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<strong>2021</strong> - <strong>2022</strong><br />
<strong>Theatre</strong><br />
<strong>Handbook</strong><br />
rev. <strong>2021</strong>.08
PREFACE<br />
The <strong>Theatre</strong> <strong>Handbook</strong> has been compiled by the <strong>Theatre</strong> Faculty and Staff to give<br />
students majoring in <strong>Theatre</strong> and Musical <strong>Theatre</strong>, or minoring in <strong>Theatre</strong>,<br />
information about how the <strong>Theatre</strong> program operates. It covers major and minor<br />
requirements, audition information, special projects, production requirements,<br />
and other information pertinent to students interested in <strong>Theatre</strong>. We hope that<br />
you will find the handbook helpful and use it as a reference throughout the year.<br />
INTRODUCTION<br />
The following Mission Statement and Education Goals have been designed by the<br />
<strong>Theatre</strong> faculty to serve as guides for the activities of the department. It is our<br />
hope that work in the classroom and on stage is reflective of these principles, which<br />
strive to view the theatre not only as entertainment but also as a means to<br />
transform the lives of those affected by it.<br />
MISSION STATEMENT<br />
The <strong>BSC</strong> <strong>Theatre</strong> Department is a theatre training program in the context of an<br />
undergraduate liberal arts tradition.<br />
The Department offers academic rigor within a challenging, collaborative program<br />
of courses and the production of plays and musicals. <strong>BSC</strong> <strong>Theatre</strong>'s teaching<br />
reflects the importance of hard work, kindness, critical thinking, and humility.<br />
These combined have the power to create theatre which entertains, educates, and<br />
enlightens.<br />
~ 1 ~
THEATRE FACULTY INFORMATION<br />
Lusie Cuskey, Visiting Assistant Professor<br />
PhD, <strong>Theatre</strong> Studies, University of Kansas / MA, <strong>Theatre</strong> Arts, University of Oregon /<br />
BFA, Performing Arts (Acting/Directing), Western Kentucky University<br />
Lusie (she/her) is excited to join the <strong>BSC</strong> theatre family as a Visiting Assistant Professor! She is coming from Western Kentucky<br />
University where she directed Songs for a New World and served as the intimacy consultant and fight choreographer for As You<br />
Like It. Lusie has worked as a director, actor, teaching artist, and technician in KY, KS, OR, NY and throughout the upper<br />
Midwest. She is an assistant faculty member with Theatrical Intimacy Education and a member of the Society of American Fight<br />
Directors. Her article “The Liturgy that Dare Not Speak Its Name: Religious Engagement and Affective Memory as a Site of Queer<br />
Activism in Musical <strong>Theatre</strong>” appeared in Ecumenica in 2020. When she isn’t directing or writing about musical theatre, she’s<br />
probably listening to it while cross stitching or wandering in the woods.<br />
Alan Litsey, Professor, Chair Department of <strong>Theatre</strong><br />
PhD, Directing, Wayne State University, 1991 / MFA, Acting, Michigan State University, 1984 /<br />
BFA, <strong>Theatre</strong>, University of LaVerne, 1981<br />
Alan has been a member of the theatre faculty since 1991. In addition to acting and directing, Alan’s interests include theatre<br />
literature and playwriting. He has served as President of the Southeastern <strong>Theatre</strong> Conference (SETC) and is a member of the<br />
Actors’ Equity Association. His plays have been performed in the southeast, the Edinburgh Festival, and Bulgaria.<br />
Matthew Mielke, Professor / Technical Director / Set and Lighting Designer<br />
MFA, <strong>Theatre</strong> Design and Technology, University of Minnesota, 1986 / BA, Gustavus Adolphus College, 1982<br />
Matthew has worked professionally at the Tyrone Guthrie <strong>Theatre</strong>, Santa Fe Opera, Southern Ballet <strong>Theatre</strong>, and as a free-lance<br />
scenic and lighting designer and theatre consultant and taught at Gustavus Adolphus College, Clemson University, and, since 1990,<br />
at <strong>BSC</strong>. He’s a past winner of the Lois Garren Award for Excellence in Design and a member of the United States Institute for<br />
<strong>Theatre</strong> Technology. His interests include history, aviation, and CADD (computer aided design and drafting).<br />
Heidi Nicole Stoeckley, Adjunct Professor of Dance<br />
BA, The Juilliard School and The Virginia School of the Arts<br />
MA, Arts Administration, Columbia University<br />
Heidi Nicole Stoeckley is a former professional dancer with the Martha Graham Dance Company.<br />
She is a graduate of The Juilliard School and The Virginia School of the Arts. Stoeckley is featured in numerous publications,<br />
including the DVD For Dancers: The Alexander Technique, the PBS Television production American Masters on Juilliard, a<br />
documentary film on the Martha Graham dance technique entitled La Voz Del Cuerpo/ The Body Speaks, the photography album<br />
Acts of Light: Martha Graham of the 21st Century, VOGUE Magazine, The New York Times and Dance Magazine, among others.<br />
Stoeckley served as Professor of Modern Dance and Choreography at Singapore's School of the Arts (SOTA) from 2010-2014, and<br />
most recently as Artistic Director of The Dance Foundation in Birmingham, Alabama. She holds an MA in Arts Administration<br />
from Columbia University.<br />
Rebecca Yeager, Adjunct Professor of <strong>Theatre</strong><br />
MFA, Performance, University of Southern Mississippi, 2013 / BA, Musical <strong>Theatre</strong> (Cum Laude), Birmingham-Southern College, 2006<br />
Rebecca is an actor and teaching artist who specializes in integrated movement and vocal technique for the actor, including<br />
yoga, stage combat, Lugering technique, and Commedia dell’Arte. She has a love for classical texts, especially Shakespeare,<br />
Moliere, and Greek tragedy. During her time at USM, Rebecca presented her creative and academic research, was awarded<br />
grants for her classical and movement based educational outreach work, had her creative project research published, and was<br />
both an Irene Ryan Nominee and Regional Semi-Finalist at the Kennedy Center American College <strong>Theatre</strong> Festival. Rebecca is<br />
Director of Education at Birmingham Children’s <strong>Theatre</strong> and is delighted to serve on the Birmingham-Southern faculty as an<br />
adjunct professor of acting, voice, and movement.<br />
~ 2 ~
THEATRE STAFF INFORMATION<br />
Edwin Booth, Assistant Technical Director / Scene Shop Supervisor<br />
This is Edwin's second year at <strong>BSC</strong>. Prior to moving to Birmingham in 2006, he taught Stage Craft and Acting at Georgia College<br />
& State University. Before that he served as Technical Director at Virginia Commonwealth University and Florida State. He hails<br />
from the Northeast and began his trek South by working as the Technical Director at Muhlenberg College in Allentown, PA. Here<br />
in Birmingham, Edwin has worked with the Seasoned Performers and the Vestavia Hills High School theatre students and has<br />
acted in five productions at City Equity <strong>Theatre</strong> (once with Alan Litsey in a Sam Shepard play), as well as at BFT and BCT. He<br />
enjoys bicycling and the Alabama outdoors.<br />
Patti J. Manning, Costume Designer / Coordinator<br />
Patti has served as the Costume Designer/Coordinator for the College <strong>Theatre</strong> productions since 1981. She has designed for the<br />
Birmingham Opera <strong>Theatre</strong>, State of Alabama Ballet, Jewish Art <strong>Theatre</strong>, Birmingham Festival of Arts, and Birmingham Children’s<br />
<strong>Theatre</strong>. This past summer 2016 she was Costume Coordinator for Cable station EWTN’s The Masterpiece Donut Shop series, The<br />
Roamin Catholic. Patti has taught costume design for the <strong>BSC</strong> Conservatory camps and the Summerfest Workshop during the<br />
summer and has served as the Publicity Chairperson on the Birmingham Opera Guild and Publicity Co-Chairperson for the Alabama<br />
Symphony Decorator Showhouse. She is a past winner of the Lois Garren Award for Excellence in Costume Design and the National<br />
Society of Arts & Letters Career Award.<br />
Judy E. Pandelis, <strong>BSC</strong> Arts Alliance Coordinator | Manager of the College <strong>Theatre</strong> Box Office<br />
| Academic Programs Assistant<br />
Entering her 33 rd year at <strong>BSC</strong>, Judy serves as Coordinator for the <strong>BSC</strong> Arts Alliance, Manager of the College <strong>Theatre</strong> Box, oversees<br />
the publicity and scheduling of department events, designs opera/theatre programs, serves as Officer Manager to the<br />
Departments of Art & Art History, Music, and <strong>Theatre</strong> and Dance Program, and oversees the Biennial Southeastern Competition<br />
for the Southeastern high school artists. She is the author of the Children’s Book Bloomin’ Harmony found at www.lulu.com. Judy<br />
enjoys sharing and selling her jewelry creations and working with others in an effort to bring about a more peaceful and unified<br />
global existence.<br />
Megan Pecot, Costume Shop Supervisor<br />
BA, <strong>Theatre</strong> Arts, Birmingham-Southern College, 2018<br />
Entering her 4th year, Megan is a recent graduate of Birmingham-Southern’s <strong>Theatre</strong> Department. Her interests have been<br />
primarily in Costuming, Make-Up, Acting, and Directing and can’t wait to explore these in Birmingham. Megan most recently<br />
was Costume Manager for <strong>BSC</strong>’s Pippin and a Costuming Intern for Red Mountain <strong>Theatre</strong> Company’s production of Beauty and<br />
the Beast and Mamma Mia! She is very excited to be back on the Hilltop as Costume Shop Supervisor this year and work with<br />
the wonderful theatre Faculty and Staff!<br />
~ 3 ~
IMPORTANT TELEPHONE NUMBERS<br />
Switchboard…………………………………………………………………………………………………………………………………………………………………….226.4600<br />
Campus Police…………………………………………………….……………………………………………………………………………………………………………226.4700<br />
Counseling Center………………………………………………………………………………………………………………….………………………………………..226.4717<br />
Infirmary………………………………………………………………………………………………………………………………….………………………………………226.7720<br />
Art & Art History Office……………………………………………………………………………………….…………………….…………………………………….226.4928<br />
Music Office……………………………………………………………………………….……………………………………………….….……………………………….226.4950<br />
<strong>Theatre</strong> Office………………………………………………………………………….………………………………………………….…….…………………………....226.4782<br />
College <strong>Theatre</strong> Box Office……………………………………………….……………………………………………………………………………………………..226.4780<br />
Costume Shop………………………………………………………….……….………………………..……………………………….….………………………………226.4787<br />
Green Room..……………………………………………..………….…….……….….….…………….…….….…………………………………………………………226.4781<br />
Edwin Booth (ebooth@bsc.edu)...........................................................................................................................................226.4786<br />
Lusie Cuskey (lmcuskey@bsc.edu) .......................................................................................................................................226.4783<br />
Alan Litsey (alitsey@bsc.edu)................................................................................................................................................226.4788<br />
Patti J. Manning (pmanning@bsc.edu).................................................................................................................................226.4787<br />
Matthew Mielke (mmielke@bsc.edu)..................................................................................................................................226.4785<br />
Judy E. Pandelis (jpandeli@bsc.edu).....................................................................................................................................226.4782<br />
Megan Pecot (ampecot@bsc.edu)........................................................................................................................................226.4787<br />
Heidi Stoeckley (hnstoeck@bsc.edu)....................................................................................................................................226.4782<br />
Rebecca Yeager (ryeager@bsc.edu)......................................................................................................................................226.4782<br />
The College <strong>Theatre</strong> Box Office telephone and all Office telephones are for office use only!! If dialing campus from a campus phone drop the 226 prefix.<br />
~ 4 ~
<strong>2021</strong> - <strong>2022</strong> COLLEGE THEATRE SEASON<br />
**Social Distancing & Health Masks are Required**<br />
For the enjoyment of our patrons and the comfort of our cast and crew, we do not allow children six years of age and<br />
younger to attend theatre productions.<br />
Tickets go on sale three weeks prior to opening night for <strong>BSC</strong> Arts Alliance members and two weeks prior to opening<br />
