The Production Program

PRODUCTION DEFINITIONS AND RULES:

Definitions

1. The THEATRE DEPARTMENT refers to the producing organization of the Mainstage and Studio Season.

2. PRODUCTION ACTIVITIES refers to the rehearsal, performance, design, construction, and execution of all aspects of a Mainstage or Studio Production.

3. A TECHNICIAN is any person who is given a position or responsibilities in the production and who is subject to all the rights, rules, procedures, and penalties of the 2/3/471 Agreement Forms.

4. THE DIRECTOR OF THE STUDIO SEASON is the primary supervisor of all production activities of the Studio Season. THE DIRECTOR OF THE PRODUCTION PROGRAM is the primary supervisor of all production activities of the Major or Mainstage Season.

5. THE DIRECTOR is the director of a given Mainstage or Studio production.

6. STAGE MANAGER and ASSISTANT STAGE MANAGER are described as follows and represented by THEP 2-466 and 2-476.

a. STAGE MANAGER (SM): A stage manager is an organized person who is firm, pleasant, attentive, efficient, maintains a low-profile, works best under pressure, and is able to express him/herself with a minimum of vocal/physical tension.  Rehearsal period duties are: to assist the director in the organization and execution of rehearsals, to compile and maintain an accurate prompt book of the production, to act as liaison between the director and the persons in charge of the various departments of production, and to perform clerical duties as required by the production.  Performance period duties are: to "run" the performance itself, to organize the cast and crew calls, to organize the strike, and to act as the senior executive officer for all activities required for the performance.  Recommended preparation: Thea 203, and successful completion of SM duties for an In-the-Works or other production.

b. ASSISTANT STAGE MANAGER (ASM): A person or persons who assist the Stage Manager in the execution of his/her production responsibilities.  For large productions, there may be more than one ASM. An ASM stationed backstage must be prepared to take charge of the backstage crews, handle emergencies and make decisions necessary for the smoothest possible performance.

c. DUTIES: In no particular order of importance, the stage manager is responsible to do the following with the assistance of the ASM(s):

1. Prepare a stage manager's prompt book. Note in pencil all blocking into it.

2. Oversee the budget for the individual studio production and keep the director up to date with budgetary matters.

3. Fill out Program Information Booklet and return to the Marketing and Promotions Coordinator no later than two weeks before the opening of the show.

4. Distribute and Collect bio and photo release forms of cast and crew and supply information to Marketing and Promotions Coordinator.

5. Reserve rehearsal spaces in the books located in the Theatre Collection Office.

6. Post announcements and rehearsal calls.

7. Aid the director at auditions and be present for all of them.

8. Tape the floor plan before the first rehearsal. It is the designer's responsibility to give the stage manager an approved floor plan, and he/she or the technical director should help in taping the floor plan.

9. Coordinate and oversee the technical support areas.

10. Clean and set up the rehearsal area before the scheduled call. Strike props, furniture, etc. and sweep floor daily after rehearsal. Rehearsal spaces must be restored daily to original classroom setup. Also secure all doors before leaving and shut down all lights except those left on for safety.

11. Once the production rehearsal moves from the rehearsal space to the performance space, rehearsal rooms must be returned to classroom condition (tape removed from floor) and all rehearsal furniture and props return to original storage area (props closet, furniture room, etc.).

12. Maintain a Rehearsal Report for each rehearsal including: who was called, at what time, who was late or excused, and other comments. (These comments are on the order of a factual journal of performances: lights, sound, late entrances, shifts, etc.)

13. Make certain that actors are ready for entrances and that no one leaves the rehearsal area without first checking with the stage
manager.

14. Run all aspects of the production. The SM is in charge as of the opening of the show.

15. With the TD, organize and run the strike after the closing performance and make certain all personnel are present for the strike until it is complete. The Theatre space must be ready for classes the next day.

16. Head off potential problems before they erupt by conferring with the director.

17. Announce the following times prior to curtain to all production personnel: 45 minutes, 30 minutes, 15 minutes, 5 minutes, places, and any other calls deemed necessary.

18. Post sign-in sheets for cast and crews.

19. Establish location where cast and crew stay until "places" is called.

20. May call additional technical rehearsals for one or more crews if special problems occur.

7. ASSISTANT DIRECTOR: A student who assists the Director in a variety of ways as outlined below.  The student must secure the permission of the director of the production.  The student should be enrolled in or should have taken a class in directing and should be familiar with this department's approaches to actor training.  This project may only be taken for credit as an independent study.

Full details of the Assistant Director's responsibilities will be established in conference with the director of the production and may include:

a. Rehearse scenes, working on special problems set by the director.

b. Be a liaison between actors and director and help with constructive solutions to any actor?related problems.

c. Refer questions and suggestions that might not be in the purview of the stage manager.

d. Make suggestions to the director.

e. Take notes for the director during tech/dress week and runs.

f. Time each act/scene and intermissions (this duty overlaps with stage manager).

g. See all performances, and if director cannot be present, help the actors ready themselves before curtain; make a report to the director on the performance.

h. Assume responsibility, if asked to, to spell the stage manager during rehearsals from time to time if there is no assistant stage manager.

i. Be present at and help strike the show closing night.

j. Be a dramaturgical assistant -- do research, compile notes, help in selection/execution of special production needs (e.g., sound, etc.).

8. ASSISTANT TO THE DIRECTOR: The duties of the assistant to the director may include some of those typically given to the Assistant Director, but will primarily be administrative and clerical.  Full details of the responsibilities of the Assistant to the Director will be established in conference with the director of the production.

The student must secure the permission of the director of the production by having earned the trust and confidence of the director through any previous academic or production association or by interview and recommendation.  Students who enroll as Assistant to the Director may only receive practicum credit, either graded or pass/fail.

9. The DESIGNER is the person responsible for designing any of the technical aspects of a production subject to the approval of the Producer, Director, and appropriate departmental supervisor.  The Designer also supervises the execution of the design.

10. The PRODUCTION STAGE CREW is made up of:

a. TECHNICAL DIRECTOR: Supervises execution and coordination of all technical areas of a Studio production including sets, decoration, sound, and properties.

b. COSTUMER: Supervises procurement, collection, and preparation of costumes and is in charge of handling and maintenance.

c. MASTER ELECTRICIAN: Oversees execution and co?ordinates all lighting/ electrical areas of a Studio production.

d. CARPENTER: Assumes responsibility for construction and set-up of scenery and is thereafter in charge of handling and maintaining scenery.

e. ELECTRICIAN: Assumes responsibility for handling lighting equipment, effects, and fixtures. Thereafter in charge of operating and maintaining lighting equipment.

f. SOUND TECHNICIAN: Assumes responsibility for preparing, procuring, operating and maintaining sound equipment and effects.

g. PROPERTY MASTER/MISTRESS: Assumes responsibility for the procuring, collecting, and constructing of all properties. In charge of handling and maintaining same during the run of the production.

