Participant Handbook

Revised 2008

This manual is dedicated to all the past, present and future participants who support The Sheboygan Theatre Company with their hard work, high standards and professional ethics.

The Sheboygan Theatre Company truly appreciates your enthusiasm and commitment to quality community theatre.

 
Table of Contents

Introduction

Organization Overview 4
Finances 4
Staff 4
Board of Directors 5
Committees 5
Organization History 6
Definition of Commitment 10
Tech Weekend 10
General Conventions & Etiquette 10
Strike Procedures 14
Table of Organization 16

 

Production Committee

Definition 17
Supervisors 17

 

Job Descriptions 19-36

Costume Department 19
Lighting Department 22
Makeup Department 25
Paint Department 28
Properties Department/Running Crew 29
Scenery Department 33
Sound Department 34

 

Stage Management Handbook 35

 

Glossary  42

 

Final Thought 47

 
Introduction

Greetings

We are happy that you made a decision to participate with the Sheboygan Theatre Company. We hope your experience here will be enjoyable as well as educational. This manual is designed to help you become acquainted with our organization, our policies and terminology. Thank you again for deciding to work with us and remember, “you are always welcome here.”

 

Organization

The Sheboygan Theatre Company operates under the auspices of the Community Recreation Department and the Sheboygan Area School District Board of Education. The Superintendent of Schools is an ex-officio member of The Company’s Board of Directors and the Director of Community Recreation serves as the organization’s Business Manager.

The Company maintains an office for the Director of Theatre at the Recreation Department, and the Department provides secretarial and bookkeeping services and day-to-day ticket handling at no cost to the organization.

Company productions are staged at the Leslie W. Johnson Theatre located at Horace Mann Middle School, where The Company maintains its inventory of materials, a workshop and office space for the Designer/Technical Director.

 

Finances

All operating expenses (other than those services provided by the School District and Recreation Department) are paid for through the sale of season and single tickets and through contributions made directly to the organization.

 

Professional Staff

The Sheboygan Theatre Company employs two professional staff members on a year-round basis:

The Director of Theatre is responsible for casting and directing each of The Company’s productions. In addition he works closely with the Board of Directors and various administrative committees in play selection, promotion and planning. He also represents the organization in its relationships with regional, state and national theatrical groups.

The Designer/Technical Director is responsible for designing the settings for each play and directing the volunteer departments which handle set construction, costuming, lighting, painting, sound, makeup, and properties.   He also serves as a resource person for play selection and long range planning.  He reports to the Board of Directors and chairs the Production Committee.  He writes the backstage budgets and controls all backstage purchases. 

Both, along with the Business Manager, serve as consultants to the Board of Directors.

 

Board of Directors

The Board, which meets monthly on a year-round basis, consists of 15 members representing a cross-section of the Sheboygan community. Terms are for three years, and five terms expire each year. No Director may serve more than two consecutive terms (six years) without an intervening period of at least one year.

Names of prospective Board members are solicited through public notice in The Company’s newsletter each spring. Nominations may also be made through petition. The Board elects new members at its May meeting and they take office on July 1.

Officers are chosen for one-year terms at the Annual Board meeting held in June. Officers include a President, 1st Vice President, 2nd Vice President, Secretary and Treasurer.

The Board votes on major policy decisions regarding the direction the theatre, shows, special programs, it's employees, budget, and fund raising activities.

Committees

There are committees that are charged with specific responsibilities in the operation of The Company.  Committee members need not be board members. The Chairperson of each committee serves as liaison to the Board of Directors.

Long Range Planning: Responsible for generating policy and plans affecting future growth and development of the organization.

Finance: Develops annual budget and coordinates all fund-raising efforts. This committee must include the Treasurer, Business Manager and three Board members and may include additional members.

Production: Coordinates all technical activities, recruits and trains personnel, maintains equipment, etc. This committee is chaired by the Designer/Technical Director and made up of Supervisors of the following departments: scenery, painting, sound, lighting, costumes, props and makeup.

Program Development: Recommends a slate of productions for each season for Board approval develops and recommends new programs for Company sponsorship. Both the Director of Theatre and the Designer/Technical Director serve as voting members of this committee.

 

Beginnings...

Sheboygan in the early 1930’s was a virtual “hot bed” of theatrical interest, with nearly 30 separate groups operating under the sponsorship of churches, schools and other organizations in the area. Ferdinand A. Bahr, then Director of Public Recreation, conceived the idea of combining these competing organizations into one unified group. Working with Elsie Thomas, an active member of the Fireside Players, they “field-tested” his idea with a series of one-act play tournaments.

 

Bahr and Thomas were looking for talent - enough talent to bring local theatre out of church basements and friends’ living rooms and onto a real stage with a real, and possibly critical audience. They found both talent and enthusiasm, and Sheboygan Community Players (later to become Sheboygan Theatre Company) was officially launched in 1934 with Mrs. Thomas as the group’s first president.

Bahr drew the fledgling organization into the operations of the Recreation Department and under the umbrella of the Sheboygan Board of Education, enabling Players to share the services of a professional drama teacher/director with the school system. Frederick W. Hilgendorf was engaged as Theatrical Director - a post he was to hold throughout Player’s first decade.

 

Community Players began its first season with 67 charter members and no theatre to call its own. Devil in the Cheese, the debut production opened on January 24, 1935 and was staged for two performances in a local movie theatre. The effort showed a net loss of $38.32.

 

Realizing that they needed a stable source of income so that they could plan for future seasons, Players established a policy of “closed membership” - attendance at plays limited to only members whose membership included a prepaid season ticket -- and saw its audiences swell from 239 to over 1,000 in their second season.

 

Two full-scale productions a year, plus a few evenings of one-act plays was the usual format during the first five years. The organization used the Central High School stage or whatever other facility they could beg, borrow or rent.

In 1939, Community Players found its first permanent home in the newly completed North High School (now Urban Middle School) and was able to abandon the one-act plays in favor of three full scale productions per season.

