Jcct production manual

1 JCCT, INC. PRODUCTION MANUAL 2011-2012

Jay County Civic Theatre, Inc.

Production Manual 2012-‐2013

Revised by Bryon Sparks


Please Read This Manual!

Whether or not you have directed, stage managed or otherwise been responsible for a JCCT, Inc. production before, it never hurts to refresh your memory. Nine times out of ten, if you have a question about how we do things, you’ll find the answer here — and if you don’t, you’ll find out how to find out. Things may have changed, too, since the last time you worked with us. Changes in our organizational structure, even the times we live in all affect the way we do things. We try to stay flexible, and if change occurs during the middle of a season, the Board of Directors will make every effort to let you know.

This manual is not simply — or even primarily — a rule book. It’s a road map to staging a successful production that runs smoothly and is fun for everyone involved, and to avoiding some of the potholes others have fallen into over the years. It’s based on real production experience with JCCT, Inc., and offers a chance to learn from the successes, as well as the mistakes, of others. Please read it now; copy the appropriate sections and give them to people on your production crew, and keep it handy for future reference.


Jay County Civic Theatre, Inc.

Mission Statement

The mission of Jay County Civic Theatre, Inc. is to

cultivate creative and cultural experiences for the community. Jay County Civic Theatre, Inc. will promote the development and maintenance of Theatre Arts in Jay County, Indiana. We will at all times strive for artistic excellence through our community-‐based, independently-‐produced theatrical performances and educational programs.


Congratulations on Being Chosen to Direct for Jay County Civic Theatre

You are the Director. The JCCT is happy to leave artistic decisions and interpretation in your hands with the understanding that JCCT has the final Artistic say. But JCCT is more than just one production. Your production, and all those who take part in it are part of our JCCT family. We want everyone involved with your show to feel like part of the family and to understand that what they do is important to our theatre and its reputation among our patrons, our other volunteers and our community. Your cast and crew, and what you do for the next several months, are critical to JCCT’s success. As the Producer, JCCT, it’s Board and Board Advisors have a stake in your production and will do all they can to help it succeed. Open communication, between the Producers (JCCT) and your Production Staff, is vital in the success of every production. In order to foster this relationship you will be assigned a Production Supervisor to act as a liaison between your production and the Board of Directors.

JCCT also needs to protect its assets, including our relationship with our volunteers, the community and our venues. Many of the policies outlined in this manual are aimed at doing just that, and they grow out of the many years of experience. If you don’t understand why we do something the way we do, feel free to ask, or to suggest a better way! (It is best to submit this to the Board during our regularly scheduled monthly meetings. Contact the Board President or Secretary regarding being put on the agenda.)

You and your production are part of JCCT’s long tradition of creating Quality Theatre for Jay County and surrounding areas audiences. Thank you for helping us to build on that tradition.


Production Timeline The Board of Directors has the final Artistic word.

I. One Year to Six Months prior to production dates:

a. JCCT Board will secure location for performances. b. Sponsorship Committee will secure a Show Sponsor. c. JCCT Board will hold preliminary meeting(s) with

Director to discuss vision and concept.

Director is to find Production Staff Members as called for:

Stage Manager (Production Supervisor must approve) Assistant Director (If Needed) Musical Director (If Needed) Scenic Designer Costume Designer (Check with JCCT, Costume Mistress) Lighting Designer (Check with JCCT, INC. Tech Director) Properties Master/Mistress Sound Designer Crew Chief Child/Pet Wranglers (as needed) Gun Wrangler (as needed)

JCCT, INC. Is in charge of Front of House Manager Program Designer – Check for deadlines for program info T-shirt-If you have a design in mind please let us know

ASAP. Publicity Coordinator

JCCT Board President will make arrangements to order

scripts.

d. Publicity Coordinator needs to check on Special community events related to the


production. Announce special occasions to production staff.

e. Director needs to approve a production design and aide in the creation of posters, break-a-legs, and cast/crew t-shirts. ***** JCCT BOARD HAS FINAL ARTISTIC SAY *****

II.About One Month before auditions: a. Schedule volunteers to work auditions. For musicals, there should be at least 4-5 people per night. Non Musical shows 2-3 are adequate.

b. The Production Supervisor and available Board Members must be present at auditions. This is to assure the JCCT casting policy is being adhered to.

c. Director is to hold a full production meeting with all production staff members. At this time, the director should have a tentative rehearsal schedule proposed. Start scenic ground plan and design, lighting plot, costume plot and property plot.

d. Director is to check venue for audition and rehearsal space.

e. Director is to present to the Webmaster via Production Supervisor any Audition Requests to be posted on the website and Facebook.

III.Auditions: a. Make sure Audition Forms, Digital Camera, laptop (and possibly printer, if director wants pictures attached to audition form) pens and


stapler are brought to auditions. It is a good idea to have a proposed rehearsal schedule present so people know when rehearsals are. Audition form should contain a conflict schedule. There should also be a list of all available parts and their ages and vocal ranges posted for all auditionees to refer to. Parental consent form must be completed and signed. If there are a lot of auditionees, nametags are helpful.

b. Check in auditionees as they arrive. Take their picture and save on laptop or print out and attach to audition form (Director’s choice). Make sure auditions run smoothly and that everyone gets a fair chance to try out for the part they want.

c. The Production Supervisor and/or appointed Board Member sit in on casting decisions. If a Board Member is auditioning, they should not take part in any casting decisions.

d. Once casting is complete, the Director, Assistant Director, or Stage Manger is responsible for contacting auditionees on the decisions. Call those who are cast first and get their commitment before calling those not cast. When calling, let them know when the first rehearsal is. When contacting those not cast, always encourage them to help out in some capacity. When calling children, it is best to speak to a parent, especially if the child is young. Please make sure your cast list is complete before any calls are made. DO NOT post list until it is COMPLETE.

e. Director will set a cast list deadline for contacting all cast members. Auditionees will provide best reciprocating contact information at auditions. In case of lack of contact number, the director will set a time for auditionees to


contact the director. f. Prepare Cast/Production Staff list to pass out at first rehearsal and to Production Supervisor.

IV.First Rehearsal: a. Production Supervisor and Board President should attend first rehearsal and encourage all Production Staff members to also come. They should make a brief announcement welcoming everyone to the production and JCCT. Make them aware of the following policies. (IF the show has Children in the cast, parents should attend at least the meeting portion of the rehearsal.). 1. All cast members have become members of Jay County Civic Theatre, Inc.

2. Costume Policy 3. Production Volunteer Policy 4. Venue/Rehearsal Space Policies 5. Attendance Policy 6. Explain that strike is mandatory for all cast and crew.

7. Explain Theatre etiquette and terms. b. Introduce other Production Staff members. c. Pass out cast list and Production Staff contact list.

d. Arrange for parent volunteers to chaperone rehearsals if there is a large children’s cast.

e. Special community events related to the production. Announce special occasions to Production Staff.

f. Hand out 8x10 posters to cast members to post around communities.

g. Read through the script as a cast. V. First Month of Rehearsals (6-10 weeks prior to show):


a. Production Supervisor should attend at least one rehearsal a week to see how things are progressing and answer questions. Make any business announcements to cast that are needed. b. Production Supervisor should attend all production meetings to see how things are progressing.

VI. Second month of Rehearsals (2-6 weeks prior to show): a. Production Supervisor is to keep in constant contact with Production Staff members and directors. Make sure there are no problems with any of the production team. Be aware of expenditures and help keep show within budget.

b. Production Supervisor must attend at least one rehearsal per week. Make announcements at rehearsals as needed.

c. Production Staff should recruit help for hanging posters, set construction, and costumes. Help recruit stage crew for Stage Manager. Help recruit for light hang and focus. Check for specialty props. Assign prop hunter and gatherers as needed.

d. Publicity Coordinator should arrange to have a photographer come in to take head shots and rehearsal shots for advertising. The pictures are usually taken the last two weeks of rehearsals. There is usually someone who will volunteer to do this.

e. Make sure venue has arranged for a Piano Tuner to tune performance piano during tech week.

f. Publicity Coordinator should talk to newspapers, radio, and Jay Today (at JCHS) to set times and dates for publicity shots and


interviews. g. JCCT Board should check with venue regarding ticket printing.

h. Program information deadline set for three weeks prior to opening night. Programs to be at the printer 10 days prior to opening night.

VII. Last two weeks of Rehearsals: a. Attend to any last minute details. b. Find location for cast/crew party and keep in mind the ages of the cast/crew members.

c. Find out from Production Staff members what else needs to be done and prepare a task list.

d. Arrange warehouse run for any props, and set pieces that are need for the show. You need to contact the Warehouse Committee Chairperson.

e. Double check the venue has arranged for a Piano Tuner to tune performance piano during tech week.

f. Check with Front House Manager on the decorations and volunteers needed.

g. Costume Parade. VIII. Saturday Prior to Tech (Tech

Saturday): a. Have detailed task list prepared, so that there is a job for everyone. Assign team leaders for different tasks: (ie: Set construction, set painting, costumes, etc.)

b. Provide or collect money for refreshments for the volunteers. (example: bottled water)

c. Assist Stage Manger in preparing for Technical Rehearsal, by arranging stage, cleaning up, etc.

d. Cue to cue (Q2Q) Final focus of stage lighting. Utilize ALL technical aspects of production.


IX.Tech Week (HELL WEEK): a. Prepare cast and crew for longer rehearsals. Double check with Parents of younger cast members.

b. Attend to any last minute requests from directors or design teams.

c. Remind cast to bring in cookies and punch for intermissions in the front lobby.

X. Performances: a. Be proud of your accomplishments and make sure your cast knows that you are proud of their accomplishments.

b. Make plans for cast party (who brings what, etc)

c. Arrange for Warehouse run for Strike. (Returning of props and scenery.) Return everything borrowed!

XI.Strike: a. Strike is mandatory for all cast and crew. b. Stage Manager should prepare detailed strike task list and assign cast and crew to the tasks. 1. Set and large scenic items. 2. Costumes (sort borrowed costumes from JCCT owned costumes).

3. Props/Props gathered, sorted and boxed. 4. Cleaning Green Room. 5. Cleaning Dressings Rooms 6. Cleaning Auditorium (clean up trash, etc.) 7. Erase scripts and scores and return to Production Supervisor.

8. Help take items to warehouse. Requires travel and vehichle.


The DIRECTOR’S DUTIES

The work of the Director is central to the production of a play. The Director has the challenging task of bringing together the many complex pieces of a production—the script, actors, scenic elements, costuming, lighting, sound and music into a unified whole. To accomplish this task, a director needs to:

Interpret the script. Cast the production. Collaborate with designers. Plan the rehearsals. Guide the actors in their work during rehearsals.

