OBERLIN COLLEGE THEATER PROGRAM
HANDBOOK
REVISED SEPTEMBER 19, 2010
Written by the faculty and staff of the Oberlin College Theater Program
Edited by Matthew Wright, Program Director, with assistance by
Ben Ferber, ‘11
TABLE OF CONTENTS
I. INTRODUCTION
The Mission Of The Program………………………………………..Page 5
About This Handbook………………………………………………..Page 5
II. FACULTY AND STAFF
Faculty and Staff Directory…..……………………………………….Page 8
Organizational Structure of The Theater Program…………………..Page 20
III. ACADEMIC PROGRAMS
The Theater Major……………………………………………………Page 22
Requirements For The Major………………………………………...Page 22
Areas Of Concentration………………………………………………Page 24
Scheduling Models…………………………………………………...Page 26
 Acting………………………………………………...Page 26
 Directing……………………………………………...Page 28
 Critical Inquiry……………...………………………..Page 30
 Interdisciplinary Performance………………………..Page 32
 Playwriting…………………………………………...Page 33
 Production, Design and Stage Management…………Page 35
Senior Projects
 The Senior Capstone…………………………………Page 38
 Honors………………………………………………..Page 38
Timeline……………………………………...Page 39
Honors Application…………………………..Page 40
IV. THE PRODUCTION PROGRAM
Hall Auditorium Mainstage Series………………………………Page 42
 Overview and Goals…………………………………Page 42
 Title Selection Process………………………………Page 42
General Guidelines…………………………..Page 42
Process and Timeline………………………..Page 43
 Casting Policy……………………………………….Page 44
 Production Schedule………………………………...Page 44
 Rehearsal Procedures………………………………..Page 44
2





