-
A Final Word
Hopefully you will have learned a great deal from this handbook. Pit
it into your production book. Copy it and give it to a friend who is
thinking about Stage Managing; and, might I also suggest reading
the book Stage Management by Lawrence Stern. It holds an
incredible wealth of information.
The more you know about Stage Management, the more effective
you will be.
69
Conclusion
(again. on a personal note ... )
.~.
Six months have passed since I started working on this monstrosity of
a handbook. What started out as a sixty page looseleaf folder evolved into a
very thorough (hopefully) account on stage management. I have put blood
sweat and tears into this book, and I also learned what it takes to push
myself to my outer limits. Working on this handbook has been the ultimate
challenge. I feel proud to be it's author.
However, I could not have done this handbook alone. I am now going
to take this time to point out the people who helped make this book
possible. Read on---you probably know them.
David C. "Kip" Shawger---Thank you for letting me use your computer and
pick your brain whenever I needed an ego boost.
Carissa Lee---my wonderful roommate---I hope this handbook helps you set
Civic straight!
Don LaCasse---thank you for the credit hours and finanCial support for this
labor of love!
Mike Lamirand---you are one wild tech director---but you always managed to
make me keep my head on straight!
::)
Judy Yordon---I don't know where to start thanking you---I just want you to
know that what you have taught me about myself will be carried in my heart
forever.
Patrick Kelsey---my crazy office partner---I know that I am a constant
source of frustration---thank you for not yelling at me because our office is
covered with pages of this book.
Jennifer Snyder---Who made me teach her how to Stage Manage---you were
the inspiration for this book!
Jay Harrold---Here I go again, expounding wonderful things about you--(look out, people will talk!)---but I can't help it---it took me twenty-one
years to find the one person who was my conscience, and my common
sense. I hope I never lose our friendship. (Is it premature to call you my
best friend?).
All of these people know what it is like to Stage Manage or be Stage
Managed. Without them, I would never have completed this book. Thank
you all for the love and support. I will never forget your kindness.
70
Appendix A:
J13U@rru.1k
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em fill f1@l@ f1 f1 rru.@!0
o
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APPOINTMENT
AT
(TIME)
, ON
, YOU_ _ _ _ _ _ _ _ _ _ HAVEAN
(DAY /DATE)
(NAME)
APPOINTMENT WITH
FOR'---,-_ _ _ _ _ _ _ _ . IT IS VERY
(PERSON /SHOP)
(REASON)
IMPORTANT THAT YOU DO NOT MISS TIllS APPOINTMENT.
TIfANK YOU FOR YOUR COOPERATION.
(STAGE MANAGER)
(DATE)
APPOINTMENT
AT
(TIME)
, ON
, YOU_ _ _ _ _ _ _ _ _ _ HAVEAN
(DAY/DATE)
(NAME)
APPOINTMENT WITH
FOR._ _ _ _ _ _ _ _ _ . IT IS VERY
(REASON)
(PERSON /SHOP)
IMPORTANT THAT YOU DO NOT MISS TIllS APPOINTMENT.
TIfANK YOU FOR YOUR COOPERATION.
(STAGE MANAGER)
(DATE)
APPOINTMENT
AT
(TIME)
, ON
, YOU_ _ _ _ _ _ _ _ _ _ HAVEAN
(DAY/DATE)
(NAME)
APPOINTMENT WITH
FOR._ _ _ _ _ _ _ _ _ . IT IS VERY
(REASON)
(PERSON /SHOP)
IMPORTANT THAT YOU DO NOT MISS TIllS APPOINTMENt
TIfANK YOU FOR YOUR COOPERATION.
(STAGE MANAGER)
(DATE)
APPOINTMENT
AT
(TIME)
, ON
,YOU_ _ _ _ _ _ _ _ _ _ HAVEAN
(DAY /DATE)
(NAME)
APPOINIMENT WITH
FOR_ _ _ _ _ _ _ _ _ _ . IT IS VERY
(PERSON /SHOP)
(REASON)
IMPORTANT THAT YOU DO NOT MISS TIllS APPOINTMENT.
TIfANK YOU FOR YOUR COOPERATION.
