24.08.2021 Views

2021-2022 BSC Theatre Handbook

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

<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 ~

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!