Jcct production manual

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Production Manual
2012

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Jcct production manual

  1. 1. Jay  County  Civic  Theatre,  Inc.       Production  Manual   2012-­‐2013     Revised  by  Bryon  Sparks   1   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  2. 2.   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.   2   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  3. 3.     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.     3   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  4. 4. Congratulations on Being Chosen to Direct for Jay County Civic Theatre  You are the Director. The JCCT is happy to leave artisticdecisions and interpretation in your hands with theunderstanding that JCCT has the final Artistic say. But JCCTis more than just one production. Your production, and allthose who take part in it are part of our JCCT family. Wewant everyone involved with your show to feel like part ofthe family and to understand that what they do is importantto our theatre and its reputation among our patrons, ourother volunteers and our community. Your cast and crew, andwhat you do for the next several months, are critical toJCCT’s success.As the Producer, JCCT, it’s Board and Board Advisors have astake in your production and will do all they can to help itsucceed. Open communication, between the Producers (JCCT) andyour Production Staff, is vital in the success of everyproduction. In order to foster this relationship you will beassigned a Production Supervisor to act as a liaison betweenyour production and the Board of Directors.JCCT also needs to protect its assets, including ourrelationship with our volunteers, the community and ourvenues. Many of the policies outlined in this manual areaimed at doing just that, and they grow out of the many yearsof experience. If you don’t understand why we do somethingthe way we do, feel free to ask, or to suggest a better way!(It is best to submit this to the Board during our regularlyscheduled monthly meetings. Contact the Board President orSecretary regarding being put on the agenda.)You and your production are part of JCCT’s long tradition ofcreating Quality Theatre for Jay County and surrounding areasaudiences. Thank you for helping us to build on thattradition. 4   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  5. 5. Production Timeline The Board of Directors has the final Artistic word.I. One Year to Six Months prior toproduction 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 5   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  6. 6. 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 6   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  7. 7. 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 7   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  8. 8. 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 weeksprior to show): 8   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  9. 9. 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 9   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  10. 10. 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. 10   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  11. 11. 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. 11   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  12. 12. The DIRECTOR’S DUTIESThe work of the Director is central to the productionof a play. The Director has the challenging task ofbringing together the many complex pieces of aproduction—the script, actors, scenic elements,costuming, lighting, sound and music into a unifiedwhole.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 detailedstudy and analysis of the script to be produced.Many careful readings of the script help the directordevelop an individual vision of the playwright’sintentions, which will form the core of his or herinterpretation. This sense of “what the play isreally about” will shape a Director’s thinking aboutevery other aspect of the production. Directors alsostudy the characters in the script, gathering as muchinformation as they can about their physical andpsychological traits. This is vital preparation forcasting, when the actors who are best able to bringthe characters to life in performance need to bechosen.CollaborationThe Director’s initial meetings with the scenic,costume, lighting and sound designers typify the 12   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  13. 13. creative collaboration vital to theatre. Any notesthe director has made on the technical needs in thescript are shared with the designers. The free flowof ideas that takes place here will further refinethe Director’s vision of the production as a whole.Details in the script about the specific locale(s) inwhich the action takes place need to be attended toearly in the production process, because they willdetermine both the basic requirements of the set andthe possible movement of the actors on stage. Actingareas, entrances and exits, and furniture and propscalled for in the script or desired by the directorwill need to be a part of the scenic design.The floor plan can then be sketched out. The floorplan is a basic outline drawing of the stage settingas it would look from above. (Birds’ eye view) Itis an essential rehearsal planning tool because itallows a Director to work out the blocking of theplay. Blocking (or staging) is the precise moment-by-moment movement and grouping of actors and sometimesmoving scenery on stage.The Director’s creative collaboration continuesduring their work with the actors in rehearsals. Theactors will bring their own interpretations to theproject and perhaps inspire the Director to theirinterpretation. They will work closely together tobreathe life into the lines and develop a deeperunderstanding of the characters’ motivations andrelationships, fleshing out the subtext of the play.The Director should always keep in mind that this isa community based organization. There will bedifferent ages, levels of experience and talent of 13   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  14. 