 

Walter J. Pfister became Player’s second President in 1942 and served in that capacity for the next nine years. It was to be a period marked by a curious mixture of stability and transition. Hilgendorf retired in 1944 and was subsequently followed by five different theatrical directors during the next thirteen years: Lynne Nuerenburg (1944-46), Arnold Rhiel (1946-48), Jerry Kahan (1948-52), Kenneth Abrahamzan (1952-53), and Robert Quinn (1953-57).

 

Nuerenburg and Rhiel were high school English/drama teachers who worked with Players on a part-time basis, but Kahan was the first full-time staff member, hired under a nine-month contract with 50% of the salary paid by the Board of Education. During his first season with the group the schedule was expanded to include four full-scale productions. Players staged their first musical in 1950, presenting Of Thee I Sing under an informal cooperative arrangement with the Civic Orchestra (which at the time was also operated under Recreation Department auspices).

 

While musicals were enormously popular, the production demands on cast and the costs of staging were heavy, and the group made only periodic attempts in that field for a number of years. The second musical “The Student Prince” was produced in 1953, and it wasn’t until some years later that musicals became an annual event. Production problems for musicals were eased considerably in May of 1956 when Players and the Civic Orchestra were formally merged, beginning a relationship which was to last for 16 years.

 

Walter Pfister’s philosophy of theatre was a strong influence on Community Players during their second decade as they explored a variety of theatrical formats. In a statement of policy which he drafted for the group in late 1947, Pfister outlined out goals.

1.  Get as many people as possible interested in the theatre.
2. Give people interested in the drama an opportunity to get up on the stage and act, paint scenery, shift scenes, or do any other of the many phases of work in the theatre.
3. With the best talent and equipment available, give your play-going, but otherwise inactive membership the highest caliber of theatre possible.

Under that philosophy, Players gradually grew from an organization specializing in what Pfister referred to as “sweetness and light” plays to a group with a serious dedication to quality theatre.

 

After its somewhat rocky youth and adolescence, Sheboygan Community Players entered its third decade in search of a certain measure of stability, especially in the area of theatrical directors. That stability came in 1957 with the hiring of David C. Bryant, who was to direct the organization’s efforts for the next 14 years until his untimely death in 1971.

Bryant was a master of public relations and soon made the entire area aware of Community Players and its activities. This considerably broadened both the audience and the pool of active participants, both on stage and backstage. Players also became a force within the larger world of community theatre. Bryant became a leader in both state and national organizations devoted to the cause of community theatre, establishing bonds which continue to this day with groups across the country.

 

Membership stood at approximately 4200 when Bryant arrived; by 1969 that number had grown to an all-time high of 6200. After 30 years of residency at Urban Middle School, it was increasingly apparent that the theatre facility there had some serious short-comings, especially from the perspective of those who worked backstage. The lack of on-site storage space for Player’s growing collection of set materials and properties, the temporary dressing room accommodations which forced some actors to run around the outside of the building to make their stage entrances, and the absence of working room for technical crews all made it extremely difficult for the group to maintain quality production.

 

When the Sheboygan School District decided to build a third junior high school on Sheboygan’s far west side, it seemed a “natural” for Players to request that the auditorium be designed with community theatre needs in mind. As part of their bargain, Players undertook a major public subscription drive in which over 700 local citizens and business groups donated over $65,000 to help equip the new facility.

The result was the Leslie W. Johnson theatre, one of the finest community theatre “houses” in the Midwest, which opened in May of 1970 with a production of My Fair Lady. Bryant, who had done so much to develop and equip the new theatre, had only one season in which to enjoy it. In August 1971, he suffered a heart attack while on his way to a national community theatre convention, bringing an abrupt end to an important era in Players’ history.

With their season already chosen and time of the essence, Players retained Jan Ewing, who had been directing the summer program at the Kohler Arts Center, as an interim director while the organization began to sort out its options for the future.

 

Responsibility fell to the members of the Board of Directors to take a more active role in the routine operations of the organization. In 1971, by mutual agreement with the Board of Education, Players assumed full financial responsibility for its budget, foregoing the “safety net” of school district underwriting for any budgetary shortfalls. For the first time in its history, ticket sales became vital to Players’ continued survival. And the news in that area was far from good!

 

A combination of factors - the dislike of some “traditional” theatre goers for the thrust stage at Horace Mann, some very troublesome problems with acoustics, a growth in the variety of other forms of entertainment competing for the same dollars - whatever the reason(s) Players attendance began a steady decline, slowly at first during the five year tenure of Director Jim Loeffler and then precipitously to an all-time low in 1978 during David Keyte’s two years as Director.

 

Rob Dipple joined Players as Director in 1979 with a great deal of enthusiasm and convinced the Board that Players should offer five full-scale productions each year. To assist in that effort, he championed the hiring of the organization’s first Technical Director, Bernie Markevitch. However, a new social phenomenon -- a wife’s job change -- took Dipple from the community within two years.

 

His unexpected departure in mid-summer left Players once again with a season selected and a Director search underway for the fifth time in the decade since Bryant’s death.

Ralph Maffongelli stood out among the many applicants because of his strong background in theatre, his experience as a teacher as well as his strong business sense. His skills earned him the first twelve-month contract in Players history and, a few years later, the first multiple-year contract from a Board which was committed to establishing a period of continuity and growth.

 

Under Maffongelli’s leadership, the decade of the 80’s saw Players making progress toward solving a number of chronic problems. A generous patron contribution allowed “mikeing” the house - the first step of several planned toward improving sound quality. The Board began the long and sometimes agonizing process of serious Long Range Planning to determine a sensible course of action to recapture audience share in a time of ever-increasing competition. The backstage departments were reorganized with the assistance of new Technical Director Marty Kooi, who joined the group in 1989, to more closely parallel the operations of professional theaters and to provide more meaningful educational opportunities for the volunteers who work there.

