Denver School of the Arts Production Contract Dramaturg ALL SCHOOL MUSICAL
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Production Contract Asst. Director/Rehearsal Stage Manager
We are setting forth to not only produce a play, but also learn about each other, our community and to encourage
open dialogue about what makes us different and how to learn to be tolerant. In this ensemble it is imperative that all actors
are committed and responsible, hence this contract. This is what we expect from all the actors and crew involved in the show.
Being a leader in a process like this means you have the respect of your peers and can handle advising and managing your
peers. I understand that it is an honor to be a part of this production. That it is a privilege, not a right to be cast.
Please read the following carefully and sign at the bottom.
KEEP THIS CONTRACT AS PAGE ONE IN YOUR PRODUCTION BOOK. REFER to it throughout the process and make sure I am
upholding my responsibilities.
1. I will attend ALL rehearsals and performances. If I miss final dress rehearsals, teasers, or a performance, I may be replaced
from within the cast. I will accept consequences for my actions that the Directors feel are necessary. I understand that there
is an entire ensemble of people depending on me and I will make smart choices during the production process.
2. I will create a production book before the first rehearsal including my script, notebook, and a pencil and bring it to EVERY
rehearsal (even final dress). I will take notes in my rehearsal notebook about all actors’ blocking and write down the
comments the director gives "to improve" during notes time, review those notes before the next rehearsal and make the
changes. All light, sound, shift cues will need to be written in the production book. Stage managers need to obtain a set plan
from the design department and draw the movement patterns on the back of the pages. Stage managers must also
tape/mark the set configuration to the rehearsal floor with permission from the Stagecraft teachers by first blocking
rehearsal. SM needs to attend and LEAD all production meetings with the tech department SM.
3. AD will be responsible for checking out scripts to the actors in the first week of rehearsal and collect script deposits (if
necessary). They will record the numbers and names during check out. The AD will give a copy of all lists to the director and
the checks in alphabetical order in an envelope. The AD needs to remind actors to only write in pencil and erase any markings
made when show is over, if scripts are rented. At final dress, AD will remind cast to bring their scripts back and check them
in, they will return the $50 checks to those who turn them in.
4. At the beginning of each rehearsal, the SM is in charge of creating a positive acting space and the AD takes attendance.
Look over your script before each rehearsal, make sure rehearsal props and costumes are there for actors and that the space
is prepared and swept for rehearsal. When actors bring in rehearsal props it is the AD (stage left)/SM (stage right) job to
organize and store those props. And make them present at the top of the rehearsal.
5. AD: Cue lines to the actors with sensitivity and grace. Remember that we are all involved and all have other things to do as
well, have patience when dealing with actors. Actors have a responsibility to the playwright. They need speak the words of
the playwright as they were written. Using sticky notes, give SPECIFIC written notes to the actors on specific pages and lines
they need to study at the end of rehearsals.
6. RESPECT ALL. Remember we are a team and must work together. Listen to your directors and fellow actors. If you have a
problem, talk to your directors or the person in which you are having a problem. Techies are our friends and deserve our
respect—you are the person creating the relationship between actors and stagecraft. Take this responsibility to heart. If
other actors have a problem and come to you try to handle the situation maturely and confidentially. Listen to problems with
courtesy and patience. Try to solve problems before you bring them to the director. Inform the director of problems that you
have creatively “solved” at the end of rehearsals when actors are gone. Model the respect you wish to receive by giving a
“thank you” to acknowledge someone giving you a note or direction.
7. Help actors remember deadlines by posting information on callboards outside theatre classroom, vocal classroom, dance
studios, and stagecraft board. Please post DAILY rehearsal information—who is called/where & when they report. Please type
notes so things are clear and have someone proofread your work before you post it. If actors need help on creating their
character bios, be of assistance.
8. AD will make character development appointments with actors who need help creating back-story for their characters.
Denver School of the Arts Production Contract Dramaturg ALL SCHOOL MUSICAL
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During rehearsals when actors are offstage I will ask actors questions to try to get them to create a full character. When
actors are trying to create characters and make choices, remind them about objectives, obstacles, inner action/tactics. Help
train the beginner actor in what these terms mean. SM will coordinate with all tech majors who are at rehearsals. If they are
there to watch a rehearsal I will welcome them, fill them in on what our “chair” onstage represents, and be there to answer
questions for them.
9. Be on task at all times in rehearsal. Don't goof off onstage or offstage. Help maintain and train younger actors to be quiet
backstage. Leave personal problems outside the rehearsals so your problems do not distract from the creative work being
done onstage. Be a problem solver, not a drama starter.