NOTE: Each of the persons filling the above positions is responsible to the area advisor of the Department of Theatre.

11. TECHNICAL REHEARSAL

a. "PAPER TECH or DRY TECH" is an organizational session in which cue numbers, cue content, rough levels and rough timing are established.  Paper techs are used for light, sound, properties, shifting and costume crews to develop what they execute at technical rehearsals and performances.

b. TECHNICAL REHEARSALS are rehearsals which are devoted primarily or exclusively to the execution and coordination of technical elements of performance.  They may be done with or without actors.

c. DRESS REHEARSALS are rehearsals with actors in costume together with all crews.  These are run as closely as possible to performance conditions.  Technical and dress rehearsals must end by 11:30 p.m.

PRODUCTION GUIDELINES:

Mainstage and Studio Seasons

1. The first technical rehearsal and the first dress rehearsal cannot be the same rehearsal.  Some form of technical run-through (cue-to-cue or full tech) must occur before the production goes into dress rehearsals.

2. CALLS: The call time is when the actor or technician has to be there and should be ready to work. This is distinct from Rehearsal time, particularly during tech week. Dress rehearsal calls for technicians shall be set by the Director and Stage Manager in consultation with the Technical Director/ Costumer with a minimum of 30 minutes before curtain. The Costume Designer, in agreement with the Stage Manager and Director will set actor's call for dress rehearsals. Dress rehearsal calls for actors is time designated for the costume department. It is not free time nor time to eat dinner. Conflict with classes preventing promptness needs to be cleared with Stage Manager in advance.

3. BREAKS: For all technical rehearsals specific breaks and the duration of such breaks shall be decided by the Director and the Stage Manager.

4. THE END OF REHEARSAL: The end of rehearsal shall be called by the Director after consulting with the Stage Manager.

5. The Director shall make every effort to schedule technical rehearsals in order to use time efficiently.

6. There shall be no eating, drinking, or smoking in any technical area or in any backstage area during rehearsal or performance.

7. No observers may attend a rehearsal other than faculty advisors or those officially designated as cast or crew of the rehearsing production without the express consent of the Director.

8. PERFORMANCE

a. PERFORMANCE CALLS shall be 60 minutes before the house opens. The Stage Manager may set the time earlier only for specific technical considerations.  In all cases, every effort shall be made to keep the call time to a minimum.

b. All cast and crew must sign in at their assigned call times.

c. In the event of unavoidable lateness or absence for a performance (only for reasons of serious illness or accident, or transportation breakdown), the actor/technician shall make every effort to call the Stage Manager personally at a prearranged phone number as soon as possible.

d. Any additional pre- or post-performance calls must be announced no later than opening night.

9. PERFORMANCE REQUIREMENTS 

a. All evening performances will begin at 8:00 p.m.  No exceptions will be permitted.  Matinee performances will begin at 2:00 p.m.  The house must be opened at least fifteen minutes prior to scheduled start times.  Performances are to begin on time.

b. Studio performances will normally be scheduled to open on Friday and play Saturday and Sunday evenings, and close with a Monday evening performance.

c. No photographs may be taken by anyone, for any reason whatsoever during any performance. Photographs, if authorized, may be arranged for any rehearsal, or for before or after any performance except that no photographs may be taken after the closing performance as it would interfere with strike.

d. Hallways outside the studio areas must be kept clear of encumbrances except for ticket tables, chairs and a bench or two. This is especially true for any scenic pieces, cherry pickers and ladders. This is a safety measure not just for fire safety, but for da-to-day safety. Directors and stage managers will be held strictly accountable.

e. No one is permitted in the booth areas during performances except for those who must be there to run the performances.  This means absolutely no guests in the booth.

10. BACKSTAGE ETIQUETTE

a. Actors and Technicians are expected to respect the preparation needs of their colleagues, i.e., no loud talking, singing, whistling, or other activity which could be distracting during any given rehearsal session.

b. Technicians are to wear appropriate clothing for performances.

c. DRINKING AND DRUG-TAKING: No one shall consume any
quantity of alcoholic beverages or drugs (other than prescribed medicine) in any manner which may interfere with or impede the responsible execution of assigned production duties.

d. No visitors are allowed in technical areas before, during, or after performances. Guests should be advised to visit outside the performance area.  Actors may not leave backstage area in costume.

11. STRIKE

The Technical Director, in conjunction with the Stage Manager, shall oversee all strikes.

a. Strike Guidelines:

1. Strikes will occur immediately following the closing performance.  For safety's sake, no guests should be permitted in the strike area unless they are volunteer workers.  If you have guests, visit with them away from the strike areas.

2. Studio spaces must be entirely clear of all production elements before strike is over.  All materials must be returned to their proper storage areas unless there are specific instructions to put them elsewhere.  Arrangements for storage of borrowed items not immediately returnable, or damaged items for repair should be made in advance of strike.

3. Areas to be cleared include the performance space, green room space and the booth.  If these spaces are not satisfactorily cleaned and purged of all production materials and trash, grades for either practica or other rubrics for which the project was done may be reduced, even to an "F".  Directors and stage managers are directly responsible for strike in Studio Shows.

b. Strike Attendance:

1. All show personnel shall remain and participate in the striking of the set, lighting, costumes, and props immediately after the final performance.

2. A student who does not attend or complete a strike and who is receiving credit for participation will have his/her final grade reduced by 2 letter grades.

3. A student who does not attend or complete strike and who is not receiving credit for participation will be placed on the university delinquency list until such time as he/she completes 1-1/2 times the hours of the duration of the missed strike.

4. No one may be dismissed from a strike without the consent of his/her area supervisor and notification of the Stage Manager.

12. COMPLAINT RESOLUTION

Note: For Mainstage Season, Director of the Production Program serves as Producer. For the Studio Season, Director of the Studio Season serves as Producer.

a. It is understood that every attempt will be made by the Stage Manager, Director, or the Production Manager to settle all disputes, grievances, and complaints in as amicable, informal, and personal a manner as possible. In the event that informal methods prove ineffective at correcting breaches of this agreement, the following procedures and penalties may be enforced.

1. Any breaches of this agreement of a minor nature including brief lateness at rehearsal or performance call, minor negligence concerning costumes, props, scenery, lights, sound, rehearsal schedules (including strike and photo schedules), or any other breach of this agreement deemed by the Stage Manager to be minor shall result in the issuance of a verbal warning or reprimand from the Stage Manager for a maximum of two such repeated breaches.