 

As Players approached their 60th anniversary year, they made the most noticeable change of all, setting the wheels in motion to change their name to the Sheboygan Theatre Company, effective with their 1993-94 season. The change, the Board announced, “is symbolic of a new direction for the organization and a fresh commitment to ensure both the artistic and financial viability of the Sheboygan Theatre Company for the next 60 years.”

 

Reorganization in the next few years also resulted in a decision on the part of the Board of Directors to place full responsibility for day-to-day activities in the hands of the staff so that the Board could concentrate on policy making and fund raising. From this has come a very successful annual fund raiser, Swine & Swing. Meanwhile the decade of the nineties also saw the inauguration of a yearly Broadway Show trip to New York City, the presentation of two volunteer recognition awards each year, the initiation of a college scholarship for theatre studies, and the beginning of a summer program in drama for middle school youngsters. That the Company also entered the Cardboard Boat Regatta six times and won an average of one award a year was merely on the side.

 

In the midst of all this activity Dustin L. Uhl joined the Theatre Company in the fall of 1997 as Designer/Technical Director. As the third person to hold that position he has built on the successes of his predecessors and contributed significantly to the organization.

 

With dramatic production naturally at the heart of The Sheboygan Theatre Company, the last twenty years have seen such programs as Theatre in the Park for children, Chamber Players as a venue for readers’ theatre and eventually the presentation of Children’s Theatre and Studio Productions to enhance the mainstage. Along the way the Company also entered various competitions, the highlight of which was 1989 when The Seahorse won the state title and placed second in the region. In recent years the organization has focused on new play production, mounting in the past ten seasons eight new scripts, seven of them seen by their authors and four of them world premieres. With the recent advent of a second stage space to produce smaller, more intimate, lesser-known scripts in a dinner theatre format, the Sheboygan Theatre Company intends to continue offering a variety of theatre fare to the residents of the county.

Like all volunteer groups, The Sheboygan Theatre Company has experienced its share of highs and lows during its first six decades. But it has survived to become one of the oldest and largest community theatre organizations in the nation. And Walter Pfister’s statement of philosophy still holds true: STC exists to provide quality performances for its audiences and quality opportunities to participate and learn to all who might be interested.

 

What is Commitment?

Commitment can probably best be defined as: being here on time for any days that you are scheduled to be here and doing your job to the best of your ability.

Time commitments can vary greatly depending on what facet of the production you may be involved in. An actor’s time commitment can be anywhere from five to eight weeks depending on the rehearsal schedule. A running crew member’s time commitment is generally three weeks from Tech Saturday to closing night, though most of our participants give what time they can. A pre production participant’s time can be three hours or three months.

Every participant with a production is just as important as a director or audience member; it is often said that we are much like links in a chain, one cannot function without the other.  Your commitment is a responsibility. It is a reflection of who you are. If each person involved with a production cooperates with one another and respects individual responsibilities, each show will become a successful production.

 

Tech Weekend

Since Tech Saturday (generally the Saturday prior to opening night) is the first day that all of the technical aspects of a show come together for the first time, there are likely to be many periods of waiting while the director and/or the designers solve a problem. Please be patient. Wait as quietly as possible. It is also probable that you may be asked to run a particular set change or a light or sound cue several times until it is “right.” It is also possible that you may find some major changes in things by the middle of dress rehearsal week. Please understand that this is all happening for a very particular reason. If at any time you have a question about what or when something is supposed to happen, do not hesitate to ask.

Don’t Panic

Accidents happen. We can avoid many of them, however, with a lot of cooperation. Always be aware of what is going on around you, especially when you are moving set pieces or fly lines. Know who else is in the general vicinity. Are they moving something? Keep a keen eye out for people, sets, curtains, etc. that may be in your way. If at any time you feel that something is not operating properly, please let someone in charge know immediately so that it can be repaired before someone is hurt. If you or someone is injured, there are first -aid kits located in the green room, costume shop, and in the box office. Be careful, be aware, and hopefully, we will have an accident-free run.  As a volunteer/participant in The Sheboygan Theatre Company activities, please be advised that STC does not provide accident insurance.  In the event of an accident please inform the technical director or director of theatre of the incident so the necessary procedures can be put in place to prevent future occurrences.

 

General Conventions and Etiquette

1. Our guidelines are established to provide a safe volunteer environment that is as close to a high quality professional theatre as possible.  Guidelines may only be changed with staff approval.  The production supervisors recommend these guidelines.  Please feel free to discuss any procedures with your crew chief, department supervisor, or Designer/Technical Director.

2. Always be on time! Be early if possible, but not more than a half hour before your call.

3. Parking on the grass or anywhere in the fire lane is strictly prohibited. Unless you have a handicapped sticker, parking in the space that is reserved for handicapped persons is illegal and subject to a fine. Do not park another vehicle in since anyone may need to leave in an emergency.

4. There is absolutely no eating or drinking anywhere in the house, on stage (unless it is called for in the script) or in the control booths and catwalk. Eating and drinking is allowed in the Green Room during the build, but do not leave behind your belongings such as empty coffee cups and soda cans. Please throw all of your trash away!

5. By state law smoking or the oral use of any tobacco products is prohibited anywhere on school grounds.  Legally you must leave school property to orally use these products.  Persons caught using these products on school grounds may be fined by the police and/or be prohibited from using the facility.

6. Please report any equipment or set problems to the Designer/Technical Director promptly.

7. Children, ages 12 and under, are required to be supervised by a parent or relative while they work backstage.  Children, whether supervised by an adult or not, are not permitted on the catwalk at any time. The catwalk is a dangerous place and we do not wish anyone to be injured.

8.  Safe working habits are of high concern for us.  There should be no running.  Materials are to be used for theatre purposes only.  Also please treat people with courtesy.  Threatening or offensive behavior will not be tolerated. Be aware of safety procedures. Be extra careful when in the dark for moving elevators, flying scenery, electrical lines, and special effects. If you notice safety problems or an accident, immediately inform the stage manager and technical director. There are first aid kits in the green room and costume shop, plus ice packs in the props room freezer. Please be aware that you are in a public building and you are completely responsible for your own behavior. We do not provide accident insurance. We do our best to avoid accidents and to respond appropriately when there is one. Some of our volunteers are emergency medical technicians, nurses and doctors who can provide immediate assistance.