10. Be at least five minutes early to every rehearsal to set up the space and cue music. It is my responsibility to begin
rehearsal every day—take attendance, warm up the actors, handle “business” or have actors look over their notes, cue lines…
be productive. The SM must set the stage before rehearsal time starts.
11. You cannot miss a rehearsal unless you list it on your conflict sheet and has been approved by directors as an excused
absence. If you reach THREE unexcused, you will be replaced. WE WILL DO THIS! Also, three tardies equal an unexcused
absence. The assistant director needs to take role and give actors a note on the callboard when they have an unexcused
absence and tardies so they are aware of this problem. This is very serious and you need to keep your actors up to date with
this info. When we get to dress week, you need to post a check in and out board. Make sure everyone has checked in by the
time in; if they are not there call their house. Also at the end of the show, make sure everyone has checked out—signifying
that his or her costumes are hung and done. AD’s need to check the dressing rooms nightly and help the costume crew assign
fines for actors who are disrespecting their costumes. Asst. Directors should compile a telephone tree list, type it up, have
cast proofread it, and then copy it for entire cast and crew. In tech week, SM need to make sure all props are put away, that
set pieces are left where they need to be, and that the house is clean and turn out the lights.
12. I will maintain a 2.3 GPA in your classes to be eligible to perform. I will bring Ms. Hann my progress report at 6 weeks. If I
am suspended from school, I will NOT be allowed to rehearse or perform; suspensions will be treated as unexcused absences.
If a suspension lands in the last two weeks of a rehearsal, I may be replaced. Depending on the nature of the suspension, I
can be replaced at the digression of the directors. I MUST attend school on the day of a performance (two classes) in order to
perform. I will make smart choices during the run of this production.
13. Pay attention to the rehearsal schedule and when things are due. YOU ARE RESPONSIBLE for yourself…not your other cast
members, not your directors, not your crew. If something is DUE-- check it YOURSELF.
14. I will never use alcohol or drugs before a rehearsal or performance. I will keep my mind and body at peak performance. A
clear brain is essential for the creative process. If my SM/AD or Director even suspects drug/alcohol use at rehearsals they
have an obligation to ME, the cast, and to the school to report it—even if it is opening night it is a lead. I WILL MAKE WISE
CHOICES. Disregarding this is a disservice to your cast and shows clear disrespect for the role you have been assigned. The
AD/SM have a duty to report suspicions of drug/alcohol use to the director in a timely manner. We have a duty to the person
using, the entire cast, and the integrity of our program to not let actors behave in a destructive manner. Even if it is opening
night, Ms. Hann will follow up on your suspicions and report behaviors to the DSA Administration.
15. Enforce the “no food or drink (other than water) in costume” rule. There is NO food or drink allowed in the Theatre. If
things are consumed at rehearsal in the lobby, you are responsible for trash. If the director has to clean up after actors once-there will be nothing allowed at rehearsal. If you want to “save” your fellow actors, you can have them pick it up before I do,
or choose to pick it up and not inform the director—if you enjoy eating! At rehearsal dinners, I will clean up after myself and
the table I eat at and make sure that I am the last one in the lunchroom so I can ensure actors clean up after themselves. Help
actors care for the costumes and props they use in the production. Costumes found disregarded and disrespected (i.e. on the
floor) will cost actors $1 per item found to reclaim it. Lost props will not be replaced.
16. My BIO is turned in with this application written in the following format: Bios will be professional and not silly; they will
be written in 3rd person, all titles of shows will be written in italics, and the format will be my name with my character’s
names in parenthesis including my major and year in school in the first sentence.
Example: Shawn Hann (Director): This is Ms. Hann’s 15th year as the Director of Theatre at DSA. Recent DSA directing credits
include: Disney’s Beauty and the Beast, The Crucible, Shrek the Musical, Avenue Q, Almost, Maine, Disney’s Tarzan the
Denver School of the Arts Production Contract Dramaturg ALL SCHOOL MUSICAL
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Musical, The Importance of Being Earnest, Hamlet, Of Mice and Men, and Thoroughly Modern Millie. Awards and honors
include: EdTA’s Theatre Educator of the Year 2011 and the Alliance for Colorado Theatre Middle School Educator of the Year
2005. She would like to thank all the wonderful babysitters for Tihun that allow her to be present in all the late night
rehearsals.
All changes to bios will be made first week of rehearsal in August.
17. All cast and crew are part of the publicity crew-- I am all required to spread the word about the show. Each cast member
must hang TWO posters in local areas/businesses.
