

With your crew, make make-up designs for each character listing what make-up they will need to apply for their character.

( )

Meet with the stage manager to determine the best time to meet with individuals or with small groups from the cast. Make a chart and post the meeting times (during rehearsals when the actors are not on stage) and devise a method of notifying each actor of their make-up demonstration time slot

( )

Organize a training session with your crew. Assign specific crew members to actors or give the crew their make-up job responsibilities.

( )

Type and photocopy copies of any requirements for cast members. Distribute the list before tech week begins.

( )

Meet with individual actors for their make-up demonstration.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Together with your crew, prepare the make-up room with all items laid out by character or in whatever order preferred by the director.

( )

During the first run of the show tech week, sit in the house and observe each character under stage lights. Make notes on what improvements need to be made.

( )

Notify each cast member of any changes you plan to make for their character.

( )

Make a list of what needs to be done to clean the make-up room each night and who on your crew will be responsible for what cleaning job.

( )

Notify your crew of the time each night they need to set up the make-up room for the actors.

( )

With the director and stage manager, type a make-up call list for the nights of the show. Post the list in the make-up room and in the dressing room.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Set up the make-up room.

( )

Apply make-up on each actor, or assist them as they apply their own make-up.

( )

After the cast has left, clean the make-up room and set it up for the next show

( )

Compliment and thank your crew

DURING STRIKE

BEGUN

DONE

( )

Clean all make-up containers, caps or tops, brushes, etc. Place all like items together. Make a list of all items as you store them for the next show. Make note of items which might need to be ordered for the next show. Photocopy the list. Leave one list in the box with the make-up and give one list to the director.

( )

Compliment and thank your crew.

( )

Store all make-up in the designated place

MAKE-UP WORKSHEET

NAME

CHARACTER

ACT / SCENE

FOUNDATION

EYEBROW

SHADOW

EYE SHADOW

HIGHLIGHT

EYELINER

MOIST ROUGE

LIPSTICK

DRY ROUGE

POWDER

HAIR STYLE

BEARD/MOUSTACHE

PROSTHETICS

CHARACTER FACE CHART

MAKE-UP CHECKLIST / INVENTORY

Detailed charts and inventories are available from companies upon request.

ASSORTED

LIPSTICK / LIP LINERS

Kleenex

________________________

Cotton Balls

________________________

Headbands

________________________

Skin Cleanser

________________________

Cold Cream

________________________

Moisturizer

Spray Deodorant

FACE POWDER

________________________

BASE FOUNDATION

________________________

BRUSHES

________________________

BLUSH / ROUGE

________________________

HAIR ITEMS

________________________

Combs / Brushes

Hair Driers

EYE COLOR

Curling Irons

________________________

Extension Cords

________________________

Strip Sockets

________________________

Hair Spray

________________________

Bobbi Pins / Hair Clips

________________________

Rubber Bands

MISCELLANEOUS

EYE LINER

Pencil Sharpener

________________________

Scissors

________________________

Crepe Hair

________________________

Spirit Gum

________________________

Liquid Latex

Nose & Scar Wax

Sponges

MASCARA

Clown White

________________________

Assorted Colors

________________________

Color Charts (from suppliers)

________________________

15. PUBLICIST JOB RESPONSIBILITIES

The publicist is responsible for planning and executing a poster and publicity campaign to promote the production. The publicity agent is responsible for composing press releases and sending it to local and city press and media. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

EGUN

DONE

( )

Read the play.

( )

Meet with the director to discuss publicity ideas especially suited for this production. Ask if there is a district or local public relations agent with whom you can arrange a meeting. Such a meeting will be helpful as you perform your duties.

( )

Become familiar with your school's purchase order procedures so you will know what to do when your crew needs to spend money for their ideas.

( )

Read some sample press releases. (Some are attached.)

( )

Together with the director, make a list of everything your crew needs to do. Make production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Post signs. Organize a publicity crew. Make a list of all crew names and phone numbers.

( )

Meet with your crew. Brainstorm on publicity ideas. (See attached list).

( )

Agree on a design for the show poster. Present the idea to the director for approval.

( )

Find an artist to draw or sketch the design or have it created by a computer, or order the poster from a theatrical company.

( )

Take the mock-up of the poster to several local printers to determine the best price for the posters. Make an appointment to meet with the program editor. You may want to visit printers together since you have the same printing concerns. Determine whether the poster design will be used as the program cover.

( )

When you have decided on a printer, obtain a school purchase order.

( )

Meet with the director to determine how many posters you will need.

( )

Take the poster (CAMERA-READY) to the printer with the purchase order.

( )

With your crew compose a press release. You may wish to consult the play catalog for a play synopsis.

( )

Meet with the stage manager. Get a list of the cast and crew heads. You may want to include some names in the press release for local newspapers.

( )

Type your press release. Have someone edit the press release for spelling, punctuation, and grammar. Revise it and have it approved by the director

( )

Type the final press release.