14. the actors and volunteers involved. JCCT strives toencourage and educate everyone participating in aproduction and to include them into the creativeprocess. Later the focus of the director’s work inrehearsals will broaden to the overall look and feelof the whole production as transitions between scenesare smoothed out, effective pacing is achieved andall the design and technical aspects of theproduction are integrated.Once the production opens, the Directors work isessentially complete. Now its the Stage Managersjob to make sure that every aspect of the productionruns just as the director intended time after time,until the production closes.             14   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  15. 15. An Overview of the Production ProcessPlanningIt’s never too early to do your homework — whateverit takes for you to get ready to direct. That willmean repeated readings of the script ... getting somefriends together to read it out loud ... andresearching and analyzing the play’s setting, itscharacters and its plot.Directors, read through this manual a few times andnote things you’ll need to remember later! Feel freeto check the library for books about directing, or totalk to other experienced Directors, here orelsewhere, about your concepts and ideas. Also do notforget the internet.First begin thinking about how you want yourproduction to be staged, and how realistic yourconcepts are. If you have really out-of-the-ordinarystaging ideas, talk to our Technical Director andsome of our other experienced technical people tofind out how your plans can be realized on stage andwithin our financial constraints, and what youroptions are.Before your auditions are publicized you should startthinking about how you want to describe the play andits characters to attract the kinds of Actors youneed. Although JCCT does not permit pre-casting, itis perfectly OK to reach out to communities, groupsand individuals not usually represented on our stage,and to encourage them to get involved. In fact, withthe growing number of opportunities for Jay CountyActors, it’s almost essential that you do someoutreach if you want a good audition turnout. 15   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  16. 16. Other questions you’ll want to consider earlyinclude: • 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 CrewGive some thought to who you want to work with, whatstrengths you need backstage, what you want people todo and whether those you choose will be able to meetyour needs. The Production Supervisor can help youwith a list of past volunteers.If you are a new JCCT Director, we will be requiredto have veterans in at least some of your keypositions, particular Stage Manager and AssistantDirector. We do this for two reasons – to make sure 16   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  17. 17. you have the extra support every first-timer needs,but also to make sure that your production teamincludes people who are familiar with how we dothings here. When you do start recruiting crewmembers, make sure they understand exactly what youexpect of them. Some Directors need assistants whocan handle taking over a rehearsal or two or who willwork with Actors on technique or lines; others needwell-organized assistants who can handle all thepaperwork. Some Directors require a lighting designerto run the Board during performances; others don’tmind it if the designer passes that job on to someoneelse.Don’t assume that asking someone “Will you be myStage Manager?” is enough — Stage Managers at JCCThave various levels of experience. Some of thequestions to resolve: • How much time are you willing to put into thisproduction? • Who will do what? • Who chooses support crew?The Production Supervisor will aide in Stage Managerapproval.Early clarity will prevent later misunderstandings.Before you discuss your show with designers, you needto make some decisions about how you want to stageit. Will it be realistic, abstract, in the round,thrust or “black box”? Do you want period costumes orsomething symbolic? If you aren’t clear about whatyou want, your designers won’t be able to meet theshow’s needs, or your concept and none of you will behappy with the results.   17   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  18. 18. You may wish to wait until auditions to choose someof your production team. Sometimes volunteers showup at auditions only to be members of the crew ortechnical staff.  If you have trouble filling key crew positions,contact the Production Supervisor (lighting, stagecrew, costumes, props, etc.) They should be able tohelp you find the right person for the job.As a rule, plan to have your key assistants anddesigners (Production Staff) before auditions. Meetwith them, discuss your concepts and wishes and getthem working before you get caught up in auditionsand rehearsals. The earlier you get them started, theless you’ll have to worry about later on.Working with the BoardJCCT’s Board of Directors fills most of the roles aproducer would fill in professional theatre. TheBoard acquires play performance rights, provides youwith a budget, and handles most publicity. The boxoffice is the responsibility of the Board appointedBox Office Manager.To keep the Board up-to-date on your show (and tokeep individual Board Members out of your hair!) aProduction Supervisor is appointed. This is a veteranJCCT Board Member or Board Advisor who knows theropes and can help you, your cast and crew throughthe rocky spots that even the best show canencounter.One month before auditions you should start attendingBoard meetings, held on the second Tuesday of eachmonth at 6:30 p.m. (check calendar). You, or yourAssistant Director and your Production Supervisor 18   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  19. 