THEATRE PRACTICUM
HANDBOOK
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Table of Contents
What is Theatre Practicum? 1 Management Positions 2-5 House Manager/Assistant House Manager/Head Usher/Usher 2 Assistant for Archives 2 Assistant for Marketing 3 Assistant for Interactive Marketing 3 Assistant for Accounting 3 Assistant for Recruitment 4 Assistant for Special Projects 4 Construction Positions 4-7 Stitchers 5 Carpenters 5 Scene Painters 5 Electricians 6 Design/Preparatory Positions 6-10 Dramaturg 7 Assistant to the Scene Designer 7 Assistant to the Costume Designer 7 Assistant to the Lighting Designer 7 Sound Designer 8 Special Effects Technician 8 Master Electrician 9 Properties Master 9 Properties Acquisition Crew 10 Technical Performance Positions 10-14 Make-Up Designer 11 Wardrobe Run Crew 11 Wardrobe Supervisor 12 Light Board Operator 12 Followspot Operator 13 Sound Engineer 13 Assistant Sound Engineer (A2) 14 Run Crew 14 Fly Crew 14 Production Positions 15-18 Actors 15 Assistant to the Director 16 Assistant to the Music Director 16 Stage Manager 16 Assistant Stage Manager 17 Production Assistant 18 Grading 19 Cell Phone Use 19 Honor System 19 Audio and Video Recording 20 Disability Resources 20 Title IX 20 Golden Rules for Living 21 Safety 22 Theatre Lingo 23-30 Theatre Rules and Expectations 31 Complimentary Ticket Policy 32 Important Telephone Numbers 32 duPont Hall Directory 33
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What is Theatre Practicum? Theatre Practicum (THEA 390) is a one-credit course that provides students the opportunity to receive graded credit for their involvement with productions in the Department of Theatre & Dance. Practicum students work onstage, backstage, or in front-of-house operations for theatre productions during the semester. Through this work, students can choose to either expand upon their current knowledge in an already-familiar area of interest or choose to challenge themselves to learn new skills by exploring a different area. Whether you are interested in pursuing a career in theatre or simply have a love of the arts, as a practicum student you will get personal, hands-on instruction and experience working in a theatre. THEA 390 satisfies the Experiential Learning requirement of the General Education curriculum. Due to the hands-on nature of our work, Theatre Practicum has high expectations and specific grading requirements. All practicum students are graded on these key factors: • effective communication with supervisors and co-workers • promptness and reliable attendance at all calls, meetings, rehearsals, etc. • timely, responsible, and quality completion of all assigned tasks Specific positions also have their own grading requirements as outlined in this Handbook. When a student enrolls in Theatre Practicum, they will complete a Practicum Agreement that carries their signature as well as the signature of the instructor supervising the position. The supervising instructor will be the primary contact for the course and will grade the work at the end of the semester. Since many Theatre Practicum positions and responsibilities are accomplished individually, students are ultimately responsible for getting whatever information is required from the supervising faculty member. Schedule conflicts are strongly discouraged and must be addressed well ahead of time. Unexcused absences will result in a severely lowered or failing grade. While rehearsal, performance, and other dates and times are announced in advance, the student should realize that the nature of theatre sometimes requires additional or extended calls for everyone involved. Theatre Practicum is a significant responsibility—the student makes a commitment to every single person involved in a production that they will complete the assigned job on time and to the best of their ability. A full commitment gives each student a high-quality learning experience in the theatre and is essential to the success of the theatre production.
Management Positions
Working in the management office provides students with an opportunity to learn what goes into running a theater from a front-of-house perspective. From distributing posters to ticket sales, practicum positions in the Management Office give you a hands-on experience with theatre management. These positions offer you an excellent opportunity to apply for a paid student assistant position in the Management Office the following year. Management practicum positions require a commitment of at least 42 hours during the semester, which must be logged in the Practicum Hours book in the Management Office. The Department Chair supervises all management practicums. House Manager/Assistant House Manager/Head Usher/Usher
As a member of the house management staff, either as the House Manager, Assistant House Manager, Head Usher, or Usher, you are responsible for the comfort and safety of all audience members. Duties include but are not limited to: • ticket collection • program distribution • refreshment sales and inventory control • usher training/supervision The house management staff works with the Box Office and the Stage Manager during performances to open the house before the show, at intermission, and after the show. The House Manager must attend all performances of their assigned production, arrive an hour early for preparation, and remain in the theatre until the house is closed and final clean up is complete. The Assistant House Manager supports the House Manager to complete all assigned tasks. All members of the House Management staff must dress professionally (no jeans or sneakers) for each performance. The House Manager and the Assistant House Manager will be graded on the number and quality of the hours devoted to the assignment and the successful completion of tasks. Assistant for Archives
As the Archives Assistant, you are responsible for the acquisition and maintenance of the production archives. Duties include but are not limited to: • filing • data entry • material conservation You must be able to work independently toward objectives agreed upon with your supervisor at the beginning of the semester. A minimum of 42 hours is required during the semester. The Archives Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks.
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Assistant for Marketing
As the Marketing Assistant, you are a member of the management staff and are largely responsible for overseeing the marketing campaigns and press-related issues for each production. Duties may include but are not limited to: • writing program copy and hometown releases for each production • preparing, editing, and proof reading media releases • creating calendar listings • distributing flyers • placing posters • preparing mailings • cultivating group sales • acting as liaison between the Stage Manager and photographer The Marketing Assistant works closely with the management staff according to a work schedule established at the beginning of the semester. A minimum of 42 hours is required during the semester. The Marketing Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Assistant for Interactive Marketing
As the Interactive Marketing Assistant, you are a member of the Management Staff and largely responsible for updating content on the department home page, contributing to social media campaigns, and assisting with technology issues in the department. Duties include but are not limited to: • planning and executing emails • maintaining the department’s YouTube, Facebook, and Twitter campaigns • assisting with promotional video production • troubleshooting technology issues • assisting with software updates • ensuring the department web page is current You should have some familiarity with Apple computers, network procedures, and basic HTML programming. The Interactive Marketing Assistant must be able to work independently according to a schedule established at the beginning of the semester. A minimum of 42 hours is required during the semester. The Interactive Marketing Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Assistant for Accounting
As the Financial Assistant, you are a member of the management staff and largely responsible for managing the department’s finances according to the guidelines set forth by the UMW Department of Finance. Due to the sensitive nature of this work, the student who accepts this position must have demonstrated to department staff that they are reliable, responsible, and detail-oriented. Duties may include but are not limited to: • tracking monthly expense reports • reconciling credit card transactions • reconciling box office deposits • assisting with audits of financial procedures
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The Financial Assistant works closely with faculty, box office staff, and management staff according to a work schedule established at the beginning of the semester. A minimum of 42 hours is required during the semester. The Financial Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Assistant for Recruitment
As the Recruitment Assistant, you are a member of the Management Staff and largely responsible for representing the Department of Theatre & Dance to all new and prospective students. Duties include but are not limited to: • scheduling and conducting tours with prospective students • stocking publication racks with recruitment materials • working closely with the Office of Admissions to acquire names of all incoming students who express an interest in theatre and/or dance • following up with prospective students to answer questions about the department The Recruitment Assistant works closely with the department chair and management staff according to a work schedule established at the beginning of the semester. A minimum of 42 hours is required during the semester. The Recruitment Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Assistant for Special Projects
As the Special Projects Assistant, you are a member of the management staff and largely responsible for accomplishing a variety of tasks set forth by the Department Chair and/or the Director of Marketing and Audience Services. This is a unique position because tasks vary based on the needs of the department at any given time. We recommend that this position be occupied by someone who is eager to learn and do new tasks, is a jack-of-all-trades with excellent time-management skills, and has the ability to work independently. The Special Projects Assistant works closely with the Department Chair, the Director of Marketing and Audience Services, and the management staff according to a work schedule established at the beginning of the semester. A minimum of 42 hours is required during the semester. The Special Projects Assistant will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks.