( )

Compose a cover letter which you can tailor to the organization, radio station, newspaper, etc., where you will send the press release.

( )

Compile a list of addresses and phone numbers for city and local area newspapers, radio stations, cable stations (community access hook-ups), and school/ parent newsletters. Many of these addresses are in the front of the newspaper version of the TV guide.

( )

Call all the above to check for deadlines for accepting your press release. Make note of the deadline.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Meet with the director to determine a date to mail the press releases.

( )

Address the envelopes, include the press release and the cover letter, and have them ready to mail.

( )

Meet with your crew to determine where show posters will be placed in the school and community. Assign specific people to each place. It will be their job to get the poster to the destination. Include cast and crew members in the distribution process.

( )

Mail the press releases.

( )

Call the printer to establish the day and time to pick up the posters.

( )

Distribute the posters.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

BLITZ THE SCHOOL AND COMMUNITY WITH NEWS OF YOUR PLAY Employ the ideas listed on the attached sheet or invent new ones of your own. Be creative on ways to inform the public of your wonderful production.

( )

Listen to the radio stations, read the papers, etc., to learn if they showcase your play. If they do, you may want to call and thank them. If they don't, you may want to learn why.

( )

Check the location of the posters to make sure they are still posted.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

CONTINUE TO BLITZ THE SCHOOL AND COMMUNITY WITH NEWS OF YOUR PLAY Be creative and energetic. Involve the cast and crews in your publicity efforts. Check to see if the posters are still posted.

( )

Before closing night write a letter to the person who will have your position for the next. show. Give that person advice based on your experience. File the letter in your 3-ring binder behind your job description.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Remove all posters. If they are still in good condition you may want to give them to cast members as a souvenir.

( )

Compliment and thank your crew.

PROMOTION IDEAS FOR A COMMUNITY OR SCHOOL PLAY

Posters, Give away a prize to the first 100 or so people who buy tickets, Flyers (place on car windows), Make buttons for the cast to wear, Announcements over the PA, Make up a song about the show

Smoke letters in the sky, Buy one ticket/get one half-off, Hang banners in the lunchroom, Have door prizes between acts, Have actors wear painter's hats or T-shirt for show

Raffle off something and draw the winning ticket at intermission, Have a public address truck go through the neighborhoods, Pictures and publicity in the city and local newspapers

Contact local papers for features, TV community calendars, Friday and Sunday "Entertainment Sections" of the newspapers, Radio stations and community calendars

Helium balloons with messages inside them sent out from the school, Phone-a-thon, Make a big billboard sign for in front of the school or theatre

Send a letter home to each cast, crew, student family about the show, Put signs in front of the school, Bumper stickers, Commercials/ads on radio and in the newspaper

Make an attractive billboard, Put flyers on school lunch trays, Turn a mystery person loose in school (on the mall) with two free tickets for first person to identify

Have someone dress like a newspaper boy handing out flyers/pamphlets, Decorate a can as a newspaper/info, Have family members call friends, Special group rates

Senior citizen free shows, Hand out pencils with show name, Have business cards with show info, Huge typewriter in front of school, Put signs on back of and in buses

Big balloon in front of school/theatre, Pass out fortune cookies with play info inside, Poster on someone's wheelchair, Speeches from players in show

Billboard on wheels, on trailer or car, Do a rap promoting the play, Bags with show name on side, Show aprons for lunch ladies to wear, Bookmarks at library desk

Tell 10 friends/pass it along, Sandwich signs (front & back), Bullhorn announcements, Have Thespians do lunch time scenes or other activities

SAMPLE FACT SHEET

CONTACT:

DATE: __________

NAME: ____________________________________

TITLE: ____________________________________

TELEPHONE: ______________________________

WHO:

Cherry Creek High School Theatre

WHAT:

Robert Bolt's A Man for All Seasons, drama of the confrontation between King Henry VIII and Sir Thomas More.

WHEN:

Nov. 1, 2,3 and 4

WHERE:

Cherry Creek High School Theatre

9300 E. Union Ave, Englewood, CO

WHY:

Fall student production

HOW:

General Admission

COST:

$4.00 - adults; $3:00 - students

Senior citizen and card-bearing Thespians free

TIME:

All performances at 8:00 pm

OTHER:

Reservations by calling 773-8921, ext. 2306 before 3:30 p.m. weekdays the week before the show

cc: Coordinator of Public Information

FACT SHEET

CONTACT:

DATE: __________

NAME: ____________________________________

TITLE: ____________________________________

TELEPHONE: ______________________________

WHO:

WHAT:

WHEN:

WHERE:

WHY:

HOW:

COST:

TIME:

OTHER:

cc: Coordinator of Public Information

16. PROGRAM EDITOR JOB RESPONSIBILITIES

The program editor is responsible for preparing the hard copy of the program which will be presented to the audience. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Make a list of the cast of characters, the setting, the year or time of the play.