2. A third breach of this agreement or any single major breach as determined by the Stage Manager such as lateness for a performance, lengthy lateness for a rehearsal, minor insubordinationCby same may result in dismissal from the company. Similarly, major negligence of costumes, sets, props, sound equipment, or lights may also necessitate termination of all production responsibilities based upon the judgment of the Director and Producer after consultation with the Stage Manager.

3. In the event of a gross insubordination to the Director or Stage Manager, the unexcused missing of a rehearsal or performance, or the willful destruction of Theatre property, the offending party shall be removed immediately from the production and may be excluded from future departmental productions of any kind.

b. The Decision to Penalize

1. The decision to issue a verbal warning or reprimand or to report a gross breach of agreement may be made by the Stage Manager.

2. The decision to remove actors/technicians from the production may only be made by the Director and Producer after consultation with the Stage Manager.

c. In the event that a member of the production has a complaint against any staff or crew member or procedure, that person shall personally make said grievance known to the Stage Manager or Director who will take the necessary steps as he sees fit in order to resolve the complaint.

NOTE: In the event that the Stage Manager or Director does not resolve the complaint to the complainant's satisfaction, he/she will file a written complaint with the Producer. If resolution cannot be made at this level it can be brought to the Chair of the Department of Theatre. (Please refer to By-Laws, Article VI, pg.9)

Major Season

The Major Season is established by the Director of Production Programs, and the Chairman of the Department of Theatre. The specific procedure is spelled out in the Departmental By-Laws.

The organization and responsibilities of Major Season Personnel are distributed in the following manner:

Basic responsibility for the operation of the season is held by the Director of the Production Program, who works closely with the Chairman of the Theatre Department. Individual productions are the responsibility of the director of a given production. He heads a production staff which is somewhat variable in its makeup, depending upon the production. Faculty and staff members generally are assigned to head various departments -- the scenic designer, the costume designer, the lighting designer, the sound designer, the technical director, the musical director, the choreographer, Marketing, and Accounting. But this is not always the case. Both graduates and undergraduates sometimes will function as heads of some of these areas. In addition to the above, students typically function as stage manager and assistant stage managers, assistant director and assistant to the director, make-up director, properties master or mistress, and shift crew head. Others may be added for certain unusual or special problem areas (a fight director, for example). This production staff or elements of it typically meets once a week for a Production Meeting, starting shortly before the beginning of rehearsals and continuing until the production opens, to insure that everyone is aware of each other's problems and proposed solutions, to discover problems needing solution, to determine progress on the work of each production department and, generally, to make sure everyone knows what is happening. These meetings are scheduled by the Stage Manager at the request of the director and chaired by the director or Stage Manager. Students are appointed to positions by the director or faculty/staff member in overall charge of an area. Interested students are urged to apply for these positions by contacting the director or the person in charge of the area. Generally, academic credit is available for work in these positions (See Graduate or Undergraduate section for specifics).

Budgets for the various areas are established annually by the Director of the Director of the Production Program and the Chairman of the Department of Theatre. Area heads decide how the annual resources are to be applied to an individual production. Expenditures must be approved by the person in charge of the area for which money is spent.

1. DANCE PROGRAM

For students whose interests and strengths lie in the area of dance the Department of Theatre has a Dance Program. The Dance Track student has a ten course requirement but most students find it beneficial to take additional courses in various techniques and subjects such as Choreography I (Thea 322), Choreography II (Thea 422), Dance Workshop for Performers (Thea 424).

Performance opportunities are available for students of all levels, keeping in mind that the more advanced student has the greater number of opportunities. These include the Department Musical production, Children's Dance Theatre and the Student Dance Concert. All students are encouraged to study acting and voice as these skills enhance one's casting potential and future marketability.

a. Children's Dance Theatre

Children's Dance Theatre is a performance-oriented organization directed by a member of the Theatre Dance Faculty. It affords students performance and choreographic experience. The purpose of these organizations is to offer dance performances to secondary and elementary schools in the area. Participation is a commitment of two consecutive semesters. Auditions are held in the Fall semester of each academic year.

b. Student Choreography

Students, especially Theatre/Dance majors, are encouraged to choreograph. A yearly student concert is highly encouraged as an important phase of artistic growth. A concert of student choreography is a requirement of the Dance Composition course (Thea 322).

2. AUDITIONS AND CASTING

a. Eligibility

Any person is eligible for auditioning and casting who will be registered for four or more semester hours of credit in any course taught in the University, other than the production itself, during the semester in which the production for which the auditions are being held is performed. Simply stated, one must be a registered student during the semester of performance. However, under certain conditions, Theatre faculty members or persons designated as "Artists in Residence" may be cast.

b. Multi-Racial Casting Policy

The educational mission of the SUNY - Binghamton Theatre Department is to provide equal training opportunities and apprenticeship experience for all students. All roles will be open to all eligible persons regardless of race or ethnic background unless a play script specifically addresses interracial social problems which, by their nature, must be cast with visual accuracy as to racial or ethnic origin, or unless the casting of a role or roles will significantly change the substance or misrepresent the intent of the playwright or thematic realities of the play script. The burden of proof lies with the director or casting agent to demonstrate to the department that conditions exist which clearly require exceptions. A majority vote of the full faculty of the Department of Theatre shall be required to allow such exceptions.

All students are expected to familiarize themselves with and to take full advantage of the actor training sequence of classes offered by the department so that their acquired skills and abilities will make them more competitive and more readily recognizable to the faculty.

c. Policy on Production Nudity

While nudity in a Theatre Department production is generally unnecessary, there are occasions where the playwright's directions or the needs of the production require it.  In those cases total or partial nudity may be permitted for a production under the following conditions:

1. A request to include nudity in a production must be made prior to auditions to a committee comprised of the Department Chairman, the director of the production, a department student representative, and one other member of the theatre faculty to be chosen by the Acting/Directing Committee. The director of the production requesting the use of nudity should include all support documentation to show why nudity is mandatory for the production and the production cannot be mounted without it.  This committee will rule on the validity of the request and approve or disapprove.  The decision of the committee can be appealed to the full faculty of the Department.  A second, alternative production should be recommended during this procedure should the primary production be uncastable because of the nudity requirement.

2. If approved, the roles that will require nudity will be prominently noted on the callboard before auditions.  The notification will clearly state that anyone auditioning for these roles will have to appear either totally or partially nude during the production. Auditioning for these roles constitutes their agreement to this stipulation.

3. Should no one audition for the roles because of the nudity, the director will be forced to re-examine the need for nudity in that production and either mount the show without nudity or move to the alternate play.

d. Audition Procedure for Major Productions

1. General Audition: an open call for all eligible students interested in performing in Major Productions. Auditions are to be performed in the presence of all directors of the Major productions in a given semester, as well as anyone directing that semester with permission of the Director of Production Programs (such as graduate thesis director, etc)

2. First Callback: first regular callback. These will be separate sessions conducted by each director. Attendance at this session or sessions does not commit the auditionee to accept roles "as cast."