9. The facility can be dangerous if equipment is mishandled.  All equipment is to be used as prescribed.  If you do not know how to operate a piece of equipment, please ask for proper instruction.  If at any time you feel unsafe or physically unable to do something that you are asked to do, tell the person in charge.  We do not want you to do something that you cannot or should not do.

10. All purchases for equipment, supplies, rentals, services and all others must be approved before they are made by the Designer/Technical Director.  Different stores have different procedures for the purchases of supplies through our account provider (the Sheboygan Area School District).  Each area for each production has an established budget.  The money is to be only spent on items which are deemed necessary for production's success.  We try to save money when we can for future needs.

11. Volunteers may not distribute over the counter medication to children. Permission may be granted by the parents over the telephone with the parents' home phone number when the need arises. If the parents are unavailable at that number, the children may provide another number to reach them. If the parents cannot be reached, the medication will only be administered if deemed absolutely necessary by the staff.

12. Equipment is purchased new, upgraded, replaced, and serviced on a case by case basis approved by the Designer/Technical Director.  There are many more requests each year for improvements than can be filled.  The Designer/Technical Director keeps track of these requests and as time and budget allows the requests are filled.  The order in which they are filled are based on a priority list established by the Designer/Technical Director.  Items which have been proven to solve the most important problems and be of the greatest benefit to the entire theatre operation will get higher priority.

13. Communication is encouraged at all times to solve problems.  Please go to your supervisor if you have any questions or concerns.  Please be careful not to make any demands which are not part of your responsibilities.  Crew members report to Crew Chiefs, who report to the Department Supervisors, who report to the Designer/Technical Director, who reports to the Director of Theatre, who reports to the Executive Committee, who reports to the Board of Directors.  Grievances regarding serious misconduct are to be reported that individual's supervisor. Rule violations are to be reported to the staff, and volunteers are encouraged not to discipline other volunteers. Detailed and substantiated information will be required for resolution of the problem.  Serious misconduct may include:  repeated failure to follow guidelines, verbal abuse, or criminal behavior.  The individual in question will probably have the opportunity to correct the behavior after a meeting takes place informing the person of the grievance.  Repeated failure to follow clearly established guidelines may result in the dismissal of the individual.

14. During a tornado warning all individuals are required to seek shelter in the basement under the stage.  There is a tornado siren on our roof which can be heard clearly.  Horace Mann Middle School is also a certified public emergency shelter.

15. During a power failure because of bad weather we may request you take shelter in the basement under the stage.  The weather could be life threatening and the basement is the safest place.  Stop all activity until the safety lights go on.

16. Communication is always important. If you are uncertain of anything, please ask questions. There are rules in the participant handbook, which are free and located on the green room bookshelf.

17. If a backstage volunteer is given two or more show opportunities to become involved and has failed to either return phone calls or attend activities for two times in a row, that participant's name may be removed from only that departmental crew book. It is the responsibility of the participant to contact the Designer/Technical Director for a change in phone number and/or address. Any name called in the participant handbook with a disconnected phone or a phone number which is not valid will be removed from all books with the same contact misinformation. If the individual is removed from all tech crew books and is not active in other parts of theatre, the individual will be removed from the participant list entirely. That person may become re-involved only by directly contacting the staff by telephone or visit.
18. Beginning on Tech Monday, all crew chiefs should sign-in on the call board located on the bulletin board near the soda machine. It lets the Stage Manager know you are here and helps keep them calm.

19. Technicians including running crew, board operators, followspot operators, or any other technician who steps on the stage, even if it is behind the set and curtains, are to be in all black clothing during the start of the first dress rehearsal. Do not wear clothing with large visible prints on the outside. Anyone who forgets is to report to the technical director, who may have some spare black clothing to loan. Long sleeve black tech crew shirts are available for order.

20. Please keep all conversation to an absolute minimum backstage. Sound carries! If you have to ask a question backstage, please do so as quietly as possible.

21. DO NOT TOUCH PROPS, COSTUMES, SETS OR ANY OTHER EQUIPMENT THAT ARE NOT YOURS! People get very nervous if they think something is missing, out of place or has been moved.

22. If you notice technical problems, such as broken or misplaced items, within your department, inform your department leader. If the problem cannot be fixed by the leader or other available technicians, the technical director is to be informed.

23. If you commit 2 or more times to work a show with us, you are entitled to a maximum of 2 (two) complimentary tickets for any show night or 4 (four) complimentary tickets for preview. Your complimentary tickets may be picked up in your name at the non-reserved ticket window the night of the performance.  Complimentary tickets may not be reserved.  Your crew chief will pass your name to the Designer/Technical Director so that your name will be included on the comp ticket list.

24. At the start of tech all food and drink, except for water, are prohibited from all backstage areas once actors are in costumes. The only exceptions are the props room and where called for in the script. Actors in costume may drink water, but all other food and drink is banned to prevent accidental damage to the costume. At the start of preview, technicians may order soda from a designated technician. The soda will be available to them in the props room during intermission. Soda may not leave the props room.

25. The props master, lighting designer, sound designer, makeup designer, and costume designer are to attend all director notes, with the costume and makeup designers starting at first dress. If this person is unavailable, he or she is to find another technician to take notes for them. If another technician is not available, the technical director is to be informed before notes are taken.

26. Department leaders are to communicate technical requirements to actors. Technical requirements include such things as, where and when to pick up microphones, what costume or makeup to use, and what is their prop.
  27. If glow tape is needed anywhere, please inform the technical director. White tape is only used behind the set, instead of glow tape which needs stage lights to recharge.

28. Please silence any cell phones, pagers, or other non-authorized communications equipment.

29. During the run of a show, cast and crew should use the stage entrance located on the Southwest corner of the building.