night for the general public. The College <strong>Theatre</strong> Box Office hours are Monday through Friday from 1:00 p.m. until<br />
4:45 p.m. during these weeks. The College <strong>Theatre</strong> Box Office can be reached at 205.226.4780.<br />
Ticket prices are $20.00 for Head Over Heels and Spitfire Grill; $15.00 for We Are Pussy Riot or Everything is P.R..<br />
<strong>BSC</strong> Employees and Student ticket prices are $10.00 regardless of which school the student may attend.<br />
**Presently, we are updating online reservations. You will be apprised of the change once all is confirmed.**<br />
To reserve tickets online, click on the “Buy Tickets Online” button beneath the description of the production or call the<br />
College <strong>Theatre</strong> Box Office during regular hours at 205.226.4780. Reserved tickets will be held at Will Call until 15<br />
minutes prior to the opening of the production. Credit Cards only are accepted for purchases.<br />
*Note: Seating for all events in The Underground is limited and<br />
admittance is on a first-come, first-served basis.<br />
November 18, 19, 20 at 7:30 p.m. | November 21 at 2:30 p.m. | College <strong>Theatre</strong> | Mainstage<br />
Head Over Heels<br />
Reservations begin: Thursday 28 th October<br />
February 10, 11, & 12 at 7:30 p.m. | February 13 at 2:30 p.m. | College <strong>Theatre</strong> | The Underground<br />
We Are Pussy Riot or Everything is P.R.<br />
Reservations begin: Thursday 20 th January<br />
April 28, 29, & 30 at 7:30 p.m. | May 1 at 2:30 p.m. | College <strong>Theatre</strong> | Mainstage<br />
Spitfire Grill<br />
Reservations begin: Thursday 7 th April<br />
May 9 & 10 at 7:30 p.m. | College <strong>Theatre</strong> | Mainstage<br />
Student-Directed One Act Plays<br />
An uproarious and often unpredictable evening of drama and comedy, as presented by first-time student<br />
directors as a part of the requirements for Tha403, Directing and Stage Management.<br />
No reservations required. Admission is free and seating on a first come, first-served basis.<br />
~ 5 ~
Musical <strong>Theatre</strong><br />
Bachelor of Arts<br />
The musical theatre major provides students with a combination of courses in dance, music, and theatre that is intended to prepare them for<br />
careers as performers in musical theatre. Given its emphases on acting, ballet, voice, piano, jazz, and music theory, the musical theatre major<br />
is more specialized than the theatre major, and faculty members will offer students guidance at the end of the sophomore year on whether<br />
the musical theatre degree or theatre degree is the most appropriate program.<br />
Upon completion of the musical theatre major, students will be able to<br />
• integrate musical analysis and performance<br />
• perform acting goals and tactics<br />
• function as a member of an ensemble<br />
• execute theatre designs using appropriate technology<br />
Major Requirements<br />
Meet the level of Piano Proficiency for Musical <strong>Theatre</strong> majors as determined by the Music Department or enroll in MS 110 and/or MS 310.<br />
The following courses are required (14 units):<br />
one unit of DA<br />
one unit of MS 320<br />
MU 150<br />
THA 120<br />
two units (4 projects) in THA 201, including one dramatic performance, one musical performance, and<br />
one experience as a technician<br />
THA 111, THA 211, or THA 310<br />
THA 223<br />
THA 210<br />
THA 230<br />
THA 320<br />
THA 323<br />
THA 403<br />
THA 472 or THA 499<br />
<strong>Theatre</strong> Arts<br />
Bachelor of Arts<br />
Lusie Cuskey, Alan Litsey, Matthew S. Mielke<br />
The theatre arts program offers courses for the general education of all students, as well as professional training for those wishing to major<br />
in theatre arts. Using the unique teaching facilities of the College <strong>Theatre</strong> (a performance plant housing an open stage with a split-revolvelift<br />
in a flexible auditorium) and an intimate “black box” theatre, the program offers courses in all areas of theatrical performance, musical<br />
theatre, technical theatre, direction, and design. A student wishing to major in theatre<br />
arts may elect the disciplinary major below or the interdisciplinary major in musical theatre.<br />
Upon completion of the theatre major, students will be able to<br />
• perform acting goals and tactics<br />
• execute theatre designs using appropriate technology<br />
• function as a member of an ensemble<br />
Major Requirements<br />
The following courses are required (12 units):<br />
THA 110<br />
THA 120<br />
three units (6 projects) in THA 201 to include at least one in performance<br />
and one in technical theatre<br />
THA 210<br />
THA 211 or THA 212<br />
THA 223<br />
THA 230<br />
THA 320<br />
THA 403<br />
THA 472 or THA 499<br />
Minor Requirements<br />
The following courses are required (5½ units):<br />
THA 104<br />
THA 110, THA 211, or THA 212<br />
THA 120<br />
THA 201<br />
THA 223<br />
THA 403<br />
~ 6 ~
DA – Dance<br />
DA 102 Jazz Dance (¼)<br />
A course in the basic elements of jazz dance. May be repeated for credit.<br />
DA 104 Tap Dance (¼)<br />
A course in the basic elements of tap dance. May be repeated for credit.<br />
DA 105 Introduction to Dance (1)<br />
An introduction to dance exploring the four basic elements of all dance styles: the body, energy, space, and time. Students examine these<br />
elements through guided movement improvisations, and basic foundation exercises for ballet, jazz, modern dance, and tap. A Creative<br />
Expression (CE) designated course.<br />
DA 206 Ballet (½)<br />
A study of the principles and techniques of ballet. May be repeated for credit.<br />
THA – <strong>Theatre</strong> Arts<br />
THA 104 <strong>Theatre</strong>’s Call to Action (1)<br />
An introduction to post-modern theatre as an engagement of artists, technicians, audiences, and playwrights. This project-based course<br />
examines theatre as a collaborative art form that engages community critically, emotionally, and behaviorally. A Creative Expression (CE)<br />
and a Leadership Studies (LS) designated course. A service-learning integrated course.<br />
THA 106 <strong>Theatre</strong> as Human Rights Activism (1)<br />
An introduction to theatre literature utilizing the lens of Human Rights, Idea, and Character. The course examines the role of theatre in<br />
public discourse of human rights and civic responsibility. An Exploration in Scholarship (ES) course.<br />
THA 110 Introduction to Stagecraft (1)<br />
An introduction to the principles and practices of constructing stage settings and furnishings, problem-solving suing theatre technology,<br />
shop safety, and scenic art. Spring<br />
THA 111 Make-Up (1)<br />
Basic techniques in the application of stage make-up for the performing arts. A Creative Expression (CE) designated course. Fall<br />
THA 120 Beginning Acting (1)<br />
An introduction to the craft of acting, including focus on clarity and creativity in communication and performance skills, and the development<br />
of character analysis skills. The course reflects a “learning-by-doing,” “hands-on” approach. A Creative Expression (CE) designated course.<br />
THA 177, 277, 377, 477 Special Topics in <strong>Theatre</strong> Arts (1)<br />
An exploration of a selected topic or problem in theatre arts.<br />
THA 201 <strong>Theatre</strong> Practicum (½)<br />
Practical experience in performance or technical areas of theatre by participation in College <strong>Theatre</strong> productions. May be repeated for credit.<br />
Instructor consent required. Fall, Spring<br />
THA 210 Technical Workshop (1)<br />
A practical course in the technical aspects of theatre. Fall, Spring<br />
THA 211 Stage Lighting (1)<br />
Principles and practice of stage lighting, design, and execution. Fall<br />
THA 212 Set Design (1)<br />
The art of set design from concept to construction. Fall<br />
THA 223 Voice and Movement (1)<br />
Techniques of vocal production and stage movement, including Shakespearean sonnets and unarmed combat. Spring<br />
THA 230 Ancient and Modern Drama (1)<br />
An in-depth study of Greek tragedy and comedy that considers how these plays reflect the social, political, and religious concerns of the<br />
ancient Athenians and why they continue to exert such influence on modern playwrights. Each ancient play will be paired with a modern<br />
work to demonstrate the various ways that contemporary dramatists engage with, react against, and draw inspiration from a genre that<br />
traces its beginnings to Greek antiquity. A Writing Reinforcement (WR) designated course. (Also, listed as GRS230.) Fall<br />
THA 293, 393, 493 Independent Study in <strong>Theatre</strong> Arts (½ or 1)<br />
Directed study for advanced students in the major. Coursework should stress practical experience in full-length project, and may include<br />
study in acting, directing, playwriting, and design. Specific guidelines concerning independent study projects appear in the “Exploration<br />
Term and Contract Learning” section of this catalog. May be repeated for credit.<br />
~ 7 ~
THA 297, 397, 497, Internship (1)<br />
THA 298, 398, 498 Teaching Experience in <strong>Theatre</strong> Arts (½ or 1)<br />
A teaching experience course. Specific guidelines concerning teaching experiences appear in the “Teaching Experiences” section fo this<br />
catalog.<br />
THA 320 Intermediate Acting (1)<br />
Building a character in context and depth through improvisation and scene study. Prerequisite: THA 120. Fall<br />
THA 323 Musical <strong>Theatre</strong> I (1)<br />
The study of musical theatre, approached through analysis, performance, and criticism. Instructor consent required. Fall<br />
THA 324 Musical <strong>Theatre</strong> II (1)<br />
Advanced scene study work in the techniques of musical theatre. Prerequisite: THA 323. Spring<br />
THA 341/MFS 341 Acting and Directing for Camera (1)<br />
An in-depth laboratory for actors and directors. The course integrates single-camera and multi-camera techniques as well as diverse<br />
performance methodologies. (Also listed as MFS 341.) Prerequisite: MFS 220 or THA 120. Must be completed prior to taking this course.<br />
THA 370 Seminar in <strong>Theatre</strong> Art (1)<br />
Selected studies in theatre arts offered at the discretion of the faculty or by student request. Topics include audition techniques, advanced<br />
acting, and playwriting instructor consent required.<br />
THA 403 Directing and Stage Management (1)<br />
A study of the techniques of directing and stage management approached through practical projects and the staging of a one-act play. A<br />
Leadership Studies (LS) designated course. Instructor consent required.<br />
THA 404 Advanced Acting (1)<br />
An open and collaborative actor laboratory for experimentation, discovery, growth, and risk. The course covers diverse methodologies,<br />
including those of Constantine Stanislavsky, Viola Spolin, and Sanford Meisner. Instructor consent required. Spring<br />
THA 470 Seminar in <strong>Theatre</strong> Art (1)<br />
Continued selected studies in theatre arts offered at the discretion of the faculty or by student request. Topics include audition<br />
techniques, advanced acting, and playwriting. Instructor consent required.<br />
THA 472, 499 Senior Project in <strong>Theatre</strong> (1)<br />
A theatre capstone experience. Students engage in a significant production responsibility in a theatre project. Each student writes a<br />
substantial reflection paper examining learning over the course of the project. This paper may integrate other relevant <strong>BSC</strong> theatre<br />
learning experiences. THA 499: Exploration term.<br />
~ 8 ~
THEATRE CLASSROOM ATTENDANCE POLICY<br />
Don't miss class. Students are expected to attend every class meeting<br />
• Extenuating circumstances will be dealt with on an individual basis.<br />
• Students are expected to arrive on time. If you are late to class, do not enter the classroom.<br />
• Students are expected to stay in class for the entire class period. If you leave class during the class period, do not return. You will<br />
be counted absent for that class period.<br />
• Bring to class only what you need for that class, nothing more. Cell phones may not be brought into the classroom.<br />
The theatre faculty reserves the right to adjust policies, as appropriate for each class.<br />
REHEARSAL DEMEANOR<br />
Actors & technicians are expected to comply with the following guidelines.<br />
‣ Arrive at rehearsal 10 – 15 minutes early so you are ready to begin at the designated time.<br />
‣ Anyone arriving late for a rehearsal or costume fitting will be warned.<br />
‣ The second time a student is late, this will cost the student ½ letter grade off the final grade for the production.<br />
‣ Failure to show up at a rehearsal or costume fitting will result in the reduction of a whole letter grade.<br />
‣ Each successive tardy or absence will also affect the student’s grade in a similar fashion.<br />
1. Wear shoes, clothing, and hair style appropriate to the individual rehearsal. Hair in your eyes/constricting clothing is frustrating to<br />
you and the director.<br />