(STAGE MANAGER)
(DATE)
7:
BALL STATE UNIVERSI1Y THEATRE
ATIENDANCE SHEET
C
PRODUCTION
PRODUCER
CALL TIMES/DATES
p~.Kl"ORMF.R
-
,e Liane Shaul. Ball State University. 1992
73
"
PRODUCTION
ATIENDANCE SHEET
PRODUCER
CALL TIMES/DATES
'~l<l'uHMER
_Iililillillilillllili
J
74
AUDITION FORM
LAST
NAME: ______________________ FIRST
CLASS: ______ HAIR
NAME: _______________ _
COLOR: ______ HEIGHT: ___WEIGHT___ _
HOMETOWN : ______________ CAMPUS
ADD RESS: _______________ _
ROLES (IN ORDER OF PREFERENCE) FOR WHICH YOU WISH TO BE
CONSIDERED:
1. __________________ _
4. _____________________ _
2. __________________ _
5. _____________________ _
3. __________________ _
6. _____________________ _
WILL YOU BE WILLING TO ACCEPT ANY ROLE?
ROLES YOU HAVE PERFORMED RECENTLY (LAST 4 YEARS):
ROLE
PlAY
PRODUCING GROUP
o
ARE YOU CURRENTLY INVOLVED IN A PRODUCTION?
IF YOU ANSWERED YES, IN WHAT CAPACITY OR ROLE? _ _ _ _ __
PRODUCTION:
_ _ FINAL PERFORMANCE DATE:
ARE YOU ON ACADEMIC PROBATION?
PLEASE LIST BEWW ANY ACTIVITIES, ClASSES, ETC. WHICH MIGHT
CONFLICT Willi REHEARSAL FOR THE NEXT 6-8 WEEKS:
75
Audition form
Home Phone
Name
Work Phone
Local Address
******************************************************************
Personal Information :
Age _ __
Height,_ _ _ __
Weight
Color Eyes _ _ _ _ __
(optional) _ __
Color Hair_ _ __
Previous Experience: Please list below. on this form a list of any
experience you have had. Use the other side if needed.
Signature ___________________________ _
o
76
Da te ___________
Program Bio Sheet
o
______________(show name)
Name (as it is to be printed)
Character or Show Responsibility
Minor
Major
Hometown
Experience (if any)
o
Theatre interest:
vocation or avocation?
Other vocational goals
Personal interest items
or tid-bits (optional)
77
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Date
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SCHEDULINOALENDAR
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PRODUCTION._ _ _ __
MONTH
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TUESDAY
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WEDNESDAY
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CHECKLIST
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PAGE
DATE:
'''-----_/
PRODUCTION
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PAGE_ _OF_ _
DArE,_____________
REMINDER SHEET
PRODUCTION
DONE
REMINDER
DATE
,-
© Liane Shaul. Ball State University. 1992
82
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© Liane Shaul, Ball State University, 1992
83
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BALL STATE UNIVERSITY
Page
PRODUCTION COMPLIMENTARY TICKET REQUESr
pages
Performance Oates
Performance
\ """)ME (in alphabetical order,.·
of
#
Date
Day
TIme
Location
By
Rec'd by
1
2
3
4
5
6
7
8
-
9
10
11
12
,
13
14
15
16
17
)
19
20
21
22
23
24
25
• Completed Ticket Request is due in Ticket Office one week prior to the date tickets go on sale.
- For persons receiving tickets to more than one performance. enter each performance on a separate line.
Total Number of Tickets Approved:
Prepared by:
Authorized by:
(Producer)
Office Use Only
Accepted in Ticket Office on:
Accepted in Ticket Office by:
r-\
85
BALL STATE UNIVERSITY THEATRE
COSTUME FITI'INGS - TIMES COSTUMER IS AVAILABLE
DAY____
SHOW TITLE
TIM;.ElS THE COSTUMER
IS AVAILABLE
PERFORMER
o
-
86
DATE
PART
TELEPHONE
NUMBER.
COSTUME FITTINGS
SHOW TITLE
TIMES THE COSTUMER
IS AVAILABLE
DAY
PERFORMER
o
87
DATE
PART
TELEPHONE
NUMBER
COSTUME FITTINGS
FOR THE WEEK OF
DATE
MON
TUE
WED
THUR
FRI
SAT
SUN
BAM
gAM
10AM
11 AM
12PM
1 PM
PM
3PM
4PM
5PM
NOTES
MISCELLANEOUS
7:00-10:00 PM FITTINGS
8~
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f?f?f?f?
89
PAGE_OF_
DATE._ _ _ _ __
DRESSING ROOM ASSIGNMENTS
o
PRODUCTION
NUMBER
ACTOR'S NAME
(J
90
ROLE PLA YING
Emergency Procedures
IF DURING A PERFORMANCE:
f'1ornado Watch:
,.
-- A Notlftcation will be given to House Manager by means of the National
Weather Service Warning System.