30. The house (auditorium) opens one half hour before the scheduled curtain time. At that point, you should not cross the stage area or be visible to the audience unless directed to do so.

31. It is preferred that no tech crew member or actor be in the lobby, auditorium, or front of house prior to the performance, during it, at intermission, and after the show. The lobby area can get crowded enough without adding crew personnel. During this time all tech crews are to remain backstage were they can easily be found and communicated with. 

32. When the curtain comes down at the end of the show, it is preferred that all crew personnel wait until the house clears before moving onto the stage area to begin cleanup. Do not spoil the illusion for the audience.  Actors and technicians at this time may be permitted in the hallway just outside the green room.

33. In general, all crew members are welcome to attend all cast and crew parties. Notices are usually posted somewhere in the Green Room beginning Tech Saturday. It is your responsibility to periodically check for party notices. You ARE welcome!

34. Prior to the show, during the run of a show and after, only cast and crew members directly connected with the show are permitted backstage and/or downstairs.  It is important to respect the privacy of the performers in the dressing rooms as well as the crew members who are trying to secure the facility. If you are waiting for someone, please wait in the Green Room.  Visitors may meet cast or crew members in the green room.  Visitors may be allowed on stage or backstage only if approved by the Designer/Technical Director or Director of Theatre.

 

Strike Procedures

Strike is the removal of all stage equipment, scenery, props, and lighting from the staging area.  This happens closing night immediately after the show to return the theatre to its established condition for the next incoming event.  If everyone stays to help out, everyone gets to go home earlier.

1. Actors 16 and over are expected to stay until strike is completed.  Actors, 12 through 15 are expected to stay until midnight.  Actors, 11 and under are expected leave immediately after the show after returning their costume and microphone.

2. Designers, masters, stage managers, and assistants are expected to stay through the completion of duties in their department.

3. If designers, masters, managers, and assistants are finished in their departments they expected stay to assist unfinished departments until at least 12:30 a.m.

4. Designers and masters are required to ask their department crew members to assist with strike.

5. Actors are to immediately get out of costume & mike before eating.

6. A limited amount of food and drink will be served for the actors over 12 and technicians who worked on that night’s show in the Green Room for only 30 minutes after the show ends.

7. Food and drink will be removed from the Green Room after the serving time and personal food items will be placed in the concession stand to be picked up after strike.

8. Crew members attending strike are to report to their department designer or master for strike duties.

9. Actors and other crew members are to report to the technical director for duties after the show.

10. Only the technical director will decide which actor is assigned to which task or department.

11. When a specific task, duty or department is completed the participant is to ask the technical director for additional duties.

12. Participants are welcome to bring their own screw guns in to assist with taking the scenery apart.

13. Participants are to wear clothing that they don’t mind getting damaged, torn or stained.

14. Participants are expected to remain busy & working at strike.

15. Designers and masters are to report to the technical director when their department is finished.

16. If we are not finished by 2:00 a.m. the director, technical director, and custodian will discuss the proper course of action.

17. When all departments have reported they are finish and the technical director has confirmed this, the technical director will announce strike is completed.

18. Participants are expected leave immediately after the announcement of strike is completed.

 

Backstage Table of Organization

The Sheboygan Theatre Company

 

 

 

 

Production Committee

 

Definition of The Production Committee

This committee is comprised of seven individuals who each represent one of the technical production areas: costumes, lighting, painting, properties, makeup, scenery and sound. The Designer/Technical Director is the committee chair. The individuals who sit on the Production Committee are the supervisors of the technical departments.

The committee itself is responsible for the coordination of all technical activities for a given production. They assist in the recruitment and training of personnel for technical production work as well as maintain all of the backstage equipment.

 

The committee meets at least once per month to coordinate the daily operations of the theatre. They also perform a post-production analysis of each Sheboygan Theatre Company production to determine if improvements are necessary in any of the technical policies or procedures.  Recommended guideline changes are to be approved by the Designer/Technical Director. 

 

Departmental Supervisor

1. Serve as a member of the Production Committee and attend all meetings.

2. Be responsible for the organization of storage areas, equipment and supplies within your departmental area. Keeping things organized will help to facilitate the transition between shows.
3. Assist the Designer/Technical in the maintenance of all equipment within your area.  To make recommendations on what equipment needs professional service or preventative maintenance.

4. Be responsible for the maintenance of the list of names and addresses of all participants interested in working within your department.

5. Assist the Designer/Technical Director in selecting designers, masters or mistresses, as the case may be, for all Sheboygan Theatre Company productions.

6. Function as a consultant to the designer, master or mistress of a given production. Answer questions, help to solve problems and give them the necessary support to do the best job they are capable of doing.

7. Make recommendations regarding the needs of your department to the Designer/Technical Director.  Needs may include new equipment requests, replacement equipment, or storage requests, etc.

8. Support, explain and modify any existing safety and operating guidelines as necessary to provide a safe working environment for department personnel.

9. Each supervisor is to design or master at least one show per season.

 

 

 

Job
Descriptions

 

Costume Department

 

Costume Designer
1. Obtain a script for the show you will be designing from either the Director of Theatre or the Designer/Technical Director. Please allow yourself ample time to read the script and to become familiar with it prior to the production meeting.

2. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinated and a calendar of deadlines will be formulated.

3. Within the concept of the show, determine the specific costume needs as outlined in the script and design a costume plot that “fits” the show.

4. Meet with the Costume Mistress, after your designs have been approved, to discuss the specifics of your design. It is most important that your complete design is conveyed to the Costume Mistress so that a “plan of attack” can be formulated and deadlines can be agreed upon.

5. Coordinate with the Departmental Supervisor the contacting of all participants on the costume crew list.  All participants must be contacted and given an opportunity to work on the show.  This is to include arranging for the costume crew to be represented during the run of a show in case of an emergency, assist with microphone placement, for quick costume changes, and to make any special costume preparations.  Keep a detailed phone log of all of your contact with participants.

6. Meet with the Costume Mistress and develop a suitable work schedule. This schedule should include fitting times, altering times as well as times for general construction of costumes.