2. Bring a pencil (not pen) and paper to every rehearsal for notes during or after rehearsal (do not use theatre office supplies). If a<br />
director gives a note to change something for the next rehearsal, always write it down.<br />
3. Sit quietly but attentively at notes. Someone else’s note might be useful to you. Unless absolutely necessary, do not comment on or<br />
discuss each note given. Most comments are unnecessary and a waste of everyone’s time.<br />
4. The only people qualified and in authority to fix even the smallest of problems are the director, the technical director, the costumer,<br />
and/or the stage manager. Actors never correct other actors or technicians; technicians never correct other technicians or actors<br />
unless given authority by the stage manager to do so.<br />
5. Upon arrival to each technical/dress rehearsal, initial the sign-in sheet on the call board by the Green Room. If you must leave after<br />
signing-in, you must obtain permission from the stage manager.<br />
6. The use of cellular phones is prohibited during rehearsal and performances.<br />
7. No one is to leave the building during rehearsals or performances unless approved by the Stage Manager.<br />
SOPHOMORE REVIEWS<br />
THEATRE<br />
Each student interested in declaring a major or minor in theatre must complete an interview with the theatre faculty prior to the declaration<br />
(usually at the end of the sophomore year). The interview is designed to assess the student’s abilities, strengths, and weaknesses. The<br />
faculty will make recommendations to the student concerning completion of the program and goal setting.<br />
MUSICAL THEATRE<br />
All potential musical theatre majors are required to successfully complete a musical theatre review at the end of their sophomore year in<br />
order to qualify as a musical theatre major. This includes a voice jury with the music faculty, an interview with the theatre faculty, and a<br />
written review of class progress by the dance faculty. If a student is weak in any one of the three areas, the student may be given one<br />
probationary semester in which to improve in that area.<br />
USE OF THE UNDERGROUND<br />
The Underground may be used for class rehearsal time, but students must comply with the following rules:<br />
1. Students may use cubes and chairs under the central seating unit but must return them after each rehearsal.<br />
2. All set pieces and props must be struck after each rehearsal.<br />
3. All trash must be disposed of appropriately before leaving the theatre.<br />
4. When finished, all stage lights must be turned “off” and the Ghost Light must be turned “on”.<br />
5. Other set pieces may NOT be brought into <strong>Theatre</strong> One without permission from a faculty member.<br />
6. NO SMOKING, NO FOOD, and NO DRINK, other than water, permitted in The Underground at ANY time.<br />
SENIOR PROJECT IN THEATRE<br />
The Senior Paper examines the senior interim as a “capstone” of your learning as a <strong>Theatre</strong> Major, but other <strong>BSC</strong> experiences may be<br />
integrated as well.<br />
Evaluation of your paper is an essential part of your senior grade. It is expected that senior students possess the skills to write an academic<br />
paper. Students are expected to consult with a faculty member on the focus of their paper, academic framing, and proposed bibliography.<br />
The completed Senior Paper is due THE THIRD FRIDAY OF FEBRUARY, after the completion of the project.<br />
PAPER GRADING: senior paper is worth 41% of the final grade<br />
LATE PENALTY: One-half (.5) grade per day of the TOTAL FINAL GRADE.<br />
~ 9 ~
Final Draft Check List<br />
Appropriate Title and Title Page<br />
Appropriate academic citations<br />
Double spaced, 12-point font<br />
Clear examples from your academic and creative process<br />
Clear academic framing<br />
Appropriate grammar - writing style consistent with MLA usage<br />
Paper is eight-to-ten pages in length<br />
Works cited page<br />
Writing Construction Check List<br />
• The paper never strays from its purpose or mistakes its audience. The paper is focused, significant, interesting, and manageable.<br />
• Paper is correctly organized and the organization doesn't seem mechanical or imposed.<br />
• Each topical paragraph has a controlling idea, solid detail, and smooth transitions.<br />
• The sentences are varied in length and structured according to the author's purpose and emphasis.<br />
• The word choice is almost uniformly good. Words are chosen for precise denotation, connotation, and tone.<br />
• Mechanically, the paper is correct except for excusable errors of inadvertence and violations of extremely technical rules.<br />
From: Teaching with a Purpose (Boston: Houghton, 1984)<br />
OFF-CAMPUS PERFORMANCE POLICY<br />
The faculty encourages all performing experiences which are educationally and which are in line with the student’s individual abilities,<br />
needs, and goals. However, since there is more to be gained from performing than simply “experience,” the faculty places highest<br />
priority on productions on campus, which are designed with specific educational objectives as their primary goals.<br />
Students majoring in theatre or musical theatre may audition for off-campus musical/theatrical productions during the regular school<br />
year, only with the approval of the theatre faculty. The faculty will work with each student to plan performance activities on campus<br />
and will advise students as to the educational value of the off-campus opportunities. Students who hold scholarships in theatre or<br />
musical theatre are required to participate in on-campus performance activities.<br />
AUDITION/INTERVIEW POLICY<br />
All <strong>Theatre</strong> and Musical <strong>Theatre</strong> majors (including Scholarship Students) are expected to audition for all major <strong>Theatre</strong><br />
productions. (Students who do not consider themselves singers are not required to audition for musical productions but are required<br />
to participate in the technical interview process.) Students are expected to arrive promptly, to be prepared, and to be in the<br />
appropriate dress. Students should always wear hair and clothing styles that make them look attractive and professional; sloppiness is<br />
never appropriate for any kind of audition. If a student has a question about preparing for the audition, the student should ask the<br />
director early enough to make the necessary preparations. Students are also expected to come to auditions with the dates of any<br />
commitments that may fall during the rehearsal/performance and write them on the audition form.<br />
Please note that in listing potential conflicts with a rehearsal schedule, students should consider only their academic or college<br />
scholarship commitments.<br />
Students are expected to accept cast and crew positions to which they are assigned.<br />
Students should have audition materials chosen at least two (2) weeks in advance. Faculty members are willing to help students in their<br />
preparation for both on-and off-campus auditions.<br />
~ 10 ~
THA 201A and THA 201B <strong>Theatre</strong> Practicum Course Syllabus Fall <strong>2021</strong><br />
Instructors and Department Members<br />
Lusie Cuskey <strong>Theatre</strong> Office 226-4783 Edwin Booth Scene Shop 226-4786<br />
Alan Litsey <strong>Theatre</strong> Office 226-4788 Patti J. Manning Costume Shop 226-4787<br />
Matthew Mielke <strong>Theatre</strong> 206 226-4785 Judy E. Pandelis Office 226-4928<br />
Megan Pecot Costume Shop 226-4787<br />
The Writing Center & Tutoring Lab<br />
Counseling Services 205-226-4717<br />
Crisis Center of Birmingham – 205-323-7777<br />
Magic City Acceptance Center<br />
YWCA 205-322-4878<br />
Learning Outcomes<br />
The goals for the student in <strong>Theatre</strong> Practicum are:<br />
to work as part of a team focused on a goal<br />
to learn and practice a process of theatre production<br />
to develop a work ethic that will serve in many other areas of endeavor<br />
to build management, technical, and performance skills<br />
Course Information and Grading<br />
• Any student involved in a production at <strong>BSC</strong> must register for THA201(except those in _93 Independent Study Project).<br />
• THA 201 is for 1/2 (0.50) units for working on a production during the term.<br />
• Productions may be either Main Stage or The Underground (<strong>Theatre</strong> 1) full-length main season theatre productions.<br />
• Projects fall into four general categories: construction, performance, management, and technology. A list of possible projects could<br />
include: cast member, stage manager, company manager, assistant stage manager/props, props crew head, wardrobe/dressing<br />
crew, light crew (hang, focus, and running), sound crew (set up/running), light crew head, set construction, costume construction,<br />
costume manager, set running crew, lift-revolve operator.<br />
• Set and Costume construction crew members are not a part of the running crew for the show.<br />
• Construction crew members work 75 hours during the semester in the scene or costume shop. Those who do not complete that<br />
number of hours will be assigned a grade commensurate with the percentage of total hours worked.<br />
• Practicum grades are assigned after a review by the theatre faculty of the individual student's work based on the following criteria:<br />
Attendance and Promptness to all calls and meetings<br />
Personal Attitude / Work Ethic / In-Class Demeanor<br />
Preparation<br />
Performance of Duties, Responsibilities / Performance Quality, Meeting Deadlines<br />
Number of Hours Worked<br />
Read appropriate Crew <strong>Handbook</strong> (Props, Lights, Sound, Costumes, Lift/Revolve)<br />
Grading Scale<br />
The final course letter grade will be based on the following:<br />
A = Distinctive. The best. It is earned by those who’ve excelled in all areas of performance, duties, growth, and preparation.<br />
B = Very Good. This grade means “better than average.” The person doing B work is demonstrating that they understand the subject matter<br />
and have mastered many of the necessary areas. This as a very good grade.<br />
C = Satisfactory. This grade means that the student is doing just about as well as most students new to the material. It is not a poor grade. It<br />
reflects that the student is working on the mastery of relevant skills, demonstrating growth and preparation, and is doing just about as well<br />
as most students in the same age and educational level.<br />
D = Lowest Passing Grade. This grade means the student is below average on the mastering of skills/completion of duties.<br />
F = Failure. This grade is given only when the student shows neither the aptitude nor the inclination to master relevant skills, perform duties,<br />
or work as a part of the production team.<br />
Absentee/Lateness Policy (from the <strong>Theatre</strong> <strong>Handbook</strong>)<br />
A student arriving late to a rehearsal, costume fitting, scheduled work call or meeting will be warned. A second late will result in the<br />
reduction of half-a-letter grade. Failure to show up at a rehearsal, costume fitting, scheduled work call or meeting will result in the reduction<br />
of a whole-letter grade.<br />
<strong>Theatre</strong> Department Classroom Attendance Policy<br />
-Don't miss class. Students are expected to attend every class meeting.<br />
-Extenuating circumstances will be on an individual basis.<br />
-Students are expected to arrive on time. If you are late to class, do not enter the classroom.<br />
-Students are expected to stay in class for the entire class period. If you leave class during the class period without permission,<br />
do not return. You will be counted absent for that class period.<br />
-Cell phones and personal music players may not be used in the classroom, shop, or stage area.<br />
~ 11 ~
Course Policies<br />
• The instructors of this course reserve the right to reassign, at their discretion, any student to any position in the company for any<br />
reason.<br />
• The course process abides by the <strong>BSC</strong> Honor Code. Failure to observe the Honor Code or other policies outlined in the <strong>Theatre</strong><br />
Student <strong>Handbook</strong> and syllabus may result in position reassignment, and/or a grade of "F" for the course.<br />
• Actors are required to provide their own shoes and makeup. Technicians are required to provide their own backstage black clothing<br />
and a flashlight. No open-toed shoes backstage, please.<br />
• All Crew Members are required to keep a time log of their hours worked for the production. These hours will include performances,<br />
rehearsals, costume fittings, work calls, and meetings. Students will total all-hours worked and sign the logbook under the Honor<br />
Code. The form to use is in the Shop Logbook located in the Tech Office. Failure to record all hours appropriately will cause the final<br />
course grade to be lowered by 30 points. While there is not a “set” number of hours for any given running crew position, the faculty<br />