Construction Positions
Working in one of our production shops will provide you with excellent handson experience in either scenic or costume construction. We welcome students with basic experience levels or higher to apply—tasks are appropriately assigned according to expertise. Theatre Practicum students will learn and practice valuable skills in costume or scenic construction that would be invaluable should you choose to apply for a paid student-assistant position in these areas for the following year. Students are responsible for working a minimum of 42 hours during the semester and must arrange their work schedules in advance with their supervisors.
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Stitchers
As a Stitcher, you work in the Costume Shop and are largely responsible for helping to create the costumes for main stage productions. You will work under the supervision of the Costume Shop Supervisor and the Costume Designer for the production. All Stitchers must have either taken a costume construction class or demonstrated knowledge of basic sewing techniques. Stitchers must work a minimum of 42 hours over the semester. Your schedule will be set in advance with the Costume Shop Supervisor. In addition, Stitchers are expected to be available during the weekend prior to the opening performance and on the afternoon prior to the first technical rehearsal. Stitchers will be graded on the number and the quality of hours devoted to the assignment, as well as the successful completion of tasks. Carpenters
As a Carpenter, you work in the Scene Shop and are largely responsible for helping to build the scenery for each of the Department of Theatre & Dance main stage productions. If deemed necessary, Carpenters may be asked to attend Technical Production classes to learn the appropriate safety procedures for operating all shop equipment. Carpenters will get a work schedule from the Scene Shop Foreman at the beginning of the semester. All carpenters must attend a shop orientation session at the beginning of the semester. Carpenters are also responsible for the following: • learning, teaching, and reinforcing work safety practices • reading the callboard on a regular basis for additional call times • attending each crew call prepared to work • wearing appropriate attire for construction or painting • always bringing a tape measure, goggles, and pencil to every call • attending strike, which immediately follows the final performance Carpenters must work a minimum of 42 hours throughout the semester. Students record their work hours using the time clock in the Tool Room. Carpenters will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Scene Painters
As a Scene Painter, you will work in the Scene Shop and are largely responsible for assisting the Scenic Designer in painting the set. Working as a Scene Painter is an excellent artistic position that provides great hands-on experience for anyone who enjoys painting or crafty types of work. Duties may include but are not limited to: • painting the set • creating a sculpture • carving or casting decorative ornaments • mixing paint • draping fabrics • other creative tasks deemed appropriate for your demonstrated skill level by the Scene Designer
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The Scene Painter position requires at least a moderate exposure to the painting techniques, but it will provide an opportunity for one to expand their skills. The Scene Designer will provide guidance on painting techniques and answer any and all questions that the Scene Painter may have in relation to learning the job. It is an excellent one-on-one learning opportunity for those who enjoy this type of work. Scene Painters are expected to work a minimum of 42 scheduled hours of quality work on a production, but the exact time required will vary based on each production’s specific needs. The Scene Designer and the Scene Painter should together schedule specific times for painting or working. Students record their work hours using the time clock in the Tool Room. Scene Painters will be graded on the number and quality of hours devoted to the assignment and the successful completion of tasks. Electricians
As an Electrician, you will work in the electrics shop and are largely responsible for hanging and focusing lighting instruments in accordance with a lighting plot. In this position, you will work closely with the Lighting Designer, the Lighting Assistant, and the Master Electrician to help implement and realize the concept of a lighting design. Working as an electrician will provide you with excellent handson experience working with various pieces of lighting equipment. Electricians must attend the strike of the production as scheduled. The final grade is based on prompt attendance at all of the assigned calls in addition to the execution of the above tasks. Students record their work hours using the time clock in the Tool Room.
Design/Preparatory Positions
We offer several practicum positions where the main responsibility is to prepare for a show by either assisting in the design process, gathering props, or designing and recording sound, among other things. Such positions are great for those who enjoy the challenge of finding or creating things and provide excellent experience in various pre-production responsibilities. Though the work can often be completed on a flexible timetable, these positions have a significant time commitment. Timely completion of all assigned tasks by specific deadlines is absolutely essential.
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Dramaturg
As the Dramaturg, you are responsible for researching the history of the play, the playwright, and the time period in which the play is set. The Dramaturg is under the supervision of both the Director and the Designers of an assigned production. Responsibilities begin eight to twelve weeks before rehearsals begin and conclude upon the production’s opening. Attendance is required at production meetings and some rehearsals so you may answer questions relating to the historical accuracy and context of the production. Dramaturgs often work during the semester preceding the production. The Dramaturg is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Assistant to the Scene Designer
As the Assistant to the Scene Designer, you will work directly with the Scene Designer throughout the design and construction process, which includes, but is not limited to, helping with research and drafting. In this position, you will likely serve as a shop contact and help with the build of the set. Attendance is required at all production meetings and technical rehearsals. The Assistant to the Scene Designer is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Assistant to the Costume Designer
As the Assistant to the Costume Designer, you will work directly with the Costume Designer to design and create costumes for an assigned production. This includes, but is not limited to, shopping for costume pieces and/or pulling them from storage. In this position you are responsible for pulling rehearsal clothing for the actors and working in the costume shop to help construct any costumes that need to be built. Attendance is required at all production meetings and technical rehearsals. The Assistant to the Costume Designer is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Assistant to the Lighting Designer
As the Assistant to the Lighting Designer, you will work directly with the Lighting Designer to complete the design and execution of the lighting design for an assigned production. This includes but is not limited to coordinating the prep, hang, and focus, as well as helping with the actual implementation of the design. In this position you are responsible for maintaining all relevant paperwork and any other duties as assigned by the designer. Attendance is required at all production meetings and technical rehearsals. The Assistant to the Lighting Designer is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process.
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Sound Designer
As the Sound Designer, you are given the opportunity to compile the sound effects for a single production. You will collaborate with the artistic team to help create the atmosphere of the production and receive a personalized introduction to the sound equipment during a scheduled meeting. Duties include but are not limited to: • completing initial preparation, including reading the script and discussing expectations for sound with the Director • placing microphones • researching and recording all playback cues • choosing the appropriate set up of speakers in the theatre • producing sample recordings of all music, effects, voice-overs, etc. • scheduling a time for the Director to listen to and approve all samples All show recordings must be approved and completed by the evening of the first technical rehearsal. Attendance is required at all production meetings and technical rehearsals for the purposes of taking notes, setting levels, and making additions or deletions. The Sound Designer must attend at least one performance to ensure that playback levels are correct and to make adjustments if necessary. After the final performance, the Sound Designer must return all borrowed materials. At the close of the production, you are required to attend strike as scheduled. The Sound Designer is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Special Effects Technician
As the Special Effects Technician, you are given the opportunity to design, create, and implement the special effects for an assigned production. It is imperative that the safety of your operable effects is your number one concern. Duties include but are not limited to: • creating safe and operable effects • obtaining and reading the production script • scheduling regular meetings with the Scene and/or Lighting Designer • Obtaining materials for effects, rig, etc., all under the guidance of the Scene and/or Lighting Designer All effects must be in operable condition by the first technical rehearsal. In some instances, effects may need to be completed earlier so that actors can work with them during the rehearsal process. As the Special Effects Technician, you are also responsible for training the production’s run crew in the safe operation of all effects. Attendance is required at all production meetings and technical rehearsals for the purposes of taking notes, setting levels, assisting the crew, and making additions or deletions from the production. The Special Effects Technician must also attend at least one performance to monitor the smooth running of the effects and make corrections as necessary. At the close of the production, you are required to attend strike as scheduled. The Special Effects Technician is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process.