The Director’s work is most often based on a detailed study and analysis of the script to be produced. Many careful readings of the script help the director develop an individual vision of the playwright’s intentions, which will form the core of his or her interpretation. This sense of “what the play is really about” will shape a Director’s thinking about every other aspect of the production. Directors also study the characters in the script, gathering as much information as they can about their physical and psychological traits. This is vital preparation for casting, when the actors who are best able to bring the characters to life in performance need to be chosen. Collaboration The Director’s initial meetings with the scenic, costume, lighting and sound designers typify the


creative collaboration vital to theatre. Any notes the director has made on the technical needs in the script are shared with the designers. The free flow of ideas that takes place here will further refine the Director’s vision of the production as a whole. Details in the script about the specific locale(s) in which the action takes place need to be attended to early in the production process, because they will determine both the basic requirements of the set and the possible movement of the actors on stage. Acting areas, entrances and exits, and furniture and props called for in the script or desired by the director will need to be a part of the scenic design. The floor plan can then be sketched out. The floor plan is a basic outline drawing of the stage setting as it would look from above. (Birds’ eye view) It is an essential rehearsal planning tool because it allows a Director to work out the blocking of the play. Blocking (or staging) is the precise moment-by-moment movement and grouping of actors and sometimes moving scenery on stage. The Director’s creative collaboration continues during their work with the actors in rehearsals. The actors will bring their own interpretations to the project and perhaps inspire the Director to their interpretation. They will work closely together to breathe life into the lines and develop a deeper understanding of the characters’ motivations and relationships, fleshing out the subtext of the play. The Director should always keep in mind that this is a community based organization. There will be different ages, levels of experience and talent of


the actors and volunteers involved. JCCT strives to encourage and educate everyone participating in a production and to include them into the creative process. Later the focus of the director’s work in rehearsals will broaden to the overall look and feel of the whole production as transitions between scenes are smoothed out, effective pacing is achieved and all the design and technical aspects of the production are integrated. Once the production opens, the Director's work is essentially complete. Now it's the Stage Manager's job to make sure that every aspect of the production runs just as the director intended time after time, until the production closes.


An Overview of the Production Process

Planning It’s never too early to do your homework — whatever it takes for you to get ready to direct. That will mean repeated readings of the script ... getting some friends together to read it out loud ... and researching and analyzing the play’s setting, its characters and its plot.

Directors, read through this manual a few times and note things you’ll need to remember later! Feel free to check the library for books about directing, or to talk to other experienced Directors, here or elsewhere, about your concepts and ideas. Also do not forget the internet.

First begin thinking about how you want your production to be staged, and how realistic your concepts are. If you have really out-of-the-ordinary staging ideas, talk to our Technical Director and some of our other experienced technical people to find out how your plans can be realized on stage and within our financial constraints, and what your options are.

Before your auditions are publicized you should start thinking about how you want to describe the play and its characters to attract the kinds of Actors you need. Although JCCT does not permit pre-casting, it is perfectly OK to reach out to communities, groups and individuals not usually represented on our stage, and to encourage them to get involved. In fact, with the growing number of opportunities for Jay County Actors, it’s almost essential that you do some outreach if you want a good audition turnout.


Other questions you’ll want to consider early include:

• How do I best publicize my show? The Production Supervisor should contact you, but don’t wait. Getting out early/timely and coordinated publicity will do your show far more good.

• Do I want to use music with my show (for scene shifts, pre-show or other uses)? If so, you need to seek permission to use it. Again, doing this very early (months in advance) is the only way to approach it.

• Will my set design require any alterations to the usual JCCT seating plan or stage and curtain setup? If so, you should speak to the Technical Director, and ultimately you also need to get permission from the Board.

• Do I need any unusual scenic elements, properties or costume items? If so, where am I going to get them?

• Will this show appeal to a special audience? If so, how can I get the word out to them (beyond normal publicity channels)? Again, you should work with the Production Supervisor.

Assembling Your Crew Give some thought to who you want to work with, what strengths you need backstage, what you want people to do and whether those you choose will be able to meet your needs. The Production Supervisor can help you with a list of past volunteers.

If you are a new JCCT Director, we will be required to have veterans in at least some of your key positions, particular Stage Manager and Assistant Director. We do this for two reasons – to make sure


you have the extra support every first-timer needs, but also to make sure that your production team includes people who are familiar with how we do things here. When you do start recruiting crew members, make sure they understand exactly what you expect of them. Some Directors need assistants who can handle taking over a rehearsal or two or who will work with Actors on technique or lines; others need well-organized assistants who can handle all the paperwork. Some Directors require a lighting designer to run the Board during performances; others don’t mind it if the designer passes that job on to someone else.

Don’t assume that asking someone “Will you be my Stage Manager?” is enough — Stage Managers at JCCT have various levels of experience. Some of the questions to resolve:

• How much time are you willing to put into this production?

• Who will do what? • Who chooses support crew?

The Production Supervisor will aide in Stage Manager approval. Early clarity will prevent later misunderstandings.

Before you discuss your show with designers, you need to make some decisions about how you want to stage it. Will it be realistic, abstract, in the round, thrust or “black box”? Do you want period costumes or something symbolic? If you aren’t clear about what you want, your designers won’t be able to meet the show’s needs, or your concept and none of you will be happy with the results.


You may wish to wait until auditions to choose some of your production team. Sometimes volunteers show up at auditions only to be members of the crew or technical staff.

If you have trouble filling key crew positions, contact the Production Supervisor (lighting, stage crew, costumes, props, etc.) They should be able to help you find the right person for the job. As a rule, plan to have your key assistants and designers (Production Staff) before auditions. Meet with them, discuss your concepts and wishes and get them working before you get caught up in auditions and rehearsals. The earlier you get them started, the less you’ll have to worry about later on.

Working with the Board JCCT’s Board of Directors fills most of the roles a producer would fill in professional theatre. The Board acquires play performance rights, provides you with a budget, and handles most publicity. The box office is the responsibility of the Board appointed Box Office Manager.

To keep the Board up-to-date on your show (and to keep individual Board Members out of your hair!) a Production Supervisor is appointed. This is a veteran JCCT Board Member or Board Advisor who knows the ropes and can help you, your cast and crew through the rocky spots that even the best show can encounter.

One month before auditions you should start attending Board meetings, held on the second Tuesday of each month at 6:30 p.m. (check calendar). You, or your Assistant Director and your Production Supervisor


needs to be available for each meeting from then until just after your show closes to keep the Board up to date on your progress, answer questions and stay abreast of theatre developments which may affect your production. Some of those interim meetings will be optional, but they are good opportunities for you to get or give information.

At least one meeting before your auditions: Alert the Board to any unusual needs, expenses or technical challenges your show presents. The Board may be able to suggest options you have not thought of. Your Production Supervisor will be appointed at this meeting. Give the Board a list of your key technical crew. The Board reserves the right to approve crew members in positions of responsibility for people or expensive equipment, including:

• Stage Manager • Lighting Designer • Scenic Designer • Master Carpenter • Light Board Operator • Sound Board Operator

Although we encourage Directors to recruit new people for crew positions, there are some exceptions. If you have never directed for JCCT before, you must choose a Stage Manager who has considerable experience with JCCT. All new lighting operators must be approved by the Board, who may ask them to undergo training. By now, you should also have discussed special sound, properties, and special effect needs with the Technical Director. The Technical Director has the veto power over design choices, because they have been chosen for their expertise, the Board will need


a compelling reason to override their recommendations. They can often provide you with safer, less expensive, more workable solutions to your design challenges. Depending on your rehearsal schedule, there may be two or three Board meetings between auditions and the time your production closes. You should attend or submit a report through your Production Supervisor at all of them so the Board can check in with your production. At the meeting after you close your production, make sure all your show receipts are turned in, and be prepared to give a final report detailing any problems or other experiences that might be useful to the Board or future Directors. Many of the things you are reading in this manual arose from the experiences of our Directors. Between meetings, your Production Supervisor is your link to the Board.

Production Supervisor The Board will assign each show a Production Supervisor before auditions. Directors are encouraged to meet with their Production Supervisor early, then weekly during production and to use them as the valuable resources they are intended to be. By being familiar with JCCT’S resources and skill bank, Productions Supervisors can point Directors to whom or what they need to solve technical and other problems. The Production Supervisor can relay emergency requests to the Board between meetings. The Production Supervisor can answer or find answers to questions Directors have about how JCCT operates.


Deadlines A theatrical production sometimes seems like one long series of deadlines: publicity deadlines, program deadlines, deadlines for getting photos taken or coming up with a budget. No matter how well-organized you are, deadlines can sneak up and catch you by surprise. Deadlines are NOT arbitrary. We’ve set them at the latest possible moment that will allow you to do what you need to do, but still allow our Board Members and Production Staff to do their jobs publicizing your show, putting up displays, etc. By meeting deadlines (or getting things done early!) you help ensure that everything runs smoothly and your production has all the support it needs. Check the appropriate sections of this manual for your deadlines, and make sure to add them to your production calendar. Many Directors like to make their assistants responsible for keeping track of deadlines and reminding them when they’re approaching.

Planning Ahead Do you expect an unusually large audition turnout? (Often true for musicals, or shows with roles for children). If so, consider holding auditions over four nights, or setting aside a special night for youngsters. Don’t forget to note if you want the Actors to come with prepared audition pieces, songs, or anything else they need to know about ahead of time. (Have it posted on the website or Facebook via Webmaster or the Board.)


Cast and crew are encouraged to get to know their Production Supervisor and feel free to contact them: • If they have problems they are unable to resolve

by talking to the Director, Assistant or Stage Manager.

• If tech crew needs help solving production problems.

The Board will use the Production Supervisor: • As the producer’s eyes and ears, to make sure each

production is progressing smoothly and on schedule.

• To relay questions, requests and announcements to Directors between Board meetings

• To help protect the theatre’s human and physical resources.


Planning Your Production

Budgeting JCCT derives all of its operating funds from ticket sales and donations. It is essential that each Director be as thrifty and creative as possible when determining what they will spend. We encourage you to seek donations of construction materials, properties, furnishings, etc. Borrow what you can (although we advise against borrowing valuable antiques, vintage clothing or other costly or easily damaged items). Use materials already in stock (Platforms, flats, costumes, etc.) wherever possible. Check with the Warehouse and Costume Committee Chairpersons before you design your set or begin buying or building costumes. Production Budget Each Director will be given a proposed production budget by the Board meeting before auditions. Your budget will include estimates for: • Scenery • Costumes • Properties • Lighting • Unusual makeup items (things we would not normally

stock and that have limited use, such as false eyelashes or beards)

Your budget does not include royalties, posters, programs, lighting gels, photocopying (schedules, vocal exercises, study guides, forms and handouts) or other items that are part of the theatre’s normal cost of producing shows. If you plan to build or buy


items which might be useful beyond your show, talk to the Production Supervisor about excluding those items from your budget. It is the Director’s responsibility to see that the show stays within budget. That means approving spending in advance, collecting and initialing receipts and turning them over to the Production Supervisor. They in turn can obtain the reimbursements and allocate accordingly. You may delegate these tasks to an assistant, but you need to oversee their progress. (Please see the FORMS section of this manual for expense reports) Check with the Production Supervisor before buying hardware, paint, fabric, etc. We may already have what you need. We would prefer that you pull whatever you can from our considerable costume stock. Please ask your Costume Designer to talk with our Costume Committee Chairperson early in the process to determine what we have and what you need to build or rent. We usually prefer to add truly useful items to our stock; rental may be appropriate for unusual or rarely used items. But please DO NOT sign a rental contract until you’ve discussed it with the Costume Committee Chairperson and the Production Supervisor and have been approved. While rental may seem like an easy option for your show, we also need to take into account what is most cost-effective for the theatre’s long-term needs. You may shift spending within your budget categories (if you don’t need your entire scenic budget but need more for costumes, for instance), but you may not go over budget without prior Board approval.