and staff check the disparities between the number of hours reported by members of the same crew and take that into account.<br />
Students should keep in mind the 75 hours required for compliance.<br />
• All students are required to read the on-line <strong>Theatre</strong> <strong>Handbook</strong>. Students involved in Lights, Props, or Sound or other crews may<br />
have additional handbooks to read as well. Each student will then sign, under the Honor Code, a statement verifying that they have<br />
read the <strong>Handbook</strong>(s). Failure to achieve this will result in the loss of a whole-letter grade from the final course grade.<br />
• All theatre practicum students will attend the strike for the production. Those hours will be added to the final total.<br />
• Student Leaders (Stage Manager, Company Manager, Costume Manager, Light Crew Head, Props Crew Head, Student Technical<br />
Director) can expect to have additional responsibilities and factors which will help determine final course grade.<br />
• Use of a cell phone backstage before or during a rehearsal or performance will cause the student’s grade to be dropped by a wholeletter<br />
grade.<br />
• There are special policies dealing with the Covid19 pandemic on the following page.<br />
ACADEMIC ACCOMODATON<br />
If you have completed the process to receive academic accommodations with the Office of Accessibility, please make an appointment with a<br />
member of the theatre faculty on the production team as soon as possible to discuss these accommodations. If you have a disability but have<br />
not contacted the Office of Accessibility, please contact them as soon as possible at one of the following email addresses: awsmith@bsc.edu<br />
or accessibility@bsc.edu. If you prefer to call the office, the number is (205) 226-7909.<br />
THA 201 <strong>Theatre</strong> Practicum Health and Safety Policies for <strong>2021</strong>-<strong>2022</strong><br />
Greenroom and Lobby<br />
The <strong>Theatre</strong> Greenroom and Lobby are designated as pass-through spaces only.<br />
Box Office<br />
Only designated Assistance Box Office Managers are allowed in the Box Office. There are no visitors permitted in the office or at the window<br />
at any time.<br />
Classroom / Lab / Shop Safety<br />
Capacity limitations for each academic and classroom space are posted.<br />
• Workspace capacities (scene shop, grid, light lab, light control, costume shop, etc.) will be set to specific standards as set by the<br />
College and faculty.<br />
• Faculty, Staff, and Students must wear a face covering in class/lab/studio at all times. Students without masks will be asked to leave<br />
class until they have a face covering. Showing up on time with appropriate gear (including face covering) is standard for a theatre<br />
person. All class participants are required to observe <strong>BSC</strong> policies regarding social distancing and face mask practices at all times in<br />
academic areas. Every person on campus will be required to wear a face covering that covers their mouth and nose whenever they<br />
are in public spaces. This includes faculty, staff, students, and visitors.<br />
• Social distancing should be practiced entering or leaving classrooms, labs, shops, and/or studios.<br />
Scene Shop, Costume Shop, Production Safety Protocol<br />
Students entering the Scene Shop will use the route through the Props Corridor. Please DO NOT use Edwin’s Office.<br />
All faculty, staff, and students are required to clean the tools, props, and equipment prior and after use. Cleaning supplies are available in all<br />
classrooms and shop spaces.<br />
Only authorized individuals may operate the light control board. Those individuals will be trained on cleaning and safety protocol.<br />
Scene Shop hours are to be announced.<br />
Costume Shop hours are to be announced.<br />
~ 12 ~
<strong>BSC</strong> <strong>Theatre</strong> / <strong>2021</strong>- <strong>2022</strong> / <strong>Theatre</strong> Practicum (THA 201A and THA201B)<br />
Course Outcomes<br />
Name___________________________<br />
Production_____________________<br />
Assignment______________________<br />
The Learning Outcomes for the student in <strong>Theatre</strong> Practicum are:<br />
• to demonstrate teamwork as a company member<br />
• to learn and practice a process of theatre production<br />
• to demonstrate a work ethic by preparation, meeting of deadlines, performing assigned duties, and devoting appropriate<br />
number of hours<br />
• to evaluate strategies for solving problems as a theatre manager, technician, or performer<br />
Meets appropriate<br />
deadlines<br />
1 – Failure to<br />
Prove Ability<br />
Meets 60% or less<br />
of deadlines<br />
2 – Poor /<br />
Below Average<br />
Meets 61 -72 %<br />
of deadlines<br />
3 – Average 4 – Good /<br />
Above Average<br />
Meets 73 - 82 % Meets 82 - 94 %<br />
of deadlines deadlines<br />
5 – Excellent / Superior<br />
Meets 95 - 100 % of all<br />
deadlines<br />
Demonstrates decorum<br />
(i.e., polite, courteous, &<br />
respectful to the<br />
ensemble) consistent<br />
with theatre handbook<br />
Decorum is<br />
completely<br />
inconsistent with<br />
theatre<br />
handbooks<br />
Decorum is<br />
primarily<br />
inconsistent with<br />
theatre handbook<br />
Decorum is<br />
marginally<br />
compliant with<br />
theatre handbook<br />
guidelines<br />
Decorum is<br />
consistent with<br />
theatre handbook<br />
guidelines<br />
Decorum exceeds<br />
expectations of theatre<br />
handbook<br />
Performs duties in<br />
production setting<br />
Does not perform<br />
assigned duties<br />
Must be<br />
continually<br />
prompted to<br />
perform all<br />
assigned duties<br />
Only occasionally<br />
needs prompting<br />
to perform<br />
assigned duties<br />
Needs minimal<br />
supervision to<br />
perform assigned<br />
duties<br />
Performs all assigned duties<br />
thoroughly without<br />
supervision or prompting<br />
Models Preparation for<br />
meetings/rehearsals<br />
Is completely<br />
unprepared for all<br />
meetings/<br />
rehearsals<br />
Nominally<br />
prepared<br />
Only occasionally<br />
needs reminding<br />
about preparation<br />
Requires minimal<br />
prompting about<br />
preparation<br />
Models complete<br />
preparation and generates<br />
solutions to challenges<br />
Works appropriate<br />
number of hours<br />
Works less than<br />
60%<br />
Works 61% to<br />
70% of required<br />
hours<br />
Works 71% to<br />
80% of required<br />
hours<br />
Works 81% to 90%<br />
of required hours<br />
Works 91% to 100% of<br />
required hours and<br />
demonstrates 100 %<br />
engagement<br />
My signature acknowledges that I have read and understand the THA 201 syllabus and <strong>Theatre</strong> Student <strong>Handbook</strong>.<br />
It is understood that I am responsible for complying with all departmental policies.<br />
_______________________________________________________________________________________________________<br />
Signature<br />
Date<br />
_______________________________________________________________________________________________________<br />
Printed Name<br />
~ 13 ~
GENERAL SHOP SAFETY PRACTICES<br />
1. Report to work in attire suitable for the job. Stage and shop work can be dirty work. Heavy work clothes that will withstand<br />
hardware, yet provide freedom of movement, are recommended.<br />
2. Long hair should be tied back securely or confined with a cap or scarf. Loose hair obstructs vision and can get caught in power tools.<br />
3. Always wear shoes, preferably with hard soles. No sandals or clogs.<br />
4. Be alert for boards with protruding nails or screws. Be sure you are not responsible for leaving stock in that condition.<br />
5. Know where the first aid supplies are kept and report any injury, regardless of how minor, to the person in charge.<br />
6. Request and get instructions about operating power equipment before attempting to use them then exercise caution.<br />
7. Check each tool before using it. If repairs or conditioning is necessary, seek the assistance of the person in charge. Dull<br />
tools are more hazardous than sharp ones.<br />
8. Use tools for the purpose for which they were designed.<br />
9. Cutting tools should be laid aside so their sharp edges do not rest on the floor or other hard surfaces. When a tool is no longer needed,<br />
return it to the tool room. Tools must not be left scattered about the shop.<br />
10. Always be alert for hazards and materials that might cause a fire. This applies particularly to highly combustible materials and fumes.<br />
Rags used to wipe away oil and oil-based paints must be disposed of in a closed metal container to prevent spontaneous<br />
combustion. Smoking is not allowed anywhere in the theatre building. Note the location of fire extinguishers.<br />
11. Clean up after yourself. Scrap materials, even sawdust, can be hazardous, and they can add to the clutter of shop activity.<br />
12. If you're not sure...ask! You are here to learn, so there are no stupid questions. The only people who look foolish are the ones who didn't<br />
find out how to do a task correctly before they started.<br />
13. Be aware of what others are doing. Leave them sufficient room to accomplish their task. Be careful when walking through an area where<br />
others are working. They may not be able to see or hear you.<br />
14. If you see a situation that does not appear safe, report it. It is easier to prevent accidents than to repair them.<br />
15. Wear safety equipment provided. It may not be fashionable but neither are physical deformities caused by accidents.<br />
******************Attitude Does Make A Difference*****************<br />
I have read and understand the safety practices listed above:<br />
_________________________________________<br />
Signature<br />
___________________________________<br />
Date<br />
I have viewed the safety video:<br />
_________________________________________<br />
Signature<br />
___________________________________<br />
Date<br />
~ 14 ~
CREW RESPONSIBILITIES<br />
Crew members are responsible for their own backstage “blacks” and personal flashlights.<br />
STAGE MANAGER<br />
Responsibilities include:<br />
1. understanding the principles of Stage Management by Lawrence Stern;<br />
2. ensuring that the overall production process runs smoothly, seeing that each job is done with a minimum<br />
of fuss;<br />
3. thinking ahead with detailed documentation of the production process; master schedule, calendar, to-dolists,<br />
duty rosters, prompt script, and check lists;<br />
4. maintaining an on-going list during rehearsals for production meetings (i.e. props added or deleted or<br />
questions for the Technical Director or Designers).<br />
Deadlines, Prior to the First Rehearsal:<br />
1. reading the Lawrence Stern text and developing a clear understanding of the responsibilities of the Stage<br />
Manager (Chapters 1-5; 8-10; and 12-15);<br />
2. assembling Prompt Book;<br />
3. developing a clear understanding of the play and all technical elements (i.e. characters, props, sound cues,<br />
scene breakdown, etc.).<br />
The Prompt Book includes the following:<br />
1. all notations for lighting and sound cues;<br />
2. blocking notations;<br />
3. technical schedules;<br />
4. rehearsal schedules;<br />
5. sound plot;<br />
6. light plot;<br />
7. ground plan;<br />
8. company list; and<br />
9. pre-show duty list.<br />
Assembly of the Prompt Book:<br />
1. make tabs for each scene (if appropriate) for quick referral and tab such information as cast list, expenses,<br />
props, schedules, sets, etc.;<br />
2. make a legend (key) for all notations;<br />
3. for every light, sound, and special effect, use a ruler and light pencil. Draw a horizontal line closest to the<br />
line of dialogue preceding a verbal cue or under the description of a visual cue. The line should cross the<br />
entire Prompt Book page so you can see it easily during rehearsals; and<br />
4. preceding the line by half-a-page, draw a horizontal line marked “WARN LIGHTS” and “WARN SOUND.”<br />
a. in the case of two light cues and a sound cue in tight sequence, you need to put in only one<br />
“WARN” line before the sequence but it should be marked “WARN LIGHT/SOUND SERIES”; and<br />
b. since changes may occur, use a pencil only.<br />
Role with Actors:<br />
1. to support the actors;<br />
2. to organize things efficiently so the actors can get the maximum benefit from the rehearsal time; and<br />
3. the Stage Manager runs the show in performance;<br />
a. out of respect for the Stage Manager’s function, the actor should always yield to them; and<br />
b. the actor should obey directives given by the Stage Manager.<br />
~ 15 ~
CREW RESPONSIBILITIES (continued)<br />
Assisting the Director:<br />
1. call all lighting, sound, and sound effects cues, (should call them from the first rehearsal when possible);<br />
2. take all blocking notation (advise the director of blocking errors during rehearsal);<br />
3. begin and end rehearsals;<br />
4. make careful notes of where props are placed off-stage or discovered on stage using the pre-set<br />
diagram/list;<br />