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Master Electrician
As the Master Electrician, you will work closely with the Lighting Designer to implement and execute the lighting plot. Duties include but are not limited to: • hanging lighting instruments • focusing lighting instruments • supervising and assigning tasks for crew of electricians • maintaining lighting equipment during the run of the show • attending the strike of the production The Master Electrician is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Properties Master
As the Properties Master, you are given the opportunity to design, create, and manage all props for a single production. Your direct supervisor is the Scene Designer. In this position, you will receive valuable hands-on experience working with a designer and managing an acquisition process. Duties include but are not limited to: • acquiring props • constructing props • tracking all props • running weekly meeting with the Properties Acquisition Crew • returning and storing all props appropriately at the close of the production. (Note: Props includes hand props, furniture, consumables, and set decoration designated by the Scene Designer.) The Properties Master supervises a crew (see “Properties Acquisition Crew”). Even though the Scene Designer teaches the crew specifically how to gather, purchase, and build properties, it is the responsibility of the Properties Master to oversee the overall acquisition process. You must schedule and run weekly meetings with your crew to review and monitor the acquisition process. During these meetings, you will need to assign tasks and deadlines to members of your crew, such as locating or creating specific items for the production. Attendance is required at all production meetings, properties crew meetings, technical rehearsals, and strike. During production meetings, the Director, Scene Designer, and Properties Master discuss props needed for the production. The Prop List includes, but is not limited to, what is listed in the script. The Scene Designer and Director approve all properties before they are added to the overall list. The prop list is subject to change throughout the rehearsal process, and updates must be reported to the Scene Designer and Stage Manager daily. The list is usually finalized one week before opening. At strike, it is your responsibility to either return props to their owner(s) or store remaining items in Props Storage (duPont 113). Finally, the Properties Master is responsible for cleaning and restoring Prop Storage (duPont 113) after the final performance.
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Properties Acquisition Crew
As a member of the Properties Acquisition Crew you are responsible for finding/ creating hand props and set decoration for the production as assigned by your direct supervisor, the Properties Master. It is your responsibility to locate and secure via purchase, rental, or loan a wide variety of objects. It is possible that if an object cannot be found that you may also need to create a prop with the use of minor craftwork, painting, or construction. Members of the Properties Acquisition Crew must attend a weekly meeting scheduled by the Properties Master. At these meetings you will receive specific assignments to either locate or create particular items for the production by an assigned deadline. At each weekly meeting, crew members are required to report the status of their assigned objects to the Properties Master. Crew members are responsible for understanding the policies for acquiring props as described by the Scene Designer. Members of the Properties Acquisition Crew are also required to attend strike in order to secure the safe removal and accounting of all properties from the set and backstage area. All properties that are borrowed must be returned within one week of the closing performance or by the date the return was promised. The properties must be in the condition that they were in when borrowed or the Properties Master must be notified. The Properties Master will assign each member of the crew at least four hours of work per week. Crew members are responsible for maintaining a list of all hours worked and tasks completed, and they must submit this list to their staff supervisor at the end of the production period. Members of the Properties Acquisition Crew will be graded on the number and quality of hours devoted to the assignment and successful completion of tasks.
Technical Performance Positions
Working in one of the many technical practicum positions is an excellent opportunity to experience the backstage workings of a show. Each person involved in the technical aspects of a show is integral to each performance. Students work as part of a team to accomplish specific goals as dictated by the demands of the production itself. Promptness and attendance are particularly essential to these positions. Students are not graded on a minimum number of hours worked, but on successful completion of the assigned tasks. These positions generally require attendance at technical rehearsals, performances, and photo call for one production, unless otherwise stated.
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Make-Up Designer
As the Make-Up Designer, you are given the exclusive opportunity to create a complete design for all actors in a specific production. You will work with the Costume Designer to create a cohesive concept that best complements the characters within the world of the play. A student considering the Make-Up Designer position must have prior experience in theatrical make-up. At least two weeks before technical rehearsals are scheduled to begin, the Make-Up Designer is responsible for contacting the Costume Designer to review the style of make-up required for the assigned production. Once you have an understanding of the direction of the design, you must create a visualization through sketches or clippings of your concept for each character’s make-up design. If the designs are complex, the Make-Up Designer may coordinate with Stage Management to schedule consultations with individual actors during the week before technical rehearsal in order to better help the actor learn the technique for the design. The MakeUp Designer is expected to attend one or more run-throughs of the production during technical rehearsals. Make-up is added into the rehearsal process during the second technical rehearsal unless otherwise noted. As the Make-Up Designer, your call for the second technical rehearsal is approximately two hours prior to the start of the rehearsal. During the time prior to the start of the rehearsal, you are responsible for assisting each actor with the proper application of their make-up. You must help them learn how to apply their own make-up correctly according to your design. The Make-Up Designer must attend all technical rehearsals, the first performance, and be available to assist with any make-up related issues that arise during the run of the production. The Makep Designer is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Wardrobe Run Crew
As a member of the Wardrobe Run Crew, you will work as a team to ensure that all costume pieces are prepped and ready for each performance. In addition, you will assist the actors with their costumes during technical rehearsals, performances, and photo call. Maintaining the costumes includes but is not limited to the following tasks : • washing • ironing • spot cleaning • executing minor repairs Assisting actors during rehearsals and performances includes but is not limited to the following: • helping actors dress before the start of each technical rehearsal or performance • assisting with hairstyling • presetting costumes needed for quick change • assisting actors with quick change
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Your first formal call will be approximately two hours prior to the the actors’ call for the first technical rehearsal. After the first technical rehearsal involving costumes, your call time will likely be two hours prior to top of show. For all technical rehearsals and performances, you are required to wear black longsleeved shirts, long black pants, black socks, and black shoes that will provide camouflage as you work backstage. Other duties include: • checking all costume pieces off a master list both before and after each show or rehearsal. • ensuring that both the Dressing Room and the Costume Shop are neat with lights off and doors locked before leaving the building • participating in costume strike immediately following the last Sunday performance • devoting approximately four hours during the two days following the final performance to cleaning and storing costumes with the help of Costume Shop Staff Grades for members of the Wardrobe Run Crew are based on prompt attendance at all of the assigned calls in addition to the execution of the above tasks. Wardrobe Supervisor
As the Wardrobe Supervisor, you have the opportunity to work closely with both actors and designers while managing the Wardrobe Run Crew. Your duties are the same as the Wardrobe Run Crew with the additional responsibility of organizing and supervising the Wardrobe Run Crew. You must ensure that all tasks are completed accurately and in a timely and efficient manner. If major repairs become necessary at any point during technical rehearsals or performances, it is your responsibility as the Wardrobe Supervisor to contact the Costume Shop Supervisor or the Costume Designer of the assigned production. All Wardrobe Supervisors should have prior experience on the Wardrobe Run Crew. For all technical rehearsals and performances, you are required to wear black long-sleeved shirts, long black pants, black socks, and black shoes. The Wardrobe Supervisor is not graded on the number of hours devoted to the job, but rather on the execution of the above tasks and the quality and outcome of that process. Light Board Operator
As the Light Board Operator, you are instrumental to the smooth execution of the production. You are responsible for programming the lighting console with the instruction and supervision of the Lighting Designer. Your main objective is to run and maintain the lights through technical rehearsals, performances, and photo call. In preparation, you must schedule time with the Lighting Designer at least two weeks prior to the first technical rehearsal to learn the proper operation of the lighting console. At the request of the Lighting Designer, you may also need to
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attend focus calls during which you will help focus lighting instruments. One additional skill you will learn prior to the start of technical rehearsals is how to relamp a lighting instrument. Starting with the first technical rehearsal, the Light Board Operator must wear a long-sleeved black shirt to all rehearsals and performances. Prior to each technical rehearsal and performance, it is your responsibility to perform a light check and repair lighting instruments as necessary. You must also attend strike as scheduled to help ensure the proper and safe removal and storage of all lighting instruments. The final grade is based on prompt attendance at all of the assigned calls in addition to the execution of the above tasks. Followspot Operator
The Followspot Operator operates a followspot from above the audience on the tension wire grid. The operator works closely with the Lighting Designer during technical rehearsals to learn cues that include where to focus the followspot and in what color and at what beam width to do so. The followspot operator must be present for all technical rehearsals and performances. This is an excellent entry-level position if you are interested in learning more about lighting and it provides a bird’s eye view of the audience and the stage. There are typically two operators for each musical production. The final grade is based on prompt attendance at all assigned calls in addition to the execution of the above tasks. Sound Engineer
As the Sound Engineer, you are responsible for running the sound console during technical rehearsals and performances. This position will provide hands-on, personalized instruction for all sound equipment. It is your responsibility to schedule time with the Sound Designer at least two weeks prior to the first technical rehearsal to learn the proper operation of the console and other related equipment. At the request of the Sound Designer, you may also need to assist with audio recordings. The Sound Engineer is present at the sound load-in, all technical rehearsals, and all performances. Starting with the first technical rehearsal, the Sound Engineer must wear a long-sleeved black shirt to all rehearsals and performances. Prior to each technical rehearsal and performance, the Sound Engineer must complete a system checklist and perform a sound check on all speakers and microphones. Following the performance, the Sound Engineer follows the checklist to shut down the sound system. In addition, the Sound Engineer must attend load-in and strike, as scheduled, to help ensure the proper installation, removal, and storage of all sound equipment. The final grade is based on prompt attendance at all of the assigned calls in addition to the successful execution of the above tasks.