Reimbursement You need to itemize your expenses, if you spend your own money and want to get reimbursed, you do need to turn in a receipt initialed by the Director and noting the category of spending (set, props, costumes, etc.). If you do not wish to be reimbursed, please let the Production Supervisor know what you have spent so they may provide you with a receipt. This allows us to get a realistic estimate of what your production actually cost. Likewise, if someone donates something of value to JCCT for your production, make sure to give their name, address and a description of the item(s) to the Production Supervisor so we can thank them and provide them with a receipt for tax purposes.

Donations & Taxes All funds received during any theatre production are considered theatre income and should be given to the Treasurer via the Production Supervisor. This includes any donations given directly to performers to pass along to JCCT. Also, if anyone wishes to claim a donation on their taxes, the Treasurer via the Production Supervisor, needs to be informed of the item and its value so that an appropriate letter/receipt can be drafted to the donator.


Scripts The Board will order sufficient scripts for your show approximately two weeks before your auditions. If you need them sooner, let them know. For most productions, scripts belong to cast members; they may keep them after the show closes. Musicals, as a rule, are different: We rent the scripts and scores and must return them, free of pencil marks, when the show closes. They usually arrive later, too. The Production Supervisor will keep track of musical scripts and scores, and make sure to collect them at set strike, after cast and orchestra members have erased all markings.

In the fall of 2009, the Board of Directors of the Jay County Civic Theatre, Inc. voted to begin a policy of script deposits for all JCCT (returnable script) productions. This policy was made necessary by numerous scripts being lost or not returned over the last several years. Any script not returned must be paid for by JCCT, resulting in hundreds of dollars in unnecessary fees. An organization such as JCCT cannot absorb these kinds of losses. Therefore, all cast members receiving scripts for a JCCT, Inc. production are asked to write a check for $30 made out to Jay County Civic Theatre, Inc. These checks WILL NOT BE CASHED but held by the JCCT Treasurer and WILL BE RETURNED when the script is returned. If the script is not returned, JCCT then has the right to cash the check to cover our expenses. If this causes any hardships, we ask that you have the actors speak to a board member regarding their specific needs. We


do not want anyone to be excluded from JCCT productions due to this policy but we must also consider the financial security of the JCCT. (There is a letter for Actors in the back of this manual.) Scripts will be signed out and checks collected by the Production Supervisor. JCCT does not photocopy any script as an organization due to copy right laws.

Photocopies (other than scripts or any material with a copyright) We are currently printing our posters, newsletters, programs, brochures, etc. at Progressive Office Products in Portland, IN. We have an account with Progressive and you may sign for your copies. Please check with Production Supervisor before making any large quantities of copies. Recording and Videotaping JCCT does not permit video or audio taping of performances or rehearsals due to copyright laws. Virtually all production contracts prohibit taping, no matter what you may have heard to the contrary. That includes taping of rehearsals for educational purposes. Please don’t do it. Violating production contracts can endanger our very existence, and will not be tolerated. Make this clear to your cast, and ask them to pass the information to their friends and relatives. If our house staff sees anyone using a video camera during a performance, the device will be confiscated until the show is over.


No such restrictions apply to royalty-free scripts (i.e., Shakespeare), we prefer that Directors ask Board permission to video tape those productions. The rights to these productions belong to JCCT, INC. There is to be NO FLASH photography during a performance. We do have a Photo Night set for each production. This is the best time for family and friends to take photos of the show. JCCT takes copyright issues seriously. Please DO NOT assume you may change a script unless you have written permission from the copyright holder. If you wish to make changes, we suggest contacting the play service early (via the Board); in many cases they will refer you to the playwright’s representatives.


Problems and Pitfalls Even the best-planned production can run into problems. The trick is anticipating them, and catching them before they become serious. Here, in no particular order, are some problems that have cropped up during recent seasons.

• Smoking on Stage Directors should carefully consider whether having a character smoke is worth the ill will it may generate. If smoking is truly integral to a character’s personality or the situation, think of ways to minimize the actual number of times the character lights up. And, notify the Production Supervisor so that we can include a warning note in our pre-show publicity.

• Alcohol on Stage Directors should know JCCT NEVER ALLOWS alcohol on stage or even in the venue. Nor do we tolerate staff, volunteers or Board Members to be under its influence during a production rehearsal, or performance.

• Minors and Rehearsals Directors and Stage Managers should make sure that each and every Minor involved in a production has parental approved rides to and from rehearsals. This is to insure that the parents or guardians know that JCCT is ONLY responsible for the minor


from the beginning of rehearsal or performance until they are picked up by an approved adult. (Please see form in handout section.)

• Negativity Directors and Stage Managers should make sure to “nip this in the bud asap!” Do not let anyone person or a group of persons begin negative feelings that can harm creative process and family environment that is JCCT. If you are unable to handle this situation please contact your Production Supervisor for help in this matter. JCCT strives to be a place for all to have a positive Theatrical Experience!

• Language Directors and Stage Managers should be aware of the content of the script but also monitor the language usage during the production process. JCCT never wishes to offend anyone, but there are times that it will happen, especially with the content of some scripts. Please be extra cautious with mixed casts (i.e. Elementary – Jr. HS with HS – Adult). Cursing in general is not something we wish to promote.

Auditions JCCT productions are open to everyone. No pre-casting is permitted. We strongly encourage Directors to give new Actors an equal chance with those who have been on our stage before. When we give new people a fair shake and put them on our stage whenever we can that


helps ensure a constant pool of fresh talent, something no community theatre can survive long without. The no pre-casting rule is one of our theatre’s few hard rules, and we hope you will make an extra effort to make sure everyone who tries out for your show understands it. Yes, it’s OK to audition someone privately if they can’t make it to tryouts, but please be sure to let the people who do show up know that you’ve done so. When you’re soliciting people to try out (and all good Directors do that), be clear that you aren’t promising anything. Few things are as damaging to a theatre’s reputation as the notion that it’s a closed shop where shows are pre-cast and new people don’t stand a chance. Traditionally, 8 weeks prior to the opening of the show JCCT runs two nights of open auditions, typically on Monday and Tuesday. Audition space and time is set up by the Director in consultation with the Production Supervisor. (The Typical Arts Place contract allows for 13 rehearsal days - 3 dress rehearsal days and 4 performance days - so it is to our advantage to hold auditions at an alternative location) As soon as the Audition information is set the Board Secretary will send out press releases. If you prefer a different schedule, or want to use another night for callbacks, please notify the Board Secretary as soon as possible so that we can include that in the audition publicity. Directors may use their own Audition forms or those also found in the Forms and Worksheets section of this manual.

Audition Form These forms are designed so that you write in your show’s name and performance dates on the top of one


form and then make as many copies as you think you will need 30 copies is usually the maximum needed, so don’t go overboard. You can always make more copies the second day of your auditions should you need them.

Audition Checklist (This is also found in the Forms and Worksheets section of this manual.) For musicals, you must make your own arrangements for an audition pianist At auditions, you should: • Post a sign on the door welcoming people to

auditions • Lay out audition forms and plenty of sharpened

pencils • Post or announce a tentative rehearsal schedule. • Post and announce production dates. • Post cast responsibilities and the theatre’s

policies. (Also found in the Forms and Worksheets section of

this manual) • Introduce your crew and Production Supervisor. • Explain the commitment you expect from cast

members, including arranging for their own transportation arriving on time and taking part in construction and set strike.

• Impress upon those auditioning that they need to completely fill out their audition forms, which are used for publicity and other purposes, and to list all conflicts.

• Distribute and collect those forms. • Solicit crew members as needed.


• Announce how you will post or announce casting.

Once you have cast your show: • E-mail a copy to the JCCT Webmaster and your

Production Supervisor so it can be posted on our web site as soon as possible.

• Clean up after yourself, including returning the stage to the condition in which you found it.

Welcoming New People During auditions, make sure everyone trying out feels welcomed and comfortable, especially the newcomers. Many Directors like to ask a friend or crew member to be the official greeter, welcoming people as they come in the door, collecting audition forms, pointing the way to the restrooms, replenishing the refreshments, etc. Emphasize to those trying out that they are part of a theater community as well as a community theater. They share the building with other shows, and are expected to treat each other with good will and courtesy. As a Director you are the first point of contact for many newcomers. If you and your crew are supportive and encouraging, it makes our theater more enjoyable for everyone. After the second night of auditions the Director, the Production Supervisor (is there to observe and protect the validity of the casting and only to give opinions if asked) and whatever constitutes his or her brain trust, go out and hash out the casting decisions. Whatever your choice, do let hopefuls know when and how they can expect to hear the announcement. Please get a copy to the JCCT Webmaster


and your Production Supervisor as soon as possible, too, so your cast can be added to JCCT’s Web page.

Audition Forms, Schedules and Bios: Who Gets Them? As soon as possible after casting, please return all audition forms (both cast and not cast) to your Production Supervisor. When you have a rehearsal schedule and cast list, you should: • Distribute them to cast and crew. • Give copies to your Production Supervisor.

When you have bios for your key Production Staff, Director, assistant(s), Stage Manager, Choreographer, Music Director(s), and Designers, give them to the Publicity Coordinator, who will distribute them to those who need them. (See form section)

Rehearsing No matter where you’re Rehearsing, Make sure your rehearsal furniture, props, etc. are returned to where they belong, and put away. Care of Flooring: Please do not drag furniture or other heavy items across the floor. Get enough people to safely carry what needs to be moved. If the floor gets dirty, sweep, dust or damp-mop.

• Early Rehearsals At read-through, plan to have your Costumer in to measure the cast. The sooner measurements are taken, the sooner the Costumer can get to work. At that first rehearsal, you have several things to do besides read through the script. Review


with your cast the responsibilities and rules set out by the theatre. Let them know clearly what you expect from them, and what they can expect from you. Be especially clear about what time you plan to start (and end!) rehearsals. Double check their conflicts so you can prepare a rehearsal schedule. Distribute the handy ACTORS’ HANDBOOK which contains most of the theatre’s guidelines for Actors. Introduce your Production Supervisor and let him or her explain what they will be doing. It’s also a good idea to invite your crew to the first rehearsal and introduce them. As soon as you can, hand out rehearsal schedules, telephone lists and other material you want your cast to have. Also distribute copies to your Production Supervisor and the Publicity Coordinator. Feel free to set your own rules about who may or may not attend rehearsals (including children) and how rehearsals will be conducted. Just let everyone involved know what those rules are.