3. Final Callback: specific callbacks conducted independently by each director. Prior to this session or sessions, the director will post a callback list which must accurately reflect the roles or role for which each auditionee is being considered. Attending the final callback session or sessions must be understood to mean that the auditionee must accept any role as cast for which he or she has been called back. All directors are charged to consider the best interests of the student(s) as well as the overall production needs for each casting decision.

4. Final casting normally will be posted within 24 hours after the final callback. NOTE: Actors are requested to initial their names to indicate that they have read the casting notice. Initialing is not to be construed to mean acceptance "as cast". You already accepted the role when you attended the final callback.

e. Casting

1. After the final callbacks, the directors of the productions in which there are rehearsal conflicts will conduct a joint casting session.

2. If a student declines to accept a role "as cast" after attending final callbacks, the student will be denied casting in any subsequent departmental productions in the Major, Studio Showcase, In?the?Works or dance productions for the semester for which casting is being done and through the next full semester. In normal practice, this means fall semester casting sanctions obtain until auditions for the next fall semester begin. Spring semester casting sanctions will remain in force until auditions for the next spring semester begin. However, in the case of musical productions (since we are presently doing only one each year), any student who declines casting "as cast" in a musical after having attended the final callback, will be ineligible for casting in the next season's musical, even though he or she may be eligible for casting in straight plays or dance productions.

3. In the event that a student is posted for final callbacks for more than one production, and if the student wishes to be cast in only one specific production, the student should go only to the callback for that production. In other words, the student must make his or her choice prior to the final callback.

4. If a student realizes that because of academic load, work obligations, or anything else which may prevent him or her from participating in more than one Major Production in a given term, he or she must inform all directors casting in that term in advance of final callbacks and request being cast in only one production even if called back for more and despite attending more than one callback. The directors must honor that request.

5. The Director of Production Programs will function as the administrator of this policy. To implement this policy, the Director of Production Programs should be notified that a non?acceptance has occurred. Obviously, casting notices must be cleared in regard to this policy by the Director of Production Programs prior to posting. For this reason, all first callback lists for both Mainstage and Studio Shows must be submitted to the Director of Production Programs for information and advice prior to posting.

6. Withdrawal from a role or major technical/design commitment, at any time after having accepted it for reasons other than serious illness or other serious situation is considered to be unacceptable breach of professionalism. If unwarranted withdrawal from a production occurs, the matter will be taken up by the Advisory Committee of the Department for disposition. Any director must report such incidents to the Director of the Production Program immediately.

7. To help students understand this policy, directors are charged to remind all actors of the pledge which each has signed. This should be done at the first full cast meeting.

f. Call Boards

All posted information should be duplicated and a copy provided for the Theatre office before it is posted since so many inquiries are directed to the office. All notices for auditions, rehearsals, meetings, etc., are posted and each season (Mainstage and Studio) has its own call board. The Major call board is located in the hall outside the department office (FA 127), on the right when facing the door from the hall. The Studio call board is across the hall from the Major call board. The technical/design call board is located to the right of the Chairman's (John Vestal) door (FA 123).

3. REHEARSAL GUIDELINES

Over the years the department has experimented with various types of regulations aimed at protecting students from either voluntary or involuntary over extension of commitment of their time and energies. Occasionally this has taken the form of restricting the number of productions in which a student may participate in a given semester or a prohibition of participation in productions whose rehearsal periods overlap, or a prohibition on appearance in consecutive productions. Administration of such regulations has proven difficult at best and has broken down completely after one or two waivers in favor of faculty-directed productions. Nevertheless, the problem of over extension is real and no one can do excellent, creative work in production or in the classroom if too much work is squeezed into too short a time. No student should accept more than two principal assignments as designated by the faculty and/or professional staff during any semester. Occasional, rare exceptions may be allowed upon petition to the full faculty. In addition, the department will enforce a set of rehearsal guidelines intended to guarantee the participant that excessively late hours and unreasonably long rehearsal periods devoted to any given show will not be condoned. Theatre rehearsals, like many other facets of life, tend to adhere to Parkinson's Law which states that "work expands to fill the time devoted to it." In limiting the number of hours that may be devoted to any one rehearsal and limiting the number of weeks devoted to any one production, we are confident that we are in no way compromising the possibility of mounting effective theatre productions. Directors, actors and technicians will simply need to program their time carefully.

The following rehearsal guidelines were approved unanimously by the faculty and are henceforth binding on all directors, both faculty and student. Please note that all rehearsal time limits must include: warm-ups, Notes, and getting dressed, and apply on a per student basis to a faculty or guest directed production and on a per production basis for a Student directed production. Note also that private coaching sessions are allowed when a student is willing, up to a limit of 5 hours/week/student.

a. Week Nights: No actor may rehearse longer than FOUR hours per day Monday through Friday during regular rehearsals with a max of 6 hours during Tech Week. 11:30 p.m. (last bus leaves at 11:40) is the latest that any cast or crew person may be held even during tech and dress rehearsals. Directors are responsible to dismiss rehearsals in time for students to have reasonable access to transportation to their places of residence. No general call is allowed before 6 PM during Tech Week.

b. Non-Tech Weekends: A maximum of six hours daily will be permitted for actors to rehearse on Saturday OR Sunday. Students are to be given one weekend day (and evening) free from rehearsals of any kind. No more than 5 consecutive hours will be permitted without at least a 1 hour break, except during Mon.-Fri. of Tech week. Due to the requirements of the following positions, it is understood that student Designers, Stage Manager, Asst. Stage Managers and Asst. Directors may have to work longer hours than do the actors and crews.

c. Rehearsal Period: The rehearsal period allowable for Major productions is normally five weeks plus the week of tech and dress rehearsals. Exceptions must have the approval of the Director of the Production Program. Such exceptions are allowable only if they do not interfere with rehearsals or performances with earlier opening dates than the production for which the exception is being requested. Rehearsal periods must be calculated to account for intervening breaks, therefore a 6-week rehearsal period that covers a week break will cover 7 weeks time, but meet only 6 of those weeks

d. Recesses: Rehearsal and other production activity should be avoided whenever possible during official, extended (5 days or more) University recesses.  Requests for exceptions to this policy must be submitted in writing to the Department Chairperson, who will determine the merit of the request. Recess rehearsals may only be scheduled to replace rehearsal lost to recess.