19. needs to be available for each meeting from thenuntil just after your show closes to keep the Boardup to date on your progress, answer questions andstay abreast of theatre developments which may affectyour production. Some of those interim meetings willbe optional, but they are good opportunities for youto get or give information.At least one meeting before your auditions: Alert theBoard to any unusual needs, expenses or technicalchallenges your show presents. The Board may be ableto suggest options you have not thought of. YourProduction Supervisor will be appointed at thismeeting. Give the Board a list of your key technicalcrew. The Board reserves the right to approve crewmembers in positions of responsibility for people orexpensive equipment, including: • Stage Manager • Lighting Designer • Scenic Designer • Master Carpenter • Light Board Operator • Sound Board Operator  Although we encourage Directors to recruit new peoplefor crew positions, there are some exceptions. If youhave never directed for JCCT before, you must choosea Stage Manager who has considerable experience withJCCT. All new lighting operators must be approved bythe Board, who may ask them to undergo training. Bynow, you should also have discussed special sound,properties, and special effect needs with theTechnical Director. The Technical Director has theveto power over design choices, because they havebeen chosen for their expertise, the Board will need 19   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  20. 20. a compelling reason to override theirrecommendations. They can often provide you withsafer, less expensive, more workable solutions toyour design challenges.Depending on your rehearsal schedule, there may betwo or three Board meetings between auditions and thetime your production closes. You should attend orsubmit a report through your Production Supervisor atall of them so the Board can check in with yourproduction.At the meeting after you close your production, makesure all your show receipts are turned in, and beprepared to give a final report detailing anyproblems or other experiences that might be useful tothe Board or future Directors. Many of the things youare reading in this manual arose from the experiencesof our Directors. Between meetings, your ProductionSupervisor is your link to the Board.Production Supervisor  The Board will assign each show a ProductionSupervisor before auditions.Directors are encouraged to meet with theirProduction Supervisor early, then weekly duringproduction and to use them as the valuable resourcesthey are intended to be.By being familiar with JCCT’S resources and skillbank, Productions Supervisors can point Directors towhom or what they need to solve technical and otherproblems.The Production Supervisor can relay emergencyrequests to the Board between meetings.The Production Supervisor can answer or find answersto questions Directors have about how JCCT operates. 20   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  21. 21. DeadlinesA theatrical production sometimes seems like one longseries of deadlines: publicity deadlines, programdeadlines, deadlines for getting photos taken orcoming up with a budget. No matter how well-organizedyou are, deadlines can sneak up and catch you bysurprise.Deadlines are NOT arbitrary. We’ve set them at thelatest possible moment that will allow you to do whatyou need to do, but still allow our Board Members andProduction Staff to do their jobs publicizing yourshow, putting up displays, etc. By meeting deadlines(or getting things done early!) you help ensure thateverything runs smoothly and your production has allthe support it needs.Check the appropriate sections of this manual foryour deadlines, and make sure to add them to yourproduction calendar. Many Directors like to maketheir assistants responsible for keeping track ofdeadlines and reminding them when they’reapproaching.Planning AheadDo you expect an unusually large audition turnout?(Often true for musicals, or shows with roles forchildren). If so, consider holding auditions overfour nights, or setting aside a special night foryoungsters. Don’t forget to note if you want theActors to come with prepared audition pieces, songs,or anything else they need to know about ahead oftime. (Have it posted on the website or Facebook viaWebmaster or the Board.) 21   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  22. 22. Cast and crew are encouraged to get to know theirProduction 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.   22   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  23. 23. Planning Your Production  BudgetingJCCT derives all of its operating funds from ticketsales and donations. It is essential that eachDirector be as thrifty and creative as possible whendetermining what they will spend. We encourage you toseek donations of construction materials, properties,furnishings, etc. Borrow what you can (although weadvise against borrowing valuable antiques, vintageclothing or other costly or easily damaged items).Use materials already in stock (Platforms, flats,costumes, etc.) wherever possible. Check with theWarehouse and Costume Committee Chairpersons beforeyou design your set or begin buying or buildingcostumes.Production BudgetEach Director will be given a proposed productionbudget 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) orother items that are part of the theatre’s normalcost of producing shows. If you plan to build or buy 23   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  24. 