-- R House Manager will be aware of any updates and changes in weather
conditions.
-- C Signs will be placed in the lobby of the theatre to advise patrons
concerning severe weather.
Tornado W8I'I1iN:
-- A Tornado warning will be initiated by the sounding of air horns. The air hom warning consists
of three. three minute continuous blasts.
-- B. House manager should have awareness of location of tornado.
-- C Because the air hom can most likely be heard in the theatre. the Stage Manager will be notified
by the House Manager to stop the perfonnance. The Stage Manager will go immediately to the
stage and read the following announcement: (person reading the announcement should be
visible to the audience.)
((A)) Tornado Warning-Continue Performance
''Ladies and gentlemen: may I please have your attention for an announcement. Alerts
have been sounded indicating the presence of severe weather in our general area. The
University has advised that for your safety and protection, you should remain in the theatre.
Therefore, the perfoml8Jlce will continue. We are monitoring the weather conditions closely
on special equipment and should conditions worsen, we will give you further instructions at
that time. Thank you."
o
-- D. If the person monitoring the scanner hears that a tornadoistravell1n21nthedlrecUonofthe
Theatre. the Stage Manager will be notified by the House Manager to stop the perfonnance. The
Stage Manager will go immediately to the stage and read the following announcement:
«(B)) Tornado Warning-Stop Performance
''Ladies and Gentlemen: may I have your attention please. Please remain seated and
listen carefuBy. A tornado has been sighted in our immediate vicinity and for your maximum
safety, we ask that you remain in the theatre. Please prepare to assume a seated position on the
:floor in front of your seat, with your head down and hands locked over your head. To repeat: sit
on the floor in front of your seat with your head down and hands locked over you head. We will
advise you momentarily when the immediate threat is past. Please, do this now, calmly and
quietly."
The person making the announcement should stay on stage, visible to the audience, with
ushers assisting audience in taking their positions. When all are settled, annolDlcer should
continue to keep audience advised of progress in a calm manner, not letting them sit too long
without being spoken to.
-- E. House Manager will use the P A system to alert anyone who may be in the lobby area. These
people will be asked to go immediately into the theatre.
«Cn
Tornado Warning-Enter Theatre
''Ladies and gentlemen: may I please have your attention. Severe weather is occurring
and we ask that you please go immediately into the theatre for your safety and protection. Do
not remain in the lobby. I repeat, please go immediately into the theatre."
-.
- F. Person monitoring the scanner will detennine when danger has passed. At that time. the Stage
Manager 'will read the following announcement fromthe stage.
91
((D))
Tornado Danger Has Passed
"Ladies and gentlemen: we have determined that the immediate danger has passed.
Please, take your seats and we will continue the performance. Thank you for your cooperation."
n ..JNf@'ff~g
In the event severe weather conditions exist at the time of an intennission,
the audience will be asked to remain inside the theatre and not be allowed to go into
the lobby area.
Emereency Fire Procedure:
-- 1. Person detecting a fire should immediately contact the fire department. Pull one of the fire
alarms located throughout the building or phone 28~ 1111 and then alert the House Manager.
-- 2. Decisions concerning the evacuation will depend on the extent and location of fire.
-- 3. If necessary. the fire curtain will be dropped.
-- 4. House manager will contact the following people in this order:
A. Box Oftlce Manager
B. Production Manager
C. Center Director
-- 5. Assistant House Manager will alert the following:
A. Building Attendants
-- 6. If the decision to evacuate the building is made. the House Manager will contact the Stage
Manger who will stop the performance. The Stage Manager will go immediately to the stage
and read the following announcement:
((E)) Fire-Evacuate Theatre
"Ladies and gentlemen: may I please have your attention for an announcement. We have
received word that an emergency exists in the building and we must stop the performance. We
request that you exit immediately in a quiet and orderly manner. The ushers are standing by to
direct you to the nearest exit. Do not. under any circumstances, exit into the parking areas.
~e will not permit the checking out of coats and personal belongings. You should be advised
"--that this emergency is viewed by the University to be of a serious nature. Wl11 you now please
leave the building calmly and quietly. Thank you."
-- 7. Once the all-clear has been given by the fire department. front-of-house staff and ushers will
either ask the patrons to return to the theatre for the resumption of the performance or to
return to their cars and leave. This will depend on the situation as determined by the fire
department. director. and House Manager.
••JNf@'ff~g
Elevators should not be usedfor any emergency evacuation.
Emereency Procedure For Bomb Threat if IluriJli ~ Performance:
-- 1. Person receiving the call should:
A Record exact time and wording of threat
R Elicit and record details of threat (location of bomb. tone of voice. male or female. age. etc.)