Rehearsal Guidelines………………………………...Page 45
Performance Policies and Procedures……………….Page 46
Hall Mainstage Area Rules…………………………..Page 47
Ticket Policies……………………………………….Page 47
Strike Requirement And Policy……………………...Page 49
Little Theater Series.……………………………………….Page 49
 Overview and Goals………………………………….Page 49
 Project Selection Process…………………………….Page 49
 Terms of Use and Guidelines, 2010-11…..………...Page 50
Theater 199
 Procedure……………………………………………..Page 62
 Expectations…………………………………………..Page 62
Student Stage Manager Manual………………………………Page 64
Rental And Loan Policies…………………………………….Page 82
V. FACILITIES
Hall Auditorium And Annex…………………………………Page 84
 Mainstage…………………………………………….Page 84
 Little Theater…………………………………………Page 84
Warner Center………………………………………………..Page 85
 Policies Governing Use of Spaces…………………...Page 85
 Building Monitors……………………………………Page 87
VI. PROGRAM GOVERNANCE AND COMMUNICATION
Community Greenrooms……………………………………..Page 89
 Mission……………………………………………….Page 89
 Meeting Schedule, 2010-11…………………………..Page 89
 Upcoming Events and Announcements………………Page 89
Faculty………………………………………………………..Page 90
 Faculty Meetings, 2010-11…………………………...Page 91
Staff…………………………………………………………..Page 92
 Staff Meetings, 2010-2011…………………………...Page 92
Students……………………………………………………….Page 92
3
APPENDIX
Honors Application……………………………………………Page 94
Costume Loan Form…………………………………………..Page 95
Props and Scenery Loan Form………………………………...Page 98
Warner Center Space Request…………………………………Page 101
Application For Employment/Warner Center…………………Page 104
Little Theater Application……………………………………..Page 106
4
I. INTRODUCTION
WELCOME TO OBERLIN COLLEGE THEATER
We are delighted that you have an interest in studying Theater here at Oberlin College.
Whether you plan to be a major, a minor, or simply wish to pursue educational and
performance opportunities in our program, we welcome you to Oberlin’s diverse theater
community.
The Theater Program at Oberlin began in the 1970s, but performing arts of all kinds have
been an integral part of Oberlin’s history since the college was founded in 1833. Oberlin
alumni have graced stages the world over and have achieved significant careers as
performers, designers, directors, playwrights, arts administrators, critics and dramaturges.
Our distinguished faculty brings impressive professional and academic experience to the
classroom and rehearsal halls. Students in our program are given extraordinary
opportunities to study the craft, history, literature and cultural significance of Theater
through exploration in the classroom and studio, as well as in live performance.
THE MISSION OF OUR PROGRAM
The Theater Program offers students the opportunity to study acting, directing, design
and production, theater history and criticism, and playwriting within the broader context
of a liberal arts education. In addition to coursework, Theater students acquire practical
experience in all aspects of the theater by participating in departmental productions.
Because the performing arts are collaborative by nature, the program fosters a strong
sense of community while respecting both cultural diversity and individuality. The major
objectives of the program are:
a. To provide critical understanding and enhanced appreciation for
theater arts and their relationships to other areas of liberal arts
learning.
b. To provide concentrated preparation in theater for students wishing to
pursue advanced studies or professional careers.
c. To provide practical experiences in all aspects of production.
d. To encourage interdisciplinary artistic collaboration and studies across
other academic disciplines.
ABOUT THIS HANDBOOK
This handbook is intended to serve as a contract between the administration of the
Theater Program and all those who participate in its activities. The information you find
here is updated continuously and should be considered to be the final word on policies
5
and procedures. Its layout is intended to make the process of navigating the complex
activities of the program as easy and transparent as possible. If you have a particular
question about any policy or procedure, begin by consulting the list of contents. From
there, you should be able to follow links to the information you need.
The information contained in this document has been gathered from a variety of sources
and carefully edited to represent the most up-to-date information. If you have any
questions regarding the information contained herein, please feel free to consult a faculty
advisor.
6
II. FACULTY AND STAFF
7
Faculty and Staff Directory
MATTHEW WRIGHT, Program Director, Associate Professor of Theater
100A Warner Center
Phone: 440-775-8151
E-mail: matthew.wright@oberlin.edu
M.F.A., Acting, University of California, San Diego
B.A., Theater, University of Tennessee
Teaches Acting, Intro to Theater Arts, Professional Aspects of Theater, and Musical
Theater Performance
Matthew is an actor, director and theatre educator whose work has taken him across the
United States. As an actor he has appeared at such nationally acclaimed regional theatres
as the La Jolla Playhouse (The Matchmaker, 80 Days), The McCarter Theatre (The
Dawns Are Quiet Here), The Clarence Brown Company (Hamlet, As You Like It), The
Studio Arena Theatre of Buffalo (The Boyfriend), Trinity Repertory Theatre in
Providence, Rhode Island (A Christmas Carol, Julius Caesar, On The Town),
FloridaStage (Exact Center of The Universe), New Theatre (Angels in America,
Love!Valor!Compassion!, Hamlet, How I Learned To Drive, Around The World In Eighty
Days, House of The Seven Gables) and Actors’ Playhouse (Jesus Christ Superstar, One
Flew Over The Cuckoo’s Nest). He has worked with many wonderful theatre artists
including directors Des MacAnuff, Tina Landau, Anne Bogart, and Oskar Eustis and a
roster of internationally acclaimed actors. Northeast Ohio audiences have seen Matthew
in The Mystery of Edwin Drood and Twelfth Night at Great Lakes Theater Company;
Reefer Madness, Equus, A Man of No Importance, Urinetown and The Imaginary Invalid
at The Beck Center for The Arts; I Love A Piano at Actors' Summit; and Das Barbecu
with Cleveland Opera. He is a proud company member of the Oberlin Summer Theater
Festival where he has appeared in The Tempest and Much Ado About Nothing. Awards
include the 1997 Carbonell Award for Best Actor for his portrayal of Prior Walter in
Angels In America, and numerous Times Tribute Awards for his work in Northern Ohio.
Matthew has served on the faculties of The Ohio State University, Wright State
University, and Florida Atlantic University where he headed the graduate actor training
program for ten years. Here at Oberlin College he's directed Three Sisters, Dancing At
Lughnasa, A Bright Room Called Day, Reefer Madness, The English Channel, and
Beautiful Thing. Matthew currently serves as Associate Director of Theater and Dance.
He's been a member of Actors' Equity Association since 1988.
8
MARJ ABRAHAM, Administrative Assistant, Hall Auditorium
204 Hall Annex
Phone: 440-775-8547
E-mail: Marjorie.Abraham@oberlin.edu
HEATHER ANDERSON BOLL, Visiting Assistant Professor of Theater
100A Warner Center
Phone: 440-775-8152 (Theater and Dance Office)
E-mail: heather.anderson.boll@oberlin.edu
MFA, Acting, Yale School of Drama, Yale University
MA, Theater Arts and English, Hiram College
Teaches Acting, Voice for The Actor, Speech and Dialects
Heather is an actor and theatre educator who has performed professionally since 1993. In
New York, she appeared in the World Premiere of Between Us (directed by Chris
Ashley) at Manhattan Theatre Club, performing/covering the role of Grace for Daphne
Ruben-Vega (the original Mimi in Rent). She originated roles in A Kingdom, a Country,
or a Wasteland in the Snow (Mother) at PS-122; Writer’s Block (Junior’s pancakethrowing Mother) at Manhattan Class Company; Harvest at La Mama ETC; the Kabukiinspired Medea Unharnessed (Medea) at Drilling Company - earning a New York
Innovative Theatre Award Nomination for Best Actress in a Lead Role; and Miss Julie
(Julie) in an experimental, process-oriented workshop personally endorsed by Anne
Bogart at Columbia U. Outside New York, Ms. Anderson Boll performed the original
role of Rachel Morse in Naomi Iizuka’s Strike-Slip (directed by Chay Yew) for Actors
Theatre of Louisville’s 2007 Humana Festival; Miss Julie (Julie) at Two River Theatre
Festival; 36 Views, by Naomi Iizuka (directed by Evan Yionoulis) at The Huntington
Theatre Company (Boston); and Suzan-Lori Parks’365 days/365 plays for the Humana
Festival / Actors Theatre of Louisville. Ms. Anderson Boll received her Master of Fine
Arts in Acting at Yale School of Drama, earning the Oliver Thorndike Acting Award
(2003). While there, she played Shakespeare’s Desdemona, Cordelia, Cleopatra, and
Titania; originated roles in YSD playwrights’ new works: …and Jesus Moonwalks on the
Mississippi, by Marcus Gardley; Pralaya, by Zakkiya Alexander; Know Dog, by Kathryn
Walat; and The Sungatherers, by Tim Acito; and performed two repertory seasons at
Yale Summer Cabaret. In the Cleveland area, Heather’s recent work includes Bill W. and
Dr. Bob at The Cleveland Play House; Colder Than Here at Dobama Theatre; Wit at
Hiram College; Alice… at Porthouse Theatre; and the World Premiere of The Aperture
(originated the role of Alex) for Cleveland Public Theatre & the New York International
9
Fringe Festival of 2009. She has performed for Great Lakes Theater Festival (Gerald
Freedman Artistic Director); Human Race Theatre Company (Taking Sides); CATCO
(Chekhov’s The Sneeze); Beck Center (Keely and Du); and The Halle Theatre / Mayfield
JCC (acclaimed 1997 production of All My Sons with Dorothy and Reuben Silver); and
the legendary Karamu House. Ms. Anderson Boll currently serves as Visiting Assistant
Professor of Theater at Oberlin College, teaching Voice for the Actor (Fitzmaurice /
Shakespeare); Speech and Dialects; Acting 100 (Naturalism); and Acting 300 (Poetic
Realism to Non-Realism). Ms. Anderson Boll is a member of Actors Equity
Association, appearing originally as Heather Lea Anderson.
JEREMY K BENJAMIN, Visiting Guest Artist/Lecturer
218 Hall Annex
Phone: 440-775-8173
E-mail: Jeremy.benjamin@oberlin.edu
M.F.A., Lighting Design, University of Cincinnati, College-Conservatory of Music
B.F.A., Theater, Miami University, Oxford OH
B.A., Psychology, Miami University, Oxford OH
Teaches Lighting Technology and Design
Jeremy is a professional lighting designer and theatre educator who has been working
professionally since 1990. As a lighting designer his work has been seen at the Beck
Center for the Performing Arts, Cincinnati’s College-Conservatory of Music, the
Cleveland Institute of Music Opera Department, Cleveland Contemporary Dance
Theatre, Cleveland Municipal School District, Cleveland’s Playhouse Square Center,
Cleveland’s Dancing Wheels, Great Lakes Theater Festival, Lyric Opera Cleveland,
Opera Cleveland, Paramount Productions, Pointe of Departure Dance, and the Village
Playhouse. Jeremy also serves as Interim Director of Theater and Production
Manager/Technical Director/Designer at Lorain County Community College. This
academic year marks Jeremy’s fifth at Oberlin College as a visiting guest artist and
lecturer for the Department of Theatre and Dance. Oberlin College lighting design credits
include the plays Major Barbara, Measure for Measure, Suburbia, Intimate Apparel,
Beautiful Thing and the operas L’Elisir de Amore, Little Women, A Midsummer Night’s
Dream, The Coronation of Poppea, Cendrillion, The Magic Flute, Cosi Fan Tutte and
Candide.
DAVID BUGHER, Assistant Technical Director
201 Hall Annex
Phone: 440-775-8163
E-mail: David. Bugher@oberlin.edu
B.F.A. The Ohio State University
David has been with Oberlin College since 2003 serving as the ATD for theatre and
10
dance. He is the resident scenic carpenter for all productions in Hall Auditorium. He is a
graduate of Ohio State University with a BFA in theatre performance. He has been
working in various capacities in the world of theatre since 1992. He is a company
member of the Oberlin Summer Theatre Festival and serves on its advisory board.
ROGER COPELAND, Professor of Theater and Dance
207 Hall Annex
Phone: 775-8443
E-mail: Roger.Copeland@oberlin.edu
PhD. Yale School of Drama
B.A. Northwestern University
Teaches Theater History, Classical Asian Theater/Dance Forms,
Roger Copeland is a widely published critic and historian of theater, dance, and
film. He earned his Bachelor’s Degree in Theater from Northwestern University
and both his Masters and Doctoral Degrees from The Yale School of Drama.
Copeland’s essays about theater, dance, and film have appeared in The New
York Times, The Village Voice, Partisan Review, The New Republic, American
Theatre, The Drama Review, Performing Arts Journal, Dance Theatre Journal,
Saturday Review, The Chronicle of Higher Education, The Journal of
Aesthetics and Art Criticism, Film Comment, The Wilson Quarterly and many
other periodicals.
His books include the widely used anthology, What Is Dance?, (Oxford
University Press, l983) and Merce Cunningham: The Modernizing of Modern
Dance (Routledge, 2004) He has contributed chapters to many books and
anthologies including The American Theatre Reader, Conversations with Susan
Sontag, Perspectives on Photography , Dance History: An Introduction, The
Routledge Dance Studies Reader, Dance, Gender, and Culture,
The
Encyclopedia of Dance and Ballet, Warhol: Live and Performance: Critical
Concepts in Literary and Cultural Studies.
In the late l970’s and early 80’s, Copeland worked as a “regular contributor” to
the arts pages of The Sunday New York Times.. He conducted cultural
reporting for the Times from London, Havana, and Mainland China; and on
several occasions he wrote the weekly “Stage View” and “Film View” columns
for the Times when Walter Kerr and Vincent Canby were on vacation.
In 2000, his American Theatre cover story about Sam Mendes’ production of
Cabaret was awarded the Stagebill Prize which recognizes “the best article
about theater published in the U.S. during the previous year.” Copeland’s
11
theater criticism has also been honored with Yale University’s John Gassner
Prize and was short listed in l990 for The George Jean Nathan Award. He has
received research fellowships from the National Endowment for the
Humanities, The Rockefeller Foundation, and The Mellon Foundation.
Copeland has worked as a consultant for The National Endowment for the Arts,
BAM’s Next Wave Festival, The National Endowment for the Humanities, the
"Dance In America" series on PBS, and the eight part PBS/BBC television
series "Dancing." He has written program notes for productions at Lincoln
Center, The New York Shakespeare Festival, City Center, The Kennedy Center
in Washington D.C., and most recently for The Bridge Project, co-produced by
The Old Vic in London and the Brooklyn Academy of Music.
Under the auspices of the U.S. State Department, he has lectured in Manila,
Singapore, Amsterdam, Copenhagen, Paris, Helsinki, and Johannesburg. Over
the past fifteen years, he has delivered keynote addresses at The University of
Surrey's "Border Crossings" Conference in the U.K., the Exodus Festival in
Slovenia, the "Confluences" Conference at the University of Capetown in S.
Africa, the “Dance: Theory and Practice” Conference sponsored by The Onassis
Public Benefit Foundation in Athens, The World Dance Alliance’s Global
Summit in Brisbane, Australia, and the Artes Performativas: Novos Discursos
“Conference” at the Escola Superior Artistica do Porto in Portugal. He has
taught full time at Oberlin since l975, but has also held visiting appointments
at Yale, Carleton, Wesleyan, Colorado College, The University of Minnesota,
The University of Auckland in New Zealand, Gadjah Mada University in
Indonesia , and both the Laban Centre and The University of Bristol in the U.K.
His areas of special interest and expertise include American non-literary theater,
contemporary theatrical dance (with a special emphasis on the work of
Balanchine, Cunningham, and the Judson Dance Theater) , post-War British
theatre, the work of Susan Sontag, definitions of modernism and postmodernism as they apply to both the performing and the non-performing arts, ,
and public policy as it applies to the arts in both the U.S. and Europe.
Copeland has also worked extensively as a theater and film director. His film
"Camera Obscura" won the "Festival Award" at the Three Rivers Arts Festival
in Pittsburgh in l985; and in 1989, "Recorder," a video adaptation of his theater
piece "The Private Sector," was screened on WNET's (Channel 13's)
"Independent Focus" series in New York City. “The Unrecovered,” his feature
length fictional narrative film about the psychological aftermath of 9/11
premiered as part of the New Filmmakers Series in New York City at
Anthology Film Archives in 2007.
12
JOELLEN CUTHBERTSON, Costumer and Costume Shop Manager
202 Hall Annex
Phone: 775-8164
E-mail: Joellen.Cuthbertson@oberlin.edu
Teaches Production: Costumes
JoEllen Cuthbertson began her career in regional Equity Theater, including Indiana
Repertory Theater; Great Lakes Theater Festival, where she worked with designer
Catherine Zuber; La Jolla Playhouse, where she worked with designer Susan Hilferty;
and The Goodman Theater in Chicago, creating costumes for a variety of performances.
Memorable productions include The Matchmaker (with Linda Hunt), Skin of our Teeth
(with Georgia Engle), and The Three Musketeers (with Alan Sues). After ten seasons in
Professional Theater, Ms. Cuthbertson has participated in the last thirteen seasons of
Oberlin Opera and Theater & Dance. Productions that have highlighted her work include
The Elixir of Arelle, Albert Herring, A Midsummer Night's Dream, All's Well That Ends
Well, Arcadia, Into the Woods, and The Cherry Orchard. In addition, she has created the
Prima Donna's costumes for Roméo et Juliette, Manon, The Marriage of Figaro, and Così
fan tutte. Ms. Cuthbertson teaches Costume Construction.
JOHN DAVIS, Visiting Professor of Theater
Phone: 440-775-8152
E-mail: John.Davis@oberlin.edu
Teaches Stage Combat
JUSTIN EMEKA, Visiting Professor of Theater
7 Rice Hall
Phone:
E-mail: Justin.Emeka@oberlin.edu
B.A. Oberlin College
M.F.A. in Directing, University of Washington, Seattle
Teaches Acting, Directing and Capoeira
13
CHRIS FLAHARTY, Resident Costume Designer
102 Hall Annex
Phone: 440-775-8164
E-mail: Chris.Flaharty@oberlin.edu
M.F.A. in Costume Design, The Ohio State University
B.A. Albright College
Teaches Intro to Design, Costume Design, and Musical Theater Performance
Chris Flaharty is the resident Costume Designer/Associate Professor of Theater for
the Oberlin College Theater and Dance Program and the Opera Theater of the
Oberlin Conservatory of Music. With professional and educational companies
he has designed costumes for original dance works and performance pieces, as
well as classic and contemporary plays, ranging from Shakespeare and Beckett to
Molière and Mamet, with representative works as diverse as Tartuffe (for which he
was awarded a USITT design citation), The Wiz, Hamlet, Three Sisters, Twelfth
Night, Light Up the Sky and Zastrozzi. He has designed several plays which he
also directed: Triumph of Love, Into the Woods, On The Verge, Company, The
Illusion, Assassins, and Sunday in the Park with George. His repertory of opera
productions includes designs for many masterpieces of the standard canon, such as
Carmen, La Traviata and Mozart’s late works; but he relishes the challenges of
rarities like Coyote Tales, Alcina, The Turn of the Screw and The Rake's Progress..
MICHAEL GRUBE, Managing Director of Theater and Dance
215 Hall Annex
Phone: 440-775-8162
E-mail: Michael.Grube@oberlin.edu
M.F.A. in Production and Design, Carnegie Mellon University
B.A. Financial Administration, St. Vincent College
Teaches Scenic Design
Michael has been the resident scene designer at Oberlin College since 1980, and took
over as Managing Director in 1994, filling in for various other positions over the years as
needed. His job duties include being Production Manager/Scene Designer for the operas
at Hall Auditorium produced by the Oberlin Conservatory’s Opera Theater department.
He holds the courtesy title of Associate Professor, and teaches classes in Scene Design
and individual and group projects/ private readings in Arts Management and other
production related activities. He has designed or supervised students in the design of
most of the shows presented in Hall Auditorium over the last quarter century.
14
In addition to his work in educational theater, Mr. Grube has worked at various
professional venues as Scene Designer, with design credits for shows too numerous to list
at: Lyric Opera Cleveland at the Cleveland Playhouse; New Cleveland Opera’s On Stage
Series; Ohio Light Opera in Wooster, Ohio; Karamu and Dobama Theaters in Cleveland
Ohio; CSU / Cleveland Chamber Symphony, Cleveland, Ohio; Music Theater Wichita in
Wichita, Kansas; Music Theater North in Potsdam, NY; College Light Opera Co in
Falmouth, MA ; GeVa Theater in Rochester NY; Stage One Children’s Theater in
Louisville, Kentucky; The Grand Theater, Kingston, Ontario, and many other
professional residencies at colleges in the Northeast. He started in the business as a
Technical Director, working for summer touring productions through the lower income
areas and housing projects of Pittsburgh produced by Carnegie Mellon University; for a
production starring José Ferrer at the Pittsburgh Playhouse; at Université Bishops in
Lennoxville Quebec; and then on to the Opera Company of Boston, where he “learned a
lot about scale”, and worked on shows starring Beverly Sills, Donald Gramm and others,
working on a production of Stiffelio which turned out to be Anna Moffo’s last and final
comeback. In an earlier residency at SUNY, Potsdam he designed shows starring Renee
Fleming as she started her career. He is a strong believer in the liberal arts, pursued with
pre-professional intensity, as a way for students to find and achieve their true calling.
CAROLINE JACKSON SMITH, Associate Professor of African American Studies and
Theater
106 Warner Center
Phone: 440-775-8154
E-mail: Caroline.Jackson.Smith@oberlin.edu
Teaches African American Drama, Black Arts Workshop, Theater of The
Millennium
Caroline Jackson Smith is Associate Professor of Theater and African American Studies at
Oberlin College. She began her directing career in 1984 in New Haven, CT. Ms. Jackson Smith
was a 1993 NEA/TCG Directing Fellow, and made her New York debut in 1995 when she
directed Adrienne Kennedy’s Funnyhouse of a Negro for the Signature Theater Company at the
New York Public Theater. The New York Times’ Ben Brantley noted her “smooth and fluid”
direction. In New York, she has also directed readings for the Women’s Project and for
Immigrant Theater. She has directed and/or worked as a dramaturg for the Cleveland Playhouse,
Great Lakes Theater Festival, Karamu House, the Cleveland Public Theater, Portland Stage
Company (Maine), and Kuntu Repertory Theater (Pittsburgh). In 2002 she directed Crumbs from
the Table of Joy in the inaugural season of Triad Stage in Greensboro, NC, a play she had
previously directed at Karamu Theater in Cleveland, OH.
Since coming to Oberlin in 1989, Jackson Smith has directed more than thirty plays and
workshops, including The Gospel at Colonus, The Owl Answers, A Movie Star Has to Star in
Black and White, The Resurrection of Lady Lester, To Be Young, Gifted and Black, The African
Company Presents Richard III, Joe Turner's Come and Gone, The Piano Lesson, Ma Rainey’s
Black Bottom, Blade to the Heat, a Yoruba-inspired interpretation of The Wiz, Spell # 7, for
15
colored girls who have considered suicide/when the rainbow is enuf, Omnium Gatherum,
Intimate Apparel and Rita Dove’s The Darker Face of the Earth which is noted by the author in a
recent reprinting of the play. In fall 2008, Ms. Jackson-Smith was associate director for Justin
Emeka’s production of The Death of A Salesman starring Avery Brooks. S he has created a
number of original shows at Oberlin, including The Word ‘n’ the Beat: Where Hip Hop Meets
Theater. At Oberlin, she teaches African American Drama, Theater of the Millenium, “Framing
Blackness: African Americans and Film, Black Arts Workshop: African American Culture in
Performance, and Introduction to the Black Experience.
Ms. Jackson Smith has directed for a number of Cleveland theaters. She has directed many shows
for Karamu House since 1991, including The Women of Plums (Adaptor, World Premiere),
Johnny Taylor is Gone (World Premiere), The Talented Tenth, The Colored Museum, Jar the
Floor and August Wilson’s Joe Turner’s Come and Gone, Seven Guitars, Jitney and King Hedley
II, which was selected by Scene Magazine as Best Stage Drama of 2007. In 2007 she also
directed Sleep Deprivation Chamber by Adrienne and Adam Kennedy for Cleveland Public
Theater, where she previously directed A Rat’s Mass, also by Kennedy. Jackson-Smith has
directed several plays by Pulitzer-Prize winning writer Lynn Nottage, including last year’s
Intimate Apparel at Oberlin and Fabulation at Karamu House where she will direct Ruined in
May 2010. She has also directed plays by her long-time collaborator, Margaret Lynch including
readings and the world premiere of Crossroads Dancing at Dobama Theater and two recent
readings of The Price of A Cow.
Ms. Jackson Smith served as Associate Editor for Black Masks Magazine for a number of years,
and has lectured widely in theaters and universities. After earning her B.A. with distinction and
graduate training in the M.A. Program in Afro-American Studies at Yale University, she worked
for seven years as a teacher in New Haven Public Schools. Jackson Smith went on to serve as
the Director of the Afro-American Cultural Center at Yale for eight years.
DANIEL JAMES, Warner Center Technical Coordinator
102 Warner Center
Phone: 440-775-8153
E-mail: Daniel.James@oberlin.edu
M.F.A., Theatre Arts/Lighting Design, Virginia Tech
B.A., Dance Ethnology, San Francisco State University
Teaches Stage Management
Daniel enjoys his second career in the arts after working in the maritime business as a
sailor, tugboat and dredge operator, and steamship agency accountant. He has worked in
one capacity or other on over 300 productions and designed lights for dance, stage, and
performance art in over 200 of them around the country since 1990. Before coming to
Oberlin, he had been the Production Coordinator for the Department of Dance at the
University of Illinois at Urbana/Champaign. Prior to that he was the Lighting Designer,
Technical Director and Stage Manager for the Department of Dance and Choreography at
16
Virginia Commonwealth University in Richmond. He is one of the founding members of
the Sojourn Theatre Company of Portland, Oregon and is resident Lighting Designer for
the Weathervane Theatre in New Hampshire.
ANDREW KALETTA, Master Electrician for Hall Auditorium, Little Theater Manager
213 Hall Annex
Phone 440-7758482
E-mail: akaletta@oberlin.edu
Andrew has been part of the Cleveland theater scene since the late 1980’s. Beginning at
Cleveland Public Theater with such shows as “Vampire Lesbians of Sodom” and “MaratSade” he found a home in technical theater. He worked for the Cleveland Performance
Art Festival for most of its 10 year life, the Repertory Project Dance Company, Case
Western Reserve’s Mather Dance Program, CSU Dance Program (whom he still serves),
and Dobama Theater. He is blest with opportunities to still design for many of these
organizations and has been fabricating lamps and creating Fluxus inspired performances
of his own for many years. His family of June, Henry, Ruth and Frances with his wife
Michelle give a whole new meaning to Theatrics.
BARB KESSLER, Manager of Central Ticket Services
CTS, Hall Auditorium Lobby
Phone: 440-775-8169
E-mail: Barbara.Kessler@oberlin.edu
PAUL MOSER, Associate Professor of Theater
104 Warner Center
Phone: 440-775-8159
E-mail: Paul.Moser@oberlin.edu
B.A. Brown University
M.F.A. in Directing, Yale School of Drama
Teaches Acting 1, Directing: Narrative Film Workshop/Acting for Camera, Acting
Shakespeare and Directing 2: Rehearsal Process
After graduating from Brown University (majoring in Dramatic Literature and Theater
Arts), Mr. Moser began his professional Theater career as an Equity Stage Manager in
NYC, working at theaters such as Soho Rep and the Roundabout, with theater legends
such as, Earle Hyman and Jerome Kilty. He went on to earn his MFA in Directing from
the Yale School of Drama: studying with Lloyd Richards, Ming Cho Lee, and Jennifer
Tipton. Mr. Moser then served as Associate Artistic Director of the Indiana Repertory
Theater, directing close to two dozen shows, including critically acclaimed productions
of “The Crucible”, “A Streetcar Named Desire”, “Tobacco Road”, “Torch Song Trilogy”,
17
“‘night Mother”, and “Virginia”. For the Indianapolis Symphony Orchestra’s Yuletide
Celebration, he collaborated with Tony-Award winning designer, Derek McLane, to
create a bigger-than-life puppet adaptation of “A Christmas Carol” which was revived
annually for over a decade. Other regional directing credits include productions at
Cincinnati Playhouse in the Park, Theatre Virginia, Portland Stage (where his production
of “A Walk in the Woods” received a “Best of Maine” award ), Phoenix Theater,
Spectrum Stage and New Harmony Theater.
Mr. Moser began teaching at Oberlin in 1990, where he served as Director of the
Theater & Dance Program from 2000 - 2009. At last count, he has directed over two
dozen plays at the College, including works by Shakespeare, Moliere, Chekhov, Shaw,
Wedekind, Ibsen, Pinter, Blitzstein, Hart, Shepard, Shawn, and Bogosian. In 1992, he
formed The Black River Theater Company which developed two of his own original
political plays, “The Trouble with Dinosaurs” and “Sanctuary” (later presented at The
Apple Tree in Chicago); From 1997 – 2001, BRTC produced free family Shakespeare:
The Tempest, As You Like It, A Midsummer Night’s Dream, Henry IV, Part 1 and
Twelfth Night. In 2007, he collaborated with former students in Fourth Meal
Productions’ NY premiere of Sarah Violet Bliss’s “Dorm Stories”. In 2009, with the help
of colleagues and former students, Mr. Moser launched the Oberlin Summer Theater
Festival, serving as Producing Artistic Director, directing its inaugural productions of
“The Glass Menagerie” and “The Tempest”, and this past year, "Our Town" and "Much
Ado About Nothing".
JOSEPH P. NATT, Technical Director
206 Hall Annex
Phone: 440-775-8165
E-mail: joe.natt@oberlin.edu
B.F.A, Theater, Set Design and Technology, Kent State University
Teaches Production: Scenery
Joseph has worked in technical theater in various degrees. As Technical Director at
Oberlin College, he as worked on numerous productions such as The Seagull, Reefer
Madness, Death of a Salesman, Assassins, and Romeo and Juliet for the Theater and
Dance Department. He has also worked on productions such as Candide, Magic Flute,
Poppea, and Dialogue of the Carmelites for the Opera Theater Department. He has also
worked as TD for the Oberlin Summer Theater Festival productions of Much Ado About
Nothing, A Wrinkle In Time, Our Town, The Tempest, and Glass Menagerie. Joe worked
as Technical Director for the Cleveland State University Theater Department on shows
like Sex, Drugs, Rock & Roll, Vinegar Tom and Heartbreak House. Joe has worked for a
number of local Cleveland area professional theater companies such as, Lyric Opera
Cleveland (Das Barbecu, Pirates of Penzance, Little Women, Don Giovanni), Great
Lakes Theater Festival (A Christmas Carol), and five seasons at The Cleveland
Playhouse (Pecos Bill and the Ghost Stampede, Nutcracker, Touch the Names, Eliot Ness
18
in Cleveland, Seascape, The Invisible Man, Company). Joe also worked 72 performances
of The Sound of Music at the Carousel Dinner Theater as crew chief.
JANICE SANBORN, Administrative Assistant, Warner Center
100 Warner Center
Phone: 440-775-8152
E-mail: Janice.Sanborn@oberlin.edu
19
Organizational Structure of Theater Program
20
III. ACADEMIC PROGRAMS
21
The Theater Major
It is recommended that those students intending to pursue a career in the field of Theater
or related performing arts consider declaring a major in Theater. The major program of
study is designed to allow students the flexibility of pursuing general theater studies
while focusing on a particular emphasis within the Theater curriculum, such as acting,
directing, history/criticism, playwriting, or production/design. If you wish to declare a
Theater Major, you should follow this procedure:
1) Follow established College protocol. According to the OC Catalog, all
students MUST declare a major before the completion of 56 credit hours. The
Registrar’s office will notify you when you near the completion of this
requirement and remind you that you need to declare a major. However: it is
recommended that those students who enter Oberlin knowing that they
intend to pursue some participation in the Theater Program schedule an
advising appointment with an advisor in the program as early as possible
for preliminary planning.
2) Schedule an Advising Appointment. If you’re planning to major in theater,
you must first secure a faculty advisor. This should be an instructor in your area
of intended concentration and would ideally be someone with whom you’ve
already successfully completed intermediate level coursework. (For example,
students wishing to declare a Theater major with a concentration in Acting
would first successfully complete THEA 200: Introduction to Scene Study, and
ask an acting instructor to be their advisor). You’ll then schedule an
appointment with your advisor and work closely with them to design an
individualized plan of study and acquire the necessary approvals. Upon
approval, you will:
3) Officially declare the major. The form for this, which must be submitted to
the Registrar’s office, is available from the Administrative Assistant for the
Theater Program, Janice Sanborn.
Requirements For The Major
Students must complete ten full-semester courses, for a total of 30 credit hours
minimum, in accordance with the following parameters. It must be noted that THEA
995: Private Reading, will not substitute for any major requirements.
1) The two semester course sequence in Western Theater History (THEA 252,
253)