24. items which might be useful beyond your show, talk tothe Production Supervisor about excluding those itemsfrom your budget. It is the Director’sresponsibility to see that the show stays withinbudget. That means approving spending in advance,collecting and initialing receipts and turning themover to the Production Supervisor. They in turn canobtain the reimbursements and allocate accordingly.You may delegate these tasks to an assistant, but youneed to oversee their progress. (Please see the FORMSsection of this manual for expense reports) Checkwith the Production Supervisor before buyinghardware, paint, fabric, etc. We may already havewhat you need. We would prefer that you pullwhatever you can from our considerable costume stock.Please ask your Costume Designer to talk with ourCostume Committee Chairperson early in the process todetermine what we have and what you need to build orrent. We usually prefer to add truly useful items toour stock; rental may be appropriate for unusual orrarely used items. But please DO NOT sign a rentalcontract until you’ve discussed it with the CostumeCommittee Chairperson and the Production Supervisorand have been approved. While rental may seem likean easy option for your show, we also need to takeinto account what is most cost-effective for thetheatre’s long-term needs. You may shift spendingwithin your budget categories (if you don’t need yourentire scenic budget but need more for costumes, forinstance), but you may not go over budget withoutprior Board approval. 24   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  25. 25. ReimbursementYou need to itemize your expenses, if you spend yourown money and want to get reimbursed, you do need toturn in a receipt initialed by the Director andnoting the category of spending (set, props,costumes, etc.).If you do not wish to be reimbursed, please let theProduction Supervisor know what you have spent sothey may provide you with a receipt. This allows usto get a realistic estimate of what your productionactually cost.Likewise, if someone donates something of value toJCCT for your production, make sure to give theirname, address and a description of the item(s) to theProduction Supervisor so we can thank them andprovide them with a receipt for tax purposes.Donations & TaxesAll funds received during any theatre production areconsidered theatre income and should be given to theTreasurer via the Production Supervisor. Thisincludes any donations given directly to performersto pass along to JCCT. Also, if anyone wishes toclaim a donation on their taxes, the Treasurer viathe Production Supervisor, needs to be informed ofthe item and its value so that an appropriateletter/receipt can be drafted to the donator. 25   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  26. 26. ScriptsThe Board will order sufficient scripts for your showapproximately two weeks before your auditions. If youneed them sooner, let them know. For mostproductions, scripts belong to cast members; they maykeep them after the show closes. Musicals, as a rule,are different: We rent the scripts and scores andmust return them, free of pencil marks, when the showcloses. They usually arrive later, too. TheProduction Supervisor will keep track of musicalscripts and scores, and make sure to collect them atset strike, after cast and orchestra members haveerased all markings.In the fall of 2009, the Board of Directors of theJay County Civic Theatre, Inc. voted to begin apolicy of script deposits for all JCCT (returnablescript) productions. This policy was made necessaryby numerous scripts being lost or not returned overthe last several years. Any script not returned mustbe paid for by JCCT, resulting in hundreds of dollarsin unnecessary fees. An organization such as JCCTcannot absorb these kinds of losses. Therefore, allcast members receiving scripts for a JCCT, Inc.production are asked to write a check for $30 madeout to Jay County Civic Theatre, Inc. These checksWILL NOT BE CASHED but held by the JCCT Treasurer andWILL BE RETURNED when the script is returned. If thescript is not returned, JCCT then has the right tocash the check to cover our expenses. If this causesany hardships, we ask that you have the actors speakto a board member regarding their specific needs. We 26   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  27. 27. do not want anyone to be excluded from JCCTproductions due to this policy but we must alsoconsider the financial security of the JCCT. (Thereis a letter for Actors in the back of this manual.)Scripts will be signed out and checks collected bythe Production Supervisor.JCCT does not photocopy any script as an organizationdue to copy right laws.Photocopies (other than scripts or anymaterial with a copyright)We are currently printing our posters, newsletters,programs, brochures, etc. at Progressive OfficeProducts in Portland, IN. We have an account withProgressive and you may sign for your copies. Pleasecheck with Production Supervisor before making anylarge quantities of copies.Recording and VideotapingJCCT does not permit video or audio taping ofperformances 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 educationalpurposes. Please don’t do it.Violating production contracts can endanger our veryexistence, and will not be tolerated. Make this clearto your cast, and ask them to pass the information totheir friends and relatives. If our house staff seesanyone using a video camera during a performance, thedevice will be confiscated until the show is over. 27   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  28. 28. No such restrictions apply to royalty-free scripts(i.e., Shakespeare), we prefer that Directors askBoard permission to video tape those productions.The rights to these productions belong to JCCT, INC.There is to be NO FLASH photography during aperformance. We do have a Photo Night set for eachproduction. This is the best time for family andfriends to take photos of the show.JCCT takes copyright issues seriously. Please DO NOTassume you may change a script unless you havewritten permission from the copyright holder. If youwish to make changes, we suggest contacting the playservice early (via the Board); in many cases theywill refer you to the playwright’s representatives.   28   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  29. 29. Problems and PitfallsEven the best-planned production can run intoproblems. The trick is anticipating them, andcatching them before they become serious. Here, in noparticular order, are some problems that have croppedup 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 29   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  30. 