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Assistant Sound Engineer (A2)
The A2 reports to the Sound Designer and assists the Sound Engineer on musical productions. The A2 is present at the sound load-in, all technical rehearsals, and all performances. The A2 works closely with the acting company to be sure their body microphones are properly placed and functioning. Responsibilities include testing and troubleshooting the body mics and providing audio assistance to the Music Director during the run of the show. This is an excellent entry-level position if you are interested in learning more about sound. The final grade is based on prompt attendance at all of the assigned calls in addition to the successful execution of the above tasks. Run Crew
As a member of the Run Crew, you are an integral part of the successful and smooth run of each performance of your assigned production. The Run Crew works together backstage to set props for each scene, move scenery, and perform other tasks as needed. The Run Crew reports directly to the Stage Manager. An excellent Run Crew moves quickly, quietly, and efficiently to complete all tasks. Sometimes a Run Crew with complex tasks needs “shift rehearsal” in order to refine the execution of tasks to the utmost speed. Each member of the crew is responsible for taking notes on their assigned tasks and performing those tasks safely and efficiently. You are responsible, as a member of the Run Crew, for attending technical rehearsal, shift rehearsals as needed, performances, and photo call. Absence from any required rehearsal or performance will result in a failing grade. Accommodations for absence may be made in emergency situations only. For all technical rehearsals and performances, you are required to wear black long-sleeved shirts, long black pants, black socks, and black shoes. The Stage Manager will assign a call time specific to each rehearsal and performance. You are expected to arrive promptly and stay throughout the entire performance, leaving only after all of the Run Crew tasks are completed at the end of the evening. The final grade is based on prompt attendance at all of the assigned calls in addition to the successful execution of the above tasks. Fly Crew
As a member of the Fly Crew, you are responsible for lowering and raising overhead scenery on the stage. Flying scenery is very safe and easy but requires careful attention to those who occupy the stage. Therefore anyone who undertakes this job must be very safety conscious. Full training in safety procedures will be provided for this position. All members of the Fly Crew report directly to the Stage Manager. Every member of the Fly Crew is responsible for taking notes on each task assigned to them. Members of the crew are expected to learn each assigned cue quickly so that they are able to shift and perform each task in the most efficient way possible. The Fly Crew must function as a team and all members are expected to assist each other in any way possible. An excellent fly crew is quiet, safety conscious, and well versed in the cues and movements of the scenery. It is not unusual for a fly crew with complex shifts to need “shift rehearsal” in order to refine their tasks.
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You are responsible, as a member of the Fly Crew, for attending technical rehearsals, performances, shift rehearsals as needed, and photo call. Absence from any required rehearsal or performance will result in a failing grade. Accommodations for absence may be made in emergency situations only. For all technical rehearsals and performances, you are required to wear black long-sleeved shirts, long black pants, black socks, and black shoes. The Stage Manager will assign a call time specific to each rehearsal and performance. You are expected to arrive promptly and stay throughout the entire performance, leaving only after all of the Fly Crew tasks are completed at the end of the evening. The final grade is based on prompt attendance at all of the assigned calls in addition to successful execution of the above tasks.
Production Positions
Working in a production position requires attendance at all rehearsals and performances. These positions provide a student the opportunity to work on a production from start to finish. You will be given the advantage of seeing a show evolve from a group of unfamiliar actors in a room together to a company of performers with a singular goal—a fantastic performance! The production positions in acting, directing, and stage management provide invaluable experience but involve a significant time commitment. You may be required to attend all rehearsals, technical rehearsals, performances, meetings, fittings, etc. These jobs are not graded by the number of hours devoted to the job but by the quality and the outcome of the process. Actors
As an Actor, you are responsible for working with the Director to build a character within the concept of the production. You must also work with the Stage Management team and designers to fulfill the responsibilities necessary for mounting the show. Acting practicums are available only to those students who are cast in main stage productions. Actors are required to attend all rehearsals, costume fittings, technical rehearsals, performances, and photo call. Duties include but are not limited to: • learning lines in the allotted time frame • arriving on time and prepared for all rehearsals and other meetings as scheduled • working cooperatively within the ensemble • maintaining a positive attitude • completing all assignments from the Director • demonstrating growth in theatrical skills, including movement, voice, discipline, and process Grading is based upon how well an actor accomplishes the tasks involved in building a character and mounting the production.
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Assistant to the Director
As the Assistant to the Director you are given the opportunity to work directly with the Director and receive invaluable, first-hand experience of the directorial process. It is your responsibility to support the Director in all tasks required for mounting a production. Duties include but are not limited to: • research • discussions with the Director on various aspects of the play and production • running lines with actors • rehearsing scenes with actors • working closely with the stage managers • observing and learning about a director’s process The Assistant to the Director should attend any scheduled meetings with the Director, production meetings, rehearsals, technical rehearsal, and assigned performances. The Assistant to the Director is specifically graded on the quality of work accomplished, ability to meet deadlines, cooperation within the company, and timely completion of assignments given by the Director. Assistant to the Music Director
As the Assistant to the Music Director you are given the opportunity to work directly with the Music Director and receive invaluable, first-hand experience of the musical process. It is your responsibility to support the Music Director in all tasks required for mounting a musical production. Duties include but are not limited to: • research • discussions with the Music Director on various aspects of the production • copying music and assembling books for orchestra members • running rehearsal sound equipment in the Music Director’s absence • working closely with the stage managers • observing and learning about a music director’s process The Assistant to the Music Director should attend any scheduled meetings with the Music Director, production meetings, rehearsals, technical rehearsal, and assigned performances. The Assistant to the Music Director is specifically graded on the quality of work accomplished, ability to meet deadlines, cooperation within the company, and timely completion of assignments given by the Music Director. Stage Manager
As the Stage Manager you are largely responsible for the smooth operation of the entire rehearsal and performance schedule. This position is one of the most demanding positions available as a practicum credit because it requires both maturity and responsibility. We recommend that no one consider this position unless they have served on a Stage Management team either as a Stage Manager, Assistant Stage Manager, or Production Assistant.