( )

Meet with the director and review your list. Note any other additions the director may want to include in the program. Determine if the director would like the cast in alphabetical order or in order of appearance.

( )

Review programs of past shows. Determine a format to be used for this production.

( )

Together with the director, make a list of everything your crew needs to do. Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Meet with the stage manager. Copy the names of all cast members and all crew heads and their phone numbers.

( )

Meet with cast members before daily rehearsals begin to determine the correct spelling of names. Do the same with all crew heads.

( )

Meet with each crew head. Ask them for a list of all members of their crew with names correctly spelled.

( )

Ask the director for any special entries in the program. (Example: '"Thank You" column, "From The Director" column).

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Prepare a mock-up of the program. Make several photo copies of the mockup. Distribute them to the stage manager, each crew head, and the director for approval, corrections, and additions.

( )

Meet with the publicity crew head and the director to determine whether the poster design will be the program cover or if another design will be needed.

( )

Finalize the program. Show it to the director for approval.

( )

Check with the director for the number of programs needed from the printer.

( )

Take the mock-up to several printers to determine the best price. Report that information to the director. You may want to make an appointment with the publicity crew head and go to a printer together since you have the same needs.

( )

Obtain a purchase order. Take the purchase order and the final mock-up to the printer.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Meet with the house manager to determine where the programs are to be stored once they are picked up or delivered.

( )

Call the printer. Determine the day and time when the programs are to be picked up or delivered.

( )

Either pick up the programs or arrange to meet the person delivering them. Give the programs to the house manager.

( )

If you are given a bill, make sure the final bill is given to the director.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Check daily on the amount of programs left for the run of the production. See the director for emergency plans in case the program supply is depleted before the final performance.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Collect any unused programs and give them to the stage manager or to the director. Make sure all cast members have souvenir programs.

( )

Compliment and thank your crew.

( )

You may want to write a thank you note to the printer - especially if the programs were well done.

ITEMS TO INCLUDE IN A PROGRAM

Not every show will have every item. However this is a good checklist to make sure you haven't forgotten anything - or anyone! Several items may also go on what is called a "title page" as the first page of your program. Check some of your local theatre programs for examples.

TITLE OF PLAY

AUTHOR'S NAME

CAST OF CHARACTERS

(character name. . . person's name)

LOCATION /SETTING

(sometimes listed by Act &Scene)

TIME PERIOD OF PLAY'S ACTION

ACKNOWLEDGEMENT OF ROYALTY

ARTISTIC PRODUCTION TEAM

DIRECTOR, TECHNICAL DIRECTOR, STAGE MANAGER, ASSISTANT DIRECTOR, SET DESIGNER,COSTUME DESIGNER, LIGHTING DESIGNER, CHOREOGRAPHER (IF ANY),

VOCAL DIRECTOR, CONDUCTOR

CREWS

MASTER CARPENTER, Set Construction Crew, SCENIC ARTIST, Set Painting Crew, MASTER ELECTRICIAN, Lighting Crew, SOUND DESIGNER, Sound Crew, VIDEO MASTER, Video Crew, PROPS MASTER, Props Crew, COSTUME DESIGNER, Costume Crew, MAKE-UP ARTIST, Make-Up Crew, PUBLICIST, Publicity Crew, Poster Artist, Photographer, PROGRAM EDITOR, Program Crew, HOUSE MANAGER, House Crew, Ushers,

SPECIAL THANKS TO

HISTORICAL BACKGROUND NOTES

FROM THE DIRECTOR

THEATRE PHILOSOPHY

(see samples next page)

FUTURE EVENTS & DATES

SAMPLE THEATRE PHILOSOPHIES

Following are two samples of theatre philosophy suitable for use in your program.

THEATRE PHILOSOPHY

Theatre teaches skills that last a lifetime. Play production involves more than memorizing lines and performing on stage. While you have been a member of our audience enjoying our shows, did you know we were learning life skills?

By working on stage and backstage, we grew in self-confidence, self-awareness, initiative, responsibility, sacrifice, dedication, leadership, creative thinking, problem-solving, goal setting, time management, group dynamics, and group decision making.

We also learned applications of practical skills - carpentry, use of power tools, design applications, painting techniques, interior decoration, public relations, costuming, makeup, accounting and visual effects, and sound and video techniques.

Thank you for appreciating our creative efforts; and thank you for supporting the Arts.

FINE ARTS DEPARTMENT PHILOSOPHY

The Arts are basic to a complete education.

The Arts are among the 'Six Basic Academic Subjects'. The arts are 'valuable' in all areas of study because they 'engage the imagination, foster flexible ways of thinking, develop disciplined effort and build self-confidence.'

The Arts develop non-verbal thinking skills - perception, forming images and imagination.

The Arts help us to learn to think creatively as well as help build self-esteem.

The Arts supplement the other basic subjects - necessary communication skills for language and logical mathematical thinking are developed through the Arts.