-- 2. Contact the House Manager immediately. or the following persons in
this order:
A. University Police 285-1111
B. University Director Don LaCasse 282-6358
C. House Manager 28~747
D. Production Manager 28~7 4 7
-- 3. A command center will be established in the Box Office and will be directed by the ranking
person on the list of qualified persons in the bomb threat procedures document.
-- 4. If a decision (as determined by the police. director. and House Manager) is made to evacuate the
building. the House Manager will contact the Stage Manager who will go immediately to the
stage and read the follOwing announcement:
92
((F))
Bomb Threat Evacuate Theatre
''Ladles and gentlemen: may I have your attention please for an announcement. From
time to time the University receives anonymous bomb threats. Such a call have been received
and we would to take a recess so that a search can be conducted. The ushers are waiting to
~t you in leaving the building. We wiD resume the performance after the search is
. j·completed. Take your time in leaving the building by the nearest exit. Thank you for your
cooperation."
-- 5. The audience may be warned of an emergency without the need for evacuation. If this deCision
is made, the Stage Manager will read the following announcement:
((G)) Bomb Threat-Continue Performance
''Ladles and gentlemen: may I have your attention please for an announcement. From
time to time. pubUc places receive anonymous caDs regarding some threat of damage. We have
received such a can here involving the possibility of a bomb, so the authorities are now taking
proper precautions for your safety. The performance will continue. If you wish to leave,
however, you may do so. The ushers are available to assist you while you exit."
Alternate plan for evacuation of audience:
In certain emergency situations. it may not be possible for audience members to exit a theatre through
the same doors in which they entered. If necessary. an alternate route for exiting should be followed.
STUDIO:
- -1. Use marked exit doors leading to outside of building.
---2. As a last resort. patrons could be lead down stairs to basement.
THE CAVE (AC7):
-- 1. Use marked exit doors leading to outside building.
Oedical Emeriencies:
-- 1. If medical emergency should occur within your house and is causing some disturbance. the
House Manager may decide to interrupt the performance to take care of the problem. If so, you
or your ASM will be asked to go on stage and read the following announcement:
((H)
Medical Emergency-Stop Performance
''Ladles and gentlemen: as you may know, one of our guests is experiencing a medical
problem of a serious nature. The staff members who are handling the situation request that you
remain in your seat for the present time unless directed otherwise by an usher. The
performance wiD resume as soon as the medical needs of our guests permit. Thank you for your
cooperation."
-- 2. If the House Manager determines that a special intermission needs to be called. you will be
asked to read the following announcement:
((I)) Medical Emergency-Take Intermission
''Ladles and gentlemen: as you may know, one of our guests is experiencing a medical
problem of a serious nature. The staff members who are handling the situation have requested
that we take a brief intermission. If you decide to leave the theatre. please cooperate with the
ushers who are keeping an access route into the theatre clear. We will notify you when the
performance wiD resume. Thank you for your cooperation."
- 3. The follow-up to the previous announcement that should be made when the House Manager
determines that the performance will resume:
"1(J)
Medical Emergency Over-Resume Performance
''Ladles and gentlemen: the medical needs of our guest are being met by health
professionals and we will continue with the performance. Thank you for your cooperation.
93
Medical Emeriencies
Onsta~e:
--1. If medical emergency should occur onstage and is causing some disturbance. the House or Stage
Manager lIlay decide to interrupt the peIformance to take care of the problem. If so. you or your
ASM will be asked to go on stage and read the following announcement:
~(K)) Medical Emergency-8top Performance
''Ladies and gen'Uemen: as you may know, one of our cast members is experiencing a
medical problem of a serious nature. The staff members who are handllng the situation request
that you remain in y01LJr seat for the present time unless directed otherwise by an usher. The
performance will resume as soon as the medical needs of our guests permit. Thank you for your
cooperation."
--2. If the Stage/House Manager determines that a special intermission needs to be called. you will be
asked to read the following announcement:
((L)) Medical Emergency-Take Intermission
''Ladies and gentlemen: as you may know, one of cast members is experiencing a medical
problem of a serious nature. The staff members who are handling the situation have requested
that we take a briefintermission. If you decide to leave the theatre, please cooperate with the
ushers who are keeping an access route into the theatre clear. We wiD. notify you when the
performance will resume. Thank you for your cooperation."