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Duties include but are not limited to: • running auditions • facilitating communication of casting decisions • creating and distributing rehearsal schedules • running rehearsals • recording the show’s blocking • gathering rehearsal props • running production meetings • distributing daily technical notes to each design area • maintaining discipline during the rehearsals and performances • calling cues during performances • managing all crew members The Stage Manager should be the first to arrive for a rehearsal or performance and the last to leave. You are also responsible for ensuring the security of the theatre. If you accept this position, you will play a very important role in a production and one that comes with a significant time commitment. You are responsible for attending all auditions, rehearsals, production meetings, technical rehearsals, performances, and photo call. Absences may be scheduled from certain rehearsals, but only if done in advance. The primary goal of this position is to make the production process as smooth as possible. This position is provided with at least one assistant to aid in the completion of the list of responsibilities. The Assistant Stage Manager reports directly to the Stage Manager. The Director, Production Consultant, and Department Chair provide guidance to the Stage Manager. As the Stage Manager, you are responsible for all actors and crew involved with this production. The accurate operation of the run of the show lies on your shoulders. The Stage Manager’s grade is not based on the number of hours devoted to the job, but on the execution of the above tasks and the quality and outcome of the process. Assistant Stage Manager
As the Assistant Stage Manager you are an instrumental member of the production staff. You will work with the Stage Manager to complete all tasks necessary to ensure the smooth and accurate operation of all auditions, rehearsals, and performances. It is an excellent position to undertake, especially if you are interested in being a Stage Manager for future productions. Duties of an ASM may include but are not limited to: • tracking props and scene changes • writing daily rehearsal reports • maintaining the prop list • preparing the rehearsal space each day • supervising crew backstage
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Be aware that this position requires a large time commitment, but is not a difficult job to learn. It is your responsibility as the ASM to attend all rehearsals, production meetings, technical rehearsals, performances, and photo call. Absences may be scheduled from certain rehearsals, but only if done in advance. The primary goal of this position is to make the production process as smooth as possible. The Assistant Stage Manager reports directly to the Stage Manager and, in the absence of the Stage Manager, the Director. The Assistant Stage Manager’s grade is not based on the number of hours devoted to the job, but on the execution of the above tasks and the quality and outcome of the process. Production Assistant
As the Production Assistant, you are a valuable member of the Stage Management team. You will receive on-the-job training from both the Stage Manager and the Assistant Stage Manager(s). This position is meant as an introductory position for any student interested in stage managing for a future production or who is eager to learn more about the entire production process from start to finish. As a support staff member of the stage management team, you will likely have a wide variety of job responsibilities. Duties may include but are not limited to: • prepping the rehearsal space daily • being on book for lines • acting as a liaison with the Costume Shop • tracking costume changes • helping to manage the backstage crew during performances Working on the stage management team provides an excellent learning opportunity and enables you to observe the production process from beginning to end. As a result, you must be prepared for the significant time commitment required by this position. You are responsible for attending all auditions, rehearsals, production meetings, technical rehearsals, performances, and photo call. Absences may be scheduled from certain rehearsals, but must be made in advance. The primary goal of this position is to provide a strong support system to the Stage Manager and Assistant Stage Manager(s). The Production Assistant’s grade is not based on the number of hours devoted to the job, but on the execution of the above tasks and the quality and outcome of the process.
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Grading
The supervising instructor awards the final grade for students enrolled for THEA 390. While most positions require a minimum 42-hour time commitment, grades are always determined by the excellence of the work and not merely on the satisfaction of the requirements. As such, the faculty awards grades based on an understanding that: A work is exceptional and exceeds expectations B work is commendable and exceeds expectations C work is acceptable and meets expectations D work is marginal and meets minimal expectations F work fails to meet expectations
Cell Phone Use Students may not use their cell phones during work calls or while standing by for an entrance or a cue. Cell phones must be turned off during class. During work calls, students are not permitted to use their cell phones for any purpose (including text messaging, email, gaming, and photography) in Klein Theatre or the theatres’ ancillary spaces (costume shop, scene shop, booths, dressing rooms, rehearsal rooms, warehouse, and tension wire grid). During technical rehearsal and performance calls, students are not permitted to use their cell phones while on deck, in the booth, or on the tension wire grid in Klein Theatre. Actors and technicians may use their cell phones during extended periods between cues. At no time is an actor permitted to carry a personal cell phone on stage during a performance or rehearsal. During announced breaks students may step outside of the facilities to use their cell phones. Students may not take photographs of a rehearsal, run-through, or performance. Stage managers may use their cell phones for official production business only. Students working in the box office or management office may be permitted to use their cell phones depending on the volume of business and at the discretion of the faculty and staff supervising that area. Front-of-house staff may never use their cell phones in the presence of patrons—from the start of their call until top of show, during intermission, and during the closing of the house. Cell phones are a distraction to the focus required of our work in the theatre and represent, in many instances, a serious challenge to safety. Violations of this policy may result in your suspension from the production or being asked to leave the classroom or studio. If you are experiencing a family emergency that requires immediate access to you via cell phone, please see your faculty or staff supervisor who will make an exception to this policy. This policy applies, as well, to all Studio 115 productions and events
Honor System
The Honor System is in effect at all times. Creative work carries your pledge by our mutual understanding and respect for the Honor Code.
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Audio & Video Recording
Students may not make audio or video recordings of any THEA 390 course activity unless the student has an approved accommodation from the Office of Disability Resources permitting the recording class meetings. In such cases, the accommodation letter must be presented to the Prof. Stull in advance of any recording being done and all students in the course will be notified whenever recording will be taking place. If you have an accommodation that permits recording of course content, you must make an appointment with Prof. Gregg Stull at the beginning of the semester. He will share the accommodation with your supervising instructor. Students who are permitted to record classes are not permitted to redistribute audio or video recordings of statements or comments from the course to individuals who are not students in the course without the express permission of the faculty member and of any students who are recorded. Distribution without permission is a violation of educational privacy law.
Disability Resources The Office of Disability Resources has been designated by the university as the primary office to guide, counsel, and assist students with disabilities. If you receive services through the Office of Disability Resources and require accommodations for this class, make an appointment with Gregg Stull as soon as possible to discuss your approved accommodation needs. Bring your accommodation letter to the appointment. Prof. Stull will need to share the approved accommodation with your supervising instructor, but will hold any additional information you share in strictest confidence unless you give permission to do otherwise. If you have not made contact with the Office of Disability Resources and have reasonable accommodation needs, please contact the staff in that office by visiting Lee Hall 401 or by calling 540-654-1266. The office will require appropriate documentation of disability.
Title IX
University of Mary Washington faculty are committed to supporting students and upholding the University’s Policy on Sexual and Gender Based Harassment and Other Forms of Interpersonal Violence. Under Title IX and this Policy, discrimination based upon sex or gender is prohibited. If you experience an incident of sex or gender-based discrimination, we encourage you to report it. While you may talk to your supervising instructor, understand that as a “Responsible Employee” of the University, they MUST report to UMW’s Title IX Coordinator what you share. If you wish to speak to someone confidentially, please contact a confidential resource from the list below. They can connect you with support services and help you explore your options. You may also seek assistance from UMW’s Title IX Coordinator. Please visit http://diversity.umw.edu/title-ix/ to view UMW’s Policy on Sexual and Gender Based Harassment and Other Forms of Interpersonal Violence and to find further information on support and resources.
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Resources
Confidential Resources
Tiffany W. Oldfield, JD Title IX Coordinator Office of Title IX Fairfax House 540-654-5656 toldfiel@umw.edu
On-Campus Talley Center for Counselling Services Lee Hall 106 Student Health Center Lee Hall 112 Off-Campus Empowerhouse 540-373-9373
Myranda Thomson Title IX Deputy for Students Area Coordinator 540-654-1184 mthomson@umw.edu
Rappahannock Council Against Sexual Assault 540-371-1666
Golden Rules for Living By Miriam Hamilton Keane • If you open it, close it. • If you turn it on, turn it off. • If you unlock it, lock it up. • If you break it, admit it. • If you can’t fix it, call in someone who can. • If you borrow it, return it. • If you value it, take care of it. • If you make a mess, clean it up. • If you move it, put it back. • If it belongs to someone else, get permission to use it. • If you don’t know how to operate it, leave it alone. • If it’s none of your business, don’t ask questions. 21
Safety Working in the theatre carries with it certain risk. You must always approach the work with a focus on keeping yourself and those around you safe. As such, you should wear footwear and clothing appropriate to the job and never use any equipment on which you are not certified. Likewise, actors should arrive at rehearsal in plenty of time to warm up vocally and physically in order to minimize the risk of potential injury. Operating power tools, climbing ladders, mixing dyes, applying paint, and rehearsing plays and musicals—every task involved in producing theatre—requires you to be responsible for understanding how to work in the safest possible manner. If you have any questions, you should always seek assistance from your supervisor.