2) Two full semester courses in Acting or Directing, chosen from:
22
THEA 100, Introduction To Acting
THEA 101, Introduction To Theater Arts
THEA 200, Introduction to Scene Study
THEA 202, Acting for The Camera
THEA 208, Directing 1
THEA 210, Movement For Actors
THEA 218, Stage Combat
THEA 268, Black Arts Workshop
THEA 269, Voice For The Actor
THEA 270, Speech and Dialects
3) Two full semester courses in Production and Design, chosen from:
THEA 172, Production Scenery
THEA 173, Production Costumes
THEA 174, Lighting Technology and Design
THEA 212, Stage Management
THEA 222, Introduction to Design
THEA 232, Costume Design
THEA 236, Scene Design
4) Two full semester courses in History,Criticism and Theory, chosen from:
THEA 254, Classical Asian Theater/Dance Forms
THEA 264, African American Drama
THEA 302, Non-Literary Theater
THEA 309, Theater of the Millennium
THEA 324, The Concept of The Avant-Garde,
THEA 333, Stage to Screen
Additionally, any Dramatic Literature course offered by another
department and approved by the Theater Program as suitable,
may be counted toward this requirement (see recommended list in the catalog )
5) Two additional advanced-level (300 or 400 level) full semester Theater
Electives in student’s area of concentration
 Students concentrating in Playwriting may count CRWR 330, 470,
or 480 as these concentration electives
 Production/Design students may repeat THEA 320 for credit
6) Two Theater Production Labs (THEA 199). This is a non-credit bearing
requirement, supplying much-needed crew service to the production
program. The student must sign up at the beginning of the semester in which
he/she intends to fulfill the requirement and attend the informational
meeting held early in the semester. Failure to comply with the stated
parameters of the assigned crew will result in non-fulfillment of the
requirement.
23
7) NOTE: THEA 207, THEA 225, THEA 281, THEA 995 may all be counted
as ELECTIVES, but cannot be substituted for any of the above-listed
requirements.
Areas of Concentration
Because of the wide range of disciplines within the field of Theater, it is helpful for the
student to guide his/her course of study by focusing on one or two specific areas of
concentration. Within our program, we have delineated these areas of concentration:
Acting, Directing, History/Criticism and Theory, Interdisciplinary Performance, and
Production/Design (including Stage Management). It must be remembered, however,
that these are merely areas of study and that, by majoring in Theater, it is expected that
you’ll take courses in all of these areas, while focusing on one. We believe that, in order
to excel at any one area within the broad field of Theater, it is essential to acquire a
working knowledge of all areas. To this end, it is HIGHLY RECOMMENDED that all
students interested in studying Theater during their time at Oberlin, enroll in
THEA 101: INTRODUCTION TO THEATER ARTS in their first semester. Not
only is this course a comprehensive overview of the art of making Theatre, it is taught by
the entire Theater faculty and staff and serves as an excellent introduction to the program.
Course Offerings by Areas of Concentration
Acting
THEA 100 Acting I: Fundamentals
[NOTE: Admission into THEA 200 is contingent upon successful
completion of THEA 100]
THEA 200 Intro to Scene Study: Crafting Character
THEA 202 Acting For The Camera
THEA 207 Acting Ensemble
THEA 210 Movement For Actors
THEA 218 Stage Combat
THEA 225 Individual/Group Projects (by permission/approval of
department)
THEA 268 Black Arts Workshop
THEA 269 Voice For The Actor
THEA 270 Speech and Dialects For The Actor
THEA 281 Rehearsal and Performance (contingent upon casting)
[NOTE: Admission into any 300 level acting course is contingent upon
successful completion of THEA 200]
THEA 300 Acting 3: Shakespeare
THEA 301 Acting 3: Poetic Realism
24
THEA 304 Professional Aspects of Theater
THEA 306 Acting 3: Advanced Scene Study
THEA 318 Imagistic Theater: A Workshop
THEA 328 Musical Theater
THEA ??? African American Performance Theater
THEA 368 Black Arts Workshop II
Directing
[NOTE: admission into any Directing course is contingent upon
successful completion of THEA 100]
THEA 208 Directing I
THEA 216 Narrative Film Workshop
[NOTE: Admission to any 300 level directing course is contingent upon
successful completion of THEA 200 and THEA 208]
THEA 307 Directing II: Rehearsal Process
THEA 311 Directing II: Staging From Non-Dramatic Sources
THEA 341 Directing Project (with approval of department)
History, Criticism and Theory
THEA 101: Introduction to Theater Arts (for those not concentrating in
Acting or Directing, this course may count as a Performance elective)
THEA 252 History of Western Theater I
THEA 253 History of Western Theater II
THEA 254 Classical Asian Theater/Dance Forms
THEA 264 African American Drama
THEA 302 Non-Literary Theater: 1960 to The Present
THEA 309 Theater of The Millennium
THEA 324 The Concept of The Avant-Garde
THEA 420 Honors Project (by approval of the department)
THEA 995 Private Reading (will not fulfill major core requirement)
Interdisciplinary Performance
[NOTE: Admission to any of the courses listed below is contingent on the
successful completion of all necessary prerequisites]
THEA 230 Autobiography and Performance
THEA 254 Classical Asian Theater/Dance Forms
THEA 268 Black Arts Workshop
THEA 311 Directing II: Staging From Non-Dramatic Sources
THEA 318 Imagistic Theater
THEA ??? African American Performance Theater
THEA 324 The Concept of The Avant-Garde
THEA 368 Black Arts Workshop II
DANC 161 Capoeira I
25
DANC 262 Capoeira II
DANC ??? Capoeira III
[NOTE: upper division courses in other appropriate departments (Art,
TIMARA, Dance, Cinema Studies, etc.) may count toward the advanced
level requirements in this concentration with prior approval from the
Theater Program Director]
Playwriting
[NOTE: no courses in Playwriting are offered through the Theater
Program. In order to fulfill the advanced course requirements for this
concentration, students should enroll in CRWR 330, 470 and 480]
Production/Design/Stage Management
THEA 172 Production: Scenery
THEA 173 Production: Costumes
THEA 174 Lighting Technology and Design
THEA 199 Theater Production Lab
THEA 212 Stage Management
THEA 213 Stage Management Practicum
THEA 222 Introduction to Design
THEA 225
THEA 232 Costume Design
THEA 236 Scene Design
THEA 281 Rehearsal and Performance
THE 320 Special Project in Production and Design
(May be repeated for credit)
Scheduling Models
The following are models of what the typical four-year course schedule might look like
for any individual majoring in Theater. There is a model for each of the identified areas
of concentration. These are intended only as suggestions and are not in any way a
required course of study. Students can and should be creative in their scheduling in order
to place their theater study within the broader liberal arts context.
Model Schedule, Concentration in Acting
The following model is designed to yield the optimum training experience, in the
optimum sequence, for those students wishing to pursue a career as a performer
and ready themselves for graduate study.
FIRST YEAR
First Semester
FYSP
THEA 101 Introduction to Theater Arts
One course from Social and Behavioral Sciences
4 Credits
3 Credits
3 Credits
26
One course from Natural Sciences and Math
One Ex-co or Phys Ed course
3 Credits
1 Credit
Total: 14 Credits
Second Semester
THEA 100 Introduction to Acting
3 Credits
One course from Social and Behavioral Sciences
3 Credits
One course from Natural Sciences and Math
3 Credits
One course fulfilling Theater Studies or Production/Design
Requirement
3 Credits
Phys Ed or Ex-co
1-2 Credits
THEA 199- Production Lab
0 Credits
Total: 13-14 Credits
SECOND YEAR
First Semester
THEA 200-Introduction to Scene Study
3 Credits
THEA 252 Western Theater History
3 Credits
One course from SS or NS
3 Credits
One course Theater Studies or Production/Design
3 Credits
Electives, totaling
2 Credits
THEA 199
0 Credits
Total: 14 Credits
Second Semester
THEA 253 Western Theater History
3 Credits
THEA 210 Movement for Actors
3 Credits
One course from SS or NS
3 Credits
One course fulfilling Theater Studies or Production/Design
Requirement
3 Credits
THEA 207 Acting Ensemble
2 Credits
Total: 14 Credits
THIRD YEAR
First Semester
THEA 301 Acting Shakespeare
THEA 269 Voice For The Actor
THEA 218 Stage Combat
One course Theater Studies or Production Design
Electives, totaling
3 Credits
3 Credits
3 Credits
3 Credits
2 Credits
14 Credits
Second Semester
Study-away at one of Oberlin’s affiliated programs: British-American
Drama Academy, National Theater Institute, NYU Tisch
27
FOURTH YEAR
First Semester
THEA 202 Acting For The Camera
THEA 304 Professional Aspects of Theater
Electives, totaling
3 Credits
3 Credits
8 Credits
14 Credits
Second Semester
One or more of the following advanced acting Studios:
THEA 300 Poetic Realism
THEA 306 Advanced Scene Study (special topic)
THEA 328 Musical Theater Performance
3-9 Credits
Electives, as needed
11-5 Credits
14 Credits
TOTAL: 112 Credits
Model Schedule, Concentration in Directing
A liberal arts school, like Oberlin, is the perfect learning environment for the
aspiring stage director. In addition to courses in Theater, students can study a
range of disciplines that will enrich their own personal interpretive and artistic
abilities. Directing concentrators are especially encouraged to take cognate
courses in Art History, Psychology (esp. Personality), Dramatic Literature,
History, Cinema Studies and Cultural Diversity courses that explore different
cultural perspectives on the performing arts. As aspiring arts administrators,
directing students are also encouraged to participate in Oberlin’s “Creativity and
Leadership Program”, which provides courses and internships designed to
develop entrepreneurial skills. Through this program, students can apply for
start-up funds for Winter Term or post-graduation projects.
Oberlin’s Theater faculty appreciates the central importance of student-student
collaboration and initiative to the vibrancy of our program. Therefore, faculty
members are available as supportive advisors and facilitators of student-directed
work. Directing concentrators often begin directing projects on campus in their
first year. There are numerous extra-curricular student theater organizations on
campus. Students can also submit proposals to the Theater & Dance Program to
produce curricular projects, usually presented in the Hall Annex Little Theater.
The curriculum. The directing sequence is integrated with the other disciplines
within the Theater curriculum, especially Acting. At the intro level, students must
first take Acting 1: Fundamentals as a prerequisite for enrollment in Directing
1: Fundamentals. Students are then encouraged to take as many production and
design courses as possible, in particular, Intro to Design, and Stage
Management. After successful completion of Acting 2: Scene Study, students may
28
enroll in Directing 2: Rehearsal Techniques, a small-enrollment seminar, which
culminates in the direction of a one-act play. Upper-level electives, Staging NonDramatic Sources and Narrative Film Workshop explore directing skills in
other media and non-traditional genres. Directing 3: Directing Projects
consists of on one-on-one mentoring during the supervision of the direction of a
full length production. Many student directors are Honors candidates in their
senior year, their Little Theater production serves as their culminating thesis
project.
FIRST YEAR
First Semester
FYSP
4 credits
THEA 101: Intro to Theater Arts
3 credits
THEA 174: Lighting Technology
Or Humanities elective
3 credits
1 course in Social or Behavioral Sciences
3 credits
1 course in Math or Natural Sciences
3 credits
Total: 16 credits
Second Semester
THEA 100: Acting 1
3 credits
1 THEA 199: Theater Lab
0 credits
THEA 212: Stage Management
Or Humanities elective
3 credits
1 course in Social or Behavioral Sciences
3 credits
1 course in Math or Natural Sciences
3 credits
Total: 12 credits
SECOND YEAR
First Semester
THEA 208: Directing 1
3 credits
THEA 222: Intro to Design
3 credits
THEA 252: Western Theater History 1
3 credits
1 course in Social or Natural Sciences
3 credits
1 course in Humanities
3 credits
Total: 15 credits
Second Semester
THEA 253: Western Theater History 2
3 credits
THEA 200: Acting 2
3 credits
THEA 307: Directing 2: Rehearsal Process
4 credits
1 course in Social or Natural Sciences
3 credits
1 course in Humanities
3 credits
Total: 16 credits
THIRD YEAR
First Semester
THEA 311: Staging Non-Dramatic Sources
Or THEA 216: Narrative Film Workshop
3 - 4 credits
200 or 300-level Acting elective
3 credits
THEA 302: Non Literary Theater
3 credits
29
3 – 6 credits
0 credits
Total: 12 – 16 credits
Electives
1 THEA 199
Second Semester
Study-away at one of Oberlin’s affiliated programs:
British-American Drama Academy, National Theater Institute, Trinity/LaMAMA
FOURTH YEAR
First and Second Second Semesters
THEA 341: Directing Project (Little Theater)
Or THEA 400: Honors
Theater Studies Elective
Acting/Directing Elective
Design Elective
Non-Theater Electives
3 – 6 credits
3 credits
3 credits
3 credits
12 – 16 credits
Total: 24 – 32 credits
Model Schedule, Critical inquiry
FIRST YEAR
First Semester
FYSP
THEA 101 Introduction to Theater Arts
One course from Social and Behavioral Sciences
One course from Natural Sciences and Math
One Ex-co or Phys Ed course
Second Semester
THEA 100 Introduction to Acting
One course from Social and Behavioral Sciences
One course from Natural Sciences and Math
ENG 282 Drama Survey
Phys Ed or Ex-co
THEA 199- Production Lab
SECOND YEAR
First Semester
THEA 252 Western Theater History I
One course from SS or NS
4 Credits
3 Credits
3 Credits
3 Credits
1 Credit
Total: 14 Credits
3 Credits
3 Credits
3 Credits
3 Credits
1-2 Credits
0 Credits
Total: 13-14 Credits
3 Credits
3 Credits
30
Theater 302 Non-Literary Theater
CINE 110 What Is Cinema?
Electives
THEA 199
3 Credits
3 Credits
2 Credits
0 Credits
Total: 14 Credits
Second Semester
THEA 253 Western Theater History II
THEA 174 Lighting Technology and Design
ART 200 Approaches to Western Art
ENGL 290 Shakespearean Comedy
Electives
3 Credits
3 Credits
3 Credits
3 Credits
2 Credits
Total: 14 Credits
THIRD YEAR
First Semester
THEA 222 Introduction to Design
THEA 208 Directing I
CMPL 200 Intro. to Comparative Literature
Electives
3 Credits
3 Credits
4 Credits
4 Credits
14 Credits
Second Semester
THEA 264 African-American Drama)
THEA 254 Classical Asian Theater/Dance Forms
CRWR 330 Playwriting Workshop
Electives
FOURTH YEAR
First Semester
THEA 304 Professional Aspects of Theater
THEA 995 Private Reading in Dramaturgy or Criticism
Electives
3 Credits
3 Credits
3 Credits
5 Credits
14 Credits
3 Credits
3 Credits
8 Credits
14 Credits
Second Semester
THEA 309 Theater of the Millenium
THEA 281 Rehearsal/Performance (Senior Project)
THE 318 Imagistic Theater
Electives
3 Credits
4 Credits
3 Credits
4 Credits
14 Credits
31
Model Schedule, Interdisciplinary Performance
Interdisciplinary Performance, by definition, requires a deep knowledge of more than
one performance mode. The following model, then, is a mere suggestion of how one
might think of assembling a number of courses in various disciplines. It is a requirement
that the student interested in Interdisciplinary Performance select advisors who can help
him/her shape a specific course of study that takes into account the student’s particular
strengths and interests.
FIRST YEAR
First Semester
FYSP
THEA 101 Introduction to Theater Arts
One course from Social and Behavioral Sciences
One course from Natural Sciences and Math
DANC 100 Modern Dance I
4 Credits
3 Credits
3 Credits
3 Credits
2 Credit
Total: 15 Credits
Second Semester
THEA 100 Introduction to Acting
3 Credits
One course from Social and Behavioral Sciences
3 Credits
One course from Natural Sciences and Math
3 Credits
One course fulfilling Theater Studies or Production/Design
Requirement
3 Credits
Selection from Dance Program (Modern II, Choreography,
etc)
2-3Credits
THEA 199- Production Lab
0 Credits
Total: 14-15 Credits
SECOND YEAR
First Semester
THEA 200-Introduction to Scene Study
THEA 252 Western Theater History
One course from SS or NS
One course Theater Studies or Production/Design
THEA 268 Black Arts Workshop
THEA 199
3 Credits
3 Credits
3 Credits
3 Credits
3 Credits
0 Credits
Total: 15 Credits
Second Semester
THEA 253 Western Theater History
3 Credits
Intermediate course in Dance/Choreography/AAST
3 Credits
One course from SS or NS
3 Credits
One course fulfilling Theater Studies or Production/Design
32
Requirement
Course from Interdisciplinary area listed above
3 Credits
2-3 Credits
Total: 14-15 Credits
THIRD YEAR
First Semester
Courses listed in Interdisciplinary area (above)
One course Theater Studies or Production Design
Electives, totaling
9 Credits
3 Credits
2 Credits
14 Credits
Second Semester
Study-away at one of Oberlin’s affiliated programs: BADA, National
Theater Institute, NYU Tisch, Trinity/La Mama
FOURTH YEAR
First Semester
THEA 301 Shakespeare, or equivalent in area of interest
THEA 304 Professional Aspects of Theater
Electives, from Interdisciplinary area (above)
Honors or Capstone Project
Second Semester
Electives in areas of interest
Capstone or Honors project
3 Credits
3 Credits
5 Credits
2-3 Credits
14 Credits
11 Credits
2-3 Credits
14 Credits
TOTAL: 112 Credits
Model Schedule, Concentration in Playwriting
The Theater Major’s Playwriting Concentration has an interdepartmental course
of study, including courses in Creative Writing. CRWR 330 & 360 substitute as
the 300-level concentration requirement of the Theater major. Students must
submit writing samples for consent of instructor for all upper-level CRWR
courses, and are therefore encouraged to begin assembling a body of work in
their first year. A student declaring this concentration should have successfully
completed (or be currently enrolled in) the core course (CRWR 330: Playwriting
Workshop). Playwrights are encouraged to take as many dramatic literature
courses as possible, in order to develop diverse perspectives and a wide and in
depth knowledge of the genre. Offered by various departments (including English,
French, Comparative Literature, and Classics), these electives should include at
least one each of classical drama, contemporary drama, and cultural diversity
courses. Students have the opportunity to have their original plays produced,
either as staged readings or full productions, either within the department or
33
through OSTA. The course of study culminates in a senior capstone production of
a full-length play; students must propose a slot for this project in the spring of
their junior year (see Little Theater Proposals).
The Playwriting Concentration requires 27 - 33 hours in Theater/Drama Lit, 9 17 hours in CRWR (Students w/ 15 credit hours in CRWR can also declare a
CRWR minor)
FIRST YEAR
First Semester
FYSP
THEA 101: Intro to Theater Arts
One Social Sciences course (for distribution requirement)
One Natural Sciences course (for distribution requirement)
Second Semester
1 Theater Studies/Drama Lit course
THEA 199: Theater Lab
One Social Sciences course (for distribution requirement)
One Natural Sciences course (for distribution requirement)
Elective
SECOND YEAR
First Semester
CRWR 201 Poetry/Prose Workshop
THEA 252: Western Theater History 1
THEA 222: Intro to Design or other Production/Design course
One SS or NS course (for distribution requirement)
Second Semester
CRWR 330 Playwriting Workshop
THEA 253: Western Theater History 2
THEA 100: Acting 1 or other Performance course
One SS or NS course (for distribution requirement)
THIRD YEAR
First Semester
CRWR 360: Screenwriting Workshop
Production/Design course
THEA 208: Directing 1 or other Performance course
300 level Theater Studies/Drama Lit
Electives
4
3
3
4__________
14 credits total
3
0
3
4
3___________
13 credits total
4
3
3
4___________
14 credit hours
4
3
3
4___________
14 credit hours
3
3
3
3
2 – 4_______
14 – 16 hours
Second Semester
34
CRWR 380: Intermediate Project
200 - 300 level Theater Studies/Drama Lit course
THEA 199: Theater Lab
Electives
FOURTH YEAR
First Semester
CRWR 480: Advanced Project
300 level Theater Studies/Drama Lit
Electives
Second Semester
THEA 999: Little Theater Production of New Play
Electives
3
3
0
6 – 10______
12 – 16 hours
3
3
6 – 10______
12 – 16 hours
3
9 – 12______
12 – 15 hours
Model Schedule, Concentration in Production/Design/Stage Management (PDS)
FIRST YEAR
First Semester
FYSP
THEA 101 Introduction to Theater Arts
One course from Social and Behavioral Sciences (SS)
One course from Natural Sciences and Mathematics (NS)
One Ex-co or Phys Ed course
Total:
Second Semester
THEA 172 Production: Scenery
or THEA 212 Stage Management
or Elective from the College
One course fulfilling History/Criticism/Theory (HCT) or
Acting/Directing (AD) Requirement
(recommended: THEA 100 Introduction to Acting)
One course from SS
One course from NS
One Ex-co or Phys Ed course
THEA 199 Theater Production Lab
Total:
4 Credits
3 Credits
3 Credits
3 Credits
1 Credit
14 Credits
3 Credits
3 Credits
3 Credits
3 Credits
1-2 Credits
0 Credits
13-14 Credits
35
SECOND YEAR
First Semester
THEA 172 Production: Scenery
or THEA 174 Lighting Technology and Design
or THEA 222 Introduction to Design
or THEA 232 Costume Design
or Elective from the College
THEA 252 History of Western Theater I
One course fulfilling HCT or AD Requirement
(recommended: THEA 100 Introduction to Acting)
One course from SS or NS
One Elective from Humanities Division*
THEA 199 Theater Production Lab
Total:
3 Credits
3 Credits
3 Credits
3 Credits
2-3 Credits
0 Credits
14-15 Credits
Second Semester
THEA 172 Production: Scenery
or THEA 173 Production: Costumes
or THEA 212 Stage Management
or THEA 236 Scene Design
or Elective from the College
THEA 253 History of the Western Theater II
One course fulfilling HCT or AD Requirement
(recommended: THEA 100 Introduction to Acting)
One Elective from Humanities Division*
One course from SS or NS
[THEA 199 Theater Production Lab
Total:
3 Credits
3 Credits
3 Credits
0 Credits]
15 Credits
THIRD YEAR
First Semester
Study away at one of Oberlin’s affiliated programs
OR
THEA 172 Production: Scenery
or THEA 174 Lighting Technology and Design
or THEA 222 Introduction to Design
or THEA 232 Costume Design
or Elective from the College
THEA 208 Directing I (AD Requirement)
One Elective from Humanities Division*
One course from SS or NS
Elective in Theater
[THEA 199 Theater Production Lab
Total:
3 Credits
3 Credits
3 Credits
3 Credits
3 Credits
0 Credits]
15 Credits
3 Credits
3 Credits
36
Second Semester
Study away at one of Oberlin’s affiliated programs
OR
THEA 172 Production: Scenery
or THEA 173 Production: Costumes
or THEA 212 Stage Management
or THEA 236 Scene Design
or Elective from the College
One course fulfilling HCT or AD Requirement
One Elective from Humanities Division*
One course from SS or NS
Elective in Theater
[THEA 199 Theater Production Lab
3 Credits
3 Credits
3 Credits
3 Credits
3 Credits
0 Credits]
Total: 15 Credits
FOURTH YEAR
First Semester
One or more of the following:
THEA 172 Production: Scenery
or THEA 174 Lighting Technology and Design
or THEA 222 Introduction to Design
or THEA 232 Costume Design
3 Credits
THEA 208 Directing I (AD Requirement)
3 Credits
THEA 320 Special Project in Production/Design
3 Credits
Electives in Theater and/or from the College, as needed
6-12 Credits
Total: 14-15 Credits
Second Semester
One or more of the following:
THEA 172 Production: Scenery
or THEA 173 Production: Costumes
or THEA 212 Stage Management
or THEA 236 Scene Design
THEA 320 Special Project in Production/Design
Electives in Theater and/or from the College, as needed
Total:
3 Credits
3 Credits
8-12 Credits
14-15 Credits
*It is strongly recommended that Humanities Electives include courses from Art, Art
History and Cinema Studies, as well as literature courses from various departments.
Many of the arts courses are small and in high demand, so early pursuit of these classes
is essential for successful enrollment.
37
Senior Projects
The Senior Capstone
Seniors majoring in theater are strongly encouraged to pursue a “capstone” project that
will serve as the culmination of their undergraduate studies. Usually, the senior project
will evolve directly from the student’s concentration within the major. (e.g. directing,
designing, or acting in a full length production, etc.) Applications for Senior Projects
must be submitted to the Theater program secretary by April 15th of the student’s junior
year. (insert link here) Decisions about whether or not to approve specific applications
will be made collectively by the theater faculty and will depend upon a number of
factors: the feasibility of the project (the availability of an appropriate venue and
necessary technical support), the qualifications of the student to successfully complete
the project, and the overall completeness of the application.
Honors
The honors program is designed to provide exceptional theater majors with an
opportunity to undertake a full year (i.e. two semester) creative and/or scholarly
project under the close supervision of a faculty sponsor. Beginning in the spring of 2011,
a limited number of outstanding students will be invited by the theater faculty to propose
honors projects during the second semester of their junior year. Completed proposals
(insert link here) must be submitted to the Theater program secretary by April 15th of that
year. Successful applicants will be informed by mid-May; and practical details about the
project (such as performance space, production dates, budget, and technical support)
will be finalized at this time, as well.
In most cases, the proposed project will evolve organically from the student’s area of
concentration within the theater major. For example, a student with an emphasis in
History/Criticism/Theory would be expected to write a thesis of approximately 60—75
pages focusing on the work of a particular playwright, director, or designer, a specific
period of theater history, or a concept that helps illuminate a key aspect of theatrical art.
Similarly, students with a practical concentration in performance would be expected to
direct or design a full-length production of a serious work of dramatic literature or
perform a major role in such a production. Projects culminating in a performance or
production must also include a substantial written thesis (approximately 20--30 pages in
length) intended to provide the honors student with an opportunity to reflect upon his or
her creative process and to “situate” the final production within a broader intellectual
context consistent with the aims of a liberal arts education.
All honors projects will culminate in an “Honors Defense,” (lasting approximately sixty
minutes) during which the honors student will respond to questions about the thesis and
the project as a whole, posed by a committee of three examiners. This three-person
committee will consist of the student’s primary advisor for the project, a second member
38
of the theater faculty, and an Oberlin College faculty member from another department or
program which is related in some obvious way to the specific project.
Honors projects typically extend over both semesters of the student’s senior year and
earn between four and six credit hours toward graduation. In most cases, the creative
project will count toward 60% of the final evaluation and the written thesis will count for
30 %. The final ten percent will be based on the quality of the student’s Honors Defense.
In the case of projects that are entirely scholarly, the thesis paper will count for 80 per
cent of the final evaluation and the Honors Defense will account for the remaining 20%.
In addition to assigning a letter grade for the project, the three person examining
committee will also recommend that the honors student be awarded one of three “levels”
of excellence: Departmental Honors, High Honors, or
Highest Honors. This
recommendation is conveyed to the College Committee on Honors at Graduation, which
makes the final decision on awarding particular levels of excellence. Their goal is to
maintain reasonably uniform standards throughout all college departments and programs.
These decisions are not revealed to the honors candidate until Commencement, when
they appear in the printed Commencement brochure.
Timeline for The Honors Program
Under the guidance of a faculty advisor, students invited to apply for honors will submit a
formal application (insert link here) by April 15th of their junior year. Successful
applicants will be informed by mid-May; and practical details about the project (such as
performance space, dates, budget, and technical support) will be finalized then as well.
Preliminary research and planning for the project will be conducted over the summer. At
the beginning of the fall semester, the honors candidate will register for a minimum of
four and maximum of six credit hours for the project (to be distributed over two
semesters). The student will arrange for a series of weekly meetings with his or her
advisor; and some of these meetings-- especially those scheduled for early in the
semester--- will take the form of group meetings with other honors candidates and their
advisors. Prior to fall break, the student (in consultation with his or her faculty Honors
advisor) will select the other two members of the examining committee and will schedule
a date for the honors defense. (All three members of the committee will be expected to
evaluate both the creative and scholarly components of the project.)
By the end of the first week following Fall Break, the honors student will be expected to
complete a detailed outline of the thesis paper and submit this outline to his or her
primary advisor. At this time, the student and advisor will decide on the stylistic and
bibliographic conventions to be employed in the final paper (typically utilizing the
Chicago Manual of Style ) By the end of the semester , in consultation with his or her
advisor, the student must decide on a date by which a solid working draft of the thesis
paper will be submitted to the advisor. Usually, the deadline for submitting this draft
will fall just before or just after spring break. Note: Failure to submit an acceptable draft
39
of the thesis paper by this date will normally disqualify the student for honors. The thesis
will then be revised in ways that take account of the advisor’s suggestions. Copies of the
revised and final paper must be submitted to all three members of the student’s
examining committee at least ten days prior to the Honors Defense.
Note: Because the final recommendations for Honors must be in the hands of the College
Honors Committee by the beginning of the last week of classes (often May 9 or even
earlier), it is imperative that all aspects of the honors project, practical and creative as
well as scholarly, be completed by this date as well (that is: at least ten days in advance
of the Honors Defense.) And the defense must be scheduled at least a day or two in
advance of the final deadline for reporting honors recommendations to the College
Honors Committee. In actual practice, this means that in most instances, all honors
related work must be completed at least two weeks before the end of the semester.
Honors Application
The application for Honors can be found on page (insert link)
40
IV. THE PRODUCTION PROGRAM
41
Hall Auditorium Mainstage Series
OVERVIEW AND GOALS
The Hall Mainstage series consists of three productions per year, directed by faculty or
visiting guest artists. The rehearsal process for one production takes place during the first
semester, another during Winter Term, and the last during the second semester. The
objective of these productions is to:
1) Provide students with an opportunity to explore a rehearsal and production
process that reflects a professional model and put into practice thoseskills
learned in the studio.
2) Provide high quality, relevant theatrical experiences for the College and
greater Oberlin community.
In order to fulfill these objectives, the faculty follows a careful selection process of titles
from a wide range of theatrical genres.
TITLE SELECTION PROCESS
General Guidelines
Play titles are presented by faculty directors for consideration by the entire faculty. This
group is responsible for making recommendations based on the criteria of educational
value, casting requirements, design feasibility, and time and budget feasibility.
1) Educational Value. The Program assumes there is a need to produce from the
major periods in theater history. For example, over every four year period, we
try to consider titles from the classical era, the Elizabethan and Restoration
periods, the 19th and 20th centuries, our contemporary theater, original works,
and works inclusive of traditionally underrepresented cultures. In its
consideration process, the Program also takes into account the social, political
and cultural concerns of the campus and community, seeking titles that
represent the full range of the human experience. Finally, the Program
attempts to provide students with the opportunity to work in a full range of
genre: drama, comedy, farce, epic and musical theater, among others.
2) Casting Requirements. The Theater Program supports a policy of and
adherence to open auditions. Pre-casting of designated individuals for roles in
plays is not considered acceptable. In all cases care must be taken to insure
maximum fairness relative to the majors and the student body in general.
Conversely, consideration must be given to the number and quality of casting
opportunities relative to the demographics of the current majors
3) Design Feasibility. The title selection process must include discussions about
the feasibility of the design requirements of a given text and the director's
preliminary conceptual overview. In some cases a production may be
42
designated "minimal support" and the design needs will then be kept to predefined limits.
4) Time and Budget Feasibility. Each production consumes time and money.
Supporting a production to any degree implies considerable time
commitments of money and energy. It is the responsibility of the Program to
set realistic goals with the cooperation of the directors and the production
staff.
Selection and General Timeline