30. 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.AuditionsJCCT productions are open to everyone. No pre-castingis permitted. We strongly encourage Directors to givenew Actors an equal chance with those who have beenon our stage before. When we give new people a fairshake and put them on our stage whenever we can that 30   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  31. 31. helps ensure a constant pool of fresh talent,something no community theatre can survive longwithout. The no pre-casting rule is one of ourtheatre’s few hard rules, and we hope you will makean extra effort to make sure everyone who tries outfor your show understands it. Yes, it’s OK toaudition someone privately if they can’t make it totryouts, but please be sure to let the people who doshow up know that you’ve done so. When you’resoliciting people to try out (and all good Directorsdo that), be clear that you aren’t promisinganything. Few things are as damaging to a theatre’sreputation as the notion that it’s a closed shopwhere shows are pre-cast and new people don’t stand achance. Traditionally, 8 weeks prior to the openingof the show JCCT runs two nights of open auditions,typically on Monday and Tuesday. Audition space andtime is set up by the Director in consultation withthe Production Supervisor. (The Typical Arts Placecontract allows for 13 rehearsal days - 3 dressrehearsal days and 4 performance days - so it is toour advantage to hold auditions at an alternativelocation) As soon as the Audition information is setthe Board Secretary will send out press releases. Ifyou prefer a different schedule, or want to useanother night for callbacks, please notify the BoardSecretary as soon as possible so that we can includethat in the audition publicity. Directors may usetheir own Audition forms or those also found in theForms and Worksheets section of this manual.Audition FormThese forms are designed so that you write in yourshow’s name and performance dates on the top of one 31   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  32. 32. form and then make as many copies as you think youwill need 30 copies is usually the maximum needed, sodon’t go overboard. You can always make more copiesthe second day of your auditions should you needthem.Audition Checklist (This is also found inthe Forms and Worksheets section of thismanual.)For musicals, you must make your own arrangements foran audition pianistAt 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’spolicies. (Also found in the Forms and Worksheets section ofthis 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. 32   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  33. 33. • 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 PeopleDuring auditions, make sure everyone trying out feelswelcomed and comfortable, especially the newcomers.Many Directors like to ask a friend or crew member tobe the official greeter, welcoming people as theycome in the door, collecting audition forms, pointingthe way to the restrooms, replenishing therefreshments, etc.Emphasize to those trying out that they are part of atheater community as well as a community theater.They share the building with other shows, and areexpected to treat each other with good will andcourtesy. As a Director you are the first point ofcontact for many newcomers. If you and your crew aresupportive and encouraging, it makes our theater moreenjoyable for everyone.After the second night of auditions the Director, theProduction Supervisor (is there to observe andprotect the validity of the casting and only to giveopinions if asked) and whatever constitutes his orher brain trust, go out and hash out the castingdecisions. Whatever your choice, do let hopefulsknow when and how they can expect to hear theannouncement. Please get a copy to the JCCT Webmaster 33   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  34. 34. 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 allaudition forms (both cast and not cast) to yourProduction Supervisor. When you have a rehearsalschedule 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 thePublicity Coordinator, who will distribute them tothose who need them. (See form section)RehearsingNo matter where you’re Rehearsing, Make sure yourrehearsal furniture, props, etc. are returned towhere they belong, and put away. Care of Flooring:Please do not drag furniture or other heavy itemsacross the floor. Get enough people to safely carrywhat 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 34   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  35. 35. 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 longrehearsal 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). 35   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  36. 36. • 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 PeopleSometimes (but fortunately, rather rarely), an Actoror crew member fails to live up to his or herresponsibilities. You can head off such problems bybeing completely clear about your expectations. Italso helps to be consistent: Treat all Cast membersequally and fairly. If necessary, ask your ProductionSupervisor to have a word with the offending person.Dismissing Cast MembersOn very rare occasions, an actor must be replaced. Ifyou believe that is going to happen, contact yourProduction Supervisor ahead of time and involve himor her in the process; that will protect you and thetheater from accusations of unfairness. Be sure totell the Publicity Coordinator about cast or crew 36   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  37. 