Be Safe. Never work alone. Be aware of your surroundings. Who’s working above you? Who’s working below you? Who’s working behind you? Stay focused on what you are doing. No goofing around. No horseplay. Don’t interrupt others when they are working. Wear proper clothing: • hair tied back • no loose clothes • no dangling jewelry • proper shoes—closed-toe shoes (thick tennis shoes or work boots) Clock in when you arrive and clock out when you leave. Secure all belongings prior to accessing the grid. • empty pockets • secure all tools to your belt with tie line or flexible coil When operating equipment, always wear safety goggles & hearing protection. Use proper ventilation. Open the doors for fresh air. Use a dust mask if needed. Keep pathways clear. Store flammables in the flammables closet. Flammables are: • spray paints • non-water based adhesives • finishes • stain Turn off and unplug tools when you are finished. If you are unsure, ask questions. Clean up when you are done. • Return tools. • Sweep and dispose of all trash at the end of your work session. • Place full trashcans on the loading dock. If you are uncertain how to operate a piece of equipment properly and safely, please ask your supervisor for assistance. Please let your supervisor know if you: • have a fear of heights. • have any physical limitations that may affect your work. • are taking any medication that might impair your ability to operate power tools. All persons working in the Scene Shop must have the approval of the Department of Theatre & Dance.
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Theatre Lingo
A2 (Assistant Sound Engineer) crew member responsible for the upkeep and use of microphones, backstage monitors, and communications system. During the performance, the A2’s primary responsibility is to help actors with the placement and troubleshooting of their body mics. A-frame a type of ladder used for hanging lighting instruments. ASM Assistant Stage Manager. acting studio duPont 310/313—used as a primary rehearsal and teaching space. amplifier an electronic device that strengthens an audio signal to produce sound. apron the area downstage of the proscenium. assistive listening system a wireless system used to amplify sound for people who have hearing loss. back light light coming from upstage of an actor. backstage the area away from the acting area, including the wings and dressing room. Also called offstage. barn door a color frame attached to a lighting instrument with two or four flaps that cuts off excess light. belt pack the part of a headset that connects it to the rest of the system. blackout a cue that eliminates lights on the stage; often used to end a scene or an act. blackout drop a black drop that lives upstage of a scrim to make it fully opaque. blacks black clothing worn backstage. If you are required to wear blacks, you should wear long-sleeved solid black shirt, black pants, black socks, and black shoes. blocking planned movement of the actors in the acting areas. blocking notation written or symbolic description of actor movements written in the actors’ scripts and the prompt book. body mic a very small microphone that mounts on an actor’s head or body. boom vertical lighting position backstage or in the house. booth The place where the lights and sound are run from. Klein Theatre’s booth is located in duPont 317, accessible through duPont 316. border black horizontal masking that spans the width of the stage and hangs from a batten. bounce stray light beams that bounce off shiny surfaces. box set an interior set that uses three complete walls with the fourth wall open to the audience. breakaway a prop or scenic element that is designed to break on cue. build the actual construction of the set. C-clamp a c-shaped clamp attached to lighting instruments and used for hanging the instruments. calling a show the process of the stage manager calling out lighting, sound, and scene change cues over a headset during a performance. callboard located just inside the Stage Door—a bulletin board used to communicate vital production information. calls announcements made backstage, usually by the stage manager, informing the cast and crew how much time remains before the beginning of an act (15-minute call, 10-minute call, etc.). Also can be used to indicate the time of rehearsal or performance when the cast and crew must be at the theatre (6:00 call). call time the time at which an actor or crew member must be ready to begin work. center line the imaginary line that runs upstage to downstage that bisects the center of the stage. center stage the middle of the acting area.
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character/scene stage management creates this chart to keep track of who is in what scene. chase effects special effects produced by a lighting console that cause a series of lights to turn on and off in sequence. choreographer the individual who is responsible for creating dance sequences required of a production. closing the final performance of the production. comp ticket (comp) a complimentary ticket. contact sheet the list of email addresses and phone numbers of everyone associated with the production. costume designer the individual responsible for researching, imagining, and rendering the costumes required of the production. costume fitting an appointment at the Costume Shop (duPont 129) during which an actor’s costume is fitted. cross when an actor moves from one part of the stage to another. crossfade when a light cue fades down as the next light cue fades up. crossover a passageway out of sight of the audience that leads from one side of the stage to the other. cue a line, movement, or action that signals the stage manager to call a light cue, sound cue, or scene shift. cue sheet a list of all cues, cue lines, and page numbers for sound, lights, special effects, and scene shifts. cue-to-cue (Q to Q) a run-through of the performance with actors skipping dialogue and action from one cue to the next. curtain (curtain time) the announced time that the performance begins. cyclorama (cyc) a very large upstage drop that usually encloses the set and is often used to represent the sky. dark time in which the theatre is not open to the public and performances are not scheduled. dead hung that which is hung from the grid and is not a part of the existing fly system. When a batten does not place something in the proper location onstage, it may be more convenient to dead hang the object. deck the floor of the stage or the floor of the set that has been built on top of the permanent floor. dimmer an electronic device that allows a reduction in the amount of power that flows to a lighting instrument so that the intensity of light can be controlled. director the individual responsible for interpreting the script, collaborating with the artistic staff, casting the production, blocking the action, and realizing the potential of the play or musical. The director makes the final decisions on all artistic decisions subject to the approval of the producer. discovered an object or person that is onstage when the curtain or lights go up. downstage (DS) The area of the stage closest to the audience. dresser the person who assists actors with their costumes prior to, during, and following a performance. dressing a set decorating the set with items that enhance its aesthetic. dressing room a designated area for actors to hang costumes, apply makeup, and prepare for the performance. drop flat piece of scenery or fabric that is attached to a batten that can be raised or lowered during a performance. dry ice extremely cold ice that is manufactured by freezing carbon dioxide. Used in some fog machines. Special safety precautions must be followed because it can burn skin it touches.
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dry tech a technical rehearsal without actors. Edison Connector household plug (i.e. desk lamp). electric (1, 2, 3, 4) The names given to the battens in Klein Theatre that are hard wired to allow connection to the in-house lighting circuitry. Electrics are used to hang lighting instruments. Occasionally, objects other than lighting equipment may be hung as well. No. 1 is down stage and No. 4 is upstage. electrician a theatre technician who installs and/or operates lighting for a production. ensemble performers working together toward a common goal. escape stair a stairway out of sightlines that helps actors get off the set. extreme sightline the seat in the house that, by the nature of its geography, has the best view of backstage. Used to determine masking requirements. false perspective a scenic effect that exaggerates the perspective so a set looks larger than it actually is. false proscenium an opening that sits downstage or within the architectural proscenium first electric the electric that is furthest downstage and usually holds the greatest number of lighting instruments. flats vertical walls of scenery. fly to lower or raise scenery. fly man the person who operates the fly system. fly rail the platform above the stage-left wing from which the fly system is operated. focus the process of positioning lighting instruments to light the stage in accordance with the lighting designer’s plan. fog machine a machine that produces low lying fog for scenic effect. follow spot any light that can be moved to follow an actor’s movement. follow spot operator the individual who operates a moveable lighting instrument. footlights strip lights used for general lighting at the front of the stage. fourth wall an imaginary wall between the actors and the audience. French scene scene that begins and ends with an actor’s entrance or exit. fresnel a lighting instrument that produces a soft-edged, diffused light. forestage (extended apron) the part of the stage in front of the main curtain that constitutes a major acting area. front light any light coming from downstage of an actor. front-projection screens screens designed to be projected on from the front with the projector behind the audience. front-of-house (FOH) the area of a performance venue where the audience is admitted and is located, anywhere in front of the lip of the stage. fuses small devices that “blow” when the power rises to dangerous levels, shutting off the flow of electricity and preventing fires. gaff tape thick, durable tape used backstage. gel name for lighting color filters. The name comes from the days when filters were made from animal gelatin. gel frame the metal frame that holds the color filter within the lighting instrument. ghost light a safety light left on on-stage when the theatre is locked up for the night. glow tape tape that glows in the dark that is placed in small pieces around the set so the actors and crew will not bump into anything during a blackout. go order to take a cue, execute an effect. gobo metal plate with pattern used in a lighting instrument to project a pattern. god-mic a microphone used by the stage manager to communicate with the actors during a technical rehearsal.