"Without the Arts, education is not education but vocational training. Practicing one's profession successfully calls for skills in dealing with people, for being able to comprehend the connection between cause and effect, and for the ability to carry the burdens placed on the individual in a free society. The Arts helps to prepare the human mind for such needs."

"...from the dawn of civilization, men and women have used music, dance, theater and the visual arts to transmit the heritage of a people and to express human joys and sorrows. The Arts are the means by which a civilization can be measured."

HOUSE MANAGER JOB RESPONSIBILITIES

The house manager is responsible for printing or ordering tickets, selling tickets, organizing and staffing the box office, accounting for the revenue, and organizing the ushers for each performance. The following is a list of specific items which need to be done and a time-frame for accomplishing your tasks.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Meet with the director to determine if there is a theme in the play which could-be extended into the lobby for atmosphere before patrons enter the world of the play.

( )

Make a list of items you will need to purchase or locate in order to create the ambience. Meet with your school's bookkeeper to learn about your school's procedure for handling and depositing money. Check on your school's discount policy for senior citizens, teachers, school board members, and other special groups.

( )

Together with the director, make a list of everything your crew needs to do. Discuss refreshments during intermission. Make a production time line establishing deadline dates.

DURING THE FIRST WEEKS OF THE REHEARSAL PERIOD

BEGUN

DONE

( )

Organize a crew for box office and a crew of ushers.

( )

Order the tickets from a ticket company or have a contest to design an original ticket. If you have an original design, take the camera-ready ticket to a printer. Determine the cost of the tickets.

( )

Prepare a budget and present it to the director for approval. Complete a school purchase order form and it to the bookkeeper. Take the ticket and the purchase order to the printer.

( )

Prepare copies of the following: house seating chart, house display chart for each performance, ticket numbering chart, box office procedures, guidelines for ushers and phone order forms if you use them. You may want to make multiple copies to give to each person selling tickets and each usher.

DURING THE MID-REHEARSAL PERIOD

BEGUN

DONE

( )

Call a meeting with your crew. Explain all procedures and expectations to them.

( )

Either assign people dates and times to staff the box office or post a list and have individuals volunteer staff time. Assign ushers to door duty for specific performances.

( )

Together with your crew, discuss the director's plans for creating an atmosphere before the audience enters the world of the play. Assign specific jobs to specific crew members.

( )

Compliment and thank your crew.

DURING TECHNICAL WEEK

BEGUN

DONE

( )

Pick up from the bookkeeper any forms you will need.

( )

Meet with your crew and set up the lobby atmosphere.

( )

Arrange the tickets in their containers.

( )

Arrange all house charts.

( )

If you are selling tickets during school or after school, meet with your crews to assign dates and times to run the box office.

( )

At the end of each time slot, pick up the cash box and turn it in to the bookkeeper or director.

( )

At the end of the day, balance money collected against tickets sold. Sort money. Fill our deposit forms and turn the money in to the bookkeeper or director.

( )

Meet with the program editor to coordinate when the programs will be picked up from the printer and where they are to be delivered and deposited.

( )

Organize the intermission refreshments and post a list of salespeople.

( )

Buy concession items.

( )

Check on the necessity for security or parking lot attendants. Contact them if they are needed.

( )

Compliment and thank your crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Stop at the bank and get enough singles and quarters to make change for patrons.

( )

Call all members of your crews. Remind them of the times they are to staff the box office or the day the are to serve as ushers for the show. Post a list of the above as well.

( )

Meet your box office crew 1 hour prior to curtain time each night of the show. Quickly review all procedures with them.

( )

Meet with your crew of ushers 50 minutes prior to curtain time each night of the show. Quickly review all procedures with them. Explain where the ushers can obtain more programs if needed.

( )

Post signs indicating the location of rest rooms and water fountains.

( )

Check with the stage manager and/or director before you open the house for the audience.

( )

Three minutes before curtain, blink lights in the lobby or ring a bell as notice that the play is about to begin.

( )

About ½ hour after the opening curtain, begin sorting the money collected at that performance. Fill out all forms needed by the bookkeeper. Give the cash box to the director after everything is organized

( )

Set up and monitor the intermission concession table (if you plan to offer refreshments).

( )

KEEP CONCESSION MONEY SEPARATE FROM TICKET MONEY.

( )

Three minutes before the end of intermission, blink the lights in the lobby or ring a bell as notice that the play is about to resume.

( )

Compliment and thank your crew.

DURING STRIKE

BEGUN

DONE

( )

Strike the lobby display. Make arrangements for returning anything which needs to be returned. Store or discard all other items.

( )

Clean the box office.

( )

Justify tickets sold with money collected. Fill out the final financial forms needed by the bookkeeper. Make copies of all forms for the director.

( )

Compliment and thank your crew.

HOUSE SEATING PLAN

125 Total Seats

BOX OFFICE RULES

The ticket booth is a place for business. Please keep it neat and clean.

No eating or drinking is allowed in the booth.