1. If approved: Recess rehearsals should be calculated on a 4 hour/day basis.  Under no circumstances will permission be granted to involve students in work on campus for more than one-third the number of recess days plus one half-day.  In other words, if a recess is officially nine days long, the maximum time a student can be asked to rehearse or do production work during that period is three and one-half days at a rate of 8 hours/day.  Obviously, said rehearsal days should be grouped either at the beginning or end of the recess. Also, when single school days off are involved, the weekend day off can float to occupy that school day off. The spirit of the rule is that there should be one unencumbered day each week and therefore a holiday fulfills that requirement.

e. Rehearsal Schedules: At beginning of each week, rehearsal schedules should be posted, including all technical and dress rehearsals, brush-up rehearsals, photo calls and strike calls. Deviations from the schedule should be announced well enough in advance for faculty and students to have time to adjust their schedules.

f. Space Maintenance: It is the responsibility of each director to ensure that his or her rehearsal space is left clean and neat at the end of each rehearsal. There is an enormous amount of use of our rehearsal spaces, including classes, and all spaces must be kept clean for the next person. Do not expect the janitorial staff to do this as they are not required to do more than empty waste baskets. In most cases, the stage manager or his/her designee is the person who is given this responsibility; but the director must see to it that cleanliness is maintained.

g. Tech Weekend: "Production weekend," "tech week," "dress rehearsals," "technical rehearsals," etc., usually begin on the weekend prior to the Friday opening for plays and musicals. Occasionally technical rehearsals may begin a day or two earlier. Cast and crew members must understand that these rehearsals are mandatory for all concerned. Students are cautioned that there is no weekend day off on the Saturday or Sunday prior to opening and rehearsals may be scheduled on Friday nights, all day Saturday and all day Sunday, beginning as early as 8 a.m. or running until 11:30 p.m. Students may only be scheduled for any aggregate of eight hours per day on this Saturday and Sunday. For these 2 days a maximum of two rehearsals per day for a total of not more than eight hours per day will be permitted. No more than 5 consecutive hours will be permitted without at least a 1-hour break, except during Mon.-Fri. of Tech week, when 6 hours is the maximum length of a rehearsal and no break is required. The nature of these rehearsals varies from show to show and it is incumbent upon directors to announce this schedule at an early date, making clear who is or is not called for any given rehearsal. Dress rehearsals are usually held beginning on Monday night or Tuesday night and continue every night through the opening. Neither cast nor crew members can be excused from any of these rehearsals. Rehearsals may not run past 11:30 p.m.

h. Required Attendance: Rehearsal: Prior to "production weekend," cast members are required to attend all rehearsals for which they are called unless directors are informed of prior commitment at the time of audition. Permission must be obtained from the director, and only the director, for any absences. Unexcused absences can be grounds for dismissal from the cast. Once dismissed, students will be ineligible for future casting for one full year.

i. Required Attendance: Performance: No one can be excused from any performance for any reason except in the case of double-casting or performance by an understudy.

j. Audition and Casting Schedule: All fall productions on the Mainstage season are cast at the beginning of the fall semester.  Current policy stipulates that the first audition session begin in the first week of classes.  Spring semester auditions and casting may be done early in December.  Students should understand that our productions are never "pre-cast" except when guest artists are engaged.  From time to time a director may request a guest artist (who may be a faculty member) to play a certain role (before auditions). Approval for such action must be obtained from the Director of Production Programs and the Chairman of the Department of Theatre.

NOTE: Audition & Casting policies for dance productions are similar to those for plays and musicals. But because the nature of the dance program is somewhat different, some of the rules and procedures have been modified. See the section on Dance policies and procedures.

4. COSTUME REGULATION

All actors are required, without exception to wear any and all items of clothing, jewelry and accessories provided and designated as the costume design. All designated pieces are to be worn as per the designer's instructions. Costume design is fixed at opening and cannot be changed without consulting the designer, director, and stage manager.

5. HOUSE RULES

a. No eating or drinking is permitted in any Theater except at the director's table. Smoking is prohibited in the Fine Arts Building.

b. During performances, no cast member in costume and/or make?up is permitted in the lobby/box office area for any reason except when specifically required as a part of the performance.

c. Crew members who must be in view of the audience (lighting, prop and sound crew members, for example) should dress in black clothing and present a neat, clean appearance.

d. No pictures are to be taken during performances by anyone for any reason whatsoever. Ushers should be on the alert for patrons entering with cameras, and they should be informed of our policy. Anyone taking pictures during performances should be warned that any recurrence will require that the patron leave the auditorium. The purpose here is to prevent cameras from disturbing others during performances, not to punish the individual.

 

6. PUBLICITY

All publicity must be channeled through the Marketing and Promotions Coordinator in the Theatre Office. She/he arranges for all photography, newspaper, radio and television releases, banners, signs and posters. Ideas and suggestions are welcome, but all publicity must be coordinated and administered by the Marketing and Promotions Coordinator of the Department of Theatre. There are no exceptions to this procedure.

7. SCRIPTS AND ROYALTIES

Script and royalty arrangements are to be made by the Marketing and Promotions Coordinator well in advance of rehearsal. The Director is responsible for providing the Marketing and Promotions Coordinator information regarding the number of scripts needed and total number of performances.

8. PROGRAM

The Marketing and Promotions Coordinator of the Department of Theatre handles all program copy.  Submissions for the program must be in his/her hands two weeks prior to opening night.  It is the responsibility of the directors and department supervisors to submit information required for the program to the Stage Manager by the deadline.  The Marketing and Promotions Coordinator will not accept program copy unless it is approved by the Director of the Production.  Proof-reading of the program must be done as soon as the proofs are available so as not to delay the printing process, and the Marketing and Promotions Coordinator will notify the Director and Stage Manager when the proofs are available.

a. Program Listings: All Production members shall be provided with the opportunity to proofread any information given about themselves to be printed in the program.

9. PHOTO SESSIONS

Picture calls should be held on brush-up nights or, if necessary, before or after any performance except after the final performance. The time limit is 1 hour after the photo session begins. Photo calls are to be announced prior to opening night.

The Studio Season is made up of five categories of production.  A priority system for these levels is intended to serve the students' academic needs as well as to provide opportunity for personal growth and development.  The awarding of production privileges is handled by the Acting/Directing Committee and is administered by a faculty member who is designated as the Director of the Studio Season.