37. changes so publicity can be changed accordingly.Part of JCCT’s role as a community theatre is toprovide opportunities for people with all levels oftalent and experience. There is no guarantee that allof them will turn out to be great Actors, nor shouldwe expect them to be. Bad acting, by itself, is notsufficient grounds for dismissing a cast member.Directors are urged to work with all Cast members toencourage them to stretch and grow, and to reservedismissal for those rare individuals who activelyrefuse to meet their commitments to the show. ADirector who merely believes he or she has made acasting mistake is asked to live with that mistake aslong as the person involved is trying his or herbest. Who knows they may surprise you!No Romance in the WingsThe fact remains that romance — and more — has beenknown to blossom in the intimacy of producing a play.In most cases, it’s nobody’s business but the partiesinvolved. Times have changed, though, andyesterday’s flirtation can be today’s accusation ofsexual harassment. Although there’s a fine linebetween being nosy and looking out for your show,Directors should be alert to personal relationshipsdeveloping among cast and crew, and should beespecially careful not to put themselves insituations which might be misconstrued. It is alsoour responsibility to be aware and to halt any suchrelationship between Minors and Adults.A Note About Children 37   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  38. 38. JCCT is proud to count many young people among itstheater family. We’ve watched a lot of kids grow upright before our eyes and assume increasing positionsof responsibility, on stage and off. Their presence,though, gives us a special responsibility to look outfor their safety and well-being both for their ownsakes, and to protect the theater from liability. Itis up to each Director to decide whether to permitnon cast children to attend rehearsals or workparties. Directors should make their policies knownearly, even at auditions. If children are brought tothe theater, they must be under direct adultsupervision at all times. If Cast members need tobring their children to rehearsals or work parties,please recruit someone to keep an eye on them. Smallchildren must not be allowed on or near the stageduring construction or set strike; instead, set up asupervised play area for them in one of the saferparts of the theatre. Even older children must notbe permitted to use power tools, climb ladders ortake on other risky tasks. Older teens may take onsome of these tasks, but only with proper trainingand supervision. Assorted Other InformationTaking Care of JCCTJCCT is getting better all the time, thanks to thehard work of our volunteers and the generosity of ourdonors. That makes it more important than ever thatwe all do what we can to keep our reputation good andprotect the considerable investment in money andvolunteer effort that is continually being put into 38   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  39. 39. our productions. Cleaning the backstage areas(including the greenroom) is the responsibility ofthe show that occupies those areas. It is recommendedthat the Stage Manager or their designate sweep thestage floor before each performance. Clean up our ownmesses. Don’t assume that somebody else will takecare of it. If you spill something, mop it up rightaway. If you bring food into the theater, dispose ofleftovers in the dumpster Food left in waste basketsattracts bugs and mice.SmokingIf there are smokers in your cast, please try toprovide them with sufficient break time to gooutside. Smokers should pick up after themselves anddispose of butts appropriately. The law does permitsmoking on stage when the action of the play demandsit, although we urge Directors to seek other options.Tickets and SeatingIf your set design would remove or change seating(with a thrust, for example), you must get permissionfrom the Board no later than the month before ticketsgo on sale. If anything about your show (i.e.,signing for the hearing impaired) might appeal toaudiences with special seating needs, confer with thePublicity Coordinator in advance. JCCT will reservea seat for you and your assistant every night. Pleaseleave a note in the box office indicating which twoback-row seats you prefer. These are yours to sit in.If your show is selling out, you may wish to tell thebox office to sell your seats. If someone donatessomething extraordinary to your show, the Director 39   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  40. 40. should ask the Board Secretary to send them a letterwhich they may exchange at the box office for twofree tickets to the show. Please do so early enoughso they can get their letter in time to reservetickets! Cast members are responsible for gettingtheir own tickets, in advance, just like otherpatrons. They should not wait till the last minuteand expect to get seats for their families andfriends.Staying involved with JCCT and MembershipJCCT encourages cast and crew to stay involved withthe theatre. The JCCT bylaws consider all Volunteerswhether on stage of off JCCT members. Members have avote in theatre business, elect our Board ofDirectors, serve on committees and, are encouraged toattend Board Meetings. They may also serve as Crewand become eligible to run for the Board. We hopethe people involved in a production will want toremain part of our theatre family. Much of the workof running our theater is done by our all-volunteerBoard of Directors and their Committees. Dozens oftasks need to be done regularly. If you areinterested in helping, contact the JCCT VolunteerCoordinator and ask to be put to work. Cast memberswill be called once their shows have closed (as longas the Volunteer Coordinator has received copies oftheir tryout forms from you!) to ask if they wouldlike to volunteer for upcoming shows. This is a greatway for casts to get together again after their showsclose. There are usually Board positions up forreelection every May, and nominations are open to anyTheatre member who has served as an on or off stagevolunteer for JCCT any time in the previous season. 40   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  41. 