• Continuing Rehearsals Eight to twelve weeks may seem like a long

rehearsal period, but once you subtract: • Weekends (although you may schedule some

weekend rehearsals) • Holidays • Cast and crew conflicts

You may be surprised at how little rehearsal time you actually have. Schedule as many rehearsals as you think you need (our experience is that 20 rehearsals is an absolute minimum, and probably not enough).


• Finding Alternate Rehearsal Space At times you may not be able to rehearse in your shows venue and may have to find other places to rehearse. Your Production Supervisor can get a list of churches, schools and other locations which may be available, but you need to schedule them yourself, as early as possible. You may start rehearsals at whatever time works for you and your cast, and your rehearsal space. It is customary to have them end by 9 p.m. for High school and Adults and 8pm for children, until the week before you open. This is not professional or academic theatre. Cast members have families and jobs (or school), and keeping them late will only cause problems and complaints.

Difficult People Sometimes (but fortunately, rather rarely), an Actor or crew member fails to live up to his or her responsibilities. You can head off such problems by being completely clear about your expectations. It also helps to be consistent: Treat all Cast members equally and fairly. If necessary, ask your Production Supervisor to have a word with the offending person. Dismissing Cast Members On very rare occasions, an actor must be replaced. If you believe that is going to happen, contact your Production Supervisor ahead of time and involve him or her in the process; that will protect you and the theater from accusations of unfairness. Be sure to tell the Publicity Coordinator about cast or crew


changes so publicity can be changed accordingly. Part of JCCT’s role as a community theatre is to provide opportunities for people with all levels of talent and experience. There is no guarantee that all of them will turn out to be great Actors, nor should we expect them to be. Bad acting, by itself, is not sufficient grounds for dismissing a cast member. Directors are urged to work with all Cast members to encourage them to stretch and grow, and to reserve dismissal for those rare individuals who actively refuse to meet their commitments to the show. A Director who merely believes he or she has made a casting mistake is asked to live with that mistake as long as the person involved is trying his or her best. Who knows they may surprise you! No Romance in the Wings The fact remains that romance — and more — has been known to blossom in the intimacy of producing a play. In most cases, it’s nobody’s business but the parties involved. Times have changed, though, and yesterday’s flirtation can be today’s accusation of sexual harassment. Although there’s a fine line between being nosy and looking out for your show, Directors should be alert to personal relationships developing among cast and crew, and should be especially careful not to put themselves in situations which might be misconstrued. It is also our responsibility to be aware and to halt any such relationship between Minors and Adults. A Note About Children


JCCT is proud to count many young people among its theater family. We’ve watched a lot of kids grow up right before our eyes and assume increasing positions of responsibility, on stage and off. Their presence, though, gives us a special responsibility to look out for their safety and well-being both for their own sakes, and to protect the theater from liability. It is up to each Director to decide whether to permit non cast children to attend rehearsals or work parties. Directors should make their policies known early, even at auditions. If children are brought to the theater, they must be under direct adult supervision at all times. If Cast members need to bring their children to rehearsals or work parties, please recruit someone to keep an eye on them. Small children must not be allowed on or near the stage during construction or set strike; instead, set up a supervised play area for them in one of the safer parts of the theatre. Even older children must not be permitted to use power tools, climb ladders or take on other risky tasks. Older teens may take on some of these tasks, but only with proper training and supervision.

Assorted Other Information Taking Care of JCCT JCCT is getting better all the time, thanks to the hard work of our volunteers and the generosity of our donors. That makes it more important than ever that we all do what we can to keep our reputation good and protect the considerable investment in money and volunteer effort that is continually being put into


our productions. Cleaning the backstage areas (including the greenroom) is the responsibility of the show that occupies those areas. It is recommended that the Stage Manager or their designate sweep the stage floor before each performance. Clean up our own messes. Don’t assume that somebody else will take care of it. If you spill something, mop it up right away. If you bring food into the theater, dispose of leftovers in the dumpster Food left in waste baskets attracts bugs and mice.

Smoking If there are smokers in your cast, please try to provide them with sufficient break time to go outside. Smokers should pick up after themselves and dispose of butts appropriately. The law does permit smoking on stage when the action of the play demands it, although we urge Directors to seek other options.

Tickets and Seating If your set design would remove or change seating (with a thrust, for example), you must get permission from the Board no later than the month before tickets go on sale. If anything about your show (i.e., signing for the hearing impaired) might appeal to audiences with special seating needs, confer with the Publicity Coordinator in advance. JCCT will reserve a seat for you and your assistant every night. Please leave a note in the box office indicating which two back-row seats you prefer. These are yours to sit in. If your show is selling out, you may wish to tell the box office to sell your seats. If someone donates something extraordinary to your show, the Director


should ask the Board Secretary to send them a letter which they may exchange at the box office for two free tickets to the show. Please do so early enough so they can get their letter in time to reserve tickets! Cast members are responsible for getting their own tickets, in advance, just like other patrons. They should not wait till the last minute and expect to get seats for their families and friends. Staying involved with JCCT and Membership JCCT encourages cast and crew to stay involved with the theatre. The JCCT bylaws consider all Volunteers whether on stage of off JCCT members. Members have a vote in theatre business, elect our Board of Directors, serve on committees and, are encouraged to attend Board Meetings. They may also serve as Crew and become eligible to run for the Board. We hope the people involved in a production will want to remain part of our theatre family. Much of the work of running our theater is done by our all-volunteer Board of Directors and their Committees. Dozens of tasks need to be done regularly. If you are interested in helping, contact the JCCT Volunteer Coordinator and ask to be put to work. Cast members will be called once their shows have closed (as long as the Volunteer Coordinator has received copies of their tryout forms from you!) to ask if they would like to volunteer for upcoming shows. This is a great way for casts to get together again after their shows close. There are usually Board positions up for reelection every May, and nominations are open to any Theatre member who has served as an on or off stage volunteer for JCCT any time in the previous season.


Those who aren’t interested in, or ready to audition again right away may want to turn up at auditions anyway and find out of the next show needs any backstage help. Even if you only have one free weekend, you may be able to help build or paint a set, sew costumes or otherwise be involved. If your time is limited, contact the Volunteer Coordinator about serving as an usher, ticket taker or refreshment server or working in the box office during a performance. Our never-ending remodeling efforts may mean periodic work parties at our warehouse to tear out old stuff, install new stuff and generally spruce the place up. The Production Supervisor can tell you if any work parties are coming up or check the JCCT Web site at: http://www.JayCivic.org. The theatre also has an electronic mailing list for informal, theatre-related communication among our volunteers and supporters. If you would like to subscribe, contact the Board Secretary at [email protected] Taking Care of Our People The Stage Manager is responsible for learning and making others aware of the location of fire extinguishers, fire alarms and emergency exits, and should also make sure safety guidelines are observed backstage. Safe Scenery Safety must be the No. 1 concern during set construction. Minors are not to use power tools under any circumstances (and should not be sent up ladders); untrained adults should use them only under


supervision. Those who use tools must follow proper safety procedures (wearing goggles or respiration masks, using safety guards on saws, etc.). Be especially careful when lifting or moving lumber, platforms, large set pieces, heavy furniture, etc., both to avoid back injuries and to keep from running into, or over, other volunteers. Sets themselves must be designed with safety in mind. Among other things, that means adequate railings on stairs and platforms (on stage and backstage, adequately braced platforms and sufficient blue light or glow tape behind sets so Actors can see where they’re going. The Production Supervisor can help if you have questions about set safety. The Technical Director and Production Supervisor have the final word on safety issues. Accidents If an injury occurs, first see that it is treated either on site, with supplies which you will find in the scene shop and backstage restroom First Aid kits, or at the hospital emergency room, if the injury is serious. Don’t hesitate to call 911 for an ambulance if someone is bleeding, unconscious or appears to have broken a bone. Then immediately report the injury to your Production Supervisor, who will let the Board know what happened. Stage Managers should check First Aid supplies periodically and make sure they are restocked (we will reimburse them). The theatre has limited insurance coverage for uninsured volunteers who are hurt on the job. Contact the Treasurer about filing claims. Cast and Crew Security Guidelines


Lock your car, and make sure you don’t leave valuables visible inside. Use the buddy system when leaving the building at night. Always walk each other to cars. If someone (especially a minor) has to wait for a ride, a Production Staff member should wait with them. Do not allow people (including patrons) to wait for rides outside the building, alone, in the dark! Stage Managers are usually responsible for locking up each night. Someone else should stay with them until they’re ready to leave. Assign someone to make sure all theatre-owned tools are gathered up and accounted for at the end of every construction party. If tools go missing, report it immediately to the Production Supervisor. Retreats It is suggested that JCCT productions hold a day-long retreat on a Saturday or Sunday one or two weeks before opening. Retreats are extremely useful for polishing the show and completing technical tasks, they are not mandatory; it is up to each Director to decide whether to hold one. JCCT does not routinely hold previews. It is entirely up to you whether to close your final rehearsal or allow your cast to invite a few friends and relations. You may be asked to add a preview or performance for benefit or marketing purposes, but please do not invite large groups without asking the Board first (we may have to pay royalties). Remember: JCCT relies on box office revenues; we would rather not give away more seats than we have to.


Complimentary Tickets JCCT does not routinely provide “comp tickets” to cast, crew or anyone else — although if someone provides extraordinary support to your show (see also: Tickets and Seating, above), you may ask the Production Supervisor (well in advance, please) to provide them with a letter they can exchange for one or two complimentary tickets. As Director, you are generally entitled to 2 seats each night for yourself and a key assistants; if you do not need them, let the box office know so they can be sold.

Stage Manager’s Responsibilities From opening night on your Stage Manager will be responsible for the Rehearsal Space/Stage and many other tasks. He or she may delegate some of those responsibilities. Sometime during the week before closing, the Stage Manager is to contact the Director and together you need coordinate your set strike. They are responsible for helping with the duties which will allow for the smooth and efficient running of rehearsals and performances. It is up to you to decide with your Stage Manager who is responsible for keeping the master prompt script, setting up rehearsal space prior to each rehearsal and striking rehearsal furniture and props as necessary, running and calling show, posting Cast/Crew Sign-in sheets, taking and posting Production Meeting notes, Daily Rehearsal notes, and coordinating the production run crews. Rehearsal duties, to be negotiated with Director, include recording blocking, prompting, taking Line Notes, contacting absent or tardy actors/crew


members, calling cast/crew members in from breaks, etc. The Stage Manager should be aware of the location of telephones and fire extinguishers for use during an emergency, and be well-versed in all safety procedures, especially fire evacuation and tornado procedures. Pre-Production 1. Reads and studies the play; discusses duties and responsibilities with the Director.

2. Attends all production meetings. 3. Assists the Director at auditions. 4. Distributes and collects Audition Forms and Crew Call Forms, emphasizes to auditionees the need to list all conflicts, takes a Digital photo of auditionees (which is then stapled to the form) as needed, keeps track of the order of auditionees, keeps audition flowing smoothly, ushers auditionees into theatre, and announces them as per the Director's instructions.