1. PRODUCTION CATEGORIES

a. In-the-Works (ITW): Productions serve a three-fold purpose in that they function as workshop situations for students new to directing; they provide directing problems inappropriate to more large-scale efforts; and they serve as qualifying productions for thesis awards, especially for transfer students or graduate students whose work is unknown to the faculty. Stated in another way, all students wishing to work in the area of directing begin their work at SUNY- Binghamton with an ITW production. These productions are limited to one-act plays or single acts from longer plays (although there may be occasions when longer scripts are permitted). ITW projects can be done for academic credit, although this is not mandatory. ITW productions focus on the pragmatic relationship between the director, script and actor. As such these projects are done with minimum use of scenery, lights, costumes, props and sound. Only those elements deemed indispensable to the production may be a part of the support package. A minimum amount of general illumination is supplied.

b. Studio Showcase: This is an advanced category for directing students who have successfully completed an ITW project and who wish to explore more complex directing problems. The Studio Showcase is eligible for full support in the technical areas, if qualified students (approved by respective Department heads) are available to fill necessary positions. Such productions may be done prior to thesis production or after a thesis production and may be done for academic credit.

c. Thesis: Both senior undergraduates and graduates may apply for thesis productions. Such work is intended to bring together all aspects of directing a major production effort and should result in the culminating studio experience for the student. There are 2 categories for the thesis production: Graduate thesis and Undergraduate thesis. All thesis productions should be considered as a special honor and are awarded to an applicant by a vote of the entire theater faculty. The Thesis Production is eligible for full support in the technical areas, if qualified students (approved by respective Department heads) are available to fill necessary positions. Thesis productions are only done for academic credit.

2. APPLICATION PROCEDURE FOR DIRECTING IN THE STUDIO SEASON

a. Eligibility: To be eligible to direct ITW, a student must have completed Directing I (THEA 359). For Studio Showcase or thesis, a director must have successfully completed an ITW project and also have completed THEA 203 and THEA 213.

In the fall of each year, THEA 359 will be offered. This class will culminate in the public presentation of scenes of approximately ten (10) minutes in duration. In the following term, students who have successfully completed THEA 359 may direct an ITW production. If this production is successfully completed, it may be succeeded by a Studio Showcase production, which if successfully completed may be followed by a thesis in direction. At each stage, opportunities to direct are determined at the discretion of the Acting/Directing Committee, and all proposals to direct must therefore be channeled through the Studio Season Director to the Acting/Directing Committee.

In the spring of any year when THEA 459 (Directing II) can be offered, the work of each student in this course will culminate in the presentation of a One-Act play no more than thirty (30) minutes in length. This presentation will be equivalent to the above-mentioned ITW production.

b. Faculty Advisor: The prospective student director must find a faculty advisor willing to accept him/her as an advisee and, in consultation with the advisor, choose one script to submit for consideration.

 

Faculty Advisor to Student Director: Responsibilities
1. Challenge practical and theoretical considerations in private discussions with director.
2. Attend important audition session(s) and advise in casting.
3. Observe all or part of at least four rehearsals and performances including one early rehearsal.
4. Have a one-on-one post-production analysis of the production with the director.

c. Play Proposal Form: Write a proposal following the form appearing below.

(See Hodge: Play Direction, Analysis, Communication, Style [2nd ed.] for discussion of terms used below.)

 

I. Play title

1. Playwright
2. Production category
3. Cast: breakdown of the number of men and women

II. Character descriptions

1. Polar attitudes
2. Objectives
3. Character description

III. Plot synopsis
IV. Theme (Play spine)
V. Rationale for play choice
1. Significance to the director
2. Relevance of the play for the prospective audience

VI. Production problems

1. Casting problems
2. Technical problems

d. 1st Approval: Obtain the approval of the proposal in both content and form from your selected advisor.


e. 2nd Approval: Submit the approved proposal to the Director of the Studio Season and the Director of the Graduate Program, if appropriate, by the posted deadline. Note that proposals for full-fledged Studio Shows and original works to be produced as ITW projects for any given semester must be submitted during the semester before the semester during which you propose to direct. That is to say, to direct in the fall semester, proposals must be submitted during the prior spring semester. For spring semester productions, proposals must be submitted during the prior fall semester. Proposals must be submitted by the posted deadlineCgenerally early in November or around April 1. The only exceptions to this procedure will be in the case of new transfer students or new graduate students or an ITW project may be submitted as late as the first week of classes. The Director of the Studio Season is responsible for notifying the rest of the Department of the Project, its Director, its Advisor and its level of support.

3. PRIORITY

Because departmental resources of space (both performance and rehearsal) and personnel are limited, the Department may be limited in its ability to approve requests. It may be that requests for Studio Showcase status will be denied altogether during certain semesters, or it may be reduced to the status of ITW rather than to deny the student an opportunity to direct something, at least. Another possibility is that Showcase status may be approved, but some or all technical support may be denied. This is a variable depending upon circumstances.

The Department of Theatre has mandated a priority system for the awarding of production permission as follows:

a. Space in the Studio Season schedule will be made available in the following order:

1. Graduate Thesis
2. Undergraduate Thesis
3. Faculty-directed Showcase
4. Studio Showcase
5. In-the-Works

b. Support Priority: Once the directorial assignments have been made following the above order, the priorities for technical support (not guaranteed), space assignments, rehearsal and performance dates and casting order will be assigned in the following sequence:

1. Faculty-directed Showcase
2. Graduate Thesis
3. Undergraduate Thesis
4. Studio Showcase
5. In-the-Works

c. Support Availability:

1. While the above may appear to be formidable and stacked against the fledgling director, in actual practice, it is not. Sometimes there are no proposals at all which fall into the first three categories. In most semesters, there are spaces for at least some ITW projects.

2. Student Director is responsible for locating his own staff and having them approved by the appropriate department. 

4. PRODUCTION PLANNING FOR STUDENT DIRECTORS/ CHOREOGRAPHERS

a. Student Directors

Once approval has been obtained from the Director of the Graduate Program or the Director of the Studio Season via the Production Advisory Committee and/or faculty committees, there are a number of steps the student director must take together with the faculty advisor.

Policy Regarding Student Directors' Production Preparation Requirements*

1. All student directors are required to prepare written analyses following the guidelines set up by his/her faculty advisor.

2. These analyses are to be submitted to the Faculty Advisor of the Specific Production, no later and preferably earlier than one week prior to the first rehearsal.

3. Rehearsals will not commence until the advisor is satisfied that preparation is satisfactory and that the director is adequately prepared to go into rehearsal.

4. If the Faculty Advisor to the Production is not satisfied with the quality of preparation, the advisor has the authority to postpone rehearsals or to cancel the production. In this event, the Director of Production Programs and the Director of the Studio Season are to be notified immediately.

5. Cast lists and all other personnel must be submitted to the Director of the Studio Season and the Director of the Production Program prior to posting.

6. Once the show has opened, the director shall not interfere with the responsibilities or duties of the stage manager.

b. Student Choreographers

A student choreographer may be invited to present a dance they have choreographed in the Theatre Department's Annual Dance Concert.