- 3. The follow-up to the previous announcement that should be made when the House Manager
determines that the peIformance will resume:
((M)) Medical Emergency Over-Resume Performance
"Ladies and gentlemen: the medical needs of our cast member are being met by health
professionals and we will continue with the performance. Thank. you for your cooperation.
o
94
Character:
BALL STATE UNIVERSITY
LINE NOTES
\.
PAGE
SHOULD BE:
SAID:
)
,..
© Liane Shaul. Ball State University. 1992
95
SKIPPED?
••
Director Scenery Lighting Costumes Properties Makeup Audio
Misc
roduction._ _ _ _ _ _ _ _ _ _.Reply By_ _ _ _ _ _ _Date Posted_ _ __
.
--... •
.-
Director Scenery Lighting Costumes Properties Makeup Audio
Misc
Production,___________ Reply By_ _ _ _ _ _ _ Date Posted._ _ __
© Liane Shaul. Ball State University. 1992
96
PERFORMANCE LOG
DATE._ _ _ __
PAGE_OF_
PRODUCTION _________________________
DAY & DATE
CITY & STATE
ACT &
SCENE
UP
DOWN TOTAL INTER RUNNING
)
97
TOTAL
PRODUCTION & PUBLICITY PHOTOS
PAGE_OF_
DATE._ _ _ __
PRODUCTION________________________
#
ACTORS (Left to Right)
DESCRIPTION
98
PHOTO CALL
PAGE_OF_
o DATE___________TI ME___________PLACE,___________
PRODUCTION_________________________
#
ACT &
SCENE
ACTORS INVOLVED
DESCRIPTION
")
99
Production Schedules and Design Meetings
MASTER SCHEDULE
A master schedule of production deadlines will be developed by the Technical Director and the
~anaging Director. This schedule will be distributed to appropriate personnel (Directors.
\ _ _ /Choreographers. Designers. etc .. well in advance of the established deadlines. It is expected
that all involved will meet these deadlines.
ATTENDANCE OF DESIGN MEETINGS
Director. Stage Manager. Technical Director. Production Coordinator. Faculty Design Advisors.
Designers (scene. costume. light. sound. makeup and props) and the Managing Director are to
attend all design meetings. Design meetings for musicals and dance productions also should
include the Musical Director and Choreographer(s).
INDIVIDUAL DIRECTOR/DESIGNER MEETINGS
In addition to the following meetings. the Director should meet with each Designer individUally.
as needed. to discuss special problems and design details.
DESIGN MEETINGS
(This is a guideline to fonow when planning and scheduling meetings).
Design Meeting #1 (No later than 10-12 weeks prior to the first rehearsal)
-----
o
Director presents production concept. including remarks on design elements.
Designer ideas and questions are discussed.
Budgets are presented to Designers.
Production schedule is outlined including: management deadlines. design
presentation deadlines. technical and dress rehearsals. rehearsal space
scheduling. light hang and focus dates. fmal approval on sound. etc.
-- Props Designer presents prop list based on text. Major and special props are
identified from this list.
-- Future meetings are scheduled.
-- The Stage Manager takes notes at this and all design meetings. From these notes.
minutes are generated and distributed to all staff previous to ne.xt meeting.
Design Meeting #2 (No later than two weeks following design meeting #1)
-- Stage Manager presents minutes from last meeting. Changes from previous meeting
are discussed and approved.
Tentatively:
~
-- Scene Designer presents research. preliminary floor plans and thumbnail sketches
showing possible approaches to production concept (copies are distributed
to staff).
-- Light Designer presents research and indications of style through photographs.
paintings. sketches. etc.
-- Props DeSigner presents research and sketches of major props (identified in first
meeting).
-- Makeup Designer presents research and photos showing possible approaches to
production concept.
-- Sound Designer presents outline of sound plot with accompanying music and effect
samples showing possible approaches tproduction concept.
-- Initial disCUSSion of colors presented by Designers using Designer-provided
examples.
-- Managing Director presents preliminary promotion ideas, including ideas on poster
design and special promotions.
100
Design Meeting #3 (No later than two weeks following design meeting #2):
-- Stage Manager presents minutes from last meeting. Changes from previous meeting
are discussed and approved.
Tentatively:
-- Scene Designer presents. at least. a rough white model. updated ground plan and
drawings (renderings. elevations. etc .. ,) as needed.
-- Copies of floor plan and drawings are distributed to staff.
-- Costume Designer presents updated sketches and a texture palette.
-- Copies of sketches are distributed to staff.
-- Ught Designer presents special problems, e.g., effects, pyro, fog.
-- Props Designer presents report of progress with a list of sources. Special problems
are discussed (hard-to-find props, props to be built. etc.).