5. Assists the Scenic Designer in taping out the ground plan on floor of stage and/or rehearsal hall as needed.

6. If the Director requests, the Stage Manager generates a rehearsal schedule and makes copies for all cast, and crew.

Rehearsal Period: 1. Generates sign in/ sign out sheet. 2. Places and spikes furniture, rugs, etc. as established by the Director.

3. Obtains and maintains any rehearsal props


called for by the Director by the "Rehearsal Props Due" deadline on the Production Calendar. Rehearsal props are substitutes of comparable size and weight used by actors until the final props are available.

4. The Stage Manager runs weekly Production Meetings, and takes Production Meeting Report notes. The Stage Manager will then generate Production Meeting Reports.

5. At first read through, the Stage Manager obtains the cast's names, addresses, and telephone numbers, and then generates a contact sheet which is distributed to cast and production team.

6. Stage Manager makes sure that every actor receives a rehearsal schedule and keeps cast advised of any changes.

7. Takes Daily Rehearsal Reports at each rehearsal and posts them daily. These reports will include all changes, additions, or deletions that arise during daily rehearsals. These changes could include the addition of a prop, a question to a designer, a change in rehearsal schedule, etc. This will be a written record of such requests and changes to facilitate the timely completion of tasks and to insure that all members of cast and crew receive notification of schedule changes and so on.

8. Arrives at least ten minutes early for every rehearsal to set stage furniture and any rehearsal. Stage Manager insures that ALL stage furniture and rehearsal props are struck and stored after each rehearsal.

9. Walks through scenes for any absent actor or assigns a delegate to do so.

10. Attempts to contact any missing or unexcused


actors. 11. The Stage Manager insures that all actors are in place prior to the beginning of each scene.

12. Records in Stage Manager's book all blocking, intentional pauses, stage business, and all light, sound, music, special effects, and curtain cues, etc.

13. Prompts the actors precisely and corrects mistakes to the extent that the Director wishes. It is important for the Stage Manager to keep up with the script during rehearsals and is ready to prompt an actor immediately upon receiving a "Line" request. Takes Line Notes of dropped lines, jumped lines, etc. and distributes to the cast.

14. Taking down blocking OR prompting actors/taking line notes may be delegated to the Assistant Stage Manager at the Stage Manager's discretion.

15. After all rehearsals and performances the Stage Manager insures that all debris is picked up.

16. Stage Manager collaborates with the Lighting Designer, Light Board Operator, Sound Designer, Costume Designer, Director, Technical Director in holding a Paper Tech prior to tech week.

17. Stage Manager is responsible for penciling in all light, sound, fly, actor, and scene shift cues. The Stage Manager is responsible for obtaining cue sheets from the Lighting and Sound Designers in enough time to prepare the prompt book.

18. The Stage Manager prepares for Cue to Cue Rehearsal in order to facilitate the efficient and smooth running of the rehearsal.

19. The Stage Manager is the primary person


responsible for communication among production staff, cast and crew.

Dress Rehearsal/Performance Period: 1. Once performances begin, the prompt book containing blocking notes, lighting cues and sound cues should be locked in the booth or another safe place so that it is accessible in the event that the Director cannot run a performance. The Stage Manager should create a second book to be kept with him/her that contains any information that may be needed during the day, such as contact lists, schedules etc.

2. The Stage Manager must be familiar with all Emergency Policies such as tornado warnings, fire, smoke, etc. The Stage Manager will contact the Faculty/Staff on Duty/Call for any emergency situations (equipment failure, smell of smoke, severe weather). In the case of life threatening emergency, the Stage Manager notifies Security and takes charge of implementing proper procedures. The Stage Manager should obtain a copy of the safety procedures.

3. The Stage Manager should generate a Run List for crew members that lists specific duties before, during and after each performance.

4. Stage Manager should hold scene Shift Rehearsals with Crew Chief and Run Crew.

5. Takes note of any problems, unfinished details, painting touch ups, and/or changes and communicates these to the proper crew chief, Technical Director.

6. Stage Manager (or delegate) insures the safety and sanitation of all props and consumables.


7. Stage Manager or Assistant Stage Manager or delegate is responsible for setting up and labeling any and all prop tables necessary for a production.

8. The Stage Manager (or delegate) should generate a Prop Cue Sheet and diagrams for Run Crew members. These should indicate where every prop is preset on stage (a photo is often helpful) and/or where every prop is moved on or off stage during the run of the show.

9. Stage Manager is responsible for presetting all props both on and backstage prior to each Technical and Dress Rehearsal, and every Performance. These duties may be delegated to the Assistant Stage Manager or a member of the Run Crew, but the Stage Manager should confirm that all props are properly preset and that hand props are dealt with. Performers are responsible for checking their own individual props prior to each performance and the Stage Manager is ultimately responsible that all props and furniture are correctly preset.

10. Performers should pick up props from the props table(s) or designated area backstage and return them there, and are responsible for presetting any personal props in pockets, etc. If an actor wants to assume responsibility for keeping such personal props between rehearsals and performances, this should be negotiated with the Stage Manager or Prop Master/Mistress.

11. Performers are responsible for bringing to the attention of the Stage Manager any items needing repair.

12. The Stage Manager insures that all equipment and personnel are ready for performance. The Stage


Manager should establish a check off list of duties including those that must be accomplished prior to opening the house and those that must be accomplished prior to curtain.

13. Stage Manager insures that all work lights are turned off, front exit doors are unlocked If the stage is to be swept and/or mopped, the Stage Manager assigns this task to a Run Crew member and insures it’s completion prior to the house opening.

14. The Stage Manager has the ultimate responsibility that the stage is set correctly and that all elements and members of the production team are ready for the performance. This typically requires a walkthrough of the entire stage and backstage area prior to the house opening. The Stage Manager should generate a checklist.

15. The Stage Manager gives the following calls to cast and crew: one hour; half hour; house open (after House Manager notifies SM); fifteen minutes; ten minutes; five minutes; and places (at two minutes). The Stage Manager cannot give the "places" call until given the go-ahead by the House Manager at three minutes.

16. During Dry Tech, Cue to Cue and Tech/Run Rehearsals, the Stage Manager may stop rehearsal if necessary. The Stage Manager merely says "stop." The cast and run crews should hold quietly in place while the Stage Manager and the production team address the reason for stopping. The Stage Manager is responsible for choosing an appropriate restarting point in the script and restarting the rehearsal. The Stage Manager will inform the cast and crew where the rehearsal will restart (a line or cue) on the


Stage Manager's command. The Stage Manager restarts the rehearsal by simply saying "Go please”.

17. At intermission, the Stage Manager insures that any necessary work-lights are turned on backstage, that no visitors are allowed backstage, and that any changes are accomplished.

18. During intermission, the Stage Manager informs the House Manager to signal the patrons back into the theatre for the next act five minute prior to the end of the intermission as determined by the Director. The SM follows the calling procedure from the top of the show including the following calls: ten minutes; five minutes; places (at two minutes). The Stage Manager cannot give the "places" call until given the go-ahead by the House Manager at three minutes.

19. The Stage Manager is responsible for keeping any times requested by the Director which could include total running time, running time of each act, and running time of scene changes.

Set Strike: Leave the theatre in at least as good condition as you found it — or better! Make it clear from Day One that your entire cast and crew are expected to help. Your strike goes beyond just taking down the set: It includes returning borrowed items immediately, cleaning the backstage area (and the dressing room restrooms), sending costumes to be cleaned. Your strike is not finished — and your cast should not leave — until you have toured the building with the Production Supervisor and they agree that everything is OK. A checklist will be provided to help you make sure everything necessary gets done.


Other Post-Show Responsibilities: Collect (and erase) musical scores so they can be mailed back to the company that rented them to us. The Production Supervisor is responsible for returning the scores and scripts the week after closing. Turn in all receipts and attend the Board meeting after your show to give a final report. Be sure your costumer picks up clothes after they have been cleaned and returns them to the warehouse. One final note for Directors who also act: Please do not plan to try out for a show that overlaps with yours, unless you first get Board permission as Director, your show must be your first priority.


Handouts

• An Actors Handbook

• JCCT Drug and Alcohol Policies • Cast Responsibilities

• Stage Manager’s Responsibilities • Costumes

• Lights and Sound • Sets

• Properties • Make-Up and Hair

• Artwork Requirements Please copy the following pages as needed. Distribute them appropriately to your cast

and crew.


Forms and Worksheets Remove the following pages from this manual and photocopy as many as you need. Distribute them to the appropriate people, or use them to keep track of your deadlines, budget and publicity materials. It’s always a good idea to keep a copy of completed forms in case they get lost or anyone has questions.

Box Office Report Deadline Worksheet Audition Checklist Publicity Form 1 Publicity Form 2 Publicity Form 3

Script Sign Out Log Hair & Make-Up Worksheets

Property Log Photo Call Sound Cues

Lighting Track Sheet Dressing Notes

JCCT Audition Form 2011 JCCT Bio Form

Budget Worksheet Costume Measurement Worksheets

Arts Place, Inc. Stage Ground Plan (simple) Arts Place, Inc. Stage Ground Plan Dimensions

Arts Place, Inc. House Seating Chart


Deadline Worksheet Please fill in your own deadlines, give a copy to your Assistant Director and put this somewhere you’ll see it every day.

Meet with Production Supervisor: ___________________________________________

(To discuss crew and tech needs tentative budget, etc.)

Board meeting #1: Advance planning ___________________________________________ Special needs reported ___________________________________________ Meet with production crew (at least once a week during production) __________________________________ Prepare for auditions; lay out expectations PR Form 1 _________________________________

(Includes material for audition notices)

Board meeting #2: Pre-audition report ________________________________________________________________________________________________________

(Submit names of key crew people, approval from Set, Lighting, Costume Designers due)

Auditions ____________________________________________________ Don’t forget to give copy of cast list to Production Supervisor.