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Green Room waiting or reception room, behind, near, or under the stage. gridiron (grid) a steel framework above the stage area used to support the rigging system. grip a stagehand who assists in moving scenery and furniture. ground cloth a heavy piece of fabric used to cover the stage floor. Sometimes called a floor cloth. ground plan a scale drawing of a stage setting showing the position of scenery and furniture onstage. ground row a low, short piece of scenery placed just downstage of a backdrop or cyc to mask stage equipment and lighting. Sometimes called a cutout. half-hour the thirty minute warning to cast and crew before the curtain goes up. hand-off the action of a crew member handling a prop for an actor at a designated time and place during a performance. hand props small properties that are handled by the actors during the performance. hang the process of hanging the lighting instruments for a particular show in accordance with the lighting designer’s plot. hazer a machine that creates mist that reveals the beams of light. headsets (headset system) communications systems used to keep in touch during a performance. hot spot the center of a beam of light—the brightest part of the beam. house the area in which the audience sits. house left the left side of the auditorium as you face the stage. house lights illumination over audience seating. house right the right side of the auditorium as you face the stage. IDR Invited Dress Rehearsal—a rehearsal in the final stages of the process to which guests may be invited. instrument a term used for any lighting device. iris the control on a follow spot that makes the circle of light bigger or smaller. irising in/irising out the action on a follow spot of making the circle of light bigger or smaller. lamp the object within a lighting instrument that produces light—often erroneously called a bulb. legs (tormentors) narrow black curtains that hang vertically on the sides of the stage to mask the offstage areas. Leko a brand of ellipsoidal spotlight often (and erroneously) used to describe any brand of ellipsoidal spotlight. light board (lighting console) electronic device that controls all of the theatrical lights. light plot a plan that designates the placement of lighting instruments relative to the scenery. light tree (boom) a movable vertical pipe that holds lighting instruments. lighting (electrics) crew the individuals who hang, adjust, and operate lighting instruments. lighting designer the individual who decides where the lighting instruments should go, how they should be colored, and which ones should be on at any particular time. lighting inventory the list of lighting instruments in a theatre that details their size and type. lighting positions the places in a theatre where lighting instruments are hung. line notes notes given to the actors showing line inconsistencies of their language as it compares to the playwright’s words.
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load-in the act of erecting the set on the stage on which the production will take place. masking a piece of scenery or a soft good used to conceal backstage from the audience. music director the individual responsible for interpreting the musical score for voices and instruments. off book the point in the rehearsal process when the actors have learned their lines and can work without their scripts. on book when actors use their scripts in rehearsal or when the stage manager follows along in the script during rehearsal. organ loft the spaces over the house right and left doors in Klein Theatre. pace the tempo of the performance. page curtain, door, cable, etc. when a member of the crew moves any of these items as part of a predetermined cue. paper tech production staff meeting to determine the location within the script of each cue on paper before technical rehearsals. perspective making a two-dimensional space look three-dimensional. photo call a designated time in which archival production photos and/or publicity photos are taken outside of regularly scheduled rehearsals or performances. places term used by the stage manager to call actors to their entrances or waiting positions for the opening of an act or scene. platform any horizontal playing surface or a piece thereof. playing space the amount of room available onstage for the performance; does not include wing space, storage, or any part of the stage that is not visible to the audience. practical an object or lighting instrument that is able to be operated, like a window or a faucet. Also used to describe a “real� lamp or other lighting fixture on a set. pre-production the time period before actors have begun rehearsal and before the shops have begun to build the show. preset to place set items, props, or costumes onstage prior to the opening of the act or scene. Also refers to the lighting and sound cues that greet the audience as it enters prior to the start of the performance. preview a performance given before the publicized opening night, sometimes for an invited audience. producer the individual who organizes and facilitates the production team and who handles finances and communications. production meeting regularly scheduled meeting run by the Stage Manager between the design and production staff to discuss concerns, progress, and deadlines. promptbook book maintained by the Stage Manager containing the script and all production information, materials, blocking, notes, cue sheets, plots, contacts, etc. prop designer the individual responsible for selecting, designing, and finding props. prop list the master list of all items that could be considered props needed for the production. Prop Storage duPont 113. properties (props) an object used on the set by an actor. prop manager or propmaster (prop coordinator) the individual in charge of collecting, making, and distributing properties. prop table the backstage table on which props are placed to be retrieved by the actors to carry onstage or by crew members to preset during a scene change. proscenium the wall between the stage and the audience containing the proscenium arch.
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quick change when an actor must change costumes very rapidly, usually in the wings or in a quick change booth offstage, during a show. quick change booth a small temporary dressing space backstage to allow privacy for fast costume changes. raked stage staging built on a slant, usually beginning upstage and descending down toward the audience. read through an early rehearsal during which the text is read and discussed from beginning to end. Sometimes designers may make presentations at an early read through. rehearsal clothing worn by actors during rehearsal in place of street clothes and resembling the actual costumes. rehearsal prop a prop that is used during rehearsal that substitutes for the prop that will be used in performance. rendering a designer’s representation of what the set or costumes will look like. rigging the general term used to describe securing scenery and objects to the fly system. run the depth of a stair step, usually used in conjunction with the “rise,” the height of the stair. Also the number of performances for a particular production. run-through going through a show from start to finish before opening. run crew the crew needed to operate a production—deck crew, wardrobe crew, light board operator, and sound engineer are all positions on the running crew. run lights backstage lights that are dim enough to not affect the stage lighting but bright enough to allow cast and crew to move safely in the wings. Sometimes called “blue lights.” running order the order of scenes and music in a production. scene-change light a dim light cue designed to allow the crew to work without the audience feeling that a real scene is taking place. scene change the act of changing scenery or props between scenes or acts. scene designer the individual responsible for planning the style, colors, textures, and arrangement of the physical environment required of the production. scene shop where scenery is constructed. scenic artist the individual who applies paint and other forms of decoration to scenery. Seminar Room, duPont 324. A room on the third floor of duPont Hall used for design conferences, production meetings, table work, and seminar classes. set decoration (or dressings) items on the set that are not directly used by the actors but provide atmosphere, such as draperies, picture frames, lighting fixtures, books, etc. scrim a drop that can be opaque or transparent, depending on how it is lit. shift the act of moving from one setting to another during a play. Also to move or shift a prop or piece of furniture. shinbuster a lighting instrument that hangs low on a boom. side light light that comes from stage right or stage left. sides a page or pages of the script. sightlines imaginary lines of sight that determine what is visible to the audience onstage and what is not. sign-in sheet a list of actors and crew posted on the callboard; actors and crew initial this sheet to indicate that they have arrived for their call. soft goods drops made of cloth. sound designer the individual responsible for planning, creating, and installing the technical equipment needed for executing the sound required of a production.