Suggested Play Library. Everyone in the program is encouraged to submit play
titles for possible production. The program secretary will maintain a lending
library in the Warner office of all plays suggested . We encourage everyone faculty, staff and students - to stay current by reading the suggested plays.

Directing Slot Assignments. In the fall semester, the Theater Faculty will meet
with the Managing Director and determine who will be directing in which slot the
following year.

Play Suggestion Deadline = January 15th: Faculty directors are expected to
submit a list of five plays that they would be interested in directing the following
year, or in the near future. These should be ranked in order of preference. Other
faculty, staff and student reps may also submit a list of no more than five play
titles by this deadline, if they wish for them to be considered for production.

Play discussion. At regularly scheduled Theater meetings from January thru
April, the theater faculty, staff and student reps will discuss the titles that have
been suggested. Criterion for selection is not entirely fixed, but will include:
-the artistic merit of the play
-inclusive representation of different periods, cultures, genres
-the concept of the director
-casting concerns (castability, gender balance, roles for majors)
-design possibilities - tech and financial viability
-curricular connections
-the balance of the season as a whole

Season Selection = April 15. By this date, directors, who are scheduled to direct
the following year, must have ranked their play selections in order of preference.
Each play will be voted on and rated accordingly. All faculty members will
receive one vote, as will each student rep.The final season will then have to be
accepted as a package (or amended until it can be). An effort will be made to
earmark some projects for the following year as well, especially in cases where
43
exciting interdepartmental curricular connections exist, or if extra resources
(requiring more lead time) will need to be sought.
Casting Policy
The Theater Program supports and adheres to a policy of open casting:


Pre-casting of designated individuals for particular roles in plays is not considered
acceptable*
Casting will be open to all members of the student body, regardless of classstanding and major status
Further, the program is committed to offering a wide a range of casting opportunities that
reflect the diversity of human experience. Roles will be cast based on the talent of the
actor, the demands of the playwright and the concept of the director.
Occasionally, professional guest artists and members of the greater Oberlin community
will be engaged to amplify the students’ experience.

Exceptions might be made for those honors students assigned a specific role.
Production Schedule
The Managing Director is responsible for drawing up a general production schedule. The
production schedule must have the approval of the production director. The production
director is responsible for creating rehearsal schedules. Both schedules must be
distributed to all of the staff, cast and crew.
Generally speaking, production meetings, at which revisions to the production schedule
will be made and discussed, will begin several weeks in advance of the production’s
opening. The Managing Director chairs the weekly production meetings. All key staff
is required to attend these meetings. Students working in key positions of the production
(Stage Managers and their assistants, student designers, publicity coordinators, etc.) are
required to attend. All other students are welcome to sit in on these meetings.
Rehearsal Procedures
All rehearsals (prior to the technical and dress rehearsals) are overseen by the Stage
Manager in consultation with the Director. Early rehearsals will take place in a space
other than Hall Auditorium, most frequently Warner Studio 3 or Dance Studio.
Scheduling of these spaces must follow all procedures outlined in the section of this
handbook entitled FACILITIES (insert link). When the set is prepared, and upon
approval of the Managing and Technical Directors, rehearsals will move into the
Auditorium space.
Technical rehearsals normally begin on the Friday evening before the scheduled
opening of a production, and continue for the entirety of the next day, Saturday. The
Technical Director is responsible for overseeing the technical rehearsals in Hall
44
Auditorium. He/she will consult with the Director and other staff on any matter
pertaining to the technical operation of the production. Beginning with the run-throughs
and dress rehearsals, the Director and Stage Manager are responsible for the performers
and all aspects of the production that relate to the performers. The Technical Director is
responsible for the crew and all matters relating to the technical aspect of the production.
In the event of a disagreement between the Director and Technical Director, the
Managing Director will have final arbitration powers.
Rehearsal Guidelines
As a Liberal Arts Theater Department, our faculty have the responsibility to set norms for
rehearsal scheduling which protect our students from academic failure and burnout. Our
rehearsal schedules should not over-burden students with unrealistic time demands; nor
should students be faced with choosing between participating in a play or maintaining
their academic standing.
Also, in order to maintain a high level of quality in our productions, rehearsals need to be
respected as an artistic process that demands a highly focused and singular commitment.
Involvement in too many extra-curricular or co-curricular activities at once, in addition to
creating scheduling problems, can limit the quality of a student’s own participation; this,
in turn, jeopardizes the overall quality of the group endeavor.
Therefore, the following “guidelines” were proposed by the Theater Faculty and accepted
unanimously by the entire program in November 1990. All productions operating under
T & D auspices, including both faculty and student directed shows, are expected to work
within these guidelines. While we have no jurisdiction over extra-curricular student
theater groups (OSTA, OMTA and G&S), we strongly encourage these organizations to
adopt them as well.
1) Rehearsals for a production may not span more than 8 weeks. (4 - 6 weeks is
recommended)
2) No actor is to be called for more than 18 hours in a week. Actors should only be
called when needed.
3) Student directors and stage / managers may not rehearse more than 24 hours a
week.
4) The maximum rehearsal length for any given day is 4 consecutive hours (5 hours
on a weekend).
5) There will be one complete DAY OFF for the entire company on either Saturday
or Sunday of every week. Additionally, efforts should be made to allow each actor at
least one additional night off weekly.
6) The only exceptions to numbers 1 - 5 is during final tech week, and Winter Term.
Winter Term projects are limited to 7 out of 9 consecutive hour rehearsal days, 6 days
per week.
45
7) No actor may rehearse (or volunteer to rehearse) during one of his or her
scheduled classes.
8)Absolutely no rehearsals are to take place after 11 PM or during the dinner hour (6 7 PM).
9) Actors must receive a 5-minute break after 55 minutes of work or a 10 minute
break after 80 minutes.
10) Rehearsal schedules must be posted at least 20 hours in advance. (Actors are
expected to keep evenings free of additional commitments until it is posted.)
11) Fall and Spring Breaks are vacations and not to be used for rehearsal.
12) No student may be in rehearsal for more than one production at a time. (No more
than one show per semester is recommended.)
13) Actors are expected to disclose ALL potential curricular and extra-curricular
scheduling conflicts at the time of audition. Once a student accepts a role - it is
assumed that participation in that show is his or her primary commitment. No
additional conflicting non-curricular commitments should be planned.
14) If a student takes credit for a faculty-directed production - it has the same status as
a regular academic class. Therefore, it is understood that no conflict takes precedent
over rehearsal.
15) Students on Academic Probation need the written permission of their academic
advisor to participate in a T&D show.
Performance Policies and Procedures
All evening performances customarily begin at 8:00 PM, and matinees begin at 2:00PM.
In recent years it is customary for the run of the production to open on Thursday evening
and close on Saturday evening, though this is negotiable, provided the arrangements are
made with appropriate lead time.
During the performances, the Technical Director and Director are expected to be present
to handle any problems that arise in their respective areas. The Box Office Manager is
responsible for all front-of-house activities including audience safety, ticket sales and
house-management.
46
Area Rules For Performances of Hall Mainstage Productions

No food or uncovered drinks in the Dressing Rooms

No food in the Green room or anywhere in Hall Annex

Please arrive clean; wear deodorant

Your costume pieces will always hang to the RIGHT of your name card

Laundry will be collected nightly in the baskets provided: T-shirts, socks, tights
and other pieces worn close to the body. All other costume pieces should be hung
carefully as you found them—please make note of how the pieces of your clothes
are hung, especially pants

If there is a repair to be made on your costume, please speak with the Costumer,
the Designer or one of the Dressers

If there is any question about HOW to wear a particular piece of clothing, see the
Designer

No Guests (non-show personnel) in the Dressing Rooms, Greenroom or
Backstage during the show

Do NOT leave the building during the run of the show. If you smoke outside,
please CLOSE the door while doing so

Do not bring to the theater any items that are not necessary to your function here:
please don’t clutter the Dressing Rooms. Wet shoes, umbrellas, jackets and the
like must be placed on/at the Coat Rack outside the Costume Shop

Personal valuables will be collected by Stage Management each night preceding
the performance and will be returned immediately following the performance
Thanks for your professionalism!
Ticket Policies
GENRAL TICKETING POLICIES
 Ticket prices for all Theater program shows in all venues are set promptly after
the season has been selected, by the Managing Director in consultation with the
Theater faculty and Central Ticket Service Manager Barbara Kessler.

For Mainstage performances, a ticket holder (comp or paid) must be in their seat
47
no later than the curtain time on the ticket. At curtain, seats remaining will be sold
to those on the wait list. The wait list starts in the lobby one hour prior to curtain
by the CTS staff only. For all Little Theater performances, a ticket holder (comp
or paid) must be in their seat no later than the curtain time on the ticket. At
curtain, seats remaining will be sold to those on the wait list. The wait list starts in
the Little Theater lobby one hour prior to curtain by the CTS staff only.

All Little Theater shows are provided with a 1house manager + 2 ushers and one
door sales person.

Hall mainstage shows are staffed by a house manager and ushers as determined
by CTS Manager Barb Kessler.
COMPLIMENTARY TICKET POLICY (COMPS)
 The Theater program provides a generous number of comps for sponsored
productions. The numbers of comps granted will be determined on a show-byshow basis. Comp decisions reflect our budget obligations, the number of people
involved in the show and the number of performances, as well as our desire to
maintain high attendance. Often an invited dress rehearsal will be used in place
of complimentary tickets.
 Directors need to meet with Barb Kessler, CTS manager, to discuss the specifics
of the production’s comps. It is the director’s responsibility to communicate
those decisions to the show's stage manager, who will request the comps from
Barb and distribute them to cast and crew.
OTHER TICKET POLICIES
 If you are an instructor and have assigned a class to attend a production please
make sure that students purchase tickets early enough to enable them to meet that
obligation. There is no easy way to create a fail-safe way that guarantees a seat
to any of our shows, other than early purchase of a ticket.
 Directors of shows determine the policy on attendance at dress rehearsals through
discussions at weekly production meetings, based on the needs of the show and
their own preferences about the functions of dress rehearsals. Please contact
directors individually to arrange for attendance at any dress rehearsals. Invited
dress rehearsals are just that, by invitation only, by the director.
 If family arrives unexpectedly there is no guarantee that they will be able to attend
the show. Please advise your cast members to plan ahead and purchase tickets
early.
48
Strike Requirement and Policy
The Technical Director is fully responsible for all strikes in Hall Auditorium. The cast,
crew and production classes are required to attend all strikes to which they are
called, without exception. Failure to comply with this requirement will result in a grade
of NP or F for any course work or Rehearsal and Performance credit as requested by a
student. Additionally, failing to participate in strike will result in a no-casting status for
the remainder of a student’s tenure at Oberlin.
The space is to be fully restored to a condition suitable for the next day’s activities. In
the event that a film or other event has been scheduled into Hall Auditorium the facility
must be ready for use by the next group at the time designated.
Little Theater Series
Overview and Goals
Each year, the Theater Program sponsors a number of student, faculty and class projects
in Little Theater, our flexible black box space located in Hall Annex. The plays presented
in this series are generally directed, designed and acted in by students under the
supervision of a faculty advisor. The intent of the programming in Little Theater is to
provide a means of practical application of those skills learned in the acting, directing and
design studios.
Project Selection Process
Each year in the spring semester, students may apply for a Little Theater performance
slot for the following academic year. The application form can be found in the Appendix
(insert link). All applications must be submitted by April 15, without exception.
Following the application deadline, the faculty will meet to review the applications and
make a determination about which projects the Program wishes to sponsor. Once the
determination is made, each project will be assigned specific production dates and the
director of the project will be notified in writing of his/her acceptance. Specific
parameters will be articulated in the letter of acceptance and this letter is considered to be
a binding contract between the project director and the Program.
While the criteria by which titles are selected is not concretely set, the following will be
taken into consideration when determining the suitability of a proposal:



The clarity, specificity and completeness of the proposal
The amount of experience and proven abilities of the director. Generally, it is
preferable for the director to have taken a minimum of two directing courses
The design and budgetary feasibility of the proposal
49




The artistic merit of the proposed project
Priority will be given to approved Senior Honors and Capstone Projects
Priority will be given to upperclassmen who are majors
In the event that there are proposals from outside groups (those not under the
auspices of the Theater Program), priority will be given to those projects which
enhance the cause of multi-cultural dialogue
50
TERMS OF USE AND GUIDELINES FOR LITTLE THEATER
2010-2011
The following guidelines must be adhered to by all groups using Little Theater. Failure to
do so may result in the forfeiture of the right to use the space and will be reflected in any
assessment or grade for credit associated with the project.
Faculty Advisors- Student directors of Theater program sponsored productions will meet
regularly with their faculty advisors over the course of the semester. Student directors will
provide faculty advisors with a comprehensive production and rehearsal schedule, so that they
may visit rehearsals as needed. There is an expectation of regular consultation with faculty
advisors as well as with Andrew Kaletta and other Hall staff as needed.
Little Theater Supervisor: Andrew Kaletta
In consultation with the rest of the Theater and Dance faculty and staff, Andrew determines the
load in/strike schedule for groups. Andrew hires and supervises the LT student technical
assistants and is responsible for the upkeep of equipment in the space.
KEY TO ABBREVIATIONS
CTS=Central Ticket Service, Theater and Dance’s box office
LD=lighting designer (ALD=assistant)
LT=Little Theater
LTSTA=Little Theater Student Technical Assistant
OGASP=Oberlin Gilbert And Sullivan Players
OMTA=Oberlin Musical Theater Association
OSTA=Oberlin Student Theater Association
SM=stage manager (ASM=assistant)
T&D=Theater and Dance Program
TD=technical director (ATD=assistant)
Note: These guidelines are mostly intended for the directors and stage managers of Little Theater
productions, but directors, designers, and tech directors should also be fully aware of all
guidelines.
If you have questions: please direct them to Andrew Kaletta and the Little Theater Student
Technical Assistants. If they can’t answer the question, s/he can direct you to the appropriate
person. Good luck!
51
THE RULES
• The Fire Code
The fire code is non-negotiable and is handed down to T&D (and the rest of the College) by the
Fire Chief of the City of Oberlin.
Þ NO OPEN FLAME. This includes matches, candles, cigarettes, incense, etc. Yes,
that says “cigarettes,” which means that actors cannot smoke on-stage (or offstage,
of course). NO SMOKE, FOG, MIST or other atmospherics are allowed. NO
PYRO of any kind is allowed. Any use of “blank” firearms must be cleared with Joe
Natt, the Technical Director of the Theater and Dance program.
Þ UNOBSTRUCTED PATHS TO EXITS. You must allow 4-foot unobstructed
paths from the audience area (the “house”) to each of the two exits in LT.
Þ The lighted exit signs by each of the two exits out of LT must remain visible to the
audience. If your set is going to obstruct the existing permanent signs, there are two
movable exit signs that can be used on the set instead, after consultation with Andrew
Kaletta as to placement, which will always be in a visible location.
Þ Fire Extinguishers are located; one directly outside the control booth, one directly
inside the control booth and one on the lobby wall. These fire extinguishers should
not be covered by any stored scenery or props. Everyone associated with the
production should be aware of the location and how to use these fire extinguishers.
• Seating
Þ The seating platforms in LT have recently been updated to accommodate flexibility in
arrangement. As this is an essential component of the design elements, all students
are encouraged to articulate a specific plan for their approach to seating during the
application process. There are 4 different approved seating arrangements that you
will be allowed to set up to create a unique setting for your production.
Þ A Floorplan of the set and seating arrangement must be approved by the
Theater Technical Director ,Joe Natt, one week before moving into the space. If
you are sponsored by T&D, you must make sure that there are at least 60 seats set
up for audience in the theater, no matter how you choose to set up the seating
platforms.
Þ Changes to seating must be handled by the incoming show. As part of strike all
chairs must be stacked. DO NOT USE CHAIRS AS LADDERS/TABLES
/WORKBENCHES.
• Lamp Usage
Þ Make sure to record your usage of spare lamps during tech rehearsals and the run of
52
your show. Please be conscientious about doing this. Spares are located in the LT booth
and there is a Usage Sheet posted where you should record the necessary information
when you take a lamp. Lamp usage does not come out of your budget.
• Paint

Þ Use only LATEX paint, not oil paints! Oil based Polyurethane finishes are excluded
as well. When your production is over and the floor is repainted by the next group,
the latex paint used by T&D will not adhere well if you have used oil paint. There
are fume problems with the oil-based products. You can purchase latex paint from the
Scene Shop.
In Case of Emergency
Þ Directors, Stage Managers, ASM’S and others in leadership positions should
familiarize yourself with emergency procedures in case of injury, illness, fire, and any
other unpredictable events. For serious injuries first call 911 on your cell phone or 7911 if you are using the college phone by the green room. Make sure that security is
informed as well at x58444 and then make sure that the Managing Director, Mike
Grube is informed in a timely manner. A first Aid kit is located in the lighting booth,
and should be checked by the SM during the tour with Andrew Kaletta and the
LTSTA.