PROCEDURE FOR SELLING TICKETS

(copy & distribute to all crew members selling tickets)

Thank you for selling tickets for our show. Please be courteous to each person who comes to the box office. YOU ARE THE FIRST CONTACT THE PUBLIC HAS WITH OUR SHOW; MAKE THAT FIRST CONTACT A GOOD ONE. The image you present will help set the tone for the entire performance.

Be familiar with your house seating and with the method of arranging the reserved tickets, if the tickets are reserved for this show. (Reserved tickets are usually stored in a slotted rack. Non-reserved tickets are usually just grouped by performance and may be divided into student and adult.) Be sure you have checked with the house manager for best seating for wheel chair patrons.

With the display house chart in front of you (turned toward the patron) ask the person which performance s/he would like to attend. Indicate to the person the seat-, available on that date by using the display chart.

Listen to every patron who has a special problem. To the person that problem is important. As a representative of our theatre the problem should be important to you too. Be sure you know your district's or school's policy on a senior citizen admission fee.

Before you sell the tickets, check the performance date and location on each ticket (for reserved tickets). Read the date and seat location aloud to the patron.

Before you release the ticket, USING A PENCIL, shade in the seats you are about to sell. (Use a pencil so that if the tickets are exchanged for another performance you can erase the seat location indicating the seat is still available.)

Have a calculator ready to use in selling multiple tickets.

Have change and plenty of singles ready in the cash box.

NEVER, NEVER, UNDER ANY CIRCUMSTANCE LEAVE THE MONEY BOX IN VIEW OF THE PUBLIC. Never leave it unattended. Store the cash box on a stool or box under the counter or in a drawer.

If your group accepts telephone reservations, have the forms ready by the phone. Always explain your policy on phone orders. It will save trouble later. (example: '"We will hold call-in reservations, but we will not hold unpaid reservations after ______ on the day of a performance").

After the box office is closed for the evening, together with the house manager, sort all bills into like denominations. Place all heads going the same way. Count the money and fill out any justification forms or bank deposit forms requested by the director.

Check out with the house manager who is in charge of the money.

GUIDELINES FOR USHERS

Ushers must arrive one hour before the performance and check in with the House Manager. If you arrive late we may have already replaced you.

Please arrive in the costume or manner of attire discussed earlier with the director and House Manager.

The House Manager will assign each usher a position to work when they arrive. Ushers are expected to work their assigned area. Ushers may leave 10 minutes after intermission is over but MAY NOT go backstage or to the dressing rooms during the show to wait for anyone.

Ushers must stand by the doors to the house. Please smile and thank each person for coming to the show. ("THANK YOU FOR SUPPORTING THE ARTS. WE HOPE YOU ENJOY OUR SHOW").

If the seating is NOT RESERVED, take their ticket and tear it in half. Give half of the ticket back to each person and tell them to choose any seat.

If the seating is RESERVED, accompany each person to the proper seat. Please be sure the DATE, SECTION, ROW, and SEAT are all correct. (Be sure you have studied the seating chart of your theatre house) .

Please give each person a program. Extra programs should be given to the House Manager.

Flash cameras and tape recorders (video or sound) may not be taken into the house. If you see them, politely request that the person leave the camera with the House Manager. If there is trouble, do not try to resolve it - find the director and point out where the person is sitting. The director will resolve the problem.

Be familiar with the designated area for wheel chair patrons and be prepared to assist them to that area.

Know where to find lollipops for crying children.

Be ready to direct children and adults to the restrooms.

Two ushers will be assigned late duty for the doors designated for late arrivers. After they enter the theatre, hold the doors behind them. SLAMMING DOORS ECHO. If your house has stairs, please assist late arrivers by shining flashlights on the steps. You may want to hold the arm of an elderly person as you shine the flashlight on the steps.

Twenty minutes after the show has begun (or at a time designated by the house manager or director) you may be seated in the last row of the house but be ready to assist in any way necessary or to hold doors for those leaving to use the restrooms.

At the end of the show pick up programs left by patrons, garbage and seat cushions.

Before you leave, check out with the house manager.

THANK YOU SO MUCH FOR BEING AN USHER

TICKET SALES RECONCILIATION

PERFORMANCE INFORMATION

TICKETS SOLD BY TYPE

DAY

DATE

TIME

ADULT

STUDENT

SENIOR

CHILD

GROUP

TOTAL

Type of Ticket Totals º

GENERAL USE FORMS

PRODUCTION CALENDAR

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

SUNDAY

18. GENERAL INFORMATION SHEETS

PRODUCTION INFORMATION SHEET

NAME OF PLAY

PLAYWRIGHT

CAST OF CHARACTERS (list all characters and ages when known)

AUDITIONS DATES - TIMES - LOCATION

AUDITION INFORMATION / REQUIREMENTS

CALLBACK DATES - TIMES - LOCATION

REHEARSAL PERIOD (dates, times)

TECHNICAL APPLICATIONS

PRODUCTION DATES - TIMES

ADDITIONAL INFORMATION

AUDITION APPLICATION

Please give this form to the director as you enter the audition space. If you have a resume, attach it to this form.