18. My “costume” for the performances will be all black attire. Please make your blacks nice— like dress pants with a nice
black shirt tucked in. Shoes need to be solid black dress shoes with rubber or soft soles that will not make noise backstage
when you walk. I will be dressed in blacks for dress rehearsals. During the run of the show, the AD will become the House
Manager and coordinate with the box office starting times of the show at Act I and Act II, when/how late seating will occur,
and a system for communicating with the SM backstage.
19. I understand that I am an advocate for the cast and crew. I want everyone to succeed. I will do my best to help actors
meet deadlines and give the best performance they can.
20. Keeping with professional etiquette, rehearsals are closed to everyone except cast and crew. If I notice someone in
rehearsal that is not cast/crew, I will approach them and explain this policy. If the person does not leave, I will inform the
director. When photographers come into shoot publicity photos, the AD will greet them and help them to know the best
angles and scenes in which to take pictures.
21. It is my responsibility as stage manager to make sure actors know when their costume fittings are and that they get there.
If actors miss a costume fitting, it will count as an UNEXCUSED absence. In addition, they will owe the costume shop 30
minutes of their time. I will coordinate with the costume department and post the costume fitting schedule and make actors
passes if they need to get out of class (getting a signature from Ms. Hann)
22. I will help actors understand the following part of their contract: “I understand that I am cast for the look I present at
auditions. I WILL NOT alter my appearance after I audition and/or have fittings without the approval of your
director/costume designer (haircut/color, facial hair, piercings, braces…). Designs will be based on HOW I LOOK at auditions
and changing things like hair length impacts what the designers and directors are creating on stage. I understand that I may
be asked to cut/trim or color my hair by the designers.”
23. Learn to accept criticism with grace and gratitude. Learn to be your own best critic. Help the actors learn this lesson as
well. RESPECT ALL.
24. I understand how difficult it is to cast a show for the directors who take in all sorts of factors when piecing a cast together.
If I accept my part and drop this show for any reason, I will not be eligible to audition main stage productions at DSA for a full
year. I understand that it is extremely unprofessional to drop a role because of its size. And it is extremely bad form and
unprofessional to complain about who received which roles. I am building bridges with the professionals in this building and
understand work ethic and what it means to be a part of a whole. There are no small parts; only small actors and I realize
how fortunate I am to have been cast at all in this production. I will do my best to make this show a successful process from
day one. Be on the watch for this type of behavior in the cast—try to handle it with grace and tact. Try to stop rumors and
hurtful, negative talk immediately. I am an ADVOCATE and a LEADER of this production. To let students go on and on about
the part they didn’t receive takes the morale of the entire show down. This is part of your job as AD or SM.
25. During the run of the show, both the AD and SM will organize an emergency kit with band-aids/gauze, duct tape, scissors,
bobby pins, safety pins, medical tape, post it notes, pencils, batteries, and a flashlight. During the run of the show, stage
manager will control the flow of people and keep quiet stage left, and asst. director controls stage right. Both AD and SM
should have their own flashlight for backstage use. I will show this Emergency Kit to Ms. Hann by the second week of
rehearsal and will have it at every rehearsal and show. The SM’s kit will be in the SM booth during the show.
26. During the run of the show my call time is an hour and a half before curtain.
• SM: I will post and check crew sign in sheets for attendance of all crew and make sure they have begun their pre-show
Denver School of the Arts Production Contract Dramaturg ALL SCHOOL MUSICAL
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duties. AD: I will post and check cast sign in sheets for attendance
• At 5:00 (matinee—12:00) SM: I will get confirmation that lights have done an instrument/channel check and sound check all
monitors and speakers. AD: I will make sure actors are in makeup.
• By 5:00 the sound techs need to have all mics tested, batteries replaced, laid out by the booth for actors to come pick up.
AD: I will communicate to actors 15 to mic check.
• SM: I will make sure that the stage is swept and mopped, that trash is taken out and back stage is cleaned, that all the set
dressings are in place, and that all props are placed where they need to be NO LATER than 6PM (30 minutes prior to house
opening).
• AD: I understand that actors need to check their props no later than 6PM.
• AD: I will make sure mic checks begin no later than 5:30PM, and are finished by 6PM.
• SM: I will also have my crews sweep the house for trash to make our auditorium ready for an audience.
• SM: I will make sure stage left alcove is clean and clear. AD: I will make sure stage right alcove is clean and clear.
• AD: I will coordinate with house manager on when the ushers can do late seating.
• AD/SM: I will coordinate with director on when to start the show and when to come back after intermission. AD: I will call
actors to places pre-show and intermission on SM warning.