-- Makeup Designer presents color face sketches and live model (as needed).
-- Sound Designer presents specific examples of effects, music, etc.
-- Running crew needs are discussed (followspots, stage crew,quick changes, pyro,
etc.).
-- Technical Director presents preliminary budget estimates.
-- Color chOiCes are firmed up.
Between Design Meetings #3 and #4:
-- Director meets with Designers individually to solve specific problems.
-- Construction techniques for scenery and costumes are discussed with Technical
Director and Costume Shop Foreman.
-- Scene Designer begins elevations, side section painted model and/or perspective
rendering.
Oesign meeting #4 (no later than four weeks prior to frrst rehearsal)
As many design elements as possible are finalized. No major changes in color,
texture, palette and ground plan should be made beyond this meeting. It is understood
that during the rehearsal process, the form of the production will evolve, thereby
requiring an evolution in the form of all design elements. The nature of the evolution
must be carefully explored by the entire artistic staff, allowing for growth without
complete reformation.
-- Stage Manager presents minutes from last meeting. Changes from last meeting are
discussed and approved.
Tentatively:
-- Scene Designer presents a complete design (model and/or renderings and/ or
elevations) and a ground plan.
-- Copies are distributed to staff.
-- Costume Designer presents completed color sketches. actual swatches and/or
examples of costumes (e.g. photos).
-- Copies are distributed to staff.
-- Makeup Designer presents special makeup problems.
-- Props Designer presents updated prop list indicating sources. props to be built,
problems. etc.
-- Copies are distributed to staff.
-- Sound Designer continues to present specific examples of effects and/or music.
101
Three weeks prior to first rehearsal:
Tentatively:
-- The Director and Designers will initiate individual meetings to discuss detail and
special problems.
-- Scene Designer presents side sections. from elevations toTechnical Director for
distribution.
-- Costume Designer addresses Director-initiated changes in costume designs.
-- Makeup Designer addresses Director-initiated changes in makeup designs.
Two weeks prior to first rehearsal:
Tentatively:
-- Technical Director presents construction and lighting schedules to Director.
Designers and Stage Manager.
--Light Designers begins preliminary light plot.
PRODUCTION MEETINGS
Production meetings are to begin after the first full week of rehearsal and will continue on a
weekly basis until the production opens. All of the artistic staff and the Managing Director are
expected to attend each production meeting.
The purpose of the production meeting is to maintain open lines of communication between
members of the production staff and to solve production problems that arise during rehearsal.
Once a production begins the rehearsal process. an evolution of concept develops. All elements
of the production must uniformly evolve. The design and production processes do not conclude
until closing night. Therefore. constant communication is essential to the growth of a healthy
Oeatre collaboration.
102
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PROGRAM ACKNOWLEDGEMENTS
PAGE
DEPARTMENT_______________
PRODUCTION_ _ _ _ _ _ _ _ _ __
~AME TO BE ACKNOWLEDGED
....
o
~
I ADDRESS & PHONE
FOR
OF_ _
DATE.__________
NOTES
Ball State University
Department of Theatre and Dance Performance
REHEARSAL GUIDELINES
:~1.
Please complete your warmups and
~
ready tQ. work by call time.
~'
2.
Please bring paper and pencil for notes to every rehearsal.
3. Smoking is not permitted in any area of the Arts&Communications BUilding. Please
help the staff enforce this rule.
4. No food is allowed in the University Theatre. Strother Theatre or the Cave--this
includes backstage and in the house.
5. Drinks (soft drinks, fruit drinks, coffee, etc.) are allowed in the rehearsal rooms.
However. cast members are responsible for cleaning the area after rehearsal.
S~ Mana~rs will not clean up rehearsal areas. Drinks in the University
Theatre are only allowed at the Director's table.
6. When you leave the rehearsal area, please let the Stage Manager know where you are
going.
7. Double check your next call with the Stage Manager.
B.
Q.
Each director determines whether rehearsals are open or closed. If you wish to
bring a guest to rehearsal, please clear it with the director first and inform the
Stage Manager.
Each cast member is responsible for replacing a lost script.
10. Cast memebers may keep their "acting editions" of non-musicals.
11. Cast members must return their libretto {vocal book on closing night of a musical.
All notes should be made in pencil and must be erased prior to returning to the
Stage Manager. Cast members will be charged for books which are not returned
or for books which have not been cleanly erased.
12. SiiD-in at the call board before each rehearsal starting with technical rehearsals.
13. After signing in, please stay in the Green Room or backstage area. Also check your
props before each rehearsal and performance.