41. Those who aren’t interested in, or ready to auditionagain right away may want to turn up at auditionsanyway and find out of the next show needs anybackstage help. Even if you only have one freeweekend, you may be able to help build or paint aset, sew costumes or otherwise be involved. If yourtime is limited, contact the Volunteer Coordinatorabout serving as an usher, ticket taker orrefreshment server or working in the box officeduring a performance. Our never-ending remodelingefforts may mean periodic work parties at ourwarehouse to tear out old stuff, install new stuffand generally spruce the place up. The ProductionSupervisor can tell you if any work parties arecoming up or check the JCCT Web site at:http://www.JayCivic.org. The theatre also has anelectronic mailing list for informal, theatre-relatedcommunication among our volunteers and supporters. Ifyou would like to subscribe, contact the BoardSecretary at JayCountyCivic@gmail.comTaking Care of Our PeopleThe Stage Manager is responsible for learning andmaking others aware of the location of fireextinguishers, fire alarms and emergency exits, andshould also make sure safety guidelines are observedbackstage.Safe ScenerySafety must be the No. 1 concern during setconstruction. Minors are not to use power toolsunder any circumstances (and should not be sent upladders); untrained adults should use them only under 41   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  42. 42. supervision. Those who use tools must follow propersafety procedures (wearing goggles or respirationmasks, using safety guards on saws, etc.). Beespecially careful when lifting or moving lumber,platforms, large set pieces, heavy furniture, etc.,both to avoid back injuries and to keep from runninginto, or over, other volunteers. Sets themselvesmust be designed with safety in mind. Among otherthings, that means adequate railings on stairs andplatforms (on stage and backstage, adequately bracedplatforms and sufficient blue light or glow tapebehind sets so Actors can see where they’re going.The Production Supervisor can help if you havequestions about set safety. The Technical Directorand Production Supervisor have the final word onsafety issues.AccidentsIf an injury occurs, first see that it is treatedeither on site, with supplies which you will find inthe scene shop and backstage restroom First Aid kits,or at the hospital emergency room, if the injury isserious. Don’t hesitate to call 911 for an ambulanceif someone is bleeding, unconscious or appears tohave broken a bone. Then immediately report theinjury to your Production Supervisor, who will letthe Board know what happened. Stage Managers shouldcheck First Aid supplies periodically and make surethey are restocked (we will reimburse them). Thetheatre has limited insurance coverage for uninsuredvolunteers who are hurt on the job. Contact theTreasurer about filing claims.Cast and Crew Security Guidelines 42   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  43. 43. Lock your car, and make sure you don’t leavevaluables visible inside. Use the buddy system whenleaving the building at night. Always walk each otherto cars. If someone (especially a minor) has to waitfor a ride, a Production Staff member should waitwith them. Do not allow people (including patrons) towait for rides outside the building, alone, in thedark! Stage Managers are usually responsible forlocking up each night. Someone else should stay withthem until they’re ready to leave. Assign someone tomake sure all theatre-owned tools are gathered up andaccounted for at the end of every construction party.If tools go missing, report it immediately to theProduction Supervisor.RetreatsIt is suggested that JCCT productions hold a day-longretreat on a Saturday or Sunday one or two weeksbefore opening. Retreats are extremely useful forpolishing the show and completing technical tasks,they are not mandatory; it is up to each Director todecide whether to hold one. JCCT does not routinelyhold previews. It is entirely up to you whether toclose your final rehearsal or allow your cast toinvite a few friends and relations. You may be askedto add a preview or performance for benefit ormarketing purposes, but please do not invite largegroups without asking the Board first (we may have topay royalties). Remember: JCCT relies on box officerevenues; we would rather not give away more seatsthan we have to. 43   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  44. 44. Complimentary TicketsJCCT does not routinely provide “comp tickets” tocast, crew or anyone else — although if someoneprovides extraordinary support to your show (seealso: Tickets and Seating, above), you may ask theProduction Supervisor (well in advance, please) toprovide them with a letter they can exchange for oneor two complimentary tickets. As Director, you aregenerally entitled to 2 seats each night for yourselfand a key assistants; if you do not need them, letthe box office know so they can be sold.   Stage Manager’s ResponsibilitiesFrom opening night on your Stage Manager will beresponsible for the Rehearsal Space/Stage and manyother tasks. He or she may delegate some of thoseresponsibilities. Sometime during the week beforeclosing, the Stage Manager is to contact the Directorand together you need coordinate your set strike.They are responsible for helping with the dutieswhich will allow for the smooth and efficient runningof rehearsals and performances. It is up to you todecide with your Stage Manager who is responsible forkeeping the master prompt script, setting uprehearsal space prior to each rehearsal and strikingrehearsal furniture and props as necessary, runningand calling show, posting Cast/Crew Sign-in sheets,taking and posting Production Meeting notes, DailyRehearsal notes, and coordinating the production runcrews.Rehearsal duties, to be negotiated with Director,include recording blocking, prompting, taking LineNotes, contacting absent or tardy actors/crew 44   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  45. 45. members, calling cast/crew members in from breaks,etc.The Stage Manager should be aware of the location oftelephones and fire extinguishers for use during anemergency, and be well-versed in all safetyprocedures, especially fire evacuation and tornadoprocedures.