5. spike all set pieces (the set pieces should be in the same place during each rehearsal); and<br />
6. time the show as running rehearsals being. Keep the director apprised of the timing of each act.<br />
Working with the Technical Director:<br />
1. discuss cue calling sequence and head set etiquette;<br />
2. discuss Level Set with Lighting Designer and Director on setting cues;<br />
3. prepare Prompt Book with lighting, sound, and sound effects cues noted before first Technical Rehearsals;<br />
and determine which ASMs shall be “headset ASMs” on SL or SR.<br />
Rehearsal Calls:<br />
1. arrive fifteen (15) minutes prior to sweep the stage and arrange set and props; and<br />
2. prepare a work area for yourself.<br />
End of Rehearsal:<br />
1. the Stage Manager gives specifics for the next call, costume calls, etc. it is not enough to pose pertinent<br />
information. It must also be given face-to-face; and<br />
2. it is appropriate for the Stage Manager to give any notes to the actors on issues after the director’s notes<br />
or whatever Director/Stage Manager agree is best.<br />
Other Duties:<br />
1. tape stage floor at the start of rehearsal process in conjunction with the TD and the ASMs;<br />
2. follow the direction of the Box Office Manager as to cue to begin performance as well as after<br />
intermission;<br />
3. oversee all backstage activities during the run of the show including the call of cues to lighting, sound,<br />
sound effects, follow-spot, stage, and lift operators; and<br />
4. always talk with the director if you have questions or concerns.<br />
Material cited and edited from: Stage Management by Lawrence Stern<br />
See attached forms for: 1) Performance Report; and 2) Rehearsal Report<br />
~ 16 ~
Production Title<br />
Birmingham-Southern College Department of <strong>Theatre</strong>, Semester Year<br />
PERFORMANCE REPORT #<br />
House Manager:<br />
House Count:<br />
Weather:<br />
House Open:<br />
Reason for Delay:<br />
Date<br />
DIRECTOR:<br />
STAGE MANAGER:<br />
LOCATION(S):<br />
IN ATTENDANCE:<br />
ABSENT/LATE:<br />
Up<br />
Down<br />
Totals<br />
Act 1 Intermission Act 2 Total<br />
NOTES<br />
GENERAL:<br />
SCENIC / TECHNICAL DIRECTION:<br />
PROPERTIES:<br />
COSTUMES:<br />
SOUND:<br />
LIGHTING:<br />
MUSIC:<br />
FIGHT/DANCE CHOREOGRAPHY:<br />
MANAGEMENT:<br />
COMPANY HEALTH: 1 2 3 4 5 6 7 8 9 10<br />
Company Health Notes:<br />
COMPANY MORALE: 1 2 3 4 5 6 7 8 9 10<br />
Company Morale Notes:<br />
~ 17 ~
Production Title<br />
Birmingham-Southern College Department of <strong>Theatre</strong>, Semester Year<br />
REHEARSAL REPORT #<br />
SCHEDULED TIME:<br />
ACTUAL START TIME:<br />
END TIME:<br />
Date<br />
DIRECTOR:<br />
STAGE MANAGER:<br />
LOCATION(S):<br />
IN ATTENDANCE:<br />
ABSENT/LATE:<br />
SCHEDULE<br />
TODAY IN REHEARSAL<br />
NEXT TIME:<br />
Day, Date<br />
NOTES<br />
GENERAL:<br />
SCENIC / TECHNICAL DIRECTION:<br />
PROPERTIES:<br />
COSTUMES:<br />
SOUND:<br />
LIGHTING:<br />
MUSIC:<br />
FIGHT/DANCE CHOREOGRAPHY:<br />
MANAGEMENT:<br />
COMPANY HEALTH: 1 2 3 4 5 6 7 8 9 10<br />
Company Health Notes:<br />
COMPANY MORALE: 1 2 3 4 5 6 7 8 9 10<br />
Company Morale Notes:<br />
~ 18 ~
DRAMATURG<br />
In the first week:<br />
• The Dramaturg and the Director meet to set deadlines and discuss the dramaturg’s interests and topics useful<br />
for the production process.<br />
• Identify relevant research sources.<br />
• Develop resources fand presentation for members of the company.<br />
• Serve as researcher when questions related to the dramaturg’s area come up.<br />
• The dramaturg may write a brief essay to be published in the program. The topic will be set by the dramaturg<br />
in consultation with the director.<br />
Article:<br />
What does a dramaturg do?<br />
http://www.brainsofminerva.com/2010/04/22/acting/what-exactly-does-a-dramaturg-do-dylan-southard-tells-us/<br />
Link to a fun video:<br />
http://dictionary.tdf.org/dramaturg/<br />
Topics relevant to play:<br />
• Working class pay during the period.<br />
• Cost of a few typical grocery and/or clothing items.<br />
• Gender roles.<br />
• Working conditions of the factory.<br />
• The trial, and/or the impact of the lawsuit on the workplace.<br />
• Disease threats for those working with radium.<br />
Possibilities: (Important for dramaturg to have flexibility as research develops).<br />
• Political climate.<br />
• Criticism of the play.<br />
• Period of the play.<br />
Goals:<br />
• Presentation for Company members: Monday, March 11.<br />
• Resource for company members.<br />
Examples of research projects:<br />
<strong>BSC</strong> dramaturg’s work for Neil Simon’s The Good Doctor using a blog format:<br />
https://thegooddoctoradramaturgy.blogspot.com/<br />
(Below are links to HS study guides. Even though the audience is different, may be useful.)<br />
Study Guide developed for area HS students for Dead Man Walking at <strong>BSC</strong>:<br />
https://www.bsc.edu/academics/theatre/stu-fac/dead%20man%20walking%20study%20guide.pdf<br />
Study Guide for HS students for <strong>BSC</strong>’s modern adaptation of August Strindberg’s Miss Julie:<br />
https://www.bsc.edu/academics/theatre/stu-fac/MISS%20JULIE%20STUDY%20GUIDE.pdf<br />
Depending on the needs of the play and director, sometimes dramaturgs develop information on topics such as:<br />
history, language, colloquialisms, and more.<br />
~ 19 ~
<strong>BSC</strong> THEATRE iPAD USAGE GUIDELINES<br />
<strong>2021</strong> - <strong>2022</strong><br />
The <strong>BSC</strong> <strong>Theatre</strong>’s iPad exists to assist the Stage Managers in their duties. Use of it is a privilege, not a right.<br />
Note that in the language below, iPad refers to not only the iPad itself but the accompanying Apple Smart Keyboard,<br />
charger, and cord.<br />
In order to use the iPad, the production’s Stage Manager will sign a usage form with the Technical Director then check<br />
out the iPad through the College Library following all Library checkout procedures. Failure to return the iPad<br />
immediately after a production’s close will result in a library fine of $20 per day.<br />
As a Stage Manager for the <strong>BSC</strong> College <strong>Theatre</strong>, I agree to abide by the<br />
following guidelines in the use of the Department’s iPad.<br />
o<br />
o<br />
o<br />
o<br />
o<br />
o<br />
Passwords should not be changed without the written permission of a Faculty of the <strong>BSC</strong> <strong>Theatre</strong>..<br />
The finger print reader should ‘not’ be activated.<br />
Software or “apps” should ‘not’ be added nor removed without the express written permission of the Faculty<br />
of the <strong>BSC</strong> <strong>Theatre</strong>.<br />
Purchases should not be made on the iPad to the connected purchase card without the express, written<br />
permission of the Faculty of the <strong>BSC</strong> <strong>Theatre</strong>.<br />
The iPad should be returned to the <strong>BSC</strong> <strong>Theatre</strong> Technical Director on the date of the Strike of the production.<br />
The Student Stage Manager is responsible for the safety and security of the iPad.<br />
Checkout:<br />
____________________________________________<br />
Signature of Stage Manager<br />
____________________________________________<br />
Signature of Witness (<strong>BSC</strong> <strong>Theatre</strong> Faculty Member)<br />
____________________________<br />
Date<br />
____________________________<br />
Date<br />
Return:<br />
____________________________________________<br />
Signature of Stage Manager<br />
____________________________________________<br />
Signature of Witness (<strong>BSC</strong> <strong>Theatre</strong> Faculty Member)<br />
____________________________<br />
Date<br />
____________________________<br />
Date<br />
~ 20 ~
ASSISTANT STAGE MANAGER / PROPS<br />
(ASM) – works with the Stage Manager (SM) and Props Crew Head (PCH) under the technical director’s guidance.<br />
Usually, two-to-four (2 - 4) ASMs are needed for a Mainstage production. There are two (2) distinct roles to this<br />
position: 1. assists the PCH in gathering the props for productions and, with the Stage Manager, gathers the<br />
“rehearsal props” for use. Shopping may be involved so having access to a vehicle is helpful.<br />
2. assists the Stage Manager during rehearsal as needed and, during the run of the production,<br />
work in concert with the Stage Manager to assure the smooth operation of the backstage areas.<br />
Property Crew Head (PCH):<br />
Property Crew Heads have a lot of responsibility. Previous experience as an Assistant Stage Manager/Props and/or in<br />
THA 110 Stagecraft or THA 310 Stage Design would be helpful. The PCH works with the designer and director under<br />
the guidance of the technical director and is responsible for locating all properties used in productions. These are the<br />
items used on stage that are not part of the set, and may be pulled from stock, purchased, borrowed, built, painted,<br />
or found. This may include shopping at antique, junk, thrift stores, etc. Having access to a vehicle is almost essential.<br />
The PCH handles money spent on purchases for productions and keeps record of what’s spent. These records are<br />
turned in to the Technical Director as the purchases occur (at the end of the production). During the production the<br />
PCH “runs” the props backstage and makes repairs as needed.<br />
Light Crew Head (LCH):<br />
Light Crew Heads have great responsibilities for which previous experience as a light technician and/or THA 211 Stage<br />
Lighting is helpful. The LCH works under the guidance of the lighting designer (LD) and is responsible for<br />
implementing design decisions of the LD. The LCH organizes the lighting technicians that make up the hang/focus<br />
crew, trains them in proper procedure, prepares lighting equipment for use, schedules hang/focus sessions, runs the<br />
hang/focus sessions, locates/purchases any color media, patterns, rentals, and special equipment, keeps record of<br />
expenditures, takes notes during the cue setting, tech and dress rehearsals, makes changes needed by the LD. During<br />
the run of the production the LCH is responsible for completion of a sound and light check and repair of any problems<br />
before each performance.<br />
Dresser/Wardrobe Assistant:<br />
This is an important position for the smooth running of the production and can be done by someone at any<br />
experience level. Usually two or three wardrobe assistants are needed per production, working under the supervision<br />
of the Costume Designer (CD). During the production they assist actors in changing costumes, keeping track of<br />
costume pieces, and assisting with wigs, hair, and make-up and occasional photo calls. They are also responsible for<br />
maintaining and cleaning the costumes after each performance. Any addition responsibilities are assigned by the CD.<br />
• Stage black attire – pants, tops, sensible shoes for running in an emergency – plus flash lights;<br />
• No one leaves unless dismissed by the Costume Designer<br />
Lighting Technician / Follow-Spot Operator / Board Operator:<br />
These crew members work with the LCH during preparation of the lighting instruments, hang, focus, and gel the<br />
instruments, prepare special effects, program the light board, run the board during the technical and dress rehearsals<br />
and performances, assist in the light and sound check, and run the follow-spots. Prior experience is not necessary.<br />
Sound Crew:<br />
These crew members are to run the theatre sound systems during productions. This includes locating sound cues,<br />
operating the playback equipment, and caring for the headset system. They may also work with actor and band<br />
microphones for a musical production. A specialized position within the sound area is the Sound Designer who<br />
creates sound designs for productions including seeking out and recording music and effects for a show. Knowledge<br />
of sound recording and playback techniques is helpful to fulfill this position.<br />
Stage Crew:<br />
This crew is not only necessary for any production, but also provides a way for those with varying levels of experience<br />
to be involved in the production process. The duties will vary from show-to-show but usually include preparation of<br />
the stage for use at each performance, set up of stage units, cleaning of the stage-set floor, and setting up the<br />
furniture. It may include construction, finishing and painting of scenery, operation of the lift/revolve system, slide or<br />
scenic projectors, fog and smoke machines and/or other special effects, and any other responsibilities as assigned by<br />
the TD.<br />
~ 21 ~
COMPANY MANAGER DUTIES & RESPONSIBILITIES<br />
Before Rehearsal Period<br />
Assist with Auditions if the Company Manager position is chosen in advance.<br />
Assemble a Company Contact List with name, cast or crew position, cell phone, dorm, and e-mail contact info of each<br />
company member and distribute this list to each company member (including Faculty and Staff) by e-mail.<br />
Deadline: before first rehearsal.<br />
Meet with the Box Office Manager (BOM) to discuss:<br />