1. General information meeting ? the dance faculty present the program to students and answers questions.

2. Outline meeting (one month later).

Students submit a formal presentation of the dance on paper,
including:

a. time (length)
b. music
c. scenario
d. costumes (renderings if possible)
e. sets, props
f. lights (w/special requests)
g. number of dancers (M/F)

Student elaborates verbally.

3. Presentation of the dance (one month later) to demonstrate progress.

4. Performance of piece before an audience*- a workshop (studio) performance. This is to be organized by the choreographer. The committee must be informed of date, time, place.

5. Critique sessions within 48 hours.

6. Audition of full, completed dances before the committee.  Pieces accepted, rejected, or probation. Probation of two weeks with faculty member assigned to assist.

7. Probationees will have another audition at end of two week period.

8. Program is decided.


c. Scenic Design Requirements

I. Scene Design

1. Studio Showcase, and Thesis productions may have set designers and full sets, if a qualified student is willing to fill the position. In-the-Works productions have no designers. The ITW directors may seek permission to pull such units as platforms and steps, but may do so only upon approval of the TD and the advisor. The TD will release such units if they are available.

2. Design and full documentation of design will be due to be presented at a meeting of the director, production advisor, design advisor and designer one week before the rehearsal period begins. Documentation will consist of blueprints of the floor plan, showing setting and audience seating layout, complete front elevations, a painted model and/or rendering, and furniture and props lists. The designer should consider the audience configuration, the number of seats, and seating safety as an integral part of his scene design.

3. The Director of Production Programs must approve the physical layout for safety.

4. The Technical/Design Faculty will meet with the production's designer to issue approval to begin construction. Construction of the set cannot begin without this final approval.

5. It is understood that ongoing discussion between the designer and the director will begin well in advance of the above deadline. To insure that maximum preparation time is provided for the design, the designer's name must be approved by the Design Faculty at least two week's prior to the design deadline.

6. The Technical/Design Faculty will be available for consultation throughout the design development and completion phase.

7. Construction/preparation is expected to coincide with the rehearsal schedule. The interim week between approval and first rehearsal is provided as a cushion for changes, but may be utilized as a building period if the design is approved.

8. Since no crew is provided for construction, student directors and/or designers must arrange for their own crews.

II. Furniture and Properties

1. In-The-Works Policy: Only furniture or props that are absolutely necessary to the production may be borrowed. Alterations (painting, covering, etc.) are not permitted without approval of the staff Property Master. Items of value will not be supplied; a substitute will be furnished when available. The director shall make an appointment with the props coordinator at least two weeks prior to rehearsal and supply a preliminary list of needs at this meeting. The director is responsible for the storage of these items and the return of all items within 48 hours of the close of the production.

2. Studio Show Policy: Props and furniture may be used as available. A mainstage production takes priority on any common item needed. Any alterations need approval and must be within budget guidelines. The director or designer must submit a preliminary list of needs and meet with the Property Master at least two weeks prior to the need for items. The designer or director will be responsible for the running of the show and for the storage of borrowed items. He/she will also return all items within 48 hours of the close of the production. Any props or furniture that are not in stock are the responsibility of the director or designer, and must be within budget limits.

d. Lighting Design Requirements

1. Studio Showcase, and Thesis productions may have lighting
designers, if a qualified student is willing to fill the position. In-the-Works productions will be provided with general illumination only.

2. Design and full documentation will be due to be presented to the director of the production three weeks before the date of the production opening. Documentation shall consist of blueprints of the light plot and color keys.

3. The Lighting Design Faculty will meet with the production's lighting designer to issue approval to begin final planning and hanging. Installation of the lighting cannot begin without final approval.

4. It is understood that ongoing discussion between the designer and the director will begin well in advance of the above-mentioned deadline. In addition, the Lighting Design Faculty will be available for consultation throughout the design development and completion process.

e. Costume Design Requirements

1. In-the-Works Policy:


Only those costumes that are absolutely necessary to the production may be borrowed. The costume shop is under no obligation to supply anything that is not in stock or to alter any costume that may be used.

The Director must make an appointment with the costume shop at least one week prior to dress rehearsal to pull costumes.

Actors are not allowed to make costume requests. Only the director will be the one to choose costumes.

The director is responsible for the nightly storage and security of the costumes in the dressing rooms provided. She/He is also responsible for returning the costumes to the shop clean. Our laundry facilities may be used to do this.

2. Studio shows may have a costume designer, if a qualified student is willing to fill the position.

Policy: Within the limits set by the shop personnel the designer may pull whatever is needed as well as construct or buy costumes in keeping with the production's budget.

Designs must be submitted to the shop at the time of the first rehearsal.

Designers will be responsible for running the show, doing laundry, and restocking after strike. A crew may help with these responsibilities.

3. Studio Shows (All categories except ITW) Policy

1. If there is no costume designer: The director will be allowed to borrow whatever is needed for the production. The shop is under no obligation to alter anything borrowed, but is willing to give sewing help if there are students available.

A written list of costumes required must be submitted to the Costume Shop three weeks prior to dress rehearsal. At this time appointments will be made to pull costumes and times set up for fittings to be attended by the director and the actor. The director is responsible for the nightly storage and security of the costumes in the dressing rooms provided, though a crew may be assembled if students are willing.

The director is responsible for returning all costumes clean, and helping to restock them.

2. If there is a costume designer: The Costume Design Faculty will meet with the production's designer to issue approval to begin construction. Construction of the costumes cannot begin without this final approval.

It is understood that ongoing discussion between the designer and the director will begin well in advance of the stated deadlines. To insure that maximum preparation time is provided for the design, the designer's name must be approved by the Costume Design Faculty at least two week's prior to the design deadline.

The Costume Design Faculty will be available for consultation throughout the design development and completion phase.

Construction/preparation is expected to coincide with the rehearsal schedule. The interim time between approval and first rehearsal is provided as a cushion for changes, but may be utilized as a building period if the design is approved.

Since no crew is provided for construction, student directors and/or designers must arrange for their own crews. The costume shop staff is not responsible for completing construction, although they will assist in building as time permits.

Each Studio production with full costume support will be allowed at least two full dress rehearsals prior to opening night and not more than 4.

f. Sound Design Requirements

1. Planning for sound should go hand-in-hand with set design work so that placement of loudspeakers, special localization of sound sources and attendant wiring can be integrated with the set design and the development of a property plot. This covers "live" radios, phonographs, hi?fi props, trick sounds, telephones, buzzers, etc.

2. The director will meet with the Director of Sound Design at least two weeks prior to needing sound support. At this meeting the director will supply a complete list of cues needed for the production, and any specific music that might be required. If no one is readily available to run the show, the director will be responsible for doing so, and must return any equipment used within 48 hours of the close of the production. Too often, students do not understand the possibilities of modern sound techniques, the equipment that is available, and the amount of lead time sometimes necessary to produce the desired results. Directors should avoid disappointments and hassles by consulting at the earliest opportunity.