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special term describing a light focused on a particular actor or spot on-stage. Specials are used to draw visual focus to a contained area. special effects used to realize scenes that cannot be achieved by normal lighting, sound, or staging. An example might include simulating a fire or explosion onstage with special rigging, smoke machine, lights, etc. spill extraneous light that can be eliminated with a shutter. SM Room or Stage Management Room, duPont 231, used to store stage management supplies and show props. spike marks marks, colored crayon, luminous paint, or tape used to help stage crew position set pieces; sometimes used to help actors determine where they should stand. spike to mark the position of a set piece on the stage floor, usually with tape. spike tape colored tape used to mark the position of a set piece on the stage floor; different colors may be coded to represent different scenes, acts, etc. stage door the door through which all actors and crew members enter and leave the stage, located behind duPont Hall across from the back of the library. Actors and crew members must not enter or leave the theatre through the house. stage left (SL) the left side of the stage as you stand and face the audience. stage manager the individual who runs rehearsals, calls the cues during the show, and, in general, is in charge of the production in performance. stage monitor audio amplification used so that the cast, crew, or orchestra may see or hear the action onstage from a remote location. stage right (SR) the right side of the stage as you stand and face the audience. stage weight heavy objects used to balance the lineset loads in the fly system. standby a reminder from the stage manager to be alert for a cue. stock scenery scenery that is stored and used for many different productions. strike to remove any item from the stage. Also, to clear the theatre of all remnants of the show following the final performance. strip light (border light) a lighting instrument composed of a string of lamps in a long, metal housing. take out order to raise scenery or a light channel. tapedown the process of outlining the set on the rehearsal room floor with colored tape, usually done by the stage manager prior to the first staging rehearsal. TBA to be announced. TBD to be determined. teaser border suspended from the grid just upstage of the front curtain used to mask from the audience anything in the flies, edge of a ceiling piece, etc. It can be raised or lowered to change the height of the stage opening. It is often used in place of a grand drape or any short drop suspended above to mask. technical director the individual responsible for managing the build, load-in, and strike of scenic elements. technical rehearsal (tech rehearsal) a rehearsal in which the technical aspects of a show are rehearsed. template (pattern, gobo) a metal pattern that, when placed inside an ellipsoidal spotlight, throws a shadow pattern on the stage. tension wire grid (TWG) the ceiling above Klein Theatre on which technicians can walk to hang and focus lighting instruments. Tool Room, duPont 225, a room in the scene shop in which the time clock is located and hand tools are stored. top-of-show the start of the show. trap removable area of the stage floor that allows access to the area beneath the stage.
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traveler a curtain that can open to the sides of the stage. trick line black thin line used for sight gags that magically move objects. trim the height of flying scenery and masking. twist lock electrical connectors that have to be twisted into place and therefore cannot easily be withdrawn. They are especially useful where cords must lie on the stage floor and are in danger of being kicked out of an outlet. two-fer two female plugs spliced into one male plug in order to circuit two lighting instruments into a single cable. tie line black string used to tie cables of lighting instruments and for other purposes in the theatre. upstage (US) away from the footlights or audience; also to move upstage of another cast member. valance a short drape that runs across the top of the main drape that hides the suspension hardware. visual cue a cue that the operator takes when something happens onstage— warned, but not called by the stage manager. voice-over the technique by which any disembodied voice is broadcast live or prerecorded. walker an individual who, during the session to set lighting levels, substitutes for the actor by standing and sitting in the actor’s positions onstage. wing space (wings) space outside the acting area at the right and left of stage. work lights lights for the stage area and tension wire grid used during rehearsals and construction. Work lights are usually controlled independently of the in-house lighting system. zip cord lightweight household electrical wire that should not be used for stage lighting, except for practical lights on the set.
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Theatre Rules and Expectations 1. Be on time for work calls, costume fittings, rehearsals, and performances. “On time” means that you are ready to begin work at the start of the call. This often means that you arrive early in order to be prepared to begin on time. 2. Be responsible for your call time. 3. Call the stage manager or your supervisor as soon as you know you may be late. 4. Sign in for each rehearsal/performance call. Do not sign in for anyone else. 5. Check the Callboard daily for important notices. 6. Prior to leaving your work area, let your supervisor know where you are going. 7. Visitors are not permitted in rehearsal, backstage, or in the dressing rooms. (“Visitors” are defined as anyone not directly involved in the production.) 8. Enter the shops and backstage area via the Stage Door only. 9. The cell phone policy is in place at all times. 10. Wear appropriate shoes at all times while working onstage or backstage. 11. Do not wear sandals, flip-flops, or any open-toe shoes onstage or backstage. 12. Do not smoke anywhere in the building. 13. Do not eat or drink onstage, backstage, or in the dressing rooms. 14. Do not eat, drink, or smoke while in costume. 15. Remain alert at all times while backstage. 16. Notify stage management or your supervisor immediately of any health or safety concerns. 17. Actors must take proper care of, and make no unauthorized changes to, costume or make-up. 18. Actors must maintain their performance as directed. 19. Actors must appear at curtain calls in complete costume, hair, and make-up. 20. Actors must report any costume damage to the wardrobe staff. 21. Actors must remove all make-up before leaving the theatre. 22. Actors and crew must be present for the Photo Call. Photo Call is closed to all outside photographers. 23. The use of all cameras and other recording equipment (including, but not limited to video, still, digital, and audio) in Klein Theatre during a performance is strictly prohibited. Photos may be taken before the show, during intermission, and after the show. 24. Use the intercom only when necessary. 25. Discipline is a sign of professionalism. Please maintain a professional attitude at all times.
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1.
Complimentary Ticket Policy
Each member of the department faculty and staff is entitled to four (4) complimentary tickets.
2. Students who serve a production in a position normally filled by faculty (director, choreographer, designer, etc.) are entitled to a total of two (2) complimentary tickets. 3. Students employed by the department are entitled to one (1) complimentary ticket. 4. Each cast, crew, or orchestra member of a production is entitled to two (2) complimentary tickets. The individual must have a record in FredTix (developed from the program copy provided by the stage manager and the practicum enrollment roster). 5. Theatre majors, musical theatre minors, and arts administration minors are entitled to two (2) complimentary tickets to the opening night performance. These tickets are for use by the student and their guest and are not transferable to any other person. 6. Guest artists are entitled to two (2) complimentary tickets. 7. Complimentary tickets may only be used during the first week of the performance rununles VIP appears next to a patron’s name in FredTix. VIP is a designation used for high-ranking university administrators, external offices, and select donors.
Important Contact Information Department Faculty & Staff
Adjunct Office Music Adjunct Office Brandon Prendergast Cate Brewer Department FAX Taryn Snyder Gregg Stull Helen Housley Jon K. Reynolds Bridgette Dennett Michael Benson Kenny Leon Horning Kevin McCluskey Marilyn Wojdak
540-654-1620 540-654-1233 540-654-1982 540-654-2262 540-654-1083 540-654-1243 540-654-1980 540-654-1983 540-654-2233 540-654-1984 540-654-1981 540-654-1663 540-654-1979 540-654-2011
Klein Theatre
Box Office Costume Shop Management Office Scene Shop
540-654-1111 540-654-2011 540-654-2012 540-654-2010
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bprender@umw.edu cbrewer@umw.edu tsnyder3@umw.edu gstull@umw.edu hhousley@umw.edu jreynol2@umw.edu bdennett@umw.edu mbenson4@umw.edu khorning@umw.edu kmcclusk@umw.edu mwojdak@umw.edu
duPont Directory Faculty/Staff Adjunct Office Brandon Prendergast Music Adjunct Gregg Stull Helen Housley Jon Reynolds Bridgette Dennett Kenny Horning Kevin McCluskey Michael Benson Taryn Snyder
307 322 323 328 330 329 327 314 326 320 315
Department Acting Studios 310/313 Box Office 214 CAD Lab 316 Classrooms 211/215 Costume Shop 129 Costume Storage 118 Craft Room 216 Design Lab 321 Dressing Room 126 Klein Booth 317 Management Office 331 Prop Storage 113 Seminar Room 324 Sound and Lighting Storage 210 Studio 115 115 33
Do you have any advice for people pursuing theatre in college: Study all the things that you don’t want to go into in theatre. Study lighting. Do all the things. For my theatre major, I did makeup, I ran lights, I did sound design, I sewed costumes, and that stuff comes in incredibly handy when you work with other people. Theatre is all about collaboration, so you have to actually understand a bit of the job your collaborators are doing, so that you can speak to them fluently. And then the other thing is take, like, whatever you’re interested in—I promise it will come in handy. Tommy Kail was an American History major; it came in pretty handy when we had this idea. So that’s my advice. Do what you’re passionate about.
– Lin Manuel Miranda, January 28, 2017, Playbill.com
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