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 Directors 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 45   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  46. 46. 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 casts 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 46   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  47. 47. actors. 11. The Stage Manager insures that all actors are in place prior to the beginning of each scene. 12. Records in Stage Managers 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 Managers 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 47   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  48. 48. 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. 48   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  49. 49. 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 49   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  50. 50. 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 50   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  51. 51. Stage Managers 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 asyou found it — or better! Make it clear from Day Onethat your entire cast and crew are expected to help.Your strike goes beyond just taking down the set: Itincludes returning borrowed items immediately,cleaning the backstage area (and the dressing roomrestrooms), sending costumes to be cleaned. Yourstrike is not finished — and your cast should notleave — until you have toured the building with theProduction Supervisor and they agree that everythingis OK. A checklist will be provided to help you makesure everything necessary gets done. 51   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  52. 52. Other Post-Show Responsibilities:Collect (and erase) musical scores so they can be mailedback to the company that rented them to us. TheProduction Supervisor is responsible for returning thescores and scripts the week after closing. Turn in allreceipts and attend the Board meeting after your show togive a final report. Be sure your costumer picks upclothes after they have been cleaned and returns them tothe warehouse. One final note for Directors who alsoact: Please do not plan to try out for a show thatoverlaps with yours, unless you first get Boardpermission as Director, your show must be your firstpriority. 52   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  53. 53. 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. 53   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  54. 54. Forms and WorksheetsRemove the following pages from this manual andphotocopy as many as you need. Distribute them to theappropriate people, or use them to keep track of yourdeadlines, budget and publicity materials. It’salways a good idea to keep a copy of completed formsin 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 54   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  55. 55. Deadline WorksheetPlease fill in your own deadlines, give a copy toyour Assistant Director and put this somewhere you’llsee 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 duringproduction) __________________________________Prepare for auditions; lay out expectationsPR 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):____________________________________________________ 55   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  56. 56. 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____________________________________________________ 56   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  57. 57. Budget Worksheet     Scenery:   Costumes:   Properties:   Other:   Miscellaneous:   TOTAL:Notes about unusual expenses: 57   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  58. 58. 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) ____________________________________________________ 58   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  59. 59. 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:________________________________________________AuditionsDates:____________________________________________________Time: _______________________ Callbacks? __________ 59   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  60. 60. 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: _____________________________ Phonenumber: _________________Email address_____________________________________________________Play Title:_____________________________________________________Playwright (Lyricist, etc.):________________________________________________Script Service:_____________________________________________________ 60   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  61. 61. Director & Designers (as appropriate, and as theywish 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 theappropriate people get them turned in.)  Audition Forms: If you have not already done so sendlegible copy of your audition forms to yourProduction 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 ProductionSupervisor. Yes | No Content Notice and Director’s Notes. 61   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  62. 62. 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.) 62   JCCT, INC. PRODUCTION MANUAL 2011-2012  
  63. 63. 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 oradd only those positions which apply to your show. Donot list your designers here — you gave them to us onPR Form 2. Only note changes to your design teamhere. Regarding those who have filled multiplebackstage roles during the course of your production(i.e.: set dressing, props construction and shiftcrew), the Program Editor may choose to list thatperson’s contributions on a single line if spaceconstraints require.  Note: We do not expect you to have all crew andacknowledgments at this time. You will be able to add 63   JCCT, INC. PRODUCTION MANUAL 2011-2012  

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