7. With the Designer/Technical Director and the Costume Mistress, supervise the costume crew in the taking of measurements, fitting, altering and building of costumes. If any costumes are to be pulled and altered for a character, it is the responsibility of the Costume Designer to pull the necessary costume(s). Since you have done the design work on the show, the specific “look” of all the characters in the show are your responsibility.

8. It is the responsibility of the Costume Designer to make sure that all necessary costumes for a given production are completed by the first dress rehearsal and located in appropriate areas. The first dress rehearsal is generally the Monday before the show opens to the public.

9. Support and explain all safety and operating guidelines as necessary.

10. Meet all deadlines as determined at the production meeting.

11. Work within the allotted budget and coordinate all purchases with the Designer/Technical Director. Please note that, in general, the Costume Designer makes whatever purchases are necessary to complete the costume plot for the show which they have designed. If this is not possible then a coordination effort is needed between the Costume Mistress and the Designer/Technical Director.

12. Be in attendance at all dress rehearsals and note sessions. If your attendance is not possible please make certain that you are properly represented.

13. Assist in the supervision of the strike of the show as it relates to costumes. This is to include the putting away of all costumes that belong to the Sheboygan Theatre Company as well as the general cleaning of the costume shop and related storage areas. It would be advisable to contact a costume crew to assist you in this endeavor.

14. Communicate what actors need to provide in clothing to the Technical Director or Director prior to the first audition.

15. Work with the allotted budget and coordinate all purchases with the Designer/Technical Director. Many businesses in town will accept Purchase Orders from us and they can be obtained from the Designer/Technical Director. If you must purchase an item with your own money, be sure to give your receipt to the Designer/Technical Director so that you may be reimbursed quickly.

16. Assist in the supervision of the strike of the show as it relates to costumes. Make certain that all costumes are returned to their proper location in the costume room and all items that were borrowed are returned to their rightful owners within a reasonable amount of time.

 

Costume Mistress
1. Attend a meeting with the Costume Designer to discuss the overall costume needs for the show as well as formulate an adequate work schedule to complete the costumes for the show in a timely manner.

2. If necessary, coordinate with the Departmental Supervisor and/or the Costume Designer the contacting of all of the participants on the costume crew list. All participants must be contacted and given the opportunity to work on the production. Keep a detailed phone log of all of your contact with participants.

3. With the Costume Designer and the Designer/Technical Director, supervise the costume crew in each phase of the costume process for a given show. This would include everything from the taking of measurements to the final fittings.

4. Support and explain all safety and operating guidelines as necessary.

5. Meet all deadlines as determined by the Costume Designer and the production meeting.

6. Work within the allotted budget and coordinate all purchases with the Costume Designer or the Designer/Technical Director.

7. Make certain that the costume shop area is cleaned after every work session. It is important to provide a safe, clean working environment for the participants.

8. Coordinate with the Costume Designer an adequate schedule so that least one of you or an approved representative is present at all work sessions.

9. Assist in the supervision of the strike of the show as it relates to costumes that belong to the Sheboygan Theatre Company as well as the general cleaning of the costume shop and related storage areas. It would be advisable to contact a costume crew to assist you in doing any laundry that needs to be done. In general, laundry is done during the week after the show closes.

10. Make certain that the work schedule calendar is posted on the bulletin board by first tech.

 

Costume Crew Member
1. Accept an assignment or assignments related to the execution of the costumes for a given production. This would include anything from the taking of measurements to the final fittings.

2. Agree to work within the outlined concept of the production in the execution of the costume plot.

3. Fulfill the accepted assignment or assignments according to the deadlines and schedules determined by the Costume Designer and the Costume Mistress.

4. Adhere to all safety and operating guidelines.

5. Adhere to all crew call times as determined by the Costume Designer and the Costume Mistress.

6. If you are unable to attend a pre-determined meeting of the costume crew, you are expected to contact the Costume Designer or the Costume Mistress. If they cannot be reached, please call the tech office and leave a message with the Designer/Technical Director.

7. Costume crew members during tech and the show run are to be available in case of an emergency, assist with microphone changes, for quick costume changes, and to make any special costume preparations.

Costume Department Operating Guidelines
1. Costume crew workdays and hours shall be determined jointly by the Costume Designer and the Costume Mistress. Due to the individual needs of a given show, the hours may vary greatly.

2. At the end of an evenings work, all material and supplies are to be put away properly. The costume shop and all related storage areas are to be kept clean on a daily basis.

3. If a crew member is unable to work when scheduled, it is expected that they shall contact the Costume Designer or the Costume Mistress and let them know as soon as possible. If they cannot be reached, call the tech office and leave a message with the Designer/Technical Director.

4. Safe working habits are expected. Horseplay will not be tolerated.

5. Report all injuries promptly.

6. If you will be leaving an evening work session early, please inform the Costume Designer or the Costume Mistress promptly so that work can be rescheduled accordingly.

7. If at any time you feel unsafe or physically unable to do something that you are asked to do, tell the person in charge. We do not want you to do something that you cannot or should not do.

8. The signed in, in charge costume crew member during all shows and technical rehearsals needs to report to the Stage Manager when the department is "ready to start," or by 5 minutes before the house opens (or tech rehearsal starts) on stage, whichever comes sooner.

9. Costumes covers many types of items and in several locations. If you need to borrow an item(s) from costumes please notify the costume department supervisor or technical director before doing so. This will make sure that Costumes is not planning on using an item for a production or that the item in question is not on our restricted list (expensive, hard to replace, or fragile). We can discuss if a substitute would be acceptable or, if not, the care and handling of the item in question. If you borrow an item, you may not change, alter, or damage the item in any way without authorization from the costume department supervisor or technical director. When returning an item(s), please bring it to the costume shop and we will put the item(s) away.

 

 

The Lighting Department

 

Lighting Designer
1. Obtain a script for the show you will be designing from either the Director of Theatre or the Designer/Technical Director. Please allow yourself ample time to read the script and to become familiar with it prior to the production meeting.

2. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinated and a calendar of deadlines will be formulated.

3. Within the concept of the show, determine the specific lighting needs as outlined in the script and design a light plot that “fits” the show.

4. Secure an individual to serve as your Master Electrician with the assistance of the Designer/Technical Director. It is important that the two of you work well together so that things run as smoothly as possible.

5. With the Master Electrician, determine a date to hold a meeting of the light crew members.

6. Chair a meeting of the light crew members. During this meeting it is necessary to discuss the specific need of the show, deadlines as well as formulate a detailed work schedule.

7. Supervise the light crew in the hanging, wiring, focusing and gelling of all lighting instruments used with the assistance of the Master Electrician and the Designer/Technical Director. It is also necessary to oversee the programming and cueing of the light board.  Supervise the rigging and operation of the special effects.

8. It is your responsibility to make certain that all necessary light cues for the show have been properly recorded prior to the first technical rehearsal. This includes all necessary warmer cues before the show as well as during intermission.

9. Support and explain all safety and operating guidelines.

10. Meet all deadlines as determined at the production meeting.

11. Work within the limits of available equipment and the allotted budget and coordinate all purchases through the Designer/Technical Director.

12. Be in attendance at all technical rehearsals and note sessions. If it is not possible for you to attend, please make certain that you are properly represented.

13. If it becomes necessary to make revisions of lighting cues during the run of a given production, it is your responsibility to coordinate the revisions with the Stage Manager.

14. Develop and program a standard light check cue before the pre-show cue and communicate any special light check needs.

15. Watch at least one run-through of the actor's rehearsal.

 

Master Electrician
1. Attend a meeting with the Lighting Designer to discuss the specific needs of the show as well as the basic approach as it relates to the lighting and special effects.

2. Contact each participant on the light crew list to develop a crew to work on the set-up and/or the running of the show. Keep a detailed phone log of all your contact with the participants.

3. Attend the meeting of the lighting department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined.

4. Contact any participant who was unable to attend the meeting and make sure you work them into the schedule for the show.

5. Lead the crew members in the hanging, wiring, focusing and gelling of all lighting instruments and special effects used with the assistance of the Light Designer and the Designer/Technical Director.  Some supervision may be necessary in the programming of the computer as well.  Assist in the supervision of  the rigging and operation of the special effects.

6. You should have basic familiarity with the lighting instruments as well as the dimming and computer system in order to be an effective Master Electrician.

7. Support and explain all safety and operating guidelines.

8. Meet all deadlines as determined by the Lighting Designer and the needs of the production.

9. Assist in the supervision of the strike of the show as it relates to lighting and special effects.

10. Find one person, but not more than two, to serve as the light board operator.

11. Make certain that the work schedule calendar is posted on the bulletin board by first tech.

 

Light Crew Members
1. Attend the meeting of the lighting department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, it is your responsibility to contact the Lighting Designer or the Master Electrician to receive information regarding the specific needs of the production.

2. Accept an assignment or assignments related to the execution of the light design, the set-up or operation of lighting equipment or special effects and/or the strike of the show.

3. Agree to work within the outlined concept of the production in the hanging, wiring, focusing and gelling of all lighting equipment and special effects.

4. Fulfill the accepted assignment(s) according to the deadlines and schedules determined by the Light Designer and Master Electrician.  Agree to work within the outlined plan for hanging, wiring, focusing and gelling of all lighting instruments and special effects.

5. Adhere to all safety and operating guidelines.

6. Adhere to all crew call times as determined by the Light Designer and Master Electrician or the needs of a given production.

7. If you are unable to work when you are scheduled, you are expected to contact the Light Designer or Master Electrician, and call the theatre tech office and leave a message with the Designer/Technical Director.

 

Lighting Department Operating Guidelines
1. Light crew work days shall be determined by the Light Designer and the Master Electrician as well as the needs of a given production. In general, work hours are Monday through Friday from 7:00 to 10:00 p.m. Some Saturday morning hours may be used if necessary.

2. At the end of an evenings work, all tools and supplies are to be put away properly. The light booth as well as the catwalk is to be kept clean on a daily basis.

3. If a crew member is unable to work when scheduled, it is expected that they shall contact the Light Designer or Master Electrician and let him/her know as soon as possible. If the Designer or the Master Electrician cannot be reached, call the theatre tech office and leave a message with the Designer/Technical Director.

4. If you will be leaving an evening work session early, please inform the Light Designer or Master Electrician promptly so that work can be rescheduled accordingly.

5. It is expected that you will wear black attire when running a show.  Light crew personnel are seen by the audience and therefore expected to dress and act in a professional manner.  Those who are to wear black include the light board operator, followspot operators, special effects operators, and anyone else assisting the operation of lights during a production.

6. It is the individual crew member’s responsibility to notify the Master Electrician if they are unable to attend a given rehearsal or performance. Notification is expected at least 3 hours prior to curtain time.

7. A light board operated is expected to arrive at the theatre approximately 1 hour before the house opens. During this time, he/she is expected to turn on all the necessary equipment, follow established procedures, make all necessary dimmer/equipment checks as well as any repairs or maintenance that are necessary.

8. The light board operator is responsible to secure that light booth and the computer after each rehearsal or performance. This is to include closing and locking all windows as well as covering the computer console and monitor.

9. A followspot operator is expected to arrive at the theatre approximately 1/2 hour before the house opens. Follow spot operators and special effects operators are to report to the light board operator when they are ready.

10. As a followspot operator, movement across the inner and/or the outer catwalk is necessary. It is most important that movement and talking be kept to an absolute minimum. Please remember that sound carries.

11. As a general rule, no guests are allowed in the light booth or on catwalk with you. The light booth is a small place and the catwalk can be very dangerous, especially in the dark.

12. The light board operator during all shows and technical rehearsals needs to report to the Stage Manager when the department is "ready to start," or by 5 minutes before the house opens (or tech rehearsal starts) whichever comes sooner.