Name

Address

City

State

Zip

Home Phone

Cell

r FEMALE

r MALE

AGE

HEIGHT

WEIGHT

HAIR COLOR

STAGE EXPERIENCE (Please list the play, the role you played, and where.)

PLAY

ROLE

THEATRE/CITY

LIST ANY THEATRE CLASSES OR WORKSHOPS YOU HAVE TAKEN

VOCAL RANGE

r Soprano

r Tenor

r Alto

r Bass

LIST ANY MUSICAL INSTRUMENT YOU PLAY AND YOUR LEVEL OF ABILITY

DO YOU HAVE DANCE EXPERIENCE? (Specify what kind of dance and years of training)

LIST ANY CONFLICTS YOU WILL HAVE WITH THE REHEARSAL DATES AND TIMES

REHEARSAL GUIDELINES

Arrive 15 minutes before you are scheduled for call. Pick up your rehearsal clothes and check about your props. If you must wait, use the time for study, analysis, and work with a scene partner.

Leave personal problems outside the stage door so your problems do not distract from the creative work being done on stage and backstage.

Do not tell other members of the production what to do. That is the job of the director.

Respect the stage manager!

Bring two sharp pencils and a notebook to rehearsals daily. Take your notes accurately.

Always have your own script at rehearsals even after you are off script. Check your dialog and blocking for accuracy even after it is memorized.

While backstage or in the house during rehearsals, always whisper so you do not distract actors on stage.

Take responsibility for getting yourself ready for your entrance. Stand ready for your entrance several speeches ahead of your entrance.

You have a responsibility to the playwright. Speak the words of the playwright as they were written.

Adhere to the blocking as designed by the director. Do not add extra movement unless it is accepted by the director and the rest of the cast is informed.

Be willing to alter your hair and costume to portray your character on stage. Do NOT cut or color your hair until you consult with your director.

Analyze your character. Do historical research. Read books from the same time period. Talk with people who can give you insight into your character. Know your character thoroughly, externally and internally.

Learn to accept criticism gracefully and with gratitude. Learn to be your own best critic.

NEVER USE ALCOHOL OR DRUGS BEFORE A REHEARSAL OR PERFORMANCE. KEEP YOUR MIND AND BODY AT PEAK PERFORMANCE. A CLEAR BRAIN IS ESSENTIAL FOR THE CREATIVE PROCESS.

APPLICATION FOR TECHNICAL POSITIONS

Name

Address

City

State

Zip

Home Phone

Cell

I am applying for the job of:

____ Director *

____ Assistant Director

____ Technical Director

____ Stage Manager *

____ Assistant Stage Manager

____ Set Designer *

____ Lighting Designer *

____ Lighting Crew

____ Props Master *

____ Props Crew

____ Costume Designer *

____ Costume Crew

____ Master Carpenter *

____ Set Construction Crew

____ Scenic Artist *

____ Set Painting Crew

____ Sound Designer *

____ Sound Crew

____ Sound Designer *

____ Sound Crew

____ Video Master *

____ Video Crew

____ Publicist*

____ Publicity Crew

____ Program Editor *

____ Program Crew

____ House Manager *

____ House Crew

____ Usher

List Your Previous Experience:

* Indicates members of the Production Team. You must have previous experience in this area from working in another show.

PRODUCTION CONTRACT

I am happy and excited for this opportunity to be involved with a valuable theatre experience. I realize I am an important person in a complicated maze of actors and technicians working on stage and backstage. In order for all of us to have a successful experience and happy memory I know I must be willing to do my part. Therefore, I agree to the following:

1. I promise to keep a good attitude and to be encouraging, positive, and appreciative of fellow actors, crew heads, crew members, adult directors, and parents.

2. I have carefully read the list of stage and shop safety rules and I agree to follow them. I will remind others to do the same. If I am on any medication (for colds, allergies, etc.) I will not use power tools.

3. I agree to memorize my script by the specified date and/or complete all the items on my crew list. I realize my failure to complete my job is a serious lack of commitment to everyone involved with the production.

4. I understand my failure to live up to my responsibilities will result in my being replaced as an actor, crew head or crew member.

5. I realize by being part of this production I am sacrificing several hours of my day. I promise to reduce stress by employing time management skills and organizing my life.

6. My education is of prime importance to me and to my parents. While I am part of this production team, I will not let my grades suffer. If my grades begin to slip, I will do something about it. If I do nothing, I realize I will be removed from the production team.

7. If I am feeling pressure or stress, I understand I do not have to keep it to myself. I know I can talk with the directors of the show about my concerns. I promise not to take out my frustrations on my parents, friends, teachers, directors, cast or crew members.

8. I realize my parents are being supportive of my creative efforts and have rearranged their schedules to accommodate mine. I will be understanding of my parents and not get crabby when they cannot drop everything to cater to me.