Space Closes at Midnight
Þ Please be aware that Little Theater closes at midnight, EVEN DURING TECH
WEEKS! This rule will be enforced and rehearsals shut down if you are not done at
midnight, so plan well and use your time wisely.

Rehearsal space
If you need rehearsal space in Warner Center, you must turn in an application to the Warner
Center Technical Coordinator (Daniel James) as soon as possible but AT LEAST 2 weeks before
you need to start rehearsing. The earlier you apply, the better. (The Space Request form is
available in Warner, outside Rm. 102.) You may also be able to rehearse in the Conservatory,
particularly if your show is a musical. There are different space request procedures there—
contact the Conservatory’s concert production office for more information.
Make sure to consider your show’s tech needs when figuring out where you will be
rehearsing during the last several weeks of your production process. For instance, you may have
LT for three solid weeks leading up to opening, but many other things in addition to rehearsals
will need to be happening in the space (a light hang and focus at the very least!) during that time.
You will need to work with your designers, tech director, and director to ensure that everyone
has enough time in the space. A detailed production calendar is the only way to ensure success
53
in this aspect of production.
SPECIAL CONSIDERATIONS
As you have just read, there are a handful of real “rules” that you will need to keep in
mind. However, you will also need to keep in continual communication with T&D about your
use of the space. Perhaps the most important rule for using Little Theater is:
W H E N
I N
D O U B T ,
A S K !
 Little Theater Student Technical Assistant
The LTSTA is a student staff member whose responsibility is to facilitate your use of the space
and to work with you hands-on in the mounting of your production. S/he is the first person to go
to with questions, and if the LTSTA cannot answer your question or solve your problem, s/he
can refer you to the appropriate person.
 Other Hall staff
Though a LTSTA is in the building for all tech rehearsals and performances, there may be other
times when your designers/tech staff are in the space working on set or lights when a LTSTA is
not present but other Hall staff members are. If you have questions, please be sensitive to the
fact that every staff member in the building has a very full schedule. If you can, make an
appointment with the person you need to speak to. Hall staff will not always be able to—nor
should they be asked or expected to—drop what they are doing to help you, whether or not you
are sponsored by Theater and Dance. Plan ahead!
 Changes from your original proposal
Your group’s proposal was accepted based on the specific details outlined in your proposal. We
realize that during the creative process some of those details are bound to change, but it is your
responsibility to clear any and all changes from your original proposal with T&D BEFORE
you execute those changes.
THE PROCESS
 Load-in and strike times
When your group is given a slot in LT, you will be told when you can move in to the space (also
known as “load-in”) and when you must be out of the space (“strike”). These dates are set by the
Theater and Dance staff to try to ensure that each group has sufficient time in the space, and to
allow any other productions in the building to function efficiently. (During large productions on
the Hall Mainstage, LT is sometimes used as a dressing room.) These dates/times may be
somewhat fluid, but you will need to check both with T&D and the groups preceding and
following you in the space BEFORE making any assumptions about load-in and strike times. In
other words, the times are not set in stone, but you need to make sure that any changes are agreed
upon mutually by ALL groups who will be affected.
54
 Production meetings
During your production process, you will need to keep everyone updated about your design
ideas and decisions, and your other general plans for using the space. The Little Theater Student
Technical Assistant is required to attend weekly production meetings, so the weekly production
meeting scheduling must take his/her availability into account. The LTSTA can remind you of
things like the fire code that could affect your design choices, so that there won’t be any nasty
surprises later on when T&D tells you that you can’t do something. (The LTSTA will also need
an updated contact sheet and production calendar from you when you have them.)
 Tour of space
When you load in, Andrew Kaletta and the LTSTA, will give you a tour of the space, show you
how everything works and where things are. (If you have a lot of time in LT before you begin
tech rehearsals, you may want to schedule an additional meeting closer to your techs to review
how the equipment in the booth works.) At the end of the tour, the stage manager for the show
will be given the only keys to the theater, after which YOU ARE PERSONALLY
RESPONSIBLE for anything that happens in the space.
 Preparing to tech
In the day or two before your production goes into tech rehearsals, the LTSTA will make sure
that the space is prepared for techs to begin: set up headsets, tech table, work lights, etc. If you
have any special needs (such as extra headsets or work lights), you should try to let the LTSTA
know ahead of time so that you can use your tech time efficiently. During your techs, the
LTSTA will be working with you to answer questions and help with equipment problems. If you
need spike tape, glow tape, and/or gaffe tape, the LTSTA will be able to provide them. (There is
a communal Little Theater stash of these items that gets transferred from show to show, but your
group will be charged if a new roll of tape is started during your slot.)
 Preparing to open
You and your crew will need to make sure that the theater is picked up and clean and that the
chairs are arranged before opening night! The Little Theater Lobby must also be part of this
clean up process. The college custodians will not interfere with the lobby space, so carry your
own trash to the dumpster. It is imperative that during show dates that the house be open to the
audience at half-hour, no matter what, so please plan accordingly.
 Performances
The LTSTA will be present for all performances, should a problem or an emergency occur.
(Your house manager can also help with some situations, especially those that are audiencerelated, such as an ill audience member.) In any emergency call Safety and Security @ x58444.
Depending on the seriousness of the event it might make more sense to call 911 or 7-911 first.
 Strike
During strike, your group is expected to remove ALL materials and belongings from LT, the
Green room and from the LT refrigerator, and to restore the space to neutral by the date/time you
have been told to strike (unless you have made other arrangements, as discussed above). Please
55
be respectful of the group coming into the space after you. They will want to take full advantage
of the time they have been allotted, just as your group wanted to, so make the appropriate
arrangements for vehicles and storage areas AHEAD OF TIME. The LTSTA will provide you
with a Strike Checklist to help you keep track of all the areas that need to be attended to during
strike. ***It is important to let the LTSTA know about any equipment failures or damage to
the space if s/he doesn’t already know.*** At the end of strike the Stage manager for the show
will return the key to Andrew Kaletta or the LTSTA.
Specific Procedures By Department
• LIGHTS •

Inventory
You will be provided with an instrument inventory by Andrew Kaletta for instrument that are
available for your use. There will be no swapping of instruments between Little Theater and
Hall Auditorium. The only instruments you can use in your plot are those that already
belong in the LT inventory.

Spare lamps
In the booth, there will always be several spare lamps for the instruments that are in use. If you
blow a lamp and need a spare, use the ones in the LT booth intended for that purpose, and
record it on the Usage Sheet. If you run out of spares in the booth (or are worried that you may
run out), talk to the LTSTA or Andrew Kaletta and they will replenish or increase that supply.
Again, you will not be charged for the use of spare lamps.

Gels
Student productions in LT may borrow cut gel from the light shop free of charge. The
production is charged for any sheets of gel cut for that show. The uncut gel must be marked
“No Recharge.” Any gel not marked “No Recharge” is not available for student use.
• SOUND DESIGN •
Make sure to get a sound designer on your production staff if your show requires extensive or
unusual sound cues (you may find an interested TIMARA student.) Andrew Kaletta and/or the
Sound TA (a Hall student employee) are more than happy to answer questions but the sound
designer is expected to do the work. Room 211 has been designated a sound lab which your
sound designer is free to use with access and scheduling through Andrew Kaletta.
Also, please do not rearrange any of the outputs, etc. in the back of the sound board. If
your designer feels that his/her sound design requires that such changes be made, please discuss
this with Andrew Kaletta first. He is not adverse to such changes, but they do require his prior
knowledge.
56
• SET•

Design
NO OIL-BASED PAINTS OR POLYURETHANE !!
The design of your set will be limited by the fire code, as listed above in THE RULES. In
particular, you need to make sure that set pieces do not obstruct the path between the audience
and the exits in Little Theater. What this usually means is that no standard-sized, on-stage doors
can be placed directly in front of the theater doors, because in case of fire, that door would be too
narrow for half of the audience to exit through quickly and safely. (When you are given the tour
of the space by Andrew Kaletta and the LTSTA, s/he can show you visually in the theater what
this means, as it can be hard to envision when you’re not sitting in the space.)
Don’t forget to consider where lighting instruments will be hung and make sure to
communicate with the lighting designer about such details as to where and how high any walls
will be.

Offstage Areas
This may seem obvious, but be sure that when you are planning scene shifts you consider the fact
that there is virtually no space offstage left in LT. Large pieces of furniture will not be able to be
struck to offstage left. Big objects will either need to go out stage right into the large vestibule, or
be placed against the upstage left wall. While this area is technically “on-stage,” it is a fairly
neutral, unobtrusive place to put furniture when it isn’t being used in a scene (as long as you
don’t light it very brightly) and as long as you maintain the necessary 4-foot clear path to the
exit.

Borrowing
You may also be able to borrow certain set pieces (step units, unlegged platforms, columns, etc.)
from T&D. If you anticipate wanting to borrow materials, you must fill out a loan request form.
(Props and set pieces are applied for together on the form labeled “Properties and Scenic
Materials”—see appendix.) You can refer to the form for more detailed instructions on how to
fill it out and submit it, but keep in mind that the form is due 2 weeks before you plan to pick
items up.
Because the Loan TA works primarily out of Warner, you may also want to make a
separate appointment with Joe Natt or the Hall ATD (David Bugher) to look in Hall basement,
where additional scenic materials are stored. (You may also want to check with the student
theater organizations, who may have some items stored elsewhere.)
Before your strike, you should check with T&D and/or your sponsoring organization to
see what should be done with your set pieces and leftover materials. Though many set pieces are
thrown away because of the space shortage on campus, you may be saving someone time and
money if you have an unusual set piece that you think could be used again (or altered) someday!
Many standard flats and platforms are also stored and reused by T&D and the student theater
organizations, so be sure to check before you toss anything out.

Building
If you are designing a set that needs to be built, you will need to arrange for somewhere to build
57
unless you know that your time slot in LT is long enough to build and assemble pieces directly in
the theater. Some basic tools live in the lobby, but if you need additional tools you will need to
talk to the Hall ATD about borrowing them, prior to 4:00 pm. If you need access to large
stationary power tools, you will only be able to use those tools during the day when the Hall
Scene Shop is open, and supervised, prior to 4:00 pm. *Please use common sense and only use
those tools which you and your builders know how to use safely!
Also, do not assume that you will be able to store set pieces in the Scene Shop while they
are being built. The Mainstage season is usually very tight and there is probably not room or time
for extra pieces to be stored there. Being given a slot in Little Theater DOES NOT mean that
your production will be given tech support by the Scene Shop. Ask in advance so you have
time to make alternate building and storing arrangements, if necessary.

Parking and Unloading
While your group is unloading cars or vans, you may park the vehicles on the sidewalk directly
outside of LT, but when you are done, you must move them to one of the regular parking areas
(either across the street or behind the Art Building.)

Materials
You can often purchase and order lumber and other building materials through the Scene Shop,
but make sure to make arrangements for those materials to be stored somewhere besides the
Scene Shop if space is tight. Talk to the Hall ATD (David Bugher). T&D is not able to purchase
materials for non-T&D events.
The floor
The incoming show is responsible for painting the floor according to their design needs. Latex
Paint Only !
• COSTUMES •

Dressing rooms
Several weeks before your production’s tech week, you will want to find out what space will be
allotted to you for dressing rooms. If your show is going up at the same time as a Hall Mainstage
show, the Mainstage show will use the dressing rooms and your production will most likely use
an upstairs classroom.
The Director or the Stage Manager must make an appointment with Chris Flaharty for a
tour of the dressing room before a key will be given.

Costume racks
If you are using classrooms and/or if you need a costume rack in the large vestibule, you will
want to make sure the LTSTA (or your costume designer) has made arrangements with Chris
Flaharty, the Hall costume designer, so that the racks are available when you need to start using
them.

Borrowing
You may want to hand in a Costume Loan Form if you think that T&D might have some pieces
58
that you are unable to find or make yourself. Keep in mind, though, that the costume pieces in
storage are often quite valuable and/or fragile, and they will not always be available to outside
groups. Do not assume just because you have seen a costume in a T&D show that it is available
to be borrowed! Hand in the form far in advance so that you have time to make other plans for
any pieces you cannot borrow. Again, detailed instructions are on the form, but remember that
the form is due 2 weeks before you plan to pick items up.
• PROPS •

Borrowing
If you want to borrow props from T&D, you should fill out a loan request form. You will need to
make a detailed list of what you need before submitting the form, which will be reviewed by the
Warner Technical Coordinator and then handed on to the Loan TA, a student employee of T&D
who will help you find what you need. (You can add items to the list if necessary later, but the
more complete your list is when you turn it in, the more effective the TA can be in helping you
to know what exists in Warner storage.) Props and set pieces are applied for together on the form
labeled “Properties and Scenic Materials”. You can refer to the form for more detailed
instructions on how to fill it out and submit it, but keep in mind that the form is due 2 weeks
before you plan to pick items up.
Because the Loan TA works primarily out of Warner, you may also want to make a
separate appointment with Joe Natt, Mike Grube to look at the prop storage area in Hall.
If you don’t find specific props in Hall or Warner, you might want to check with your
sponsoring organization and/or the student theater groups before you purchase anything.
Sometimes an office on campus (such as Safety & Security, or Buildings & Grounds) may be
willing to lend out unusual items—ask around!
• PUBLICITY •
If you are sponsored by T&D, do not anticipate that publicity will be taken care of by the
department. The Publicity Office functions largely as an advisor to your production’s publicity
coordinator. Select things such as the front-of-house staff are provided by the department. If
you are not sponsored by T&D, you must rely on your sponsoring organization for publicity.
The publicity office (Hall 216) is still a resource, but you are on your own for everything from
Review articles to house staff. Regardless of your sponsor, you should review the publicity
guidelines available in the publicity office.
USE OF THE EQUIPMENT

Little Theater was originally intended for use as a video studio, which goes a long way
toward explaining some of the limitations of the space as it exists today. One of its most
idiosyncratic features is that the control booth (the location from which SM and board
operators run the show) does not look directly out onto the stage. Therefore, various
electronic equipment must be used so that the SM can hear and see the show. (This
59
equipment will be explained to you in detail when you are given the tour of the space by
Andrew and the LTSTA. These are just some basic pointers to use as a reference.)

You will want to make sure to run equipment checks before each rehearsal and
performance so that if anything is malfunctioning you and the LTSTA will have at least a
little time to work on fixing it. Add it to your preshow checklist now!

The video monitor: how you watch the show.
There is a black & white video monitor in the LT booth located above the sound board. If
you have trouble with it please let the LTSTA or Andrew Kaletta know as soon as possible.
Please do not attempt to change around any of the wiring yourself or it will become less
and less clear to staff what the original problem was. The same goes for all electronic
equipment in the booth!
The video camera must be turned on manually when you enter the space. The switch is
above your head and to your left if you are standing at the SM station. It is important that you
remember to turn it off when you are done with your rehearsal; if the camera is left on too long,
various elements in the camera can burn out and when you arrive for your next rehearsal, you’ll
be unable to see the stage!

The audio monitor: how you hear the show.
Quite simply through the Clear-com system which uses an overhead microphone in the
space to pick up actor’s voices. The also enables the actors in the dressing rooms, green room,
and other areas in the building to listen to the show from those locations.

Clear-Com: how you communicate with crew members/board ops/actors.
The Clear-Com intercom system lets you talk to the other people running the show. You
can also make announcements directly to the backstage areas—for instance, to call actors to
places. The system is probably best described to you in person by the LTSTA or someone else
who has experience using it. It is not difficult to use, but there can be occasional glitches with the
equipment. Once again, please let the LTSTA or Andrew Kaletta know immediately if
something doesn’t seem to be working so that they can help you fix it.