14. Please refrain from eating. drinking or smoking in costume.
15. Please be alert to the monitor for your cues. The Stage Manager is responsible for
your first entrance only.
16. AU cast members must check the company call board three times a day. AU
rehearsal cmmees will be posted on the callboard.
--.17. The Director and Stage Manager must be notified of all emergency and nonI
emergency absences.
lB. Please contact the Stage Manager and/or, if necessary, the Director of any problem
which is affecting your work.
105
REHEARSAL GUIDELINES
o
,,-jl.
Please complete your warmups and
~
ready 1Q work by call time.
2.
Please bring paper and pencil for notes to every rehearsal.
3.
Smoking is permitted only in those areas specified by the Stage Manager.
help the staff enforce this rule.
4.
Food and Drink are allowed only in those areas specified by the Stage Manager.
5.
Please help keep the rehearsal area clean. Stage Managers will not clean up
rehearsal areas.
6.
Whenever you leave the rehearsal area, please let the Stage Manager know where
you are going.
7.
Double check your next call with the Stage Manager.
8.
Each Director determines whether rehearsals are open or closed. If you wish to
bring a guest to rehearsal, please clear it with the Director fIrst and inform the
Stage Manager.
9.
Each cast member is responsible for replacing a lost script.
Please
00. Cast memebers may keep their "acting editions" of non-musicals.
11. Cast memebers must return their libretto/vocal book on clOSing night of a musical.
All notes should be made in pencil and must be erased prior to returning to the
Stage Manager. Cast members will be charged for books which are not returned
or for books which have not been cleanly erased.
12. Sign-in at the call board before each rehearsal starting with technical rehearsals.
13. After signing in, please stay in the area specified by the Stage Manager. Check your
props before each rehearsal and performance.
14. Please refrain from eating, drinking or smoking in costume.
15. Please be alert to the monitor for your cues. The Stage Manager is responsible for
your fIrst entrance only.
16. All cast members must check the company call board three times a day. All
rehearsal changes will be posted on the callboard.
17. The Director and Stage Manager must be notified of all emergency and nonemergency absences.
~8. Please contact the Stage Manager and/or, if necessary, the Director of any problem
which is affecting your work.
106
,.
(
,,-
REHEARSAL NOTES
)
SHOW
REHEARSAL
STARrED
DATE
PlACE
BREAK_ _TO
lATE
SCENERY:
COSTUMES:
PROPS:
AUDIO:
UGlITS:
MISCEILANEOUS:
I
107
ENDED
OF ____________________
RE~#
REHEARSAL REPORT SHEET
DATE
MORN ___ AFTER ___ EVE ___
_____________________
PERSONNEL REPORTING LATE _________________
RE~DETNNEDBY
:r")
,,~
STAGE MANAGER
:~!
RUN THRU: ACfI
I I I I I I I I I
---
ACfIII
ACfII
ACfIV
REHEARSAL
SCENERY
h
~GHTS
SOUND
COSWMES
PROPS
MISCELLANEOUS
h
108
ACfV
PRODUCTION SCHEDULE
TUESDAY
MONDAY
UNIVERSITY THEATRE
()
o
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MONTH
BAll STATE UNIVERSITY
THURSDAY
WEDNESDAY
FRIDAY
SATURDAY
SUNDAY
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STRQIlfER
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UNIVERSITY TUEATRE
-"
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STROTHER
CAVE
IUNIVERSITY THEATRE
STROTHER
"
CAVE
UNIVERSITY THEATRE
STROUlER
CAVE
RENTAL AGREEMENT
c
1.
rr IS AGREED BE'lWEEN BALL STATE UNIVERSrIY TI:lEATRE AND
_ _ _ _ _ _(RENIER) TI:IAT TIlE FOLLOWING ITEMS SHALL BE RENTED.
2.
3. TIlE AGREED UPON AMOUNT OF TIlE RENTAL SHALL BE $ _ _ _ . IT IS AGREED TI:IAT
TIlE ABOVE AMOUNT WILL BE PAID BY
(DATE).
(TO BE BILLED? CASH PAYMENT? CIRCLE ONE)
4. IT IS AGREED TI:IAT TIlE PERIOD OF RENTAL SHALL BE FROM_ _ _ _ _ _ _ _ _ _ TO
_ _ _ _ _ _ _ _,. IT IS AGREED '!HAT THE RENTER SHALL PROVIDE THE NECESSARY
MANPOWERAND TRANSPORTATION FOR THE RENTED ITEMS.