A) Program Information Details;<br />
B) Complimentary Ticket Details;<br />
C) Course Evaluation Forms; and<br />
D) Ushers<br />
Deadline: you will be provided with printed detailed information for each by the end of the first week of rehearsal.<br />
Detailed attendance should be kept for:<br />
A) Production meetings with crew;<br />
B) All rehearsals at which crew is required to attend (Crew Watch, 1 st Run with Props, etc.); and<br />
C) All dress rehearsals and performances for cast and crew<br />
This will include not only who is absent or late, but by how much time each is late and any mitigating circumstances.<br />
The Company Manager is not qualified to “excuse” an absence, but can only Report and Record an attendance issue<br />
for Faculty or Staff members.<br />
Distribute THA 201 <strong>Theatre</strong> Practicum Syllabus to each company member by e-mail or Moodle.<br />
Post a copy on the Lobby Callboard and the Green Room Callboard.<br />
Deadline: Before first rehearsal.<br />
Acquire Drop/Add Forms from the Records Office to distribute at first rehearsal and/or first production meeting and<br />
have cast/crew fill them out then return them to the Records Office.<br />
Deadline: Turn in by end of second week of rehearsals.<br />
During Rehearsal Period<br />
Review comp ticket policies with all company members at a rehearsal (cast) and a Production Meeting (crew) and get<br />
the information to shop crew members<br />
Deadline: By end of second week of rehearsal<br />
Coordinate on-campus publicity.<br />
Deadline: Make sure entire campus knows about production by the Friday before the production opens.<br />
Rehearsals<br />
Post any rehearsal information and changes as needed by Director.<br />
During rehearsals, act as Director’s note-taker and assistant.<br />
During rehearsals, prompt actors (script needed!).<br />
Production Meetings<br />
Send reminder calls and e-mails to crew members regarding upcoming Production Meetings.<br />
Deadline: 24 hours before each Production Meeting.<br />
Attend all production meetings, take the Roll, and contact any who are absent or tardy.<br />
Take Production Meeting Notes using the format on the following page.<br />
Post Production Meeting Notes to all Production Staff and Crew by e-mail.<br />
Deadline: 24 hours after Production Meeting.<br />
~ 22 ~
Prior to Performance Week<br />
COMPANY MANAGER DUTIES & RESPONSIBILITIES (continued)<br />
Meet with the Box Office Manager (BOM) at the earliest opening in your schedule as Deadline dates and<br />
arrangements for Complimentary Tickets must be discussed. Thoroughly read and understand the Complimentary<br />
Ticket Policies on the following pages. Distribute the Program 1 st draft, 2 nd draft, and Final draft to Director,<br />
Costumer, and Technical Director for proofreading. Cross referencing with the original Company list, carefully<br />
proofread all drafts of the program and return all to the BOM.<br />
Deadline: Time for Program, Complimentary Tickets, and will be scheduled with the BOM.<br />
Schedule ushers for each performance and be ready to contact them if they do not show up on time.<br />
Secure a T-shirt provider, take T-shirt orders, and arrange for ordered T-shirts to arrive one (1) week prior to opening.<br />
Prepare and post Company Sign-In list for tech weekend, dress rehearsals, and run of show.<br />
Deadline: Call of the production's Tech Dress Rehearsal.<br />
During the Performance Week<br />
Design and assemble the Lobby Callboard with Production-related materials.<br />
Act as House Manager and assist the Ushers. Use the Usher Policy information in this handbook as a guide.<br />
Dress appropriately (men: coat and tie; women: dress, or skirt/nice pants, blouse).<br />
Make sure the house is clean and all potential audience hazards are addressed.<br />
Announce or post any changes or omissions in the program in an appropriate place.<br />
In the case of bad weather, discuss with and be prepared to help the Assistant Box Office Managers with emergency<br />
evacuation of theatre. Stay on station in the Box Office/Lobby area to be available in the event of a problem. Help<br />
Assistant Box Office Managers as needed.<br />
Note any disruptions in audience and work with Faculty and Staff to eliminate them.<br />
REPORT ALL EMERGENCIES TO CAMPUS POLICE AT EXTENSION 4700.<br />
Coordinate with Campus Police any special needs for movement-impaired audience members.<br />
Prior to opening the performance and after intermission, tell Stage Manager when the house is clear. Make sure all<br />
doors are closed. Check for stragglers in the restrooms.<br />
With the Technical Director, prepare a Strike List to post on the Green Room Callboard.<br />
Deadline: Post Course Evaluation Forms by call of production's final performance, turn in to Technical Director at the<br />
end of Strike.<br />
After Final Performance<br />
Distribute the Course Evaluation Forms to each company member including Shop Crew.<br />
Collect the Course Evaluation Forms and store securely.<br />
Return the Lobby Callboard to its Pre-show state.<br />
Take the completed Course Evaluation Forms to the BOM.<br />
Deadline: the first day the Box Office Manager is available after the show closes.<br />
Give to the Technical Director and Director a copy of all Attendance Records.<br />
Deadline: Wednesday of the week after the production closes.<br />
~ 23 ~
PUBLICITY MANAGER<br />
The Publicity Manager (PM) is responsible for acquiring details of a production in order to create an appealing way of<br />
advertising, marketing, and attract an interested audience.<br />
Checking and double-checking the approved information and image on the theatre website is a must. Information for<br />
production advertising/marketing includes: the image on the website or an image you create; the dates/days/location/times of<br />
performances; the general public and student ticket costs; box office operational hours and phone number; and the official <strong>BSC</strong><br />
logo. (example of poster below, but without <strong>BSC</strong> logo)<br />
Working closely with the Director and Box Office Manager<br />
will help. Follow the list of deadlines below so you won’t<br />
get behind.<br />
1) Post on-going photos, company member features,<br />
and interviews as well as video updates about <strong>BSC</strong><br />
<strong>Theatre</strong> Students for the present academic year.<br />
Deadline: To be done four (4) days a week and<br />
daily during production.<br />
- Company member features to spotlight student<br />
stories and spread information about the<br />
production.<br />
- Facebook and Instagram username and PW<br />
available from <strong>Theatre</strong> faculty.<br />
- Post on Birmingham Area <strong>Theatre</strong> groups on<br />
Facebook, such as Birmingham <strong>Theatre</strong> Family and Birmingham-Southern Arts Alliance.<br />
- Weekly post goal: at least three (3) posts per week and each day during production week.<br />
2) The program cover requires only the image and needs submitted as a jpg (jpeg) to the box office manager as soon as it’s<br />
completed; this should be a square image, not horizontal nor vertical.<br />
Deadline: Complete three (3) weeks prior to production.<br />
3) Design a production banner, save as a PDF, and submit to the Box Office Manager (jpandeli@bsc.edu) for editing. Once<br />
verified, submit the edited PDF to PantherPrint (pantherprint@bsc.edu) making sure to state the dimensions of the<br />
banner, if you’d like it to have a framed edge or bleed to the edges, and if you want it in color. If you need to follow-up<br />
on the order, call the PantherPrint Shop Office directly at 205.226.4848. An account number isn’t necessary.<br />
Deadline: Complete two (2) weeks prior to production.<br />
- Photoshop is available in Computer Labs (Art Auxiliary Building/Library) to make the banners/flyers/posters. This tool<br />
insures high quality images.<br />
- Have fun with the font for the show title rather than using the preloaded font.<br />
- Check with Judy E. Pandelis (jpandeli@bsc.edu) on language for Box Office policies.<br />
- Files to print banners/flyers/posters are sent to PantherPrint (pantherprint@bsc.edu) in PDF (you can’t export to a PDF<br />
from Photoshop, but you can use a PDF converter online for free).<br />
4) Using the same information collected for the banner, rearrange/restructure the image and copy for printing flyers and<br />
posters. Flyers measurements are (8.5” x 11”) and posters measurements are (11” x 14”) and must include all<br />
information. ‘Do Not’ save the original as a PDF, but submit these to the Box Office Manager (jpandeli@bsc.edu) for<br />
editing prior to printing. Once designs are approved they’ll be saved as a PDF and can be printed on the <strong>Theatre</strong> printer.<br />
During the Fall and Spring semesters, print between fifty-to-sixty (50-60) flyers and forty (40) during eTerm; During the<br />
Fall and Spring semesters, print twenty (20) posters and ten (10) during eTerm.<br />
Deadline: Complete two (2) weeks prior to production.<br />
- Flyers/Posters should be left with Judy E. Pandelis (main Music Office) for work student distribution.<br />
5) Coordinate hanging of the banner in the cafeteria with Student Development;<br />
Coordinate the flyer distribution for campus with the Box Office Manager.<br />
Deadline: Complete one (1) week prior to production.<br />
- The person to email is Robby Prince (rprince@bsc.edu), Associate Director of Student Life.<br />
6) Coordinate special presentations to publicize productions in the cafeteria and/or other settings.<br />
- Deadline: First rehearsal week.<br />
~ 24 ~
PRODUCTION MEETING MINUTES<br />
SHOW:<br />
MEETING CONVENED:<br />
DATE:<br />
MEETING ADJOURNED:<br />
CREW MEMBERS PRESENT:<br />
CREW MEMBERS LATE:<br />
CREW MEMBERS ABSENT:<br />
STAFF AND FACULTY PRESENT:<br />
* Set Design / Tech<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
* Costumes<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
* Props<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
* Sound<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
* Lights<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
* Other Areas<br />
Reported By:<br />
Follow-Up:<br />
Follow-Up Deadlines:<br />
The next production meeting for _________________________________________________________<br />
will take place on ___________________________at ___________ AM/PM in ____________________<br />
Respectfully Submitted By: ________________________________Date:_________________________<br />
~ 25 ~
PROPS/COSTUMES: CHECKIN’ OUT & CHECKIN’ IN<br />
For now, checking out and/or checking in of Costumes and/or Props will not be allowed for <strong>2021</strong> - <strong>2022</strong>.<br />
<strong>BSC</strong> THEATRE HEALTH & SAFETY POLICIES <strong>2021</strong> - <strong>2022</strong><br />
As we adjust to a safe return to campus, we will need to create new ways of collaborating and learning together. The<br />
following safety guidelines are shared to support our safe use of our <strong>Theatre</strong> and Dance spaces.<br />
Greenroom and Dance Lobby<br />
The Dance lobby and <strong>Theatre</strong> Greenroom are designated as pass-through only.<br />
Box Office<br />
Only designated work study students are allowed in the Box Office. There are no visitors permitted at any time.<br />
<strong>Theatre</strong> Lobby<br />
Social distancing should be practiced at all times in the theatre lobby.<br />
Classroom<br />
Cap limitations on the capacity of each classroom and academic space is posted.<br />
• Only props and equipment which can be sanitized will be used in class and will be cleaned after each use;<br />
sharing items will be significantly minimized or not allowed as the activity and safety warrant.<br />
• Seating will be set to specific standards as set by the College and faculty.<br />
• Students and faculty must wear a face covering in class/lab/studio at all time. Students without masks must be<br />
asked to leave class until they have a face covering. All class participants are required to observe <strong>BSC</strong> policies<br />
in regard to social distance and face mask practices at all times in academic areas.<br />
• Social distancing should be practiced leave or entering a classroom/lab or studio.<br />
• Classes will not be held in the Underground <strong>Theatre</strong>. Students may reserve the space electronically. Students<br />
must be use masks and practice social distancing. There will be no use of departmental props or costumes. We<br />
provide a few cubes and a table which must be cleaned after each use with dry wipes and sanitizer available.<br />
Items that students bring into the space needs to be secured in a locker or taken from the building after<br />
rehearsal.<br />
Attendance<br />
• At the beginning of class, students and faculty will display their ‘green’ positive Healthcheck passport<br />
feedback on their cell phone or computer. Anyone with no or a red display will be asked to leave the class and<br />
return with the health information has been sent to their device and their feedback is green.<br />
Student/Faculty Advising and Meetings<br />