3. The Department of Theatre sound equipment has many demands placed upon it. Directors should not assume the equipment will be available when it is needed unless the director's needs are known well in advance and the required equipment can be reserved.

g. Scripts, Royalty, Publicity, Programs

The Studio Student Director must:

1. Advise the Marketing and Promotions Coordinator of the number of scripts needed and date needed by.

2. Advise the Marketing and Promotions Coordinator of the dates of the production, so he/she can make arrangements for the royalties.
3. Both of these procedures should be done at the earliest possible time to avoid delays in shipping.

4. Posters: poster design. photo ready, must be given to the Marketing and Promotions Coordinator three weeks before the show opens. The Stage manager will hand out posters to cast for them to post in appropriate public areas and display in their living quarters.

5. Programs: Stage manager will be responsible for completely filling out the Program information booklet and returning it to the Marketing and Promotions Coordinator no later than two weeks before the opening of the show.

6. It is strictly forbidden for any student to make any contacts with radio, television, or print media representatives for purposes of promotion or reviewing any studio productions. Any and all contact with the public is handled by, and only by, the Marketing and Promotions Coordinator.

NOTE: Publicity materials will not be specifically requested; it is the responsibility of the director to deliver all material to the Marketing and Promotions Coordinator by the above deadlines.

h. Purchasing Procedures

1. Being a state agency, the Department of Theatre is tax-exempt and the Accounts and Budget Specialist will not reimburse for any tax charges. Tax exemption slips are available from the office. Receipts must be turned in for any reimbursement except when items are charged at those places where we maintain charge accounts. Authorization to charge must be obtained from the office and purchase orders must be used to charge any item. In some cases, only certain faculty/staff persons are authorized to use charge accounts. However, letters of authorization to use a given account may be obtained from the office. When charges are made, a copy of the charge receipt must be turned in at the office as soon as possible, as well as a copy of the charge statement.

2. Royalties and script arrangements are to be made by the Marketing and Promotions Coordinator, and it is the responsibility of the individual director to pursue this either directly or through the Director of the Studio Season.

3. Front-of-House arrangements for the printing of programs, tickets and posters are to be made by the Studio House Manager with the Marketing and Promotions Coordinator.

4. Set construction purchases for all building and painting materials are to be made through the Technical Director.

5. Property purchases are the responsibility of the production director and his or her staff. Purchases may be made with petty cash funds or by means of permission letters from the Theatre Office authorizing use of established departmental charge accounts. The letters may be issued only by the Accounts and Budget Specialist and the Technical Director.

6. Costumes and fabric purchases must be approved in advance by the Director of Costume Design.

7. Lighting material such as gels, lamps, and instrument accessories will normally come from stock. If stocks are depleted or special materials are required, orders will be placed with the Director of Lighting Design.

8. Other production purchases or expenditures necessary for the production must be approved by the Chairman of the Department of Theatre.

9. Total budget, including royalties:

Faculty-Directed $500.00
Thesis $500.00
Studio Showcase $300.00
In-the-Works $100.00

10. Departmental budgets must be divisions of the total budget (as above) as determined by the director with the help of the designers, bearing in mind focus and needs of production (e.g. an in-the-round production without formal scenery may elect to spend most of its money on costumes or lights).

i. Auditions and Casting

j. Rehearsal Procedures and Policies


1. Studio Showcase and Thesis productions have rehearsal periods of no more than six weeks, including technical and dress rehearsals. In-the-Works productions rehearse for no more than three and one-half weeks. This does not provide for any technical rehearsals since there is essentially no technical support for In-the-Works projects. Plays lasting one hour or less in all categories except In-the-Works rehearse for no more than four weeks including tech.

2. The Director of the Play is responsible for scheduling the rehearsal times and spaces for all studio productions. The Director of the Studio Season will prioritize according to guidelines in Section B.3 APriority@, pg. 68. Ten days prior to opening, a production moves into its performance space, except that ITW productions move into performance space no more than ten days and no less than seven days prior to opening.

3. Rehearsal furniture and moveable set pieces must be cleared away after each rehearsal. If the director fails to keep the room clean and the majority of the floor space clear for classes and other rehearsals, he will forfeit his next scheduled rehearsal.

4. For Rehearsal Guidelines, please refer to 3 a-j, pgs. 59-63. A late building pass (for Public Safety) must be obtained from Theatre Secretary if rehearsals or work periods are to extend beyond 11 p.m. No one will be allowed to work in the building after 1:00 a.m. Public Safety officers are instructed to require unauthorized students to leave the building after 11 p.m.

k. Performance Requirements

1. All evening performances will begin at 8:00 p.m. Matinee performances will begin at 2:00 p.m. The house must be opened at least thirty minutes prior to scheduled start times. Performances are to begin on time.

2. Studio performances will normally be scheduled to open on Friday and play Saturday and Sunday evenings, and close with a Monday evening performance.

3. No photographs may be taken by anyone, for any reason whatsoever during any performance. Photographs, if authorized, may be arranged for any rehearsal, or for before or after any performance except that no photographs may be taken after the closing performance as it would interfere with strike.

4. Hallways outside the studio areas must be kept clear of encumbrances except for ticket tables, chairs and a bench or two. This is especially true for any scenic pieces, cherry pickers and ladders. This is a safety measure not just for fire safety, but for day-to-day safety. Directors and stage managers will be held strictly accountable.

5. No one is permitted in the booth areas during performances except for those who must be there to run the performances. This means absolutely no guests in the booth.

l. Strikes Directors and Stage Managers are directly responsible for strike in studio shows.

m. Critiques of Studio Productions

A critique of each Studio Production may be held as soon after each closing performance as possible, if requested by the student director. While these sessions are specifically aimed at the director, cast, stage managers and designers, anyone is welcome. Critiques are chaired by the faculty advisor to the student whose work is being evaluated. Usually, they last about an hour.

Open Season

1. A faculty advisor will supervise the workings of the Open Season.

2. The production's director will choose material to be performed and coordinate the entire individual undertaking. In addition, he/she will act as House Manager, Stage Manager and Technical Director, all on a very limited level.

3. There will be a general interest meeting at the start of the semester in which the faculty advisor will open the floor to any students interested in production involvement.

a. Interested students will be asked to present their submissions to the faculty advisor in an interview format.
b. Upon recognition that the director is capable and the piece feasible, a production date and space is agreed upon by those present.
c. The rehearsal time and location is based on space availability and any student may be encouraged to be involved in its production.
d. The performances will be limited to two showings of no longer than one hour each.

5. Admission will be free.