• SM: I will sit in the booth and call the show professionally. I will make sure chatter on headsets is kept to a minimum—I
know that I set the tone of how the crew treats the call of the show. I will call “warn”, “standby”, and “go” for every cue
clearly. AD: I will help the SM keep chatter on headsets to a minimum.
• SM: I will coordinate with the AD/asst. SM to call actors to places at least three minutes before we cue the start of the show
and and intermission. I will make sure to communicate any holds to the actors backstage.
• SM: At end of show I will gather my crew together to give notes of things that need repair.
AD: I will communicate with actors about costumes/props that need repair and report back to the SM.
• SM: All props need to be re-set for start of show. AD: All costumes need to be checked in and hung.
• Both: I will be the last out and make sure the lights are off and the doors to the Schomp, dressing rooms, and green room
are locked.
27. I understand my parent MUST volunteer to run Concessions, Box Office, or Tech Week Meals at least one day during the
week before the show and the week of the show (more information will be forthcoming)
As you can see from the 27 points on this contract, being a leader of this production is a lot of hard work, dedication, time,
and coaching your peers. It is not for the faint at heart, but for the go-getters in this school. It is a huge challenge and one
that should be taken seriously. If you have this time and truly want to dedicate yourself to a three- month commitment, then
fill out the contract on the following page and turn it in with your application. Your parents also must sign that they
understand the nature of your “job”. Thank you for your interest.
Remember you are a leader of this department and represent your department at all crew meetings and when you interact
with Ms. Hann, Mr. Becker, Mr. Rice, Ms, Kirksey, all teachers involved, any guest artists, and administration overseeing this
project. You will behave in the utmost respectful manner at all times.
Deadline reminders:
1. Black clothing is my costume – due at first dress
TURN IN AT AUDITIONS- IN THIS ORDER. Incomplete packets will affect casting.
1. Application for all school musical completed
2. The final page of this contract—next page—signed by BOTH actor and parent
3. A copy of your grades – can be a screen shot of IC—printed out. Must show your GPA
4. Your bio for the program – written according to contract point #21.
5. A Conflict calendar--a list of all the known conflicts you have with scheduled rehearsals. If you do NOT list a
conflict now and you miss a rehearsal it will be counted as unexcused (except for illness from school or family
emergencies – like funerals).
Denver School of the Arts Production Contract Dramaturg ALL SCHOOL MUSICAL
Performance dates:
Sept. 12 7PM, Sept 13 2pm/7pm, Sept 14 2pm
Sept. 17 7pm, Sept 18 7pm, Sept 19 7pm, Sept 20
7:30PM Gala
Rehearsal schedule—subject to change
Feb. 10/11 – Auditions 3-7PM
Wed. Feb. 12 Callbacks, MS-new students 5PM, HS
6PM-8:30PM
Feb 14 POST ONLINE all cast/crew/orchestra list
at 7PM
March 13 – First rehearsal/read through – 6PM
family meeting
March 14- second rehearsal/read through
March 15 – Vocal /Choreography rehearsal – 911:30, 12-3
April 9 – Choreography 3-4:30
April 14 -18 3-6PM-- Vocal rehearsals
May 12 3-6 Vocal cleaning
May 13-16 3-6, Hann/Blocking (MS Vocal kids
have a concert this week)
May 19, 21,23 – Choreography 3-4:30PM, 4:30-5
TBA Vocal Coaching
May 20-22- Hann TBA 3-6
May 27 – Tuesday Chore 3-6PM
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May 29 - Thursday Choreo 3-6
June 3 – Tuesday Chore 3-6PM
June 5 – Thursday Clean Vocal 3-6PM
Aug. 11 – Vocal 9-12, Dance 12:30-3
Aug. 12 – Vocal 9-12, Dance 12:30-3
Aug. 13 – Vocal 9-12, Dance 12:30-3
Aug. 14 Hann 9-3
Aug. 15 Hann 9-3
Aug. 18 – Dance 9-3
Aug. 19 – Dance 9-3
Aug. 20 – Hann 9-3
Aug. 21 - Vocal 9-12, Dance 12:30-3 DRY TECH
Act 1
Aug. 22 - Vocal 9-12, Dance 12:30-3 DRY TECH
Act 1
Aug. 26/27 Dry tech Act 2 3-5
Aug 28/29 Wet tech Act 1 3-5
Sept 2/3 Wet tech Act 2 3-5
Sept 4/5 Run throughs 3-6
Sept 8/9/10 Dress Rehearsals 3-7:30
Sept 11 Final Dress/Photo call 3-8
Upon a vote of the cast/crew/parents/directing team, this show could be adjudicated for State Thespian Convention,
which is December 4-6, 2014. Cast and crew would have to attend the convention, which costs $100 to perform/run
the show. Students may also elect to stay in a hotel for convention for $65. Payment for state is due in October.