Student and faculty meetings will be scheduled virtually or outdoors. Meetings will not be held in faculty/staff or<br />
theatre offices.<br />
Scene Shop, Costume Shop, Production Safety Protocol<br />
All students/faculty and staff are required to clean tools, props and equipment prior and after use. Cleaning supplies<br />
are available in all classroom and shop spaces.<br />
Only authorized individuals may operate the light board. Those individuals will be trained on cleaning and safety<br />
protocol.<br />
Production meetings will be scheduled online.<br />
Scene Shop hours are: 9:00 a.m. until 12:00 Noon, MWF || 9:00 a.m. until 11:00 a.m. TT<br />
1:00 p.m. until 5:00 p.m. Everyday<br />
Costume Shop hours are: Scheduled through Patti<br />
~ 26 ~
<strong>BSC</strong> THEATRE HEALTH & SAFETY POLICIES <strong>2021</strong> -<strong>2022</strong> (continued)<br />
Face Masks<br />
Every person on campus will be required to wear a face covering that covers their mouth and nose whenever they are<br />
in a public space. This includes faculty, staff, students, and visitors.<br />
Mental Health<br />
We are living in unprecedented times. Here at Birmingham-Southern, we understand that COVID-19 can bring stress<br />
and increased levels of fear and anxiety for our students, staff, and faculty members. Everyone reacts differently to<br />
stressful situations, and it could take a toll on our mental health. Please reach out to friends or our counseling<br />
services if you need or want someone to talk to – as we are all coping with COVID-19 and finding the new normal.<br />
For counseling services before fall term begins, email studev@bsc.edu. During the academic year, please contact Cara<br />
Blakes clblakes@bsc.edu or Marlena Stowe mdstowe@bsc.edu.<br />
You may also contact the Crisis Center Hotline at (205) 323-7777.<br />
Disciplinary Process<br />
Any member of the <strong>BSC</strong> community who refuses to follow the guidelines set out in this plan (or additional<br />
expectations established in the course of the term) must recognize that they are endangering other members of our<br />
community. Such an individual will be required to meet with an appropriate supervisor, e.g., the dean of Student<br />
Development, work manager, academic chair, or the Provost. If that person is unwilling to meet their communal<br />
obligations and their risky behavior continues, they will be asked to depart campus and to complete the term<br />
remotely with no requirement on the College’s part for special accommodations. If a student is required to finish the<br />
term off campus, the College will not be liable for refunds of room, board, tuition, or fees. All <strong>BSC</strong> Covid-related<br />
policies are found here.<br />
~ 27 ~
COSTUME CREW<br />
Student Costume Designer (SCD)<br />
Responsibilities begin with reading the script and personal research of period needed; written or rudimentary<br />
costume sketches; must frequently consult with the Costume Designer as purchases must be made using the<br />
Department Credit Card; purchase receipts must be kept in an organized manner, initialed, and notated with name of<br />
production; all receipts must be copied and given, along with the original receipts, to the Costume Designer; and<br />
returning of ‘unused’ items in a timely manner using the original receipts.<br />
Dresser/Wardrobe Assistant<br />
Is an important position for the smooth running of the production and can be done by someone at any experience<br />
level. Usually two or three wardrobe persons are needed per production, working under the supervision of the<br />
Costume Designer (CD). During the production they assist actors in changing costumes, keeping track of costume<br />
pieces, and assist with wigs, hair, and make-up and occasional photo calls. The Dresser/Wardrobe Crew is also<br />
responsible for maintaining and cleaning the costumes after each performance. Any additional responsibilities are<br />
assigned by the CD.<br />
• Stage black attire – pants, tops, sensible, close-toed shoes for running in an emergency – plus flash lights;<br />
• No one leaves unless dismissed by the Costume Designer<br />
Costume Manager Responsibilities<br />
• Putting in a MINIMUM of four (4) hours per week in the costume shop.<br />
• Must collaborate with the Costume Designer/Coordinator and the rest of the Costume Crew to set up a<br />
weekly working schedule. Each crew member is responsible for adhering to this schedule as this is a grade<br />
and missing shop hours can result in a lower grade in THA 201.<br />
• In charge of restocking any costumes/costume pieces left over from previous shows as well as any costumes<br />
that have been pulled and no longer needed.<br />
• Work with the Costume Designer/Coordinator and the Stage Manager to create a costume plot (and itemized<br />
list of which costumes and costume pieces belong to which actor, where each costume begins, how (both<br />
when and where) a costume travels during the run of a show, and who oversees presetting, moving, and<br />
striking each costume and/or costume piece.<br />
• Once costumes have been “somewhat” finalized, the Costume Manager must work with the Stage Manager<br />
and The Costumer to decide whether or not there will be quick changes during the performance. If quick<br />
changes are necessary, the Costume Manager should collaborate with the Stage Manager about when and<br />
where the changes will occur. A Quick Change List should be made and posted on either side of the stage.<br />
This list must include the character/actor’s name, which scene the change occurs after, which costume will be<br />
taken off and which costume will be put on, and average of how much time the actor is allotted to change,<br />
and which Dresser(s) is assigned to that quick change.<br />
• Laundry and repair needs that arise during the run of a show. These tasks should be completed daily BEFORE<br />
call time for each show so duties and actors’ needs can be tended to as one prepares for the show.<br />
Dresser/Wardrobe Assistant Responsibilities<br />
• The Dresser/Wardrobe Assistants are required to put in a MINIMUM of four (4) hours weekly in the costume<br />
shop.<br />
• Restocking the Costume “Emergency Kits” for either side of the stage at least one (1) week before tech week.<br />
The list of the items necessary for the kits is listed under “Costume Emergency Kit” in this handbook<br />
• Attendance to all Costume Calls, Production meetings, and Strike.<br />
• Make note(s) of any alterations/repairs that need completed during the run of the show.<br />
• Attending all/any laundry/repair needs that arise. These must be completed daily prior to call time for each<br />
show so duties and actors’ needs can be tended to as one prepares for the show.<br />
~ 28 ~
Quick Changes<br />
Each Dresser/Wardrobe Assistant should confirm with the Costume Manager which actors they will be assisting with<br />
quick changes. Determine the timing and location of the quick change. Choreograph the process with the actor. This<br />
should be scheduled through the Costume Manager, Stage Manager, and Ms. Patti. As the actor goes onstage, the<br />
Dresser/Wardrobe Assistant should look the actors over to ensure that they are presentable before they step onto<br />
the stage; there should not be threads or lint hanging from the costumes. Confirm that all fasteners are closed<br />
appropriately, and accessories, wigs, etc. are placed correctly. Make sure that ties are straight, shoes are tied, shirts<br />
are tucked in if necessary etc. The Dresser/Wardrobe Assistants are the mirrors for the actors during a quick change:<br />
they must make sure that all aspects of the actor’s appearance are pristine and stage-ready.<br />
Costume “Emergency Kit”<br />
The Costume “Emergency Kit” should be restocked at least one (1) week before tech week. The Dresser/Wardrobe<br />
Assistants are responsible for making sure that the kits have everything that is required for them. The “Emergency<br />
Kits” must include the following:<br />
• Safety pins of all sizes (approximately 5 of each size)<br />
• One (1) seam ripper<br />
• Bobby Pins (approximately 15)<br />
• A pair of scissors<br />
• Three (3) hand sewing needles varying in size<br />
• Thread of basic color(s).<br />
Pre-show Restocking / Cleaning<br />
The Costume Manager is in charge of restocking the costumes from the previous show within the first two (2) weeks<br />
after the cast/crew list has been posted or by the first Production Meeting (whichever comes first). Collaborating<br />
with the Costumer, the Costume Manager will be responsible for making sure that the costumes are put away<br />
correctly; however, the costume crew is required to help with this process. Each costume has a designated category<br />
in which it falls under and MUST be put away correctly. If there is any question where something should be<br />
restocked, consult with the Costumer. Restocking the costumes includes but is not limited to just full costumes.<br />
Costume pieces such as shoes, hats, scarves, purses, ties, badges, jewelry, glasses, etc. are all to be put away within<br />
the first two weeks. The sewing tables must be cleaned off as well. There is an organizational system—put things<br />
where they go. Take out any trash and reline all the trash containers. Consult with the Costumer before throwing<br />
away anything that might be presumed as trash. Any spools of thread, needles, sewing machine parts, pins, etc. left<br />
over from previous shows should be put away in their designated areas. Once again, if there is any question on<br />
where something should go, or whether or not to throw it away, consult with the Costumer. The Costume Shop must<br />
start off the production process with a clean working space; otherwise it will make things a lot more difficult further<br />
along in the process.<br />
Costume Schedule<br />
• Two (2) weeks after the casting schedule has been posted or the first Production Meeting (whichever comes<br />
first), the Costume Manager must have the costumes from the previous show restocked (CORRECTLY!) and<br />
have set up a working schedule for each member of the costume/wardrobe crew. The Costume Shop should<br />
also have already be cleaned up and organized by this time. That includes restocking costume pieces and<br />
cleaning up trash or left over scrap fabric.<br />
• By the start of tech week:<br />
o Costume “Emergency Kit” must be fully stocked and placed on each side of the stage;<br />
o<br />
o<br />
A Costume Notes Sheet should be placed in each dressing room; and<br />
All costume plots must be finalized and approved by The Costume Designer/Coordinator and Shop<br />
Manager.<br />
~ 29 ~
COMPLIMENTARY TICKET POLICIES<br />
This section is under construction with a new ticketing system. You will be apprised once complete.<br />
All students serving as members of the cast and/or crew of musical theatre, opera, and/or theatre<br />
productions are entitled to complimentary tickets. Depending upon the production season and seating<br />
availability, a student normally receives two (2) tickets per Mainstage shows and one (1) per The<br />
Underground shows.<br />
The Company Manager will meet with the College <strong>Theatre</strong> Box Office Manager to arrangement for your<br />
complimentary tickets. In order to receive these tickets, it is the student’s responsibility to provide the<br />
Company Manager with the following information.<br />
1. Student’s name and student’s cell telephone number;<br />
2. Guest’s/Guests’ name(s) and Guest’s/Guests’ cell telephone number; and<br />
3. Select the exact show you and/or your guest(s) will attend; once the selection is made and turned-in,<br />
no changes will be made.<br />
Arrangements for complimentary tickets will not be allowed after 12:00 Noon on the cut-off date.<br />
The College <strong>Theatre</strong> Box Office Manager and Assistant College <strong>Theatre</strong> Box Office Managers<br />
are not to be contacted concerning complimentary tickets.<br />
Your tickets and/or your guests’ tickets will be forfeited if you fail to provide ALL the necessary information<br />
needed to procure complimentary ticket reservations. If changes MUST be made ... regardless of the reason<br />
... they must be made only through the Company Manager.<br />
Again … there are no exceptions.<br />
If family members plan to attend any of the events but will be making general reservations, please have<br />
them to read all the pertinent information on the theatre website and select or call the College <strong>Theatre</strong> Box<br />
Office at 205.226.4780 beginning no later than two (2) weeks prior to the opening night’s performance<br />
{three (3) weeks prior if they are <strong>BSC</strong> Arts Alliance members} or make reservations/purchases on-line. Your<br />
family and friends are welcome to call the <strong>BSC</strong> Arts Alliance Membership Office 205.226.4953 if they would<br />
like to join the <strong>BSC</strong> Art Alliance. This would be a good idea especially if they plan to attend the Visual and<br />
Performing Arts events throughout the year.<br />