Board meeting #3: Progress report ____________________________________________________

(Lighting Manager’s approval due)

(Additional Board meetings, if applicable): ____________________________________________________


PR Form 2 due ____________________________________________________

(information about opening, for newsletter and releases)

Poster art to Publicity Coordinator ____________________________________________________ Take stage ____________________________________________________ Program art to Publicity Coordinator _________________________________________ Contact newspapers ___________________________________________________ T-shirt orders in ____________________________________________________ PR Form 3 due ____________________________________________________ Bio forms due ____________________________________________________ Final program changes due ____________________________________________________ Opening night! ____________________________________________________ Set strike ____________________________________________________ Final Board report ____________________________________________________


Budget Worksheet

Scenery:

Costumes:

Properties:

Other:

Miscellaneous:

TOTAL:

Notes about unusual expenses:


Jay County Civic Theatre, Inc. – AUDITION FORM Production: ___________________________________ Directed by: _______________________________

ROLE CONCIDERED for - Director’s USE ONLY: ___________________________________________________________

Name: ______________________________________________ Sex: ______ Age: ________ AUDITION #__________ (as you would like it to appear in the Program)

Home Address: _____________________________________ City: _____________________ State: _____ Zip: __________ Home Phone: ________________________ Cell Phone:_______________________ Work Phone:__________________ Do you have an answering machine? (Yes or No) Do you accept TEXTS? (Yes or No) Do you FACEBOOK? (Yes or No) E-mail Address: (PLEASE PRINT CLEARLY)_________________________________________________________________

• Height:________ Weight:________ Hair Color:__________ Eye Color:____________ • Vocal Range: (circle one) SOPRANO MEZZO ALTO TENOR BARITONE BASS NOT SURE • Do you sing Harmony? (Yes or No) Do you read Music? (Yes or No) Do you Play an Instrument? ( Yes or No)_________ • Dance Experience: Style of Dance________________________________________________YearsStudied______________ • Special Skills: (Juggling, gymnastics etc..)___________________________________________________________________

Role(s) Auditioning for: _______________________________________________________________________________ Will you accept any role, including chorus? (Yes or No)

PAST THEATRE EXPERIENCE: YEAR THEATRE COMPANY SHOW TITLE ROLE

IF NOT CAST in the show, or if cast and have time, would you be willing to be on a CREW? (Yes or No) If “Yes”, please circle the crew(s) that you interested in: LIGHTING SOUND MAKE-UP FUNDRAISING SET CONSTRUCTION PROPS PUBLICITY PARADE COSTUMES FRONT of HOUSE FUNDRAISING List ALL CONFLICTS on BACK - BOTTOM ½ of this FORM. Now through end of production. (Work, Vacation etc..) NOTICE: The rehearsals will be closed to the public. Rehearsals “typically” run Monday – Thursday 6:30pm – 9:00pm, until the last few weeks then the weekends may be used and should be marked on calendars as TBD (To Be Determined). Show dates are _______________________. There will be a “3 strike policy.” Your name and photos will be used for marketing and archival purposes. I have read the entire form and understand the commitment that I am making if I am cast. I also commit that I will be available for rehearsals and show dates as explained above. Signature: ________________________________________________________________Date:______________________ Parent or Guardian Signature:(for those under 18 years of age) ____________________________________________________


Publicity Form 1

(Due by deadline provided by Board Secretary, due about 81 days before opening)

Director: ____________________________________________________

Director’s E-Mail: ____________________________________________________

Director’s Phone: Day: ___________________Evening:________________________ Play Title: ____________________________________________________ Playwright: ____________________________________________________

(For Musicals:) Book by: ________________________________________________

(For Musicals:) Lyrics by: ________________________________________________

(For Musicals:) Music by: ________________________________________________ Auditions Dates: ____________________________________________________ Time: _______________________ Callbacks? __________


Casting Needs: Men: __________ Women: ____________ Children: ___________

Special Information: (separate auditions for kids, prepared audition pieces or songs, etc.) ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Publicity Form 2

Information for production publicity (Due by deadline provided by Publicity Coordinator, due about 56 days before you open)

Your name: _____________________________ Phone number: _________________ Email address _____________________________________________________ Play Title: _____________________________________________________ Playwright (Lyricist, etc.): ________________________________________________ Script Service: _____________________________________________________


Director & Designers (as appropriate, and as they wish to be listed in the program):

• Director: ___________________________________ • Set Design: ___________________________________ • Lighting Design: ______________________________ • Costume Design: ________________________________ • Poster and program art: _______________________ • Musical Director: _____________________________ • Choreographer: ________________________________ • Original music composed by: ___________________ Attachments (These are due now. Make sure the

appropriate people get them turned in.)

Audition Forms: If you have not already done so send legible copy of your audition forms to your Production Supervisor. Yes | No

Completed Bio Forms: If you have not already done so, give your completed bio forms (for cast, Director, assistant(s), Stage Manager, musical Director, conductor and Choreographer) to your Production Supervisor. Yes | No

Content Notice and Director’s Notes.


Content notice: • This play is (check all that apply): □ Suitable for all ages □ Suitable for older children □ Not suitable for children • This play contains (check all that apply): □ Profanity □ Vulgarity □ Strong language □ Extreme language □ Bawdy or risqué humor □ Sexual situations □ Partial nudity/Nudity □ Violence □ Smoking

Director’s Notes: A brief (no more than two paragraphs) note to go in the program; designed to add to the audience’s enjoyment or understanding of the show. Keep it short and sweet. (Attach to this

form.)


Publicity Form 3

(Due by deadline provided by Publicity Coordinator, usually 18 days before opening.)

Director:___________________________________________

Phone: ________________ E-mail:_____________________ Play Title & Author: __________________________________________________ Setting (optional): ____________________________________________________ Scenes (optional): ____________________________________________________ Intermission: _______minutes between ___________ and _________ (Standard: 15 minutes) Crew List: Complete the crew list below. Fill out or add only those positions which apply to your show. Do not list your designers here — you gave them to us on PR Form 2. Only note changes to your design team here. Regarding those who have filled multiple backstage roles during the course of your production (i.e.: set dressing, props construction and shift crew), the Program Editor may choose to list that person’s contributions on a single line if space constraints require.

Note: We do not expect you to have all crew and acknowledgments at this time. You will be able to add


more when your program is brought to you for proofreading the week before you open.

Special Thanks for this production go to…: Please list all individuals, businesses and organizations who have made a material contribution to your production. Please do not list anyone already noted in the crew list, or family members unless they actually worked on the show.

Publicity Form 3 continued

CREW LIST Production Supervisor: ____________________________ Assistant Director: _______________________________ Production Assistant(s): __________________________ Orchestra/Vocal Conductor__________________________ Stage Manager: ____________________________________ Head of Set Construction (if different from Set Designer): ________________________________________ Set Construction (+cast and crew): ___________________________________________________ ____________________________________________________ Set Dresser (if different from Set Designer): ____________________________________________________ Scenic Painter (if different from Set Designer): ____________________________________________________ Master Electrician (if different from Light Designer):__________________________________________ Lighting Board Operator: ___________________________


Lighting Hang and Focus: __________________________ Sound Designer: ___________________________________ Sound Operator (if different from Sound Designer): ___________________________________________________ Sound Recording (if different from Sound Designer):_________________________________________ Live Sound Effects:________________________________ Special Effects: __________________________________ Costume Assistant: ________________________________ Wardrobe Mistress (if different from Costume Designer): ________________________________________ Additional Costumes by (rented/borrowed):_________________________________ Sewing (if different from Costume Designer):_________________________________________ Dresser(s): _______________________________________ Property Master/Mistress:__________________________ Property Construction (if different from Property Master/Mistress): _________________________________ Makeup Designer: __________________________________ Makeup Assistant(s):_______________________________ Hair Stylist: _____________________________________ Lobby Photos: _____________________________________ Production Photos: ________________________________ Poster and Program Printing: ______________________ Other (list):


JCCT Drug and Alcohol Policies

(Handout)

These policies are designed to protect our image in the community, and our legal responsibilities. Directors will see that the policies are observed at all times. No illegal substances will be brought into the theater or any theater-sponsored function at any time. Actors and production crew will arrive for rehearsals and performances free of the influence of intoxicants, legal or otherwise. Cast parties are considered private, non-theatre activities, and should be held off site. The law generally holds hosts responsible for the behavior of their guests, and they should make every effort to prevent minors from drinking, or other guests from driving under the influence.


Cast Responsibilities (Handout) Although Jay County Civic Theatre is an amateur group, we expect our Actors and crew to behave in a professional manner and to put on a professional quality production. Those who fail to meet their responsibilities are subject to dismissal at the Director’s discretion. On the rare occasion when problems arise, we urge you to work them out with your Director. If that proves impossible, the Production Supervisor is there to iron out difficulties. During rehearsals, Cast members will • Attend all rehearsals for which they are

scheduled. • Arrive on time, ready to work and free from the

influence of intoxicants, legal or otherwise. • Notify the Stage Manager immediately should unavoidable circumstances (illness, etc.) make you late or miss a rehearsal. • Treat fellow theatre volunteers with courtesy and

respect. • Refrain from interrupting or disturbing rehearsals

going on in other parts of the building. • Stay off Cell Phones, except for emergencies or to

call your ride. All calls should be kept brief. • Treat the theatre as if it were your own. Clean up after yourself, and help keep rehearsal and backstage areas tidy.

For musicals (in addition to the above): • Cast members are expected to return all scores,

with all pencil markings erased, at set strike. • Those who lose or fail to return scores will be

charged to replace them. During performances, all cast and crew members will:


• Do a Prop and Costume check 1 hour before Curtain. Make sure you have your costume, props and other necessary items in hand well before your entrance cue. • Maintain absolute quiet backstage. • Refrain from disturbing fellow actors who need quiet to get in character. Leave others’ props, costumes, etc. alone. • Observe your Director’s orders concerning smoking. Smokers must use designated smoking areas and clean up after themselves. Do not throw butts in the street or sidewalks. • Stay backstage once you are in makeup or costume. • After each performance, hang up your costumes, return props to their designated places and close all makeup containers.

When the show closes, cast and crew members will: • Take part in set strike, cleanup and theatre work

parties the day of closing. • Remove all personal belongings from the theatre. Items left after set strike are likely to wind up in the prop or costume rooms.


JCCT Bio Form

(Handout) This information will be used to write your lobby bio, so please write legibly and fill it out as completely as you can. Please note, your bio is only meant to give the audience a little information about who you are. It's not your life story, and it's also not the place to thank anyone. Thank them in person instead.

Name (as you want it to appear on your bio): ____________________________________________________

Role in this production: ___________________________

Phone number (in case of questions; will not be part of your bio): ______________________________________

Where do you live? _________________________________

Occupation and place of employment (if employed): ____________________________________________________

School and grade/year (if you're a student): ____________________________________________________

Previous credits (acting, directing, crew). If you need more space, you can use the back of this form.


Stage Manager’s Responsibilities

(Handout) The Stage Manager assumes responsibility for everything backstage during final rehearsals and through the run of the show. His/her word is second only to the Director’s. S/he may delegate some of these duties to others, but is responsible for seeing that they get done. Typically, the Stage Manager might:

• Assemble the production crew and assign their duties, if the Director requests. Clear all assignments with the Director first!

• Learn the location and use of fire extinguisher, fuse boxes, heating and air conditioning controls, the fire alarm system, work lights, First Aid supplies, etc.

• Maintain order and quiet backstage.

• Coordinate set and scene changes, providing a written plot, where necessary, for the crew to follow .

• Cue/Warn places, the start of the show, curtains, act and scene openings, etc.

• Meet with the house supervisor before each performance to tell them who will inform them to open the house and also when to end intermission.

• Make sure backstage First Aid supplies are in stock.

• Keep visitors (including friends and relatives) out of the backstage area before and during performances.

Additional duties will be found on the Stage Manager’s Check List which follows, and to which each Stage Manager should refer nightly.