5.
rr IS AGREED THAT TIlE ITEMS WILL BE RETURNED TO BSUT IN GOOD CONDmON. AND
RENTOR FURTIlERAGREES TO REIMBURSE BSUT NO MORE THAN $
FOR
ANY MAINTENANCE OR REPAIR TI1AT MAY BE FOUND TO BE NEEDED UPON RETURN OF
TIlE ITEMS. NO CUITING OR PERMANENT ALTERATIONS MAY BE MADE ON ANY ITEM.
6.
rr IS AGREED THAT TIlE DETERMINATION OF ANY NEEDED REPAIR MAINTENANCE. OR
REPLACEMENT SHALL BE MADE BY _ _ _ _ _ _ _ _ _ _ _ __
7. PLEASE MAKE ALL CHECKS PAYABLE TO _ _ _ _ _ _ _ __
8. TIlE PLACE OF USAGE OF TIlE ITEMS SHALL BE _ _ _ _ _ _ _ _ _ _ _ __
9. AGREED TO BY _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
NAME & ADDRESS FOR BILLING PURPOSES:
(RENIER - PLEASE PRINT OR 1YPE)
(CITY
STATE
(mLEPHONE NUMBER)
5.5. NUMBER/FEIN NUMBER
(DEPARTMENT MANAGER)
(PRODUCTION MANAGER)
(ACCOUNT TO BE CREDITED)
ZIP)
Loan Agreement
. . ~----------------------------------~~---------------------------------------t
DATE:
PRODUCTION:
FROM: _____________________________________________________
ADDRESS:
PHONE: ___________________________________________
WE AT
APPRECIATE YOUR GENEROUS ASSISTANCE IN LOANING US THE BELOW LISTED ITEMS. IN CASE
OF DAMAGE DUE TO otJR NEGLIGENCE. WE WILL REPAIR THE DAMAGE OR PAY FOR THE ACTUAL
VALUE. THE VALUES SHOWN ARE ESTIMATES ONIX AND ACTUAL VALUE WILL BE DETERMINED ONLY IF
LOSS OR DAMAGE OCCURS.
----------------------------------------$---------------------------------------------------------------$---------------------------------------------------------------$ -------------------------------------------------------------$--------------------------------------------------------------$---------------------------------------------------------------$-----------------------TOTAL
$----------------------PICK - UP DATE:
RETURN DATE:
SIGNATURE :
RETURNED SIGNATURE :
PLEASE NOTE ANY PHYSICAL DAMAGE, ABOVE, WNEN PICKING UP BORROWED ITEMS.
111
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::.:::':::::::::::0'::::::;:::;::::::::::
..
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ACTOR PLOT FRENCH SCENES
.......
.. .
SCENE & PAGES
CHARACTER
o
113
:::::,,:::::::
':', .
.
..
~
SIGN IN CHART
PLEASE INITIAL UPON ARRIVAL
THEATRE
PRODUCTION
PERFORMERCREW
TELEPt-ONE
DATEfTIME
r.
~
~
,""""1
114
SIGN IN SHEET
~I
PRODUCTION_ _ _ _ __
WEEK OF _ _ _ _ _ _ __
')
-,
115
SIGNAGE REQUEST
DATE REQUES1ED._ _ _ _ _ EVENT_ _ _ _ __
PERSON REQUESTING
I.
.,--
)
COMPLETION DATE,_ _ __
SIZE
SIZE
#_-
#_-
LOCATION
LOCATION
SIZE
SIZE
#_-
#_-
LOCATION
LOCATION
SIZE
SIZE
#_-
#_-
LOCATION
LOCATION
SIZE
SIZE
#_-
#_-
LOCATION
LOCATION
SIZE
SIZE
#_-
#_-
LOCATION
LOCATION
116
Stage Crew
Preshow
CHECK LIST
~
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0
0
0
0
0
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0
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0
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0
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117
Stage Crew
Intermission
CHECK LIST
~
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'''---
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118
Ball State University
ST AGE MANAGER'S REHEARSAL REPORT
.iI'
'Show
Location
Call Time:
Scenes:
Date
Rehearsal Started:
Break:
Rehearsal Ended:
Rehearsal Time:
Injuries:
I
Absent/Excus',ed:
Remarks:
Late:
Stage Manager
--------------------------------------------------------------------~)
Ball State University
ST AGE MANAGER'S REHEARSAL REPORT
Show
Location
Call Time:
Scenes:
Date
Rehearsal Started:
Break:
Rehearsal Ended:
Rehearsal Time:
Injuries:
Absent/Excused:
Remarks:
Late:
Stage Ivtanager
119