9. I know I may not smoke on the campus. Violating this district rule (even in a dark or empty hallway) will result in my removal from the show.

10. Scientific evidence confirms the use of drugs slows down my reaction time. I realize on stage and backstage I must use quick reactions. I know the use of drugs on campus will result in my suspension from school. In addition, I also agree, for the duration of this production, (the final curtain on Saturday night) I will not use or abuse alcohol or pot - even if I have the approval of my parents. THIS IS A SERIOUS PROMISE I MAKE TO THE ENTIRE PRODUCTION TEAM. FAILURE TO COMPLY WILL RESULT IN MY REMOVAL FROM THE PRODUCTION.

Print Name

If age is less than 18 years old:

Signature

Date

Parent or Guardian Signature

Date

ITEMS FOR PERSONAL MAKE-UP KIT

(It is not healthy to share make-up. You are encouraged to assemble your own kit.)

ESSENTIAL

.Fishing Tackle Box, .Soft Washcloth, .Kleenex, .Headband or Scarf (to hold hair off face), .Glycerin Soap (not deodorant), .Cotton Balls, .Skin Cleanser

.Moisturizer, .Razor, .Spray Deodorant, .Base Foundation (3 shades), .Blush / Moist Rouge / Dry Blush, .Eye Color, .Eye Liner, .Mascara, .Assorted Lipsticks / Lip Pencils

.Loose Face Powder, .Large Powder Brush, .Pencil Sharpener, .Comb / Brush, .Hair Blow Dryer, .Curling Iron / Hot Rollers, .Hair Spray, .Assortment of Make-Up Brushes

OPTIONAL

.Clown White

.Liquid Latex

.Spirit Gum

.Nose & Scar Wax

.Crepe Hair

.Scissors

.Color Chart (available from suppliers)

REHEARSAL SCHEDULE

DAY

DATE

TIME

REHEARSAL FOR:

Act 1

Act 2

Act 3

Act 4

Act 5

Scenes: 1

ACTORS NEEDED FOR REHEARSAL:

SET PIECES NEEDED:

PROPS NEEDED:

COSTUMES NEEDED:

SOUND NEEDED:

OTHER:

SHOP SAFETY RULES

AT NO TIME SHOULD A PERSON WORK ALONE IN AN AREA. If you are injured, someone needs to call or get help.

In case of accident, DO NOT MOVE THE PERSON. Call 911.

APPROVED EYE PROTECTION MUST BE WORN WHILE ACTIVITIES ARE IN PROGRESS.

All machine safety guards must be kept in place.

Avoid talking to or bothering machine operators.

All loose clothing and/or long hair must be secured for your own safety.

Walk cautiously, do not run, and no "horseplay."

Tools should be in good condition, used correctly, and stored properly.

All cutting and shearing tools should be kept sharp.

Hands and fingers MUST NEVER be in front of cutting tools.

Keep aisles and floors clear of materials, tools, lumber, furniture, paint cans, etc.

You must receive proper instruction before operating any power tool in the shop. If you forget, don't guess, ask someone or consult the attached manual.

SHOES ARE TO BE WORN IN THE SHOP AND ALL WORK AREAS AT ALL TIMES.

SMOKING AND DRUG USE ARE NEVER PERMITTED IN THE THEATRE OR BACKSTAGE!

Do not tamper with any electrical equipment. If something is wrong, report it to the master carpenter, shop foreman, or technical director.

Any tools taken to the catwalk MUST BE ATTACHED to the person by a belt or cord.

Broken or lost tools should be reported to the master carpenter, shop foreman, or technical director.

SAFETY SHOULD BE EVERYONE'S CONCERN. TOOLS CAN BE REPLACED, PEOPLE CAN NEVER BE REPLACED.

EMERGENCY NUMBERS

PLEASE POST PROMINENTLY IN ALL STAGE, WORK, PRODUCTION AND REHEARSALAREAS

POLICE

FIRE

POISON CTR

HOSPITAL

DOCTOR

OTHER

IF NO ANSWER OR IN DOUBT, DIAL 911

19. PRODUCER JOB RESPONSIBILITIES

The producer is the business leader of the production and the production team. He/She is responsible for ensuring that the director has all the necessary people in place as well as assisting with creating a budget for the director to work with. The director is the controlling force for unifying all crews working on the production. The director is responsible for interpreting the script, assembling the production team, auditioning the actors, selecting a cast, blocking and rehearsing the cast, meeting with and coordinating the efforts of all crews, polishing the production, and presenting the artistic creation for an audience. The producer is present to help the director, crew, and actors in any way necessary, especially as pertains to any possible conflicts arising between anyone. The producer represents the Board of Directors at any production or rehearsal and is the ultimate authority.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Secure performing rights from the play leasing agent or company. PAY THE ROYALTY IN RECOGNITION OF THE PLAYWRIGHT'S ARTISTIC CREATION.