Dimmer packs and light board; amps, decks, and sound board.
You will be shown the correct way to turn on and shut off all light and sound equipment by the
LTSTA. It is important that you in turn show the designers/board operators the correct processes.
Even if they are knowledgeable designers or techies, equipment can vary from space to space.
The equipment in LT is all new to the space and it is important that it remain in good condition.
60
Once again (this can’t be reiterated enough): please make sure to notify the LTSTA or
Andrew Kaletta IMMEDIATELY if any of the equipment isn’t working correctly! Even if
you think you can fix it temporarily, the groups after you may run into technical problems and
staff will not know the origin of these problems. Please be respectful of the fact that many groups
use the space and share the equipment. The equipment does sometimes behave mysteriously for
no apparent reason, and we need to know sooner rather than later so that we have time to
locate and solve the problem BEFORE your show is in front of an audience!
61
Theater 199
Theater 199, Production Lab, was created as a means of providing essential personnel for
productions sponsored by the Theater Program. While this need is a practical one, it is
also true that the THEA 199 experience supports the philosophical premise upon which
our Program is built: Theater is a community-building event. In order to be a successful
collaborator in the field of theater, it is not enough to understand only that particular area
of interest in which you engage. It is essential that you have grounding in all aspects of
theatrical production. THEA 199 requires you to move beyond your “comfort zone,” to
experience all aspects of live theatrical production.
PROCEDURE
• Students register for THEA 199 through PRESTO.
• Students attend a meeting scheduled by Daniel James, the Warner Center Technical
Coordinator (WCTC), early in each semester ( 1st Friday after classes begin). This
meeting will include a description of the Season, a general explanation of the
requirements and expectations of each student as well as an opportunity to sign up for
specific productions. Each student will be given a tech schedule for their production
which will cover all the dates and times of their commitment.
• The WCTC will communicate any changes to the schedule as they occur and will send
out a reminder and request for a final confirmation of that commitment no later than one
week prior to the first reporting date.
• General and production specific training will occur at the first reporting date.
• NOTE: It is possible to grant 199 credit retroactively, by fulfilling the requirements and
then registering the following module or semester, with the WCTC keeping the record
and then entering the grade
EXPECTATIONS
• Because the work cannot go on if you are not there, your presence is mandatory at all
scheduled sessions.
• You will show up on time and appropriately dressed for all of the calls listed on the
schedule distributed at the first 199 meeting.
• No open toed shoes will be allowed backstage and you may be required to wear black
clothing for all dress rehearsals and performances.
• Published schedules will be adhered to and you will be free to leave only upon
dismissal by the Technical Director. (We are aware of the importance of time and will
not keep anyone longer than is absolutely necessary. )
• Attention MUST by given to the production at hand so NO COMPUTERS, CELL
PHONES OR TEXTING are allowed backstage.
• PROFESSIONAL BEHAVIOR is expected of you at all times. (see below)
62
PROFESSIONAL BEHAVIOR IS THE STUDENT'S ABILITY TO:
-
adhere to all health and safety regulations.
cooperate with his or her supervisor and fellow workers.
follow directions carefully and consistently.
become familiar with crew policies and procedures.
concentrate on the assigned task.
be courteous at all times.
take directions on a task, remember them and apply them.
be trustworthy without constant supervision.
observe traditional theatre etiquette.
63
Student Stage Manager Manual
The following information is intended for use by all students taking on the important task
of Stage Management. It is included here for general information.
OBERLIN COLLEGE
THEATER AND DANCE PROGRAM
STAGE MANAGER'S HANDBOOK
(Revised 8/94)
PLEASE BE ADVISED THAT MAJOR REVISIONS TO THIS DOCUMENT ARE
UNDERWAY
INTRODUCTION
This guide outlines the general responsibilities of a Stage Manager for an Oberlin College
production. All productions involve similar responsibilities, but each show has its own
special requirements. This book does not attempt to be all-encompassing; stage managers
are encouraged to approach the Technical Coordinator, Warner 102 or the Production
Management T.A. with specific questions.
All stage managers should refer to Thomas Kellsy's book, Stage Management. Other
references are Lawrence Stern`s book Stage Management and The Stage Manager`s
Handbook by Gruver.
GENERAL NOTES TO THE STAGE MANAGER
Yours is unquestionably one of the most important roles to be played in any
theatrical production. You are the person who needs to know everything that happens
during the course of the production from the first conceptual meeting to the strike which
occurs after the final performance. It is a very big job. You must be fully committed to
the production and demonstrate that commitment through responsible action, active
involvement, sensitivity, positive support, and hard work. You must use common sense
at all times. A cool head must prevail in the most tense and emotional moments of
rehearsal or performance. You must also understand both the artistic vision and the
technical practicalities of a production. This understanding will allow you to make
intelligent suggestions as you work on the show. Your job cuts across the entire chain of
artistic and technical command. You are the "coordinator" of all aspects of the
production and are solely responsible for the execution of the show once it has opened.
You may also find yourself being called upon to mediate disputes between members of
the production, or act as counselor, mommy, or punching bag. This is neither a positive
64
or negative circumstance, but a reality. You should not complain to other members of the
production; find someone on the outside to rant to, they won't understand half of what
you're saying anyway. Do your best not to pick sides. Be supportive of everyone
without being negative about anyone. Unless your opinion is sought, don't offer it. If it
is sought, be cautious to be positive!
This guidebook may be the only time you're asked to do many of the things you need to
do---after this you're just expected to do the job. "Thank yous" will be few. Most of all,
keep your sense of humor. We're not involved in a life or death proposition here. We're
doing these productions for fun and to learn about the performing arts, so keeping a
positive outlook is essential.
You must never assume anything as the production proceeds. If someone else is
supposed to do something, check to make sure it has been done. However, if you are
asked to take on responsibilities that are not outlined in this guidebook, DO NOT assume
that this is reasonable because you are the stage manager. If you feel you are being illused, contact the Technical Coordinator or the Production Management T.A. They will
be able to help you assess whether the demands are reasonable and suggest options for
solving problems.
If a member of the production staff quits midstream, or if a position is never filled, DO
NOT attempt to pick up the slack yourself. Although in the short run that may seem to be
the easiest solution, it's not a good idea in the long run. At the beginning of the
production, emphasize the importance of filling production staff positions. Just as it is
necessary to have an actor to play each part, the production must have a costumer, sound
engineer, etc. If the director wants to design an element of the production his or herself,
that's fine; however, someone will still be needed in the support position for that job. If
the director wants to design the set, great, but you will still need a technical director.
Better it be a small job for someone else than adding to your job responsibilities. If you
are having trouble filling positions, resources include auditionees who didn't get cast, past
programs (found in the publicity office) and the OSTA technical director. Also, word of
mouth works wonders.
WORKING WITH YOUR ASSISTANT STAGE MANAGER
One of the most frequently asked questions is "What should I have my ASM do?"
Unfortunately, the most frequent answer is "Whatever I don't want to do." However, this
answer is unlikely to promote a good working relationship between you and your ASM.
A better approach is to delegate areas of your job to your ASM. For example, you can
make the ASM responsible for props for the show. It may also be helpful if your ASM
runs a rehearsal or two during the week. As a general rule of thumb, any time you find
yourself running around trying to do a thousand things in an hour, stop yourself and ask
two questions: (1) Which of these things could be done just as easily by my Assistant
Stage Manager? (2) Are any of these tasks other people's jobs that I should remind them
65
of instead of doing it myself? The key to balancing your role as stage manager is your
skill in delegating your responsibilities.
PRODUCTION BOOK
The production book or prompt book, as it is sometimes called, is your most important
tool. It should be the first thing you prepare as you begin to think about the upcoming
production. It is a very important tool for many reasons. It serves as a record
of the
rehearsal process that becomes your guide for running the show. In addition, it can give
us indications of where we can improve our production program.
The first thing to go into your production book should be a copy of the script. Each page
of the script should be opposed by a blank piece of paper which may be used to record
blocking, technical cues, special effect notes, actor calls and any other information
pertinent to the running of the show. You may want a 1/8" ground plan on a blank page
which can be used to record blocking. This will be discussed further in the rehearsal
section.
Read through the script and lightly pencil any obvious technical cues into the book. Any
lighting and sound cues called for by the playwright should be noted as well as any
special effects, properties, costume specifications or changes, and actor entrances. As the
production develops the actual cues and effects may change substantially. The director
and designer often change the cues noted by the writer.
As previously mentioned, this book is the final documentation of any given production.
Many things have to be included besides the script to make the documentation accurate
and useful. These items include:

A CONTACT SHEET should list the names of everyone involved in the
production, their title or role, address and phone number. In addition, the phone
numbers of rehearsal rooms, backstage phones, green rooms, the local hospital
and ambulance service, police and fire departments, scene shop, costume shop,
publicity office, and box office are often included.

STUDENT LOCATOR forms for all the students involved in the production.

A copy of the specific REHEARSAL and PERFORMANCE schedules.

A SCENE BREAKDOWN of the play, indicating which characters appear in each
scene.

A complete PROPERTY plot.

A complete COSTUME plot, given you by the costumer.

A complete SOUND plot.
66
THE MASTER CALENDAR
Management of time is one of your most important functions. In order to keep everyone
and everything on time, it is desirable for the stage manager, in con junction with the
production staff, to post a master calendar for the production. Deadlines should be set
with the production staff at the first or second production meeting.
This calendar should include:

Deadlines for costume and set designs and working
drawings
 Deadlines for light and sound plots and paper techs
 Casting deadlines
 All rehearsal
 Staff meetings
 Deadlines for line memorization
 Deadlines for rehearsal and show props
 Deadlines for completion of sets and costumes
 Light hanging and focusing calls
 Costume fittings
 Publicity photo calls
 Production photo calls
 Lighting and technical rehearsals
 Costume Parade
 Dress rehearsals
 Performance schedule
 Strike schedule
 All other use of stage during the production period
On a Hall Mainstage production, this schedule will be formatted by the Managing
Director. In a Warner Main Production it will come from the Technical Coordinator.
Otherwise, it is your responsibility to formulate this schedule. In all cases it is your job
to see that all this information appears on it and that it is properly posted. Revisions of
schedule are discussed in production meetings. It is the stage manager's responsibility to
make sure changes are posted and those involved are notified. It is also your job to be
aware of deadlines and to remind other members of the production staff to the degree you
think it necessary.
REHEARSAL SCHEDULE
After completing the Master Production Calendar, you should finalize a
separate rehearsal schedule. This schedule is created by the director, in most cases. You
will have to work with the director resolving the many conflicts found in most of the cast
members schedules. Remember two things when you make this schedule: first, it is for
the actors and they will only be confused by any extraneous information. Second, never
assume they will understand your schedule. If you feel the schedule is clear, write it
67
again and make it more clear. This is not done out of contempt for the performers, but
for the production benefit. As he actors may be receiving quite a bit of paper work, it
may be helpful to always Xerox the schedule on a specific color of paper. It is a good
idea to provide each actor with a scene breakdown sheet telling which actor appears in
what scene. This does not mean, however, that you can simply note the scene on your
schedule and the actor will appear for his call. Always note which actors are needed for
which rehearsal at what time.
Along with the dates, times and places for rehearsals and notation as to which cast
members will be needed for each rehearsal, include the following phone numbers on the
rehearsal schedule:









Your home phone
Your A.S.M.'s home phone
the backstage phone
the green room phone
the rehearsal hall phone
Police emergency
Fire emergency
Ambulance
Box office
Line memorization deadlines should be noted on the schedule. Also, keep many extra
copies of the schedule with you. Someone will always want or need another one. Post
the schedule clearly on the company callboard(s) - there is one in Warner and another in
the Hall Annex. It is a good idea to have the weekly schedule posted by Thursday for the
following week.
WHO NEEDS YOUR INFORMATION
1. MANAGING DIRECTOR
2. DIRECTOR
3. TECHNICAL DIRECTOR
4. ASST. TECHNICAL DIRECTOR
5. WARNER TECHNICAL COORDINATOR
6. SET DESIGNER
7. COSTUME DESIGNER
8. LIGHTING DESIGNER
9. SOUND DESIGNER/ENGINEER
10. COSTUMER
11. ASSISTANT STAGE MANAGER
12. MARKETING AND PUBLICITY DIRECTOR
13. DESIGN SUPERVISORS
14. WARNER SECRETARY
15. HALL SECRETARY
68
SCRIPTS
You should make sure there are enough scripts/scores for the director, cast, production
staff and a number of extra scripts for the running crews. There are Xerox machines in
the Hall and Warner main offices for your use. Please accurately record all copies made
for the production in the log books kept by the copying machines.
As rehearsals progress you will need to keep track of all cuts and changes in the script
and inform production people on a regular basis. Any new pages added to the script
should be typed and duplicated for production staff. Make sure that all parts of the script
that are cut aren't discarded or lost. Keep a file in case the director wants to put the cuts
back in. It is a good idea to date the cuts and changes i.e. I,i pp. 4-6 cut 10/4/92. If cuts
and revisions are going to be extensive, you may wish to delegate this job to an Assistant
Stage Manager or an Assistant Director.
AUDITIONS
You will be responsible for many audition details. You should see, in conjunction with
the program Administrative Assistant, that the times and place for auditions are posted
and publicized.
Work with the director to prepare audition materials (scripts, scores, character synopses),
forms for the auditionees to complete (student locator forms available in the production
offices in Hall or Warner), callback lists and ultimately a cast list. Audition scripts are
placed in the Warner office for the AA to handle sign-outs. Audition space in Warner
must also be scheduled through the Warner AA.
It is your job to make sure everything needed for audition is there - - adequate furniture,
props, whatever. Check with the Warner Technical Coordinator if you need additional
props in the studio.
You should also keep a comprehensive list of everyone who auditions for the director's
reference. Pay close attention so you are able to assist the director in remembering the
many individuals who auditioned. It is a good idea to have an assistant stage manager to
assist at auditions. You can coordinate the auditions themselves by collecting various
forms and keeping track of which forms go with which person while the ASM keeps the
people waiting to audition organized.
THE REHEARSAL PERIOD
During the rehearsal period, the stage manager is expected to arrive at the rehearsal room
in time to prepare for the day's rehearsal. This should include making sure that all
69
rehearsal props and furniture are ready and in place. You may need as much as half an
hour for this preparation.
At the end of each rehearsal the stage manager needs to remind the performers of
costume fittings, changes in rehearsal schedules, and the next call. The stage manager is
also responsible for the condition of the rehearsal space. The space should be ready for
classes to take place on the following day; this means that cubes, chairs, and tables found
in the space should be cleared to the walls, anything not found in the space should be
removed, and soda cans and other trash should be thrown away. Also, the windows
should be closed. This does not mean that it is your job to clean up after everyone else;
it means that it is your job to encourage, and perhaps coerce, everyone else to clean up.
You should be prepared to answer frequent questions about the set, lighting, costumes,
blocking and cuts in the script. It is a good idea to keep track of the time of each act and
scene so there is some idea of overall running time as the production progresses. It is also
a good idea to keep a daily log of what happens in rehearsal. Notes for designers and the
shops, reminders to yourself, accidents occurring in rehearsal are worth noting. You will
be able to see in one glance what needs to be done and will be able to keep track of the
progress being made. Rehearsal report forms are available to make this record keeping
easier. (insert link)
As well as informing the director and cast of the technical elements of the production,
you should take care to inform the design and technical staffs of any changes planned by
the director. For example, if an actor needs a place to put a hand prop during a scene and
the director simply says "put it in your coat pocket" - it is your job to find out from
costumes if, in fact, there is a coat pocket and if not, to relay this information to the
director. If the director says "the lights will change here," make a note in your prompt
book to that effect. Set up a specific time for yourself every few days to visit all the
shops and talk to the designers and production staff.
RUNNING REHEARSALS
You will be responsible for seeing that rehearsals run smoothly. In addition to having
rehearsal costumes, props, and set pieces, this job also entails making sure that rehearsals
run on time. Talk to the director about when he or she likes to give breaks to the actors
and know what he or she hopes to accomplish every evening. Be prepared to give the
director the time at regular intervals, approximately every forty-five minutes or so. The
best time to give the director this information without interrupting the rehearsal is after
he or she has given notes on a segment before they start on another section. Also, make
sure that breaks do not run long. As soon as the actors are off book you should either be
prompting or have an ASM in rehearsal to prompt.
THE REHEARSAL SPACE
To prepare your rehearsal room or studio, you will need to tape out the scenery as it is
depicted on the designer's groundplan. This should be done with vinyl spike tape, and
70
should be done several days before the first rehearsal, or as soon as possible. Spike tape
can be obtained from the Assistant Technical Director in the scene shop. (No masking
tape on the floor please.) It is a good idea to very carefully go over the groundplan with
the set designer before spiking. Make sure you know that plan as well as the designer.
Six inches here or there may make a huge difference.
You should also double-check the scheduling book to be sure the space has been properly
reserved. The scheduling book is in the Warner office. Signing out of rooms on a
weekly or daily basis takes place through the Warner Technical Coordinator. To reserve
space for an entire rehearsal process, fill out a space request form located outside the
Technical Coordinator's Office in Warner. Check with the Technical Coordinator about
space to store rehearsal props and costumes. There are prop cabinets available for this
purpose. When in Hall, check with the T.D. about the prop cabinet reserved for this
purpose.
If your rehearsal is cancelled you MUST cancel your space with the program AA or the
building monitor.
THE SHOPS
As soon as a cast list is complete, the stage manager begins working directly with the
costume shop. Initially, this will involve seeing that everyone in the cast has an
appointment to be measured. As actual construction begins you will need to remain in
contact with the costumer to make subsequent appointments for fittings and make-up
calls.
The stage manager works with the costume shop to see that rehearsal costumes (also
props and furniture) are obtained in time for the first week of rehearsal, or as soon as
possible. (Of course, some shows do not require rehearsal costumes.)
The stage manager is also responsible for Theater Program loan forms (insert link) and
communicating with the Props Loan T.A. You need to hand in the T&D loan form in
order to borrow props, costumes, the lighting loan pack, scenic elements (flats, platforms,
etc.), and lighted music stands. This form can be obtained from the bulletin board outside
the Technical Coordinator's Office, Warner, Room 102. It should be filled out in
conjunction with the production designers, who should be able to tell you what they need,
and handed in to the Technical Coordinator, Warner, Room 102 at the beginning of the
production period. Once you have handed in the green loan form, you should make an
appointment with the Loan T.A. The Loan T.A. is a student employee of the program
who is responsible for loaning props out. All props must be checked out through and
returned to the Loan T.A., so the sooner you contact him or her the sooner you can have
rehearsal props. You can also find out what props are not available and plan accordingly.
As rehearsals progress, the stage manager should keep in touch with the costume shop.
The stage manager is the shop representative during rehearsal and should be keeping an
eye on anything that effects the costume shop, such as costume changes, timing of the
71
changes, space requirements, blocking that will effect movement, etc. Keep an eye out
for costumes, props, or set pieces that the director or actors seem to be always miming.
You may want to talk to the director about the possibility of a rehearsal piece, or talk to
the designer about the possibility of getting the actual prop a few days early. If a section
of the play is left unworked until tech week for lack of a costume or prop, it could lead to
time being wasted on character work during tech week.
If money is needed for costume props during rehearsal period, check with the costume
shop in advance. This rule applies to all spending of monies. Check with the appropriate
person before spending any money. The college has procedures for all purchases, and
they must be followed.
PRODUCTION MEETINGS
You will be jointly responsible with the Director and the Managing Director (if
applicable) for scheduling weekly production meetings. All members of the immediate
production staff need to attend. It is your responsibility to inform everyone of the time
and place of the meeting. The purpose of these meetings in the early stages of the
production is to develop and refine the production concepts with everyone's knowledge
and input. As the production progresses these meetings involve updating the staff on the
current status of the production, budget reports, and any problems that have been
encountered. At the beginning of the production process, the subject of run crew should
be discussed and should continue to be a standard topic of discussion until all the
positions are filled. Meetings are run by the Managing Director for Hall Mainstage
produc tions. The Technical Coordinator will run all meetings for productions taking
place in Warner Center. You will be expected to run production meetings in all other
spaces. There is a generic T&D production meeting agenda at the back of this book. As a
rule, each area of the production should be prepared to give a report on its progress for
the week. Also, you should remind everyone of upcoming deadlines, review the major
decisions of the week, and give everyone the opportunity to raise questions and concerns.
PRE-TECH MEETINGS
The stage manager should set up a convenient meeting for designers, the
director/choreographer, the tech director and him or herself prior to the lighting or shift
rehearsals to go over the cues for the show. This is a good time to take care of the
following:
1. Cues previously established are set and entered in
the prompt script in pencil. After the technical
rehearsal, the cues should be color coded, i.e.
blue for lights, red for sound, etc.
2. A method of cueing is determined (shift, lights,
sound, etc.)
72
3. Set changes are established and entered in the
prompt script.
4. Any special problems are worked out, i.e. quick
changes, entrances and exits, etc.
This paper tech may seem redundant. However, if this meeting is carried out properly, it
will save very valuable time during the tech rehearsal. This is the stage manager's first
chance to see how the production will move as a whole, to establish a performance
pattern.
You should prepare for this meeting by going through the script step-by-step thinking
about where problem spots are likely to occur. Also, you should choreograph the scene
shifts before this meeting. Choreographing the scene shifts involves calculating the best
way to move the scenery, how many people will be involved in each move, who they will
be, how they should be best positioned, and whether or not they will need change lights,
among other things. This process is often done in cooperation with the technical director
of the show, or, in some cases, the director may wish to choreograph the scene changes.
.
TECH REHEARSALS, LIGHTING AND SOUND REHEARSALS
Technical rehearsals can be the most frustrating time of the entire production. Actors may
wonder why they are spending time with piddling details. You, however, as the stage
manager must remain calm and take all the time necessary. A technical rehearsal is for
the benefit of everyone involved. It involves going from cue to cue, learning the timing of
that cue, making sure that everyone knows how that cue is carried out and not going on
until that cue is absolutely understood. If you allow the rehearsal to go on when you have
not understood something, there will be no excuse later. This is the time to ask and
strategize.
Lighting or sound rehearsals are usually done without actors. It entails going from cue to
cue. This is for the benefit of the crew and the stage manager. If a show is fairly
complicated, it is possible to have a total cue to cue without actors - to incorporate both
light and sound cues. If you as stage manager think you will need a cue to cue, make
sure it is scheduled right at the beginning of the Master Calendar.
OTHER MISCELLANEOUS DETAILS
A cast-crew-orchestra sign-in sheet should be acquired from the technical director before
the technical rehearsals and posted in the appropriate place. Check with the costume
shop for dressing room assignments and make-up calls for the various members of the
production. This should be taken care of during a regular production meeting.
73
RUNNING THE SHOW
Performers and crew should usually be called at least forty-five minutes before
curtain time. (Actual calls are set according to the amount of pre-show work that needs
to be done.) If any performers are missing at the call, the stage manager or ASM should
telephone the individual, while sending someone to look for them in the facility. Should
a crew member be missing at the half-hour call, the same procedure should be followed.
In both cases, the house manager must be informed immediately, since it may mean a late
start.
The crew should finish their assignments a half hour before the house opens in order to
allow you time to do the following pre-show checks:
1. lights and sound tested.
2. perform a set check to see that all props are
correctly placed, legs are properly aligned and all
doors, windows, drapes, etc. are functioning.
3. Have your assistant collect and secure valuables
from the actors.
4. Do the things on your own checklist, concerning
which lights should be on, which lights should be
off, etc. The standard Hall checklist can be
obtained from the Assistant Technical Director.
5. The intercom system speakers should be checked to
make sure that they are set to the proper channel.
6. Check all headsets.
7. Check the set again.
8. Sit down and make sure you've checked everything on
your list.
When all the above is accomplished to your satisfaction, inform the house manager you
are ready and let them know its OK to open the house.
PRE-SHOW CALLS
1. Half-hour, fifteen minutes and ten minute calls are
given by the ASM so costume and make-up people are
aware of their deadlines.
2. Five minute call:
a. actors should be called to places.
b. warning to light and sound booths and backstage
crew.
3. When the house manager informs you the house is in:
a. Give the go cues to begin the performance.
b. Record the time the show begins on the running
time report.
c. Follow the script and check each cue as it
74
goes to make sure it is right.
d. Record the time of the curtain.
4. The stage manager should check with the director
after each show for notes.
CALLING THE SHOW
Stage managers usually give crew members a "warning, ready, go" when calling cues.
"Ready, stand-by, go" is also common, and either form or any other variation is
acceptable as long as it is clear to you and your crew. The warning is generally given
about thirty seconds prior to the calling of the cue, the ready ten seconds prior, and the go
at the cue. You must also set up a standard form of response with your operators, so that
you will know they heard you. A normal sequence could sound like this:
Stage Manager: "Warning Light Cue 105."
Light Board Operator: "Warned”
SM: "Ready Light Cue 105."
Board Op.: "Ready."
SM: "Light Cue 105....GO."
Board Op.: "Light Cue 105 going....Light Cue 105
complete."
GOOD THINGS LIST
(to have or to know where they are)
Pencils
Pencil Sharpener
Computer or typewriter
Where is Xerox machine?
Accident report forms
First aid kit
Keys
Flashlight
Batteries
Candle
Matches
Markers
Glo-tape (available from Asst. Tech Director)
Spike tape (available from Asst. Tech Director)
Stop watch
Duct tape
Architect's scale rule
Gummed reinforcements
Paper clips
Needle and thread
75
Masking tape
Electric tape
Safety pins
Hair pins
Tacks
Nails
Chalk
Hammer
Screwdrivers
Crescent wrench
Hot glue gun & glue
Stapler & staples
Pliers
Kleenex
Hair elastics
TYPICAL CALLBOARD
Master Calendar
Rehearsal Schedule
Contact Sheet
Emergency Phone Numbers
Company Rules
Hospital Directions
Next Call Time
Sign-in Sheet (tech rehearsals and performances)
Pencil
TYPICAL COMPANY RULES
(rules may vary with different directors)
Backstage behavior, noise, cleanliness
Tardiness
Sign-in
Costume laundry & upkeep
Smoking, eating, drinking (none in Hall)
Warn cues for actors only before set
Dressing room clean-up
Sightlines
Guests backstage
Comp tickets
Let someone know where you are
76
DANCE PRODUCTION
As an addendum to the stage management portion of this handbook, the following pages
will detail the special needs and responsibilities present in stage managing dance events,
especially in the Main Studio of Warner Center for the Performing Arts.
GENERAL ATTITUDE AND GOALS:
First, reread the section 'General Notes to the Stage Manager', found at the beginning of
this handbook. This section clearly details all of the goals, responsibilities, and attitudes
that a stage manager needs to make her/his way through a dance production.
Second, because the dancer is the production, the stage manager and assistants should
always be sensitive to the dancers' needs and comforts during a performance.
Thirdly, to emphasize again, the stage manager is a communicator. He/she will often
obtain information from one source of the production team that will need to be
communicated to another part of the production team. Communication skills and a calm
demeanor are essential, especially the last two weeks before a performance, since often
dances and designs are in flux up to the last possible moment. He/she should always be
on the lookout for information that needs communicating.
PRODUCTION BOOK/DOCUMENTATION:
Obviously, most dance pieces do not follow a playwright's script. Dances are made out
of movement ideas. Dances flow from idea to idea. Certain notes can be taken as to the
dancers' placement in the performance space, to the general character of the movement at
a given moment, and to the ideas that a choreographer has concerning a particular
section/movement. One needs to gauge the appropriateness of which material will be
most useful for remembering, learning and recording a dance piece.
Documentation of most produced dance events are recorded on disc. A production book
would be an addendum to the recording
.
Included in the production book should be the following:

An information sheet on each dance work which includes:
The choreographer's general intent, major ideas,
or emotional settings
The number of performers in the piece
The prop list, complete
The complete costume plot
The listing of special technical needs (scenic and
lighting)
77
The listing of sound needs
A contact sheet (follow the description
Previously given in the handbook)

All of the rest of the material called for in the previous section of this
handbook should be included.
THE MASTER CALENDAR/SCHEDULES:
Actual scheduling of rehearsals is most often done by the choreographers, not the stage
manager. However, it is important that the stage manager assembles the various
rehearsal times of each choreographer and sees to it that a calendar is published and
distributed.
A cast-crew-orchestra sign-in sheet should be acquired before the technical rehearsals
and posted in the appropriate places Be sure to post the date on which the dance event is
to be video documented.
REHEARSAL PERIOD
Most often the choreographers handle all of the details of the rehearsal. The stage
manager's function, then, is to learn the dances for cueing purposes. Often this means
that the stage manager needs only to attend runthroughs of the dance pieces.
The following information can be used as a guide to watching dance rehearsals. The
main goal of watching rehearsals for the stage manager is to learn the piece so that she/he
will be able to call the show during performance.
GUIDELINES FOR WATCHING A DANCE REHEARSAL
A. If appropriate, feel free to make appointments with
the various choreographers to discuss concepts,
images, intentions, and aesthetics of the dance
piece before you come to a rehearsal. By doing so
you (1) gain an overall perspective of the work's
intention and direction; and; (2) have a basis for
looking at the movement. It should be noted that
most choreographers do not want to talk about the
piece just before or just after rehearsal; so if
you have questions make arrangements to talk to the
choreographers at another time.
B. Listen and remember with both your eyes and ears.
78
Bring a notebook/pad to work with during a rehears
al. Note ideas, types of movement, and spacing of
the dances. These notes will be a helpful memory
device.
C. Remember and note the different qualities of the
dance piece.
(1) movement - what is the direction of the move
ment, backwards, forward, sideways, up, down,
rolling.... what is the apparent emphasis of a
particular movement, do you see the legs, arms,
chest, or head the most? Where is the accent?
Where is the movement generated from, does it start
with the feet or pelvis, from the chest or arms,
etc.?
(2) line - Is the choreographer using the element
of line in the piece? Is the movement involved in
extensions? What is the choreographers intention
in terms of silhouette and static images?
(3) volume - Is the dancer creating a volume of
space that is larger or smaller than her/his body?
What is the relationship between the volume the
dance creates with his/her body and the volume of
the space that the performance is taking place in.
(4) rhythm - What amount of energy goes into each
movement? Is the movement quick, slow, percussive,
lyric, etc.? How does each movement phrase fit
together to make the larger piece.
The rehearsal period is also a good time to get to know what the dancers needs will
before a successful performance.
The stage manager should always time any rehearsal that he/she may be watching. The
time should be communicated to the choreographer. This can be a very helpful tool for
the choreographer. A record of the length of the various pieces should be kept.
THE SHOPS:
Often, dance events are done without support from the costume or scenic shops in Hall
Auditorium. A few days work may be required from either shop for major dance
company concerts. The choreographers will be solely responsible for making
arrangements with the costume shop; however, the stage manager should be able to assist
79
if needed. Scene shop time/involvement is most often worked through the staff person
assigned to the dance production or technical director.
PRODUCTION MEETINGS:
Reread the previous section in this handbook. You may have original music and live
music for some pieces. This will require additional coordination. Also include the
composers and designers in your meetings.
TECH REHEARSALS/LIGHTING REHEARSALS:
Reread the previous section in this handbook. The running of these rehearsals will
depend upon the temperament of the production team; however, the following is a
suggested guide.

Light Rehearsals often involve the choreographer, designer, crew and the
stage manager. This is the time that the designer can first physically
demonstrate his/her design to the choreographer. Cueing can be finalized at
this time. Also, this is a good time to record sound levels if using re-enforced
sound (mics, CDs, etc.).

Tech Rehearsals involve everyone that will be working the performance.
This is the time to put everything together. As stated previously, this is often a
difficult time. The dancers are impatient and are fighting a battle of either
being too warmed-up or not enough. They often only want to run the piece
once and get out. The crew often is seeing the dance pieces for the first time.
Often there is the expectation by the choreographers that the crew should be
able to run a perfect rehearsal, before they see the pieces. The stage manager
often will be reassuring the choreographer that the crew will get it right and be
encouraging the crew toward their best performance. The stage manager
should be taking all of the cueing and technical notes during the technical
rehearsal. Extra cueing rehearsals should be worked out with the T.D. and
light designer for the concert. Often extra cueing rehearsals are needed.
RUNNING THE SHOW:
Reread the previous section of this handbook. This is the time that the stage manager
finally takes over. The stage manager must coordinate events between the house
manager, running crew, and dancers. Timing and communication become very important
at this point. The stage manager can help a dancer do a better performance by the way
that he/she calls places and communicates with the dancer. For instance, some dancers
need to be calmed down and others need to be encouraged, before performing. It is
always a good idea to have cool water, crackers, and fruit in the dressing rooms.
80
Relationships with the crew is also important. The stage manager should know by now
the strengths and weaknesses of the crew members. He/she should be encouraging and
try to relieve any unnecessary tension in the crew.
Communication with the house manager must be constant. The house manager and stage
manager, jointly, decide the starting time of the show. Careful attention should be paid to
any wishes of the choreographer, if there are any. The goal is to start on time. A five
minute hold should be considered the longest wait to put an audience through.
The following is a checklist for performances in Warner Center, Main Studio: (each stage
manager should develop his/her own).
1. With the house manager the stage manager should
make sure:
a. that the house is clean and the chairs are in
order,
b. that the ushers are instructed on emergency
procedures,
c. that an accurate count has been made of the
seating.
2. With the running crews the stage manager should
make sure:
a. that everyone is present when called,
b. that dimmer checks and sound checks have been
made,
c. that costuming and make-up are proceeding as
planned.
3. With the dancers the stage manager should make
sure:
a. that everyone is present when called,
b. that dancers have everything that they need,
c. that inexperienced dancers have used the rest
rooms before the performance starts,
d. that all of the valuables that the stage manager is
storing have been collected and locked
away.
4. With him/herself the stage manager should check:
a. that all props and/or scenery are in proper
places,
b. that the doors to the Main Studio are keyed
open,
c. that all running and back stagelights are on,
d. that all headsets are working and set in their
81
proper places,
e. that all of the brown curtains are in their
proper places,
f. that you haven't forgotten anything on your
list.
5. After you are certain that everything is in working
order and ready for the performance, you can tell
the house manager that the house can be opened.
The stage manager should work out his/her call for places at the appropriate times for
each piece. Attention should be paid to the dancers need to be warmed-up and ready for
performing. The stage manager should record the length of each section of the concert
and the total running time. The stage manager should take any notes for the crew,
designers, and/or choreographers if requested to do so. The performance is about to
begin. Everything is in order. The Preset is in and dancers at places. The dance begins.
Have a good time. Have a good show.
Rental and Loan Policies
The loan policies for all props and costumes are fully articulated on the application
forms, located in the Appendix of this handbook (insert link)
82
V. FACILITIES
83
The Theater and Dance Program is currently located in two facilities: Warner Center, and
Hall Auditorium and Annex.
Hall Auditorium and Annex
Hall Auditorium, located on the east side of the campus, opened its doors to the public in
October 1953. The building and its endowment were a generous gift from Charles
Martin Hall. While the building still serves its original intention of being a multi-use
auditorium (seating 501), extensive renovation was started in 1972 to modernize the
production aspects of the facility. Hall Annex is located to the north of the Auditorium
itself, set back a little from Main Street
Hall houses the design/technical faculty and staff along with the costume and scene shop.
Numerous other support areas have been created to meet the needs of the Theater and
Dance productions. The faculty and staff offices are located in the Annex of Hall
Auditorium. Most classes in design and technical theater are taught in the Annex.
The Annex also contains the Little Theater. This small space contains its own seating,
lighting, and sound system. The theater seats from 75, to as many as 90. The space has
also undergone a renovation in an attempt to make it function as well as possible, given
the original design limitations.
The Hall complex is used for multi-showings of films, lectures, and live performances.
In the summer, the Auditorium is used as the performance space for the Oberlin Summer
Theater Festival.
Hall Auditorium Mainstage
The mainstage is the primary laboratory space for major productions sponsored by the
Program in Theater, Dance, and Opera. The space is normally scheduled from 8:00 A.M.
to 6:00 P.M. for construction of the current production. Lab times for the production
classes occur within this time slot. The production schedule for a current production lists
all other times the space will be used up to and including the public performances. This
schedule will be drawn up by the Managing Director and the Program's faculty and staff.
The requirements of the set design, and other production / rehearsal / performance related
activity will determine whether the space may be used for other events during the
semester. Films and other events requiring minimal set-ups will be considered as the
schedule and scene designs permits. It is a goal of the Managing Director and Production
Staff to maximize usage in the most reasonable manner.
Little Theater
Housed in Hall Annex, Little Theater is a limited-flexibility black box theater that serves
as the chief laboratory for student directors, actors and designers. Detailed guidelines for
84
the use of this space may be found in this document under the heading of PRODUCTION
PROGRAM (insert link)
Warner Center
Formerly a men's physical education complex, The Warner Center For The Performing
Arts contains three studios and the Main Space for rehearsals, performances, and classes,
as well as two smaller rehearsal studios and Faculty and Staff offices. Generally
speaking, the two large studios on the second floor (including Main Space) are used by
the Dance Program, while the two smaller studios on the ground floor are designated as
Theater studio and rehearsal spaces. Additionally, there are two small studios in the
basement: one used primarily by the Theater program as overflow classroom space; the
other used exclusively by the Dance program for courses in body re-education.
Policies Governing the Use of Spaces in Warner Center

Classes --Classes are scheduled in advance by the Program Faculty, the Program
Chair in consultation with the Managing Director. The Program Administrative
Assistant prepares a master schedule book indicating all regularly scheduled
classes taught by the Theater and Dance faculty. Additional lab hours or
rehearsals that are part of the normal semester's offerings are also put into the
master schedule book.

Productions -- Productions directed by or under the supervision of a faculty
member of the Theater and Dance Program are normally placed in a weekly
scheduling book, at the beginning of the Fall semester. Scheduling for the Winter
Term and Spring are completed as soon as possible each year. Rehearsals are
entered in the master schedule book on a weekly basis.
1) Theater --Normally the director or stage manager will provide a
rehearsal space request form containing a full or partial rehearsal schedule
to the Program administrative Assistant. Rehearsals requiring more than
one studio need to be approved by the Managing Director. From time to
time, performances in the building may require a rehearsal either to be
canceled or moved to another space. Again, consult with the Program
Secretary about the weekly schedule to keep up to date.
2) Dance --Normally the Dance faculty, members of the Oberlin Dance
Company and dance students preparing performances share the rehearsal
schedule. At the beginning of the semester the Dance faculty sign out
studio time for their own work. The blocks of time remaining are divided
among the Dance Company and individual student projects. Occasionally
resident dance artists or dance companies are added to the scheduling mix.
During residency weeks, the class and rehearsal schedule is subject to
85
revision. Any revisions to the schedule must be approved by the Dance
faculty.

Building Hours-Warner Center
Monday thru Friday: 8:00AM – 4:30PM
Daily schedule of classes in effect. Open hours to be signed out through the
Program AA in the Main Office. Studios will normally be unlocked during this
time period. In the event the Program Secretary is not present, please check with
the Technical Coordinator for Warner Center, extension 8153.
Monday thru Friday: 4:00 PM – 12:00AM
Building Monitor will come on duty. SIGN OUT SPACE at the building monitor
station in the Lobby. The Building Monitor will unlock the studio you plan to use
and collect you ID.Pick up your ID card from the Monitor following your
designated time
Saturdays, 12 Noon-10 PM and Sundays, 12 Noon-12 Midnight
Building monitor will be on duty. Follow procedure articulated above.

Production Rehearsal Scheduling
The scheduling of rehearsals will usually follow a normal weekly pattern. As
long as a rehearsal does not interfere with a class or a performance, then there
are no set time limits other than building hours

Who May Use The Studios
Because of the heavy demand for rehearsal space and classroom space, the
Theater and Dance Program uses a priority system for allocating studios. The
rankings are:
1) Classes and labs taught or directly supervised by a member of the
program faculty
2) Classes taught by resident and short-term guest artists under contract
to Oberlin College
3) Rehearsals for productions directed by a member of the program
faculty
4) Rehearsals of productions by resident or short-term guest artists under
contract to Oberlin College
5) Individual Theater and Dance faculty
6) Student productions by a major being performed in the current
semester and sponsored by a member of the Theater and Dance
program
7) Individual projects or workshops by a major sponsored by a member
of the Theater and Dance faculty
86
8) Currently enrolled students rehearsing for classes in acting, directing,
dance, or choreography.
9) Classes or rehearsals by other academic departments or programs,
Exco, or requests by other Oberlin College offices
10) Individual or production projects done by non-majors but sponsored
for credit by a member of the Theater and Dance faculty
11) Rehearsals by chartered student performance organizations
12) Ad-hoc groups or productions
In order to reserve space in Warner Center for an extended period of time (more
than two weeks), please use the Warner Center Rehearsal Space Application,
located in the Appendix of this handbook (insert link)

Studio Rules And Regulations
1) No smoking anywhere in the building
2) No food, drinks or alcoholic beverages
3) ALL EQUIPMENT MUST CLEARED FROM THE CENTER OF
THE STUDIO TO THE OUTSKIRTS AT THE END OF EACH
CLASS OR REHEARSAL IN NEAT and Orderly fashion
4) The audio system is available by prior arrangement with Daniel James
or through a building monitor
5) Only PLASTIC SPIKE TAPE may be used on a studio floor. NO
MASKING TAPE or ROSIN.
6) THROW AWAY ALL TRASH
7) All lights must be turned off at the end of class or rehearsal
8) All windows must be CLOSED and LOCKED at the end of class or
rehearsal
9) All hand props must be stored in a locked cabinet at the end of each
class or rehearsal. See Dan James to arrange for storage and a key.
Building monitors also have keys to prop cabinets.
Building Monitors
During non-class times (after 4:30 PM on weekdays and all weekend), Warner Center is
overseen by Building Monitors. Monitors are student staff hired by the Warner Center
Technical Coordinator (Daniel James). These individuals have the authority to enforce all
rules and regulations herein listed. Failure to comply with a monitor’s requests will result
in immediate removal form the building, and may prohibit future use of any Warner
Center studio.
87
VI. PROGRAM GOVERNANCE AND
COMMUNICATION
88
Community Greenrooms
The Community Greenroom is a series of meetings intended to serve as a forum for all
members of our Oberlin College Theater Community: students, faculty and staff.
Monthly meetings, usually scheduled on the second Monday of each month, will be
scheduled by the Program Director, who will establish the agenda for each meeting.
Anyone wishing to suggest a topic for the agenda should contact the Program Director to
ensure that the topic is placed on the agenda for the next Greenroom.
Mission
The Community Greenroom was established to ensure regular full department
interaction, to the end of crating a sense of community, collaboration and shared
responsibility in all matters relating to the Theater Program. It is imagined that these
meetings will involve troubleshooting, as well as opportunities for creative, ongoing
discussion about who we are and what we want to be. Such meetings might be used as an
opportunity to host important guest speakers or examine a particular issue that relates to
the whole program. While it is recognized that the faculty is charged with creating
curricular policy and that the faculty and staff, alike, are responsible for establishing
procedural policy for their particular areas, it is our belief that all members of the
community should a forum in which their voices may be heard.
Meeting Schedule for Academic Year 2010-2011
Monday, September 13, 4:30, Warner Studio Two
Wednesday, October 6, 4:30, Warner Studio Two
Monday, November 8, 4:30, Warner Studio Two
Monday, December 6, 4:30, Warner Studio Two
Tuesday, February 15, 4:30, Warner Studio Two
Tuesday, March 15, 4:30, Warner Studio Two
Tuesday April 12, 4:30, Warner Studio Two
Monday, May 16, 6:00PM, THEATER AND DANCE PICNIC- Hall Lawn/Mainstage
Upcoming Events and Announcements
Remember that October is Oberlin College Theater (OCT) Awareness Month. Please
participate in as many activities as possible to get the word out about our great program
and Mainstage and Little Theater seasons!
89
Faculty
The Theater Faculty is overseen by the Theater Program Director whose job it is to
attend to many of the administrative needs of the program, including such duties as:
chairing faculty meetings; scheduling of classes; editing catalog copy; providing
documentation for program reviews, annual reports, and personnel actions; and generally
taking care of the day-to-day business of the program. The Program Director is NOT a
college administrator and serves, indeed, as the program faculty and staff’s voice in most
interactions with college administration.
The Managing Director is responsible for the day-to-day operations of the overall
physical production activities of the Theater and Dance program and for Opera Theater
department in the Conservatory. These duties fall under the categories of production,
budget and facilities, academic areas, and personnel actions, especially with regard to the
daily activity of the A&PS members of the production staff as well as two Administrative
Assistants.
PRODUCTION

Continuous supervision of overall production activity, staffing, facilities,
production budgets and calendars, and running of production meetings for
mainstage program events.

As appropriate brings action items to Theater Director and/or Theater faculty for
establishment or revisions to policy.

Works with all parties involved to arrive at a workable yearly production
schedule.