If group decides to adjudicate for the National Thespian convention, we have a commitment to perform the show as
seen in October the following June 2015 in Nebraska. It costs $700 to participate in the weeklong National
convention ($50 to $150 for transportation) and all participants in the show would have to be registered to perform.
The payment for nationals is due in Feb. It would also mean an extra week of rehearsals in June. We would also
have to fund-raise the costs to travel the show to either conventions.
------------I WILL RETURN THE FOLLOWING PAGE TO Ms. Hann --------------------
Denver School of the Arts AD/SM Contract 6
ALL SCHOOL MUSICAL
Rehearsal Stage Manager/Assistant Director
I have read the contract for the production. I understand each of the 27 points on the contract and I will
discipline myself to follow this contract to the letter. I understand my duties, responsibilities, and
expectations of this commitment. I understand if the ensemble and crew cast in the show follow these
rules, then our production will be run professionally. I also understand that if everyone does not abide by
these “rules”, deadlines will not be met, people’s feelings could be hurt if everyone is not treated with
respect, and we will not grow as performers unless we follow these simple guidelines.
I vote we should _____ OR should NOT ______ adjudicate for the chance to perform as one of two
main stage shows at the Colorado State Thespian Convention.
I vote we should _____ OR should NOT ______ adjudicate for the chance to perform as one of ten
main stage shows selected in the Nation at the International Thespian Convention June.
* see the previous page on the details of what adjudication entails.
I hereby agree to the terms of this contract.
Please print name here: X _________________________________________________________________
Sign here: X ____________________________________________________________________________
Parents/Guardians
I understand the nature of this production and the issues this process may raise. I have read the contract
for the production and will help support the production. I understand that rehearsals will be after school,
possibly some early evenings, and Saturdays. Students will be responsible for their own transportation
home. I have also looked over my student’s conflicts on the schedule and agree that there are no existing
conflicts that have not been listed. I am aware of the large amount of time this show will consume and
that my student will be required to be at every rehearsal. I also understand that if my student is chosen it
is a position of leadership and an honor to be selected as this position.
I vote we should _____ OR should NOT ______ adjudicate for the chance to perform as one of two
main stage shows at the Colorado State Thespian Convention.
I vote we should _____ OR should NOT ______ adjudicate for the chance to perform as one of ten
main stage shows selected in the Nation at the International Thespian Convention June.
* see the previous page on the details of what adjudication entails.
I hereby give my permission for my son/daughter to audition for this production as stage manager or
assistant director and I agree to the terms of this contract.
X _____________________________________________________________________
I understand that if my student is a part of this production, I must volunteer to run either Concessions,
Box Office, or Tech Week Meals at least one day during the week before the show and the week of the
show (more information will be forthcoming).
I prefer to work:
_____ Concessions
_____ Box Office
_____ Tech Week Meals
On these specific dates:
__________________________________________
__________________________________________
_________________________________________
Email/Phone: ___________________________________________________________________
KEEP THE CONTRACT FOR YOUR OWN USE, PLEASE PUT IT IN YOUR PRODUCTION NOTEBOOK AS PAGE ONE
Denver School of the Arts AD/SM Contract 7
ALL SCHOOL MUSICAL
Assistant Director/Stage Manager Application
(please print or type)
Name:__________________________________________________________________
Home Phone:__________________________ Cell phone: ________________________
Email: __________________________________________________________________
Parent's name/phone: ______________________________________________________
Grade: __________
Major: __________________________________________
Write an essay answering the following questions:
1. Why are you auditioning for the production team?
2. What qualities do you feel you possess that will make you a good leader to
your peers?
3. How do you handle conflict among peers?
4. Discuss your organization skills.
5. How will this position benefit your goals you have set for yourself at DSA or
after DSA?
6. Read the contract thoroughly and understand the JOB you are applying for. In
a “mission statement” create an overview of what you see the job is.
7. Create a calendar of all the duties of the AD or SM – rehearsals beginning in
June. Do this on a separate piece of paper.
List activities you are in outside of school--include jobs-- and the times that you are
required to be there.
Do you have your own transportation to and from school? ________________________
List any special skills you have that you think could be applied to this show:
Turn in this application page/essay/calendar, your signed contract by you and your
parents, and a copy of your grades/GPA by Jan. 24.
KEEP THE CONTRACT FOR YOUR OWN USE, PLEASE PUT IT IN YOUR PRODUCTION NOTEBOOK AS PAGE ONE