( )

Schedule and secure the performance space for rehearsal and performance dates.

( )

Purchase the scripts.

( )

Arrange a meeting with yourself and the director BEFORE the production meeting. Discuss the director’s production concept, design, and plans. Discuss a master calendar for the production team and any challenges for the play.

( )

Prepare with the director a production budget. Cost overruns MUST be approved by you.

( )

Ensure that all the technical roles have been filled. These include: Lighting designer and operators, sound designer and operators, stage manager, stage crew, props master/mistress, set designer, costume designer, make-up designer, program designer, painting crew, house manager, house crew.

DURING REHEARSALS

BEGUN

DONE

( )

Ensure that all the technical roles have been filled.

( )

Act as mediator in any disputes (remember the director has the artistic say)

( )

Encourage the actors and crew.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive ½ hour before the first cast/crew call.

( )

Ensure that everyone on crew is present.

( )

Ensure that all money is secure.

( )

Keep a lookout for unacceptable behavior.

( )

Assist in any way necessary.

( )

At the end, thank all of the crew involved.

( )

Count the money, fill out a deposit slip, and get the money to the appropriate person for depositing.

( )

Relax after having done a great job!

20. CHOREOGRAPHER JOB RESPONSIBILITIES

The choreographer is the designer and teacher of all the dances needed in a show. His or Her artistic vision, after consultation with the director, can make a production soar by pushing the talents of the cast. He/She is responsible for ensuring that the director has all the necessary people in place for all the dances. The director is the controlling force for unifying all crews working on the production. The director is responsible for interpreting the script, assembling the production team, auditioning the actors, selecting a cast, blocking and rehearsing the cast, meeting with and coordinating the efforts of all crews, polishing the production, and presenting the artistic creation for an audience. The choreographer takes that vision and makes the dances as enlightening and inspiring as possible.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Consult the director about his/her vision for the overall performance.

( )

Attend a production meeting. Be prepared to listen to others’ ideas as well as present your own interpretation and vision.

( )

Prepare for auditions by having a short dance that can quickly be taught and judged. Be prepared for all ages and talent-ranges.

( )

.With the director, prepare an audition schedule.

( )

Arrive at auditions with music at least fifteen minutes before the auditioners. Locate your audition space and prepare a cd/cassette player.

( )

Be professional – remember, this is the first impression you are making on the future cast.

DURING REHEARSALS

BEGUN

DONE

( )

Arrive at least fifteen minutes before the dancers/actors.

( )

Be prepared for the evening’s rehearsal, whether it be a new dance or polishing one that’s already been taught.

( )

Encourage the actors.

( )

Select an assistant choreographer to assist you in any way and to learn so that he/she can be a future choreographer.

( )

Check with the director each night before leaving.

DURING THE FINAL DRESS REHEARSALS

BEGUN

DONE

( )

Arrive ½ hour before the first cast/crew call.

( )

Work with any dancer needing additional teaching.

( )

Take notes during rehearsal.

( )

At the appropriate time, give the cast dance notes, either individually or to the whole group.

( )

Assist in any way necessary.

( )

At the end, thank all of the dancers involved.

( )

Thank anyone who has assisted you along the way.

( )

Relax after having done a great job!

21. VOCAL DIRECTOR JOB RESPONSIBILITIES

The Vocal Director is the person in charge of teaching all songs and helping the cast/singers perform as well as possible. The director is the controlling force for unifying all crews working on the production. The director is responsible for interpreting the script, assembling the production team, auditioning the actors, selecting a cast, blocking and rehearsing the cast, meeting with and coordinating the efforts of all crews, polishing the production, and presenting the artistic creation for an audience. The Vocal Director is present to help the director, crew, and actors in any way necessary, especially as pertains to singing.

BEFORE REHEARSALS BEGIN

BEGUN

DONE

( )

Read the play.

( )

Consider any especially difficult singing roles prior to auditions.

( )

Attend a production meeting with the director and other crew members. Be prepared to listen and to present your own ideas.

( )

Prepare for auditions. You may want auditioners to fill out a special form. Make sure the director knows what you are looking for before asking the auditioners.

( )

At auditions, be as professional as possible.

( )

Assist with casting. Again, be professional. Remember what you say has an influence on others. And be fair to everyone, not just those you know.

( )

With the director, prepare a rehearsal schedule.

DURING REHEARSALS

BEGUN

DONE

( )

Arrive at least fifteen minutes before rehearsal.

( )

Be as professional as positive. Be prepared to work with individuals or groups with cd or accompanist.

( )

Encourage the actors and crew.

( )

Teach the cast about taking care of their throats.

DURING THE RUN OF THE SHOW

BEGUN

DONE

( )

Arrive ½ hour before the first cast/crew call.

( )

Work with any individual who still needs vocal coaching.

( )

Remind singers to take care of their vocal instrument.

( )

Assist in any way necessary.

( )

At the end, thank all of the crew involved.

( )

Relax after having done a great job!