Stage Manager’s Check List (Handout)

PRESHOW CAST/CREW CHECKS: • All cast & crew present • Light check • Sound check • Presets

FOR HOUSE MANAGER: • Cues (open theatre, intermission)

AFTER 6:45/1:45 • Quiet backstage • Dim Green Room lights • Cue 5 minutes, 2 minutes, Places • Audience seated • Cue show start • Green Room monitor ON

INTERMISSION • Cast/crew 5-minute cue

• Blink lobby lights at 5 minutes • Audience seated • Cue Act start

POSTSHOW FINAL CHECK: • Green Room /Shop:

o Curling irons UNPLUGGED o Trash emptied o Check supplies (paper towels, toilet tissue, etc.)

o Tools UNPLUGGED o House lights OFF


Front House Manager Duties (Handout)

Front House Manager should be picked by the Director with the help of the Production Supervisor/Board at least 2 weeks before show opening -

see Past Crew for past Front House Managers. Responsibilities:

1. Let the venue know that you are the Front House Manager. 2. Meet their requirements – for Arts Place see attached. 3. Decorate the Lobby of the Venue - with input from the Director. 4. Design Break-a-Legs - with input from the Director. 5. Recruit Volunteers - A sign up sheet put up for the cast and a

general Email. (see The Board) 6. Recruit 4 Ushers – 2 for each side of the Theatre. (To retain

ticket stubs / Aide audience to their seats) 7. Recruit 1 Break A Leg person and 1 Runner – These could be cast

members. (Please speak to the Director about supplying 2 people) 8. Recruit 2 Box Office Volunteers. 9. Acquire donations of cookies and punch. Please check with the cast

and ask them to bring donations for this. (see sign up form in the back of the manual)

a. 6 - 8 DOZEN COOKIES NEEDED EVERY NIGHT b. PUNCH DONATIONS - 1 Gallon of Juice and 4 Liters of Soda Pop

per night 10. Acquire a list of COMP TICKETS from the Director or

Production Supervisor. 11. Each Performance:

a. Arrive at least 1 hour prior to show time. b. Make sure the Lobby is decorated. c. Place out donation baskets. d. Make sure programs are ready to be handed out. e. Have break a leg station set up. f. Have volunteers sign off on Emergency Evacuation Routes of

Theatre. g. Hand out name tags to all volunteers and Board Members

present at each performance. h. Prepare Cookies and Punch for Intermission. i. Aide with ticket and money count. (using provided forms)

There is a Front of House Manager’s Binder that contains everything needed. Please see the Production Supervisor for a copy.


Costumes

(Handout) Copy and give to your costumer.

JCCT has a large and growing stock of costumes, many of which may be appropriate for your show. Because it is important to maintain our costume inventory, we prefer to build or buy costumes rather than rent, except in unusual circumstances. The Costume Commitee can help your Costumer decide what we should acquire and what we can pull from stock.

Costumers should: • No costumes are to be worn outside the theatre,

except for promotional purposes supervised by the Director or Costume Manager.

• Contact the Costume Manager as early as possible for an orientation to our costume room, and to be briefed about the care, handling and acquisition of costumes.

• Check back regularly with the Director to make sure that what they are designing serves the play and the characters’ needs for movement, pockets, etc.

• Come to an early rehearsal, tape measure and measuring forms in hand, to measure Cast members and discuss costume needs.

• If your show requires elaborate or period costumes, work should begin immediately to build or acquire them.

• Check with the Costume Manager before permanently altering any costume in stock. Alterations should generally be temporary, and the costumes returned to their original state after the show and before cleaning.


• Pull rehearsal costumes (skirts, jackets, shoes) from stock. Please do not use fragile or expensive costumes for rehearsals.

• Do not use authentic vintage clothing, expensive garments or anything that might be ruined by makeup or theatrical wear and tear.

• Directors should make sure Costumers are aware of any action that might affect costuming — if a character needs to be able to move in unusual ways, crawl on the floor or needs pockets, for instance.

• Directors should impress upon Cast members that they are expected to wear what they are given, and to take care of their garments by hanging them up after each performance, reporting damage to the costumer, etc.

• Cast members are expected to fill out costume needs by providing shoes, accessories, undergarments, etc., within reason. Please note that Cast members are not to be sent to the costume shop to find their own clothing, shoes, etc.

At set strike:

• Sort all costumers for cleaning and repairing • Remove alterations, restore hem lengths, etc. • Launder washable costumes immediately and return to

storage • Complete cleaning and repair as soon as possible

after closing and return all costumes to their proper storage areas. This important part of the job sometimes gets forgotten — please remembers that your job is not finished until the last costume is put away.

• Return borrowed and rented costumes promptly.


REHEARSAL ETIQUETTE

(Handout) • Rehearsal will start promptly - it is recommended that you arrive at least ten minutes before rehearsal begins - Use this time to clear your mind and focus on the work ahead

• Dress appropriately - Where loose clothing and comfortable or character shoes.

• Bring a pencil and a small journal to each rehearsal for Directors notes.

• Don’t chew Gum • No food or smoking allowed in or around rehearsal. Special places may be designated.

• Only water in a capped water bottle allowed at rehearsal.

• Visitors are NOT allowed to observe rehearsals - unless it is a parent.

• Casual and excessive talking is NOT allowed. • Stay in rehearsal room - if you need to leave for any reason please check out with a production staff person. Usually the Stage Manager.

• Actors waiting to work are strongly advised to use their time to memorize lines and blocking.

• Please silent all cell phones, this includes texting during a rehearsal.

• iPods, iPads, Laptops, Mp3 players, DS (i, XL, 3D) should not be used during rehearsal.

• NO CELL PHONES ALLOWED ON STAGE.


SCRIPT DEPOSIT

In the fall of 2009, the Board of Directors of the Jay County Civic Theatre, Inc. voted to begin a policy of script deposits for all Civic shows. This policy was made necessary by numerous scripts being lost or not returned over the last several years. Any script not returned must be paid for by Civic, resulting in hundreds of dollars in unnecessary fees. An organization such as Civic Theatre cannot absorb these kinds of losses. Therefore, all cast members receiving scripts for a JCCT, Inc. production are asked to write a check for $50 For musicals & $10 For straight plays made out to Jay County Civic Theatre, Inc. These checks WILL NOT BE CASHED and WILL BE RETURNED TO YOU when you return your script. If you fail to return your script, Jay County Civic Theatre, Inc. then has the right to cash your check to cover expenses. If this causes any hardships, we ask that you speak to a board member regarding your specific needs. We do not want anyone to be excluded from JCCT, Inc. productions due to this policy but we must also consider the financial security of the Jay County Civic Theatre. Thank-you! Jay County Civic Theatre Board of Directors Bryon R. Sparks, President


Properties

(Handout) Copy and give to your Property Master/Mistress.

Responsibilities:

1. Stage properties purchased from the show budget are property of JCCT. Please return them to the JCCT Warehouse.

2. Please do not use breakable glassware in early rehearsals. Wait until you are on stage. Plastic cups and paper plates work just as well.

3. During early rehearsals, you may wish to pull rehearsal props. Please make sure they get put away each night, in boxes.

4. Please keep youngsters and others from playing with props.

5. If you borrow items for use as props, you are responsible for returning them immediately after set strike.

6. Please make sure that all borrowed props are clearly labeled so no one mistaking them for our own props and puts them away “out of kindness.”

7. Also please make sure the Board Secretary receives a list of any business or person who donated props so we may send them a “thank You” certificate.


Make-Up and Hair (Handout)

Copy and give to your Make-Up and Hair Designers and Assistants. Jay County Civic Does Not Supply Makeup

do to possible spread of infections

Make-Up To avoid the spread of infections, Cast members should not share — mascara. Disinfecting makeup brushes, washing hands and having actors use their own makeup for the run of the show will help prevent skin problems. Let the cast know that they should wash their hands and put their makeup on before donning their costumes. They might want to bring an old shirt to wear while applying it. Assign someone to make sure makeup containers are closed and the Make-Up area is cleaned up each night. Wigs Wigs and hairpieces are available at the warehouse. You may have them styled. Do not use heat on synthetic wigs. All wigs used in productions should be combed out thoroughly washed and left to dry on wig heads at the warehouse once you have set strike.

One good way to wash synthetic wigs is to bag them individually in garment bags (or lengths of nylon stocking) and put them in a washing machine on “delicate” cycle, with Woolite or baby shampoo as the detergent. Remove them from the bags while still wet, comb out carefully and place on wig heads to dry. Never run wigs through the dryer or use heat to dry them!

Hair Stylists/Designers You may want to check with local hairstylists to see if they are willing to come in and show your Cast members how to style their hair, or even style it for them. In return they will get ad space in the program (Please contact the Production Supervisor for approval on these barters).


SCRIPTS SIGN OUT SHEET

To be used by the Production Supervisor

SCRIPT SIGNED OUT TO: CHECK RCVD

CHECK RTRD

BY

1 2 3 4 5 6 7 8 9

10 11 12 13 14 15 16 17 18 19

GUITAR WOODWIND I &

II

KEYBOARD I BASS

CONDUCTOR SCORE


MEASURMENT SHEET FEMALE Production Name: ____________________________

Actor Name: __________________________________

Actor Age: _____

Character Name: _______________________________Character Age: ____

A - Bust ______ B - Waist ______

C - Pant Waist ______ D - Hip ______

E - Bicep ______ F - Wrist ______

G - Shoulder/Shoulder (Back) ______ H - Shoulder/Wrist (Back & Bent)

______

I - Waist/Knee (Back) _____ J - Waist/Floor (Back) ______

K - Neck/Waist (Back) ______ L - Neck ______

M - Height ______ Dress Size ______

CS CM XS S M L XL XXL XXXL

Notes: _______________________________________________

___________________________________________________

___________________________________________________

___________________________________________________ Swatches

A

B

C

D

E F

A:

_______________________B:_______________________C:___________________

D_______________________E_______________________F___________________


MEASURMENT SHEET MALE

Production Name: _____________________________________________________________

Actor Name: __________________________________Actor Age: _____

Character Name: _____________________________ Character Age:

____

A - Height ______ B - Neck ______

C - Chest ______ D - Waist ______

E - Pant Waist ______ F - Hips ______

G - Inseam ______

CS CM XS S M L XL XXL XXXL

Notes: ___________________________________________

________________________________________________

________________________________________________

________________________________________________

________________________________________________

________________________________________________

________________________________________________

Swatches

A

B

C

D

E F

A:_______________________B:_______________________C:___________________

D_______________________E_______________________F___________________


Production Name:

____________________________________

COSTUME CHECK OUT

DISCRIPTION FROM DATE RCVD

NOTES DATE RTD

NOTES




Production Name:

____________________________________

CHARACTER HAIR SHEET

Character Name: ________________________________ Character Age: ____

Actor Name: ___________________________________ Actor Age: ____

Color: ____________ Perm Semi Temp Cut Style

Products: _________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ Technique: _______________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________


Production Name:

____________________________

MAKE-UP WORKSHEET

Character Name: __________________________ Age_______ Actor Name: _______________________________Age_______ Base High Med _________________________________________________________ Low Blush Lip 1 _________________________________________________________ Lip 2 Eye 1 Eye 2 _________________________________________________________ Eye 3 Eye Liner Mascara _________________________________________________________ Body Misc. Misc. _________________________________________________________ Misc. Misc. Misc.