Also, if you forget a production schedule, it can be found on the Birmingham-Southern College website.<br />
Information regarding College <strong>Theatre</strong> Box Office hours, <strong>BSC</strong> Art Alliance membership, Fine and Performing<br />
Arts calendar of events, etc. can also be retrieved through the theatre website and links or call the College<br />
<strong>Theatre</strong> Box Office at 205.226.4780.<br />
~ 30 ~
SCHEDULE & ALLOTMENT<br />
<strong>2021</strong> – <strong>2022</strong> CAST & CREW TICKET RESERVATIONS<br />
Complimentary tickets are reserved through the Company Manager.<br />
o<br />
Head Over Heels<br />
o November 18, 19, & 20 at 7:30 p.m. | November 21 at 2:30 p.m. | Mainstage<br />
(one ticket each) beginning: Thursday 28 October<br />
ending: Monday 08 November<br />
o We Are Pussy Riot or Everything is P.R.<br />
o February 10, 11, & 12 at 7:30 p.m. | February 13 at 2:30 p.m. | The Underground<br />
(one ticket each) beginning: Thursday 20 January<br />
ending: Monday 31 January<br />
o<br />
The Spitfire Grill<br />
o April 28, 29, & 30 at 7:30 p.m. | May 1 at 2:30 p.m. | Mainstage<br />
(one ticket each) beginning: Thursday 07 April<br />
ending: Monday 18 April<br />
o Student-Directed One-Act Plays<br />
o May 9 & 10 at 7:30 p.m. | The Underground<br />
**requires no reservation(s) ... admission is free ... seating is limited and on a first-come, first-served basis**<br />
Remind family members that children aged six (6) years old and younger will not be admitted.<br />
NOTE:<br />
General Admission tickets for musicals/operas - $20.00; drama - $15.00; $10.00 - Student Directed<br />
<strong>BSC</strong> Employees & Students (regardless of school) - $10.00<br />
Extra tickets must be reserved on-line. All tickets are ‘held’ in the College <strong>Theatre</strong> Box Office.<br />
Remember<br />
ONLY the Company Manager can arrange for your complimentary tickets.<br />
This is on a first-come, first-served basis. If you fail to arrange for your<br />
comp tickets then you MUST buy them at the box office or on-line.<br />
Get with whomever you choose to get your comps to make sure the order is<br />
correct then reserve them as per the above schedule.<br />
~ 31 ~
THEATRE USHER POLICIES ~ MASK WEARING ... MANDATORY<br />
For Mainstage<br />
- FIRST… If you are interested in serving as an usher for any of the College <strong>Theatre</strong> Productions, you are<br />
required to stay during the entire performance (due to possible emergencies). If you are unable to do so,<br />
please do not sign-up for the position. Thank you!<br />
- SECOND, College <strong>Theatre</strong> ushers are to arrive promptly one hour and fifteen minutes before tickets go on<br />
sale. This will allow ample time for reviewing usher procedures and asking questions (whether you’ve<br />
previously served as an usher or not). Also, patrons arrive early and ask questions as to when the house opens<br />
or what time the play will be over. Be sure to speak with the Assistant Box Office Managers concerning these<br />
questions because times tend to change from play-to-play.<br />
- You are required to wear a white or light top/shirt/blouse and black or dark pant/skirt.<br />
- Smoking is NOT allowed inside any area of the theatre. Ask those with cigarettes/cigars to extinguish them<br />
outside or to stay outside if they continue to smoke.<br />
- Beverages are not allowed inside the theatre seating areas. Be absolutely sure to watch for this after preshow<br />
receptions and during intermissions as people return to their seats (ie. “Excuse me… Refreshments are<br />
not allowed in the theatre. Please finish them outside or in the lobby. Thank you.”).<br />
- The entrance to the theatre seating area is to remain roped off until the Assistant Box Office Managers<br />
authorize opening. When we do open, secure the rope by attaching it to the opposite end of the hook to the<br />
ring mounted on the railing (not the wall) so you, and patrons, will not trip.<br />
- The usher issuing programs is responsible for standing at the top of the stairs by the railing closest to the<br />
windows. DO NOT HAND OUT PROGRAMS PRIOR TO OPENING THE THEATRE!! One program is to be issued<br />
per patron. If someone requests an extra program, please explain that we have a limited amount for each<br />
performance and extra copies are not available. (Some students are required to attend performances for class<br />
credit and need a program as proof. Do NOT hand out left over programs. Make sure extra programs are<br />
returned to the Assistant Box Office Managers before you enter the theatre.) These ushers are also<br />
responsible for reviewing the house seating area, when there is time, and noticing what seats have or have<br />
not been taken. This will allow for placing patrons as the house begins to fill.<br />
- The usher checking tickets is responsible for standing at the bottom of the stairs by the railing closest to the<br />
windows. Please check with the Box Office Manager when you arrive to check the ticket color for that evening<br />
or matinee. This usher is also responsible for closing the inner and outer theatre doors leading into the<br />
seating area when the production begins, propping the doors open in preparation for intermission, closing the<br />
theatre doors at the close of intermission, and, again, propping the doors open at the end of the production.<br />
- All ushers are to be the last ones seated and required to sit close to the ‘exit’ doors. You are also required to<br />
report any audience disturbance. If there’s a disruption, find out what is happening and speak calmly and<br />
quietly with the person causing the disruption… this may include reminding people to return to their seats<br />
after intermission. If there is a “true emergency,” inform the Campus Police IMMEDIATELY!<br />
- Above all, dealing with everyone, whether they are disruptive or not, be as courteous and considerate as<br />
possible. If you encounter any problems, contact the Assistant Box Office Managers.<br />
- If you have any questions concerning these policies, please contact the Box Office Manager between the hours<br />
of 2:30 and 4:45 p.m. at 4780. If no one is available to take your call, please leave a complete message (ie.<br />
name, telephone number, date, and the time you are to usher plus questions you may have). Thank you!!<br />
~ 32 ~
THEATRE USHER POLICIES ~ MASK WEARING ... MANDATORY<br />
For The Underground<br />
- FIRST… If you are interested in serving as an usher for any of the College <strong>Theatre</strong> Productions, you are<br />
required to stay during the entire performance (due to possible emergencies). If you are unable to do so,<br />
please do not sign-up for the position. Thank you!<br />
- SECOND, College <strong>Theatre</strong> ushers are to arrive promptly one hour and fifteen minutes before tickets go on<br />
sale. This will allow ample time for reviewing usher procedures and asking questions (whether you’ve<br />
previously served as an usher or not). Also, patrons arrive early and ask questions as to when the house opens<br />
or what time the play will be over. Be sure to speak with the Assistant Box Office Managers concerning these<br />
questions because times tend to change from play-to-play.<br />
- You are required to wear a white or light top/shirt/blouse and black or dark pant/skirt.<br />
- Smoking is NOT allowed inside any area of the theatre. Ask those with cigarettes/cigars to extinguish them<br />
outside or to stay outside if they continue to smoke.<br />
- Beverages are not allowed inside the theatre seating areas. Be absolutely sure to watch for this after preshow<br />
receptions and during intermissions as people return to their seats (i.e. “Excuse me… Refreshments are<br />
not allowed in the theatre. Please finish them outside or in the lobby. Thank you.”).<br />
- The entrance to the theatre seating area is to remain roped off until the Assistant Box Office Managers<br />
authorize opening. When we do open, secure the rope by attaching it to the opposite end of the hook to the<br />
ring mounted on the railing (not the wall) so you, and patrons, will not trip.<br />
- The usher issuing programs is responsible for standing at the bottom of the stairs by the double doors. DO<br />
NOT HAND OUT PROGRAMS PRIOR TO OPENING THE THEATRE!! One program is to be issued per patron. If<br />
someone requests an extra program, please explain that we have a limited amount for each performance and<br />
extra copies are not available. (Some students are required to attend performances for class credit and need a<br />
program as proof. ** Do NOT hand out left over programs.** Make sure extra programs are returned to the<br />
Assistant Box Office Managers before you enter the theatre.) These ushers are also responsible for reviewing<br />
the house seating area and noticing what seats have or have not been taken. This will allow for placing<br />
patrons as the house begins to fill.<br />
- The usher checking tickets is responsible for standing at the top of the stairs by the railing going down into<br />
<strong>Theatre</strong> One. Please check with the Assistant Box Office Managers when you arrive to check the ticket color<br />
for that evening or matinee. This usher is also responsible for closing the theatre doors leading into the<br />
seating area when the production begins, propping the doors open in preparation for intermission, closing the<br />
theatre doors at the close of intermission, and, again, propping the doors open at the end of the production.<br />
- All ushers are to be the last ones seated and required to sit close to the ‘exit’ doors. You are also required to<br />
report any audience disturbance. If there’s a disruption, find out what is happening and speak calmly and<br />
quietly with the person causing the disruption… this may include reminding people to return to their seats<br />
after intermission. If there is a “true emergency,” inform the Campus Police IMMEDIATELY!<br />
- Above all, dealing with everyone, whether they are disruptive or not, be as courteous and considerate as<br />
possible. If you encounter any problems, contact the Assistant Box Office Managers.<br />
- If you have any questions concerning these policies, please contact the Box Office Manager between the hours<br />
of 2:30 and 4:45 p.m. at 205.226.4780. If no one is available to take your call, please leave a complete<br />
message (i.e. name, telephone number, date, and the time you are to usher plus questions you may have).<br />
~ 33 ~
<strong>BSC</strong> Department of <strong>Theatre</strong> Moodle Production Page Guidelines<br />
<strong>2021</strong> - <strong>2022</strong><br />
• Moodle page set up will be coordinated by <strong>BSC</strong> <strong>Theatre</strong> Faculty.<br />
• <strong>BSC</strong> <strong>Theatre</strong> Faculty/Staff, Stage Manager, and Company Manager will have “Teacher” access privileges in<br />
order to be able to edit the page.<br />
o All other participants in the production will be enrolled in the course as a “Student”<br />
• Moodle Page Set Up<br />
o Top/Introductory Section<br />
• Include Production Marque Picture<br />
• Include “Welcome to the ___________________ Moodle Page!”<br />
o<br />
o<br />
o<br />
o<br />
o<br />
o<br />
Topic 1 – Company Information<br />
• <strong>Theatre</strong> Practicum Syllabus<br />
• Production Company List<br />
• Production Company Contact List<br />
• Script folder<br />
• PDF/Word version of the script (if possible)<br />
• Rehearsal Reports Folder<br />
• Upload all rehearsal reports after they are emailed to the company.<br />
• Performance Reports Folder<br />
• Upload all performance reports after they are emailed to the company.<br />
• Create a folder for Production Meeting Minutes<br />
• Insert all production meeting minutes after they are emailed to the company.<br />
Topic 2 – Schedules<br />
• Technical Schedule<br />
• Rehearsal Schedule<br />
Topic 3 – Cast Information<br />
• Information pertinent to the cast (I.e., PowerPoint presentations, videos from sessions with<br />
production guests, etc.)<br />
• If pertinent to the production, folders regarding choreography, music, etc. can be created<br />
under this section.<br />
Topic 4 – Crew/Technical Information<br />
• Sound Folder<br />
• Examples of information to include: Sound Plot, Sound Cue Sheet, Blank Sound Cue<br />
Sheet<br />
• Props Folder<br />
• Examples of information to include: Props List, Blank Props Grid Template, Complete<br />
Props Grid, Props Crew Schedule, Upload Props <strong>Handbook</strong><br />
• Lights Folder<br />
• Examples of information to include: Light Cue Sheet, Hang/Focus Schedule<br />
• Costumes Folder<br />
• Examples of information to include: Costume Plot<br />
• Set Folder<br />
• Examples of information to include: Set Ground plan<br />
Topic 5 – <strong>Handbook</strong>s<br />
• Stage Manager Rehearsal Report and Performance Report Template<br />
• Company Manager Production Meeting Report Template<br />
Topic 6 – Additional Resources<br />
• Include any other information relative to the production that does not fit into the above<br />
categories.<br />
~ 34 ~