Responsible for entering data into EMS, campus wide calendar event
management system for Hall Annex and Hall Auditorium
BUDGET AND FACILITIES





Control over and responsibility for budget management of program and opera
theater productions. Consult with Theater and Dance program Directors/report to
Full program meeting about budget on a monthly basis.
Work with program Directors on yearly budgets and seek approval of Theater
Faculty for new fiscal year budgets
Responsible for facility operation, maintenance, renovation and development.
Works with Facilities Operations and Facilities planning offices on general or
ongoing projects.
Building representative for Hall Auditorium and Hall Annex.
Maintain Inventory system for production areas.
90
ACADEMIC AREAS

Work with all parties involved with the scheduling of classes and allocation of
teaching spaces in Hall Annex and Auditorium, rehearsal spaces, and resources
of time and money towards curricular and extra-curricular activities of faculty,
staff and students.
PERSONNEL ACTIONS



Supervises, monitors and provides evaluative feedback to Director of Theater and
Theater Faculty on A&PS and Administrative Assistants.
Manages evaluations of Production Staff and Administrative assistants as called
for by college policy. Administers Performance Appraisal reports and makes
salary recommendations to Dean and Human resources as requested.
Runs searches for A&PS positions.
Faculty Meetings
The faculty meets a minimum of once per month, and more frequently, as needed.
Faculty meetings are overseen by the Program Director, who establishes the agenda along
with the Managing Director. Meetings are customarily on the third Thursday of each
month during regular term. Meetings are attended by all regular faculty- including all
fulltime professors and those staff designated as honorary faculty- and student
representatives. Meetings begin with reports from the student representatives and then
adjourn into meetings of the “executive council,” at which time students are required to
leave.
Meeting Schedule for Academic Year 2010-2011
Full Program Meetings - Hall Annex 214 - 4:35 to 6:00 pm
Thursday September 9- 4:35 pm
Thursday October 14- 4:35 pm
Thursday November 18- 4:35 pm
Monday December 20-10:00 am (for 2 hrs.)
Tuesday December 21-10:00 am (if needed)
Thursday February 17- 4:35 pm
Thursday March 17- 4:35 pm
Thursday April 7- 4:35 pm
Tuesday May 17-10:00 am
Theater Faculty meetings-Matt Wright's office
Monday, August 30- 9:00 am
Thursday September 16- 4:35 pm
Thursday October 21-4:35 pm
Thursday November 11-4:35 pm
Thursday December 16-10:00 am
Thursdays, January 6,13,20,27,-10:00 am
91
Thursday February 24- 4:35 pm
Thursday March 24-4:35 pm
Thursday April 21-4:35 pm
Monday May 16-10:00 am
Staff
Under Construction
Staff Meetings
Students
Students are represented by three individuals elected to do so by the assembled student
body. These representatives serve as the voice of the students at faculty meetings and in
private consultation with the Program Director. The selection process for identifying
student representatives is a democratic one in which students nominate and elect the
representatives. The current interim representatives are: Ben Ferber, senior Theater
major; Laura Cornwall, junior Theater and English major; Danny Kessler, Junior
Theater/Creative Writing major (fall 2010), and Billy Ferrer, junior Theater major (spring
2011).
92
APPENDIX
The following pages contain various application forms. They may be downloaded, filled
out and submitted electronically.
93
HONORS APPLICATION
NAME:________________________________BOX:_______________
PHONE: ____________________________
YEAR AT OBERLIN: ________(junior, etc.)
MAJOR: _______________________________
ADVISOR(s):_______________________________________________
Please submit a three—five page typewritten statement outlining the honors
project you would like to pursue . Please explain the way(s) in which this
endeavor might serve as the “culmination” of your theater studies at Oberlin.
This application should also include a sample “timeline” exhibiting the way in
which the project will unfold over both semesters of your senior year.
Following the guidelines for honors outlined in the handbook, please specify
approximate calendar dates by which you hope to have completed both the
“creative” and the “scholarly” aspects of the project.
94
Theater and Dance Program Intra-Campus Loan Form: Costumes
General Information
 Submit this application form to Daniel James, Warner Technical Coordinator, 102
Warner Center
 Application must be submitted 2 weeks in advance of item pickup.
 All requests are subject to approval by Chris Flaharty, costume designer for Theater
and Dance
 Incomplete applications will be returned to the sender
 There is no rental fee for costume loans, but the borrower must have an Oberlin
College account number for his/her project
Who May Borrow
 Productions sponsored by the Theater and Dance Program
 Productions sponsored by other Oberlin academic departments/offices
 Productions sponsored by chartered Oberlin performance organizations
 Please note that costumes will not be loaned for any classes, parties or nondramatic events, on or off campus
Loan Procedures
 Complete this loan application, including a list of specific costume items desired for
the production, and return it to Daniel James, 102 Warner Center. The borrower
should obtain all pertinent measurements before handing in the application;
incomplete applications will be returned to the sender.
 Chris Flaharty, in the Hall Annex Costume Shop, is the point person for costume
loans. After reviewing your application, he will contact you to consult on the loan,
clarify your requests, and approve or reject the application. If there are appropriate
loanable items in stock, Chris will arrange an appointment with you to receive the
costumes.
 Upon check-out, loaned garments will be valuated: If a costume piece is damaged,
missing or stolen, your project account will be billed directly.
 After the production run is over, contact Chris for an appointment to return your
loan. Costume items that are designated as dry-cleanable must be professionally
cleaned before being returned (please remember to account for this cleaning in your
production budget). All other costume pieces must be given to Chris for final
laundering.
Regulations
 No costume pieces will be loaned for classes, class projects, parties or events not
involved in public performance.
 Some items are not available for loan. These generally include, but are not limited
to: antique garments, many period garments, corsets, men’s suits, shoes, wigs, most
hats, jewelry and some accessories (such as glasses) and readily available
contemporary clothing; or any piece that will be used in an upcoming
Theater/Dance/Opera production. Loans are made at the discretion of the Costume
Staff.
95




No borrowed items may be modified or altered in any way without approval from
Chris Flaharty, including cutting, dyeing, painting, distressing, taping, etc. Simple
alterations may be made with a basting stitch only.
The representative of the borrowing organization assumes the responsibility for the
care and appropriate management of the loaned items while in the borrower’s
possession.
No loan appointments will be entertained the week prior to a Hall Mainstage
production, so plan ahead, please.
There is a late fee of $5/item/day for missed return appointments charged to your
account. You are responsible for making arrangements with the Costume Shop for
any changes in appointments.
Name ________________________________________Date_______________________
Local Address _________________________________OCMR_____________________
Email ________________________________________
Phone________________________________________ID#_______________________
Organization __________________________________Account#___________________
Faculty or Staff Advisor _________________________Office phone#_______________
Performance
Show Title ____________________________________Dates______________________
Performance Space _____________________________
Director ______________________________________
Stage Manager ________________________________
Set Designer __________________________________
Technical Director _____________________________
Costume Designer ______________________________
Lighting Designer ______________________________
How will the loan be
transported?_________________________________________________
Where will the loan be
stored?____________________________________________________
96
In the box above or on a separate (clean) sheet of paper, give a
detailed list of the Costumes you are requesting.
I have read and understand the Theater and Dance Program Loan Policies on the other side of this
form. I further understand that this is a request for Costumes and that no items are being offered
at this time.
___________________________________________________
Signature
______________________
Date
97
Theater and Dance Program Intra-Campus Loan Form:
Properties and Scenic Materials
General Information
 Submit this application form to Daniel James, Warner Technical Coordinator, 102
Warner Center
 Application must be submitted 2 weeks in advance of item pickup. Late requests
may or may not be honored at the discretion of the Props TA.
 All requests are subject to approval by Daniel James, Technical Coordinator for
Theater and Dance / Warner Center.
 Incomplete applications will be returned to the sender
 There is no rental fee for props loans, but the borrower must have an Oberlin
College account number for his/her project
Who May Borrow
 Productions sponsored by the Theater and Dance Program
 Productions sponsored by other Oberlin academic departments/offices
 Productions sponsored by chartered Oberlin performance organizations
 Please note that props will not be loaned for any classes, parties or non-dramatic
events, on or off campus
Loan Procedures
 Complete this loan application, including a list of specific props desired for the
production, and return it to Daniel James, 102 Warner Center.
 The Props Loan Technical Assistants under the supervision of Daniel James are the
point persons for property loans. Their contact information will be posted on the
bulletin board outside the Technical Coordinator’s office. After reviewing your
application, they will contact you to consult on the loan, clarify your requests, and
approve or reject the application. If there are appropriate items in stock, they will
arrange an appointment with you to search and collect the props.
 Upon check-out, loaned props will be valuated: If properties are damaged, missing
or stolen, your project account will be billed directly.
 After the production run is over, contact the Props Loan TA for an appointment to
return your loan.
Regulations
 No properties will be loaned for classes, class projects, parties or events not
involved in public performance.
 Some items are not available for loan. These generally include, but are not limited
to: antique furniture, certain easily breakable items and anything deemed too
valuable or fine to loan or any property that will be used in an upcoming
Theater/Dance/Opera production. Loans are made at the discretion of the
Technical Coordinator.
98




No borrowed items may be modified or altered in any way without approval from
the Technical Coordinator.
The representative of the borrowing organization assumes the responsibility for the
care and appropriate management of the loaned items while in the borrower’s
possession.
Please plan ahead. Last minute requests may or may not be honored depending on
the schedules of the Prop TAs.
There is a late fee of $5/item/day for missed return appointments charged to your
account. You are responsible for making arrangements with the Props TA for any
changes in appointments.
Name ________________________________________Date_______________________
Local Address _________________________________OCMR_____________________
Email ________________________________________
Phone________________________________________ID#_______________________
Organization __________________________________Account #__________________
Faculty or Staff Advisor _________________________Office phone #_______________
Performance
Show Title ____________________________________Dates______________________
Performance Space _____________________________
Director ______________________________________
Stage Manager ________________________________
Set Designer __________________________________
Technical Director _____________________________
Costume Designer ______________________________
Lighting Designer ______________________________
How will the loan be
transported?_________________________________________________
Where will the loan be
stored?____________________________________________________
99
In the box above or on a separate (clean) sheet of paper, give a
detailed list of the materials you are requesting.
I have read and understand the Theater and Dance Program Loan Policies on the other side of this
form. I further understand that this is a request for properties and scenic materials and that no
items are being offered at this time.
___________________________________________________
Signature
_______________________
Date
100
WARNER CENTER
Rehearsal Space Application
This form is used to request rehearsal space for a time span of more than two weeks
Please read the information below before filling out the form on the reverse side.
Submit request forms either in person or to the mailbox of Daniel James, Technical Coordinator
at least 2 WEEKS IN ADVANCE to ensure consideration.

13)
14)
15)
16)
17)
18)
19)
20)
21)
22)
23)
24)

10)
11)
12)
13)
14)
15)
16)
17)
Scheduling Priorities
Classes and labs taught or directly supervised by a member of the program faculty
Classes taught by resident and/or short-term guest artists under contract to Oberlin College
Rehearsals for productions directed by a member of the program faculty
Rehearsals of productions by resident and/or short-term guest artists under contract to Oberlin
College
Individual Theater and Dance faculty
Student productions by a major being performed in the current semester and sponsored by a
member of the Theater and Dance program
Individual projects or workshops by a major sponsored by a member of the Theater and Dance
faculty
Currently enrolled students rehearsing for classes in acting, directing, dance, or choreography.
Classes or rehearsals by other academic departments or programs, Exco, or requests by other
Oberlin College offices
Individual or production projects done by non-majors but sponsored for credit by a member of
the Theater and Dance faculty
Rehearsals by chartered student performance organizations
Ad-hoc groups or productions
Studio Rules And Regulations
No smoking anywhere in the building
No food, drinks or alcoholic beverages
ALL EQUIPMENT MUST CLEARED FROM THE CENTER OF THE STUDIO TO THE
OUTSKIRTS AT THE END OF EACH CLASS OR REHEARSAL IN A NEAT AND ORDERLY
FASHION
The audio system is available by prior arrangement with Daniel James or through a building
monitor
Only PLASTIC SPIKE TAPE may be used on a studio floor. NO MASKING TAPE or ROSIN.
THROW AWAY ALL TRASH
All lights must be turned off at the end of class or rehearsal
All windows must be CLOSED and LOCKED at the end of class or rehearsal
101
18) All hand props must be stored in a locked cabinet at the end of each class or rehearsal. See
Dan James to arrange for storage and a key. Building monitors also have keys to prop
cabinets.
•
1)
2)
3)
4)
General Information
Warner Center rehearsals for a production may not span more than 8 weeks.
Student actors may not be called for more than 18 hours per week.
Student directors/stage managers may not rehearse more than 24 hours per week.
It is your responsibility to notify either the Secretary, the Technical Coordinator or the Building
Monitor of any reservation cancellations as far in advance as is possible or you will be
considered a “no show.” If you have more than one “no show” any further reservations will be
cancelled and you will lose the right to book rehearsal space for the remainder of the current
semester.
5) On any individual date you may lose your space if you are more than 15 minutes late.
Scheduling Priority__________
Total hours per week__________
Total weeks of rehearsal__________
For internal use only
Name _______________________________________ Date ___________________________________
Local address _________________________________ OCMR _________________________________
Phone #______________________________________ ID# ____________________________________
Email ________________________________________
Organization __________________________________
Faculty or Staff advisor __________________________ Phone # ________________________________
FACULTY / STAFF SPONSORSHIP DOES NOT GUARANTEE SPACE
Class Title ____________________________________ Instructor _______________________________
Show Title ____________________________________________________________________________
Performance Dates _____________________________________________________________________
Performance Space ____________________________________________________________________
Choreographer/Director _________________________________________________________________
How do you intend to use the space (e.g. acting, dance type, opera, etc): __________________________________
Approximately how many people will be using the space? _______________________________________
102
Will you be using live music or recorded audio? _______________________________________________
Studio Requested ______________________________ 2nd choice _______________________________
Please list dates and times requested (e.g. specific dates and times OR every Monday 4:30-6) _____________________
_________________________________________________________________________________
Alternate dates and times: _______________________________________________________________
I have read and understand the aforementioned Warner Center Scheduling Policies, Rules and Regulations and
General Information. If granted space I agree to abide by these Policies, Rules and General Information. I further
understand that this is a REQUEST for rehearsal space and that no space is being offered at this time.
Signature____________________________________________ Date ___________________________
Please check your email for notification of request results or scheduling conflicts once the
request has been processed.
103
APPLICATION FOR EMPLOYMENT
Department of Theater and Dance
Warner Center
Name __________________________________________ Date ______________________
Campus Address ____________________________________________________________
Permanent / Home Address ____________________________________________________
Circle One:
FR
SO
JR
SR
T# __________________________________
Position(s) Sought
____ Building Monitor
____ Properties/Scenic Loan Technical Assistant
____ Sound and Video Technical Assistant
____ Lighting/Electrics Technical Assistant
____ General Production Technical Assistant
List any other jobs you are applying for or already have within the College or
town:
__________________________________________________________________________
__________________________________________________________________________
See reverse
List experience directly related to position(s) sought: _________________________________
__________________________________________________________________________
104
__________________________________________________________________________
Approximately how may credit hours are you currently taking? _________________________
What commitments do you (or will you) have outside of coursework?
(i.e. designing, performing, directing for productions, club or community
commitments)
__________________________________________________________________________
__________________________________________________________________________
List two local references
1. Name ________________________________________ Phone _____________________
Address_________________________________________
2. Name ________________________________________ Phone _____________________
Address_________________________________________
I grant my permission for the Theater and Dance Program to contact these
people as job references.
Signature _______________________________________ Date ______________________
CONDITIONS FOR EMPLOYMENT:
Any material misrepresentation of deliberate omission of a fact in my application
may be justification for refusal or, if hired, termination from employment.
I further understand that this is an application for employment and that no
employment contract is being offered.
I understand that if employed, such employment is for no definite period of time
and that the Theater and Dance Program can change wages, benefits and
conditions at any time.
I have read and understand the above.
Signature _______________________________________ Date ______________________
105
LITTLE THEATER PRODUCTION PROPOSAL FORM
DATE OF APPLICATION:
NAME:
EMAIL:
CLASS:
OCMR:
PHONE:
FACULTY ADVISOR FOR THIS PRODUCTION:
TITLE OF PROPOSED PRODUCTION:
AUTHOR OF PROPOSED PRODUCTION:
I. YOUR BACKGROUND CLASSES
Have you taken the following classes at Oberlin? Please answer yes or no and indicate
when you took it (or when you are scheduled to).
Directing 1
Directing 2
Acting 1
Acting 2
Any other upper level acting classes (indicate which)
Stage Management Set/ Costume/ Light Design Production Scenery
What other courses have you taken that have prepared you for this experience?
PREVIOUS PRODUCTION EXPERIENCE AT OBERLIN
Please list, in reverse chronological order, all of your production experiences at
Oberlin College. List your position, title of event, and producing organization (if
other than Theater and Dance Program).
106
II. HONORS PROJECT
Is this proposed production part of an Honors Project application? If yes, have you
submitted the required paper work?
III. PERFORMANCE DATES
When is your preferred approximate performance date? (For example “Fall, 2nd module”)
Is there a particular reason why you would be unable to direct at another time? Please be
aware that, while every consideration will be given to your preference, it is not possible
to guarantee that you will be scheduled according to your preference.
IV. THE PLAY
Title
Author
Please list source, cost, and availability of performance rights and scripts. You must ask
the Warner office secretary to research and secure the necessary information
BEFORE submitting this form.[example: Samuel French; $50 opening, $40 each
additional performance, rights available]
V. THE PROPOSED PRODUCTION
Number of female roles
Number of male roles
Actual Cast Size
Casting Considerations
STAFFING
The positions listed below are suggestions for staffing Little Theater shows. Positions
designated with an * are mandatory for Theater and Dance- sponsored Little Theater
productions. Whether you choose to fill the other positions is dependent upon the level
(complexity, size, and technical requirements) of your production. Please write in the
names of those on your staff and indicate whether they have given you a firm or tentative
commitment.
Assistant Director *
Stage Manger/ ASM *
Lighting Designer/ ALD *
107
Scene Designer *
Tech Director/ ATD
Costume Designer
Sound Designer
Other Crew Positions
VI. TECHNICALCONSIDERATIONS
Please describe the following design/technical elements as specified in the script. If you
plan to alter, adapt, or change any element from what is described in the script, please
detail those ideas in your Production Concept Statement (see below).
SCENIC ELEMENTS
When/Where is the play set?
Number of different settings. Briefly describe each.
COSTUMES
Total number required (including any double casting and changes)
Any special requirements? (Period clothes, wigs, animal looks, etc.)
SOUND & MUSIC
Describe your sound ideas for the show- for example, recorded effects or music? Original
music? Live music? Etc.
OTHER MISCELLANEOUS REQUIREMENTS
For example: makeup, projections, or other special effects
Finally, take a moment to rate the design elements in terms of their importance to your
production, with 1 = most important and 5 = least important. In other words, what would
your priorities be for the allocation of money out of your production budget? (Note-
108
Publicity budget is separate from production budget)
________ Set ________ Lights ________ Costumes ________ Sound ________ Other
(Specify-________________)
VII. PRODUCTION CONCEPT STATEMENT
On a separate sheet of paper, please give us an idea of your specific vision for this
production. You may want to discuss your artistic goals as well as your ideas about
practical ways to attempt to reach those goals. We realize that many things may change
over the course of your creative process, but in choosing to propose this piece you should
already have some preliminary, unpolished ideas about what the play is about and where
you would want to go with it. Below are some questions you may want to consider in
your statement, but use whatever form is most helpful to you in clearly and concisely
explaining your reasons for making this proposal. There are no right or wrong answers;
we are simply hoping to get a better sense of why you want to work on this project and
what sort of experience other students would have in collaborating with you.
• Why do you want to do this play? What about the play excites you, and what are
you hoping to communicate to the audience?
• What is this play ABOUT? (Not a summary, but an exploration of central themes
and the general arc or journey of the piece)
• What are some of your general design ideas? This is not asking for full designs
that your designers will create, but some descriptive words you could use to create
a verbal picture of the world of the play.
• How do you like to work; or, how would you describe your working style as a
director)? What do you think your responsibility is as a student director of a
student-designed and – performed show? What would you hope to learn from the
process?
I have read and understood the Little Theater Guidelines (insert link) and if this
proposal is accepted I will abide by the policies put forth by the Theater and Dance
Program. I have discussed this project with both by academic advisor and my advisor for
this projection.
APPLICANT’S SIGNATURE
DATE
ACADEMIC ADVISOR’S SIGNATURE
DATE
PRODUCTION ADVISOR’S SIGNATURE
DATE
109
110