LIGHTING TRACK SHEET


Photo / Media Consent Form

The undersigned authorizes that Jay County Civic Theatre, Inc., for purposes of bringing its programs to the attention of the public, to:

I. Use his/her name.

II. Take and use, or arrange for the taking of, his/her photograph (photograph refers to any image reproduction process, including, but not limited to, slides, pictures, movie film, videocassette tape, live television and digital photographs)

III. Record his/her voice and/or comments, either written or spoken. Jay County Civic Theatre, Inc. may bring its programs to the attention of the public by preparing materials for newspapers, magazines, periodicals, radio, television, film strips, videocassettes, brochures, catalogs, schedules, web site, CD-ROMs, DVDs, and the like. Or, Jay County Civic Theatre, Inc. may assist news and education media with these materials in the preparation of their own material for informing the public about Jay County Civic Theatre, Inc. programs. Such photographs, film, brochures, catalogs, schedules, ads and other materials shall become the sole and separate property of Jay County Civic Theatre, Inc., or the media preparing them. This authorization involves no financial consideration to either party. A photocopy of this authorization shall be considered as effective and valid as the original. The undersigned certifies that he/she has read the foregoing and is familiar with its contents. Date: _________________________ Signature: ___________________________________________ Printed Name: ______________________________________________________________________ Address: __________________________________________________________________________ Phone: ___________________________________________________________________________



Property Log


Sound Cues


RULES FOR ARTS PLACE 1. On show days – Please park in the lot across the street from Arts Place.

2. Do NOT park in the parking lot next to Arts Place.

3. NO Food or Drink in Hall-Moser Theatre, Water Bottles w/ caps are acceptable.

4. Be respectful and courteous to ALL Arts Place Employees.

5. Please stay in the designated areas for that rehearsal. NO ROAMING.

6. NO Running anywhere in the building.

7. Be respectful of the Art Gallery. DO NOT TOUCH.

8. NO SMOKING in the building. IF you smoke, please DO NOT throw “butts” in the street or alley.


Arts Place, Inc. Hall-Moser Theatre Seating Chart

STAGE


Arts Place, Inc. - Stage Ground Plan -

Dimensions


Arts Place, Inc. - Stage Ground Plan


Scenic Design Scale floor plans of our venue’s stages are available in the Worksheets section at the back of this manual for your design purposes. Each designer is expected to draw a scale floor plan (preferably 1/2":1'), or build a scale model, of his/her set for approval by the Board no later than the Board meeting prior to auditions. A copy of the floor plan should go to the lighting designer well before the light plot deadline. Set construction must be supervised by someone familiar with our facility, our resources — and with power tools and safety procedures.

An inventory of flats is available in the scene shop, or from the set coordinator. If you want to build more, consult with the set coordinator first so that what you build will fit into our inventory. Wherever possible, use stock flats, platforms, etc.

Storage space is at a premium, so get the set coordinator’s permission before saving anything you build — otherwise, dismantle it, remove the hardware and salvage what materials you can. Lumber that is too small to re-use should be removed to the trash at the warehouse.

Get the Warehouse managers permission before you dismantle or permanently alter stock set pieces, and permission from the Board before you build anything that extends beyond the apron or reduces seating.


Never put nails, staples or safety pins through the black stage curtains. Never put nails, screws or staples into the stage floor. Always seek donated lumber and other building materials when possible. The Production Supervisor will give the green light for your show to start building. All cast and crew are expected to help with construction and other technical aspects of the show, and set strike. Try to assign people to duties in keeping with their skills, age and experience. Do not allow untrained people to use power tools unsupervised. Minors may not use power tools under any circumstances, and should not be allowed to climb ladders.

Emphasize safety during all work parties. Know the location and use of fire extinguishers, First Aid kits, safety goggles etc., and make sure they are used. Caution people to be especially careful on ladders. Clean up after every work party; return all tools to their proper place, wash paint brushes and rollers and put lids on paint cans. A dirty shop is a dangerous shop.

The Director or his/her assistant should be present at set construction and strike.


Director Agreement

THIS AGREEMENT made this _________ day of ___________, 20___, by and between Jay County Civic Theatre, Inc. (“Producer”) and ______________________________________________________ (“Director”).

In consideration of the mutual covenants, promises, terms, and conditions herein granted, the parties agree as follows:

1. The Producer engages the Director to direct and the Director agrees to direct the Producer’s production of the play presently entitled ________________________________________ by _________________________________ (“Play”).

2. The Play will begin paid public performances on ____________________.

3. The Director will provide the normal services associated with the direction of a play of the nature and kind as the Play, including supervising and conducting auditions; casting actors for the various roles contained in the Play (in consultation with the Playwright and the Producer); participating in such production meetings as may be necessary and appropriate; consulting with the author; consulting with and supervising designers, stage crew, and the other personnel as will be necessary for the effective presentation of the Play; conducting rehearsals; advising the actors in their performances; and promoting and publicizing the Play through interviews and other appropriate interactions with members of the press. If the Producer will require any other duties or services of the Director, the parties agree to negotiate compensation for same in good faith.

4. The Producer will compensate the Director for the aforesaid services as follows: a nonrefundable fee of __________________, which will be payable as follows:

________% no later than _____ days prior to the beginning of principal services by the Director;


_______% not later than the official press opening of the Play.

[In addition to the foregoing fee, the Producer will also pay the Director a royalty in the amount of _______% of the gross weekly box office sales of each company of the Play under the Producer’s management. The Producer will first deduct all fees hitherto paid to the Director before the payment of percentage royalties. The gross weekly box office sales are defined as ticket sales from all sources, including box office, mail order, ticket brokers, group sales, internet sales, subscriptions, telephone sales, Ticketmaster, and discount ticket services.]

5. The Director will be entitled to purchase ________ pairs of house seats at the full box office price for each performance of each company under the Producer’s management. The seats will be in the section of the theater commonly and traditionally reserved for house seats in that particular theater. The seats will be held in reserve from general sale for the Director’s purchase until _________ P.M. for each matinee performance and until ____________ P.M. for each evening performance. Any seats not purchased by that time will be offered for sale to the general public at the full box office price. Director will not resell the house seats at a premium over the box office price. Director further agrees to comply with all laws, rules, and regulations governing the use and disposition of house seats promulgated by the appropriate governmental authorities having jurisdiction thereof.

6. The Producer will pay the reasonable cost of transportation for the Director from [his] [her] city of residence to all cities in which the Producer requires the Director to render services.

7. The Producer will pay the reasonable costs of housing accommodations for the Director in all localities in which the Producer requires the Director to render services, except in the Director’s city of residence. All housing accommodations will be at least the equivalent of those enjoyed by the Producer.

8. The Producer will employ the Director for a minimum of __________ weeks beginning on _____________ and terminating on __________________.

9. The Director will receive billing credits in all programs, flyers, publishing, advertising, and promotional materials, [including


theater marquees] under the Producer’s control, in which the Playwright’s name also appears. Said billing will be on a separate line in which no other credits appear and will be in a size and style of typeface as follows: __________________________________________________________________________________________________________________________________________________________________

10. (A) After the press opening of the Play, the Director will be responsible for supervising and maintaining the quality of the production. At least once in every _______ weeks’ period, the Director will attend one public performance of the Play. When appropriate, the Director will conduct brush-up rehearsals with the actors and other personnel, in order to sustain the quality of the production. In the event the Director fails or refuses to comply with the foregoing, [his] [her] weekly royalty will be reduced by one-half until [he] [she] completes the work.

(B) Provided the Producer consents, the Director may be excused from the foregoing post-opening supervision whenever [his] [her] other professional obligations prevent [him] [her] from doing so. However, the Producer’s consent under this paragraph on an occasional basis will not operate as a waiver of the Director’s responsibilities as set forth in paragraph 10(A) above.

11. The Director will have the option to direct all future companies of the Play, under the Producer’s management within the United States. The Producer will give the Director written notice of his intent to present each additional company. The Director will have ten days after receipt of the notice to notify Producer of [his] [her] intent to exercise this option. In the event the Director fails to notify Producer within ten days of [his] [her] affirmative intent to direct said future company, the Director’s option (as to that company only) will lapse, and the Producer may engage another director of his choosing. In such case, the Director’s royalty for said company will be reduced to _______% of that company’s gross weekly box office sales for a nonmusical or _________% of the gross weekly box office sales for a musical. For each company of the Play which the Director elects to direct, [his] [her] royalty will be _________% of the gross weekly box office sales for that company in the case of a nonmusical; or _______% of the gross weekly box office sales for a musical.


12. (A) As part of the Director’s normal services in connection with the production of the Play, [he] [she] may offer suggestions, guidance, advice, bits of business, lines of dialogue, or other material to the Playwright. The Playwright will be free to accept or reject any such contributions. The Director understands and agrees that, as part of the Producer’s contract with the Playwright, all such material contributed or offered by the Director to the Playwright will become the Playwright’s sole property, copyrightable by [him] [her], and, at the Playwright’s sole discretion, used in all future productions and publications of the Play, without compensation, claim, right, title, credit, ownership, or copyright by and to the Director. However, if the Playwright and the Director agree that the Director will contribute rewriting services to the Play, the Director will negotiate in good faith a separate contract for the same with the Playwright.

(B) Notwithstanding the foregoing, the Producer agrees and understands that the direction of the Play will remain the sole property of the Director and may not be used or reproduced in any additional companies or productions of the show without the Director’s consent. The Director may submit said Direction to the U.S. Copyright Office for copyright thereto in the Director’s sole name, provided same does not interfere with the Author’s copyright of the Play.

13. This is a personal services contract and may be not be assigned by the Director without the Producer’s written consent.

14. In the event the Producer terminates the Director for any reason, other than breach of contract, the Producer will pay the Director in full under this contract.

15. No recordings, whether by audio, video, film, or other means, whether now known or hereinafter devised, will be made of the Play without the Director’s consent. Notwithstanding the foregoing, however, the Director hereby consents to the recording and/or performance of excerpts from the Play not to exceed 300 seconds for radio and/or television broadcast, for the purpose of publicizing and promoting the Production, provided the Producer receives no compensation or profits there from, except the nominal costs of production.


16. The laws of the State of __________ will govern this Agreement.

17. This Agreement is binding on the parties, their heirs, successors, and assigns.

18. In the event a claim or a dispute arises out of this contract, which the parties cannot resolve in face-to-face discussions, either party may bring the matter before a member of, and under the commercial rules of, the American Arbitration Association. The arbitration will be binding on both parties. The arbitrator may require the losing party to pay the costs and reasonable attorney fees of the prevailing party. Judgment upon such arbitration award may be entered by any court of competent jurisdiction.

19. Notices required hereunder may be mailed to the parties at the addresses following their names below. Notices will be by certified mail, return receipt requested, and will be effective on the date of mailing.

In Witness Whereof, the parties have hereunto set their hands and seals this day and date above written.

(Producer) Jay County Civic Theatre, Inc.

President: ________________________________Date________

(Director__________________________________Date________

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