 

The Makeup Department

 

Makeup Designer
1. Obtain a script for the show you will be designing from either the Director of Theatre or the Designer/Technical Director. Please allow yourself ample time to read the script and to become familiar with it prior to the production meeting.

2. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinated and a calendar of deadlines will be formulated.

3. Within the concept of the show, determine the specific makeup needs as outlined in the script and design a makeup plot that “fits” the show.

4. Coordinate with the Department Supervisor the contacting of all participants on the makeup crew list. Keep a detailed phone log of all of your contact with the participants.

5. Chair a workshop of the makeup crew to discuss the needs of the show, deadlines and specific work assignments. Scheduled workshop on Tech Weekend is to give the crew and cast the details of the show's design. It is at the Designer's discretion, with the Director's approval, to call an early workshop on Tech Saturday or Sunday to apply full makeup. This is helpful when there is a large cast and/or inexperienced cast. In the case of large cast shows or makeup special needs to request an expanded workshop to address makeup needs.

6. Contact any participant who was unable to attend your workshop and make sure you work them into the schedule for the show.

7. With the Designer/Technical Director, at the workshop supervise the makeup crew and/or the cast members in the application of makeup as it relates to the show.

8. It is your responsibility to make sure that all makeup is put away after each performance as well as all tools and supplies are properly cleaned. If you are using a crew chief, coordinate with that person the cleaning of the makeup area.

9. Support and explain all safety and operating guidelines.

10. Meet all deadlines as determined at the production meeting.

11. Work within the allotted budget and materials available and coordinate all purchases with the Designer/Technical Director. Turn in a list of makeup to be ordered at least two weeks prior to tech.

12. Be in attendance at all dress rehearsals and note sessions when makeup is being used. If it is not possible for you to attend, please make sure that you are properly represented. Please note that it is your responsibility to communicate to the Crew Chief any changes that have been made in the application or the look of the makeup.

13. Assist in the supervision of the strike of the show as it relates to makeup. This is to include the cleaning of all equipment and supplies, the re-organization of the makeup cabinet and the washing down of all counter tops in the dressing rooms. Make notes of shortages of makeup supplies needed for the next show and pass that to the next designer.

14. Assist the next Makeup Designer, if necessary, in making certain that the makeup cabinet is adequately stocked for the upcoming show. Ensure that there is an adequate makeup supply and application tools for the size of the cast.

15. Supervise the makeup crew and/or cast members in the pre-show application of makeup, subsequent changes as determined by the makeup plot and the proper cleaning and storage of all makeup and supplies.

16. Be prepared to make emergency makeup changes or touch-ups.

17. Please note that it is your responsibility to communicate to the makeup crew any changes in the application of the look of the makeup.

18. Be in attendance throughout the portion of the performance where makeup is being used and assume the general responsibilities of the Makeup Designer.

19. If you are unable to attend a rehearsal or performance, call the Makeup Designer immediately to let him/her know and the Technical Director.

20. Make certain that the work schedule calendar is posted on the bulletin board by first tech.

Makeup Crew Chief
1. Attend the meeting of the makeup department workshop at which time the basic concept and the needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, be certain to contact the Makeup Designer to receive information regarding the specific needs of the production.

Makeup Crew Member

1. Attend the meeting/workshop of the makeup department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, it is your responsibility to contact the Makeup Designer to receive information regarding the specific needs of the production.

2. Accept an assignment or assignments related to the execution of the makeup design either pre show or during the performance, if necessary. Assignments may also related to the proper cleaning and storing of all makeup equipment and supplies.

3. Fulfill the accepted assignment(s) according to the deadlines and schedules determined by the Makeup Designer/Makeup Crew Chief during the makeup department meeting.

4. Adhere to all safety and operating guidelines.

5. Adhere to all crew call times as determined by the Makeup Designer/Makeup Crew Chief and the needs of the given production.

6. If you are unable to attend a rehearsal or performance that you are scheduled to work - you are expected to contact the Makeup Designer or the Makeup Crew Chief. If the Designer or Crew Chief cannot be reached, please call the theatre tech office and leave a message with the Designer/Technical Director.

Makeup Department Operating Guidelines
1. In general, makeup is first applied at the first dress rehearsal of a given production and every night thereafter until the show closes.

2. Call times for crew shall be determined by the Makeup Designer/Makeup Crew Chief based on the specific needs of the production. It is expected that the makeup crew be at the theatre and ready to assist the cast in the application of makeup no later than 10 (ten) minutes prior to the first call time for the cast members.

3. At the end of an evenings’ work, all tools and supplies are to be put away properly. The dressing rooms and makeup storage cabinet are to be kept clean on a daily basis.

4. Safe working habits are expected. Horseplay will not be tolerated.

5. Report all injuries promptly.

6. It is expected that you will wear black attire if it is necessary to execute any makeup changes in the backstage area. The potential for being seen by the audience increases as you get closer to the performance area. Since there is a potential for a makeup crew member to be seen by the audience, you are expected to dress and act in a professional manner.

7. It is the individual crew member’s responsibility to notify the Makeup Designer/Makeup Crew Chief if they are unable to attend a given rehearsal or performance. If the Designer or Crew Chief cannot be reached, please call the theatre tech office and leave a message with the Designer/Technical Director.

8. In general, crew members may leave once the show begins or all of makeup application is complete and the dressing rooms and makeup storage cabinets are properly cleaned. Only those crew members assigned to help with necessary makeup changes need to stay.

9. The lead makeup crew member during all shows and technical rehearsals needs to report to the Stage Manager when the department is "ready to start," or by 5 minutes before the house opens (or curtain during tech) meet with the Stage Manager on stage, whichever comes sooner.

 

The Paint Department

 

Master Painter
1. Meet with the Designer/Technical Director to determine the basic needs of the show.

2. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinate and a calendar of deadlines will be formulated.

3. Contact each participant on the paint crew list and set up a meeting of crew members interested in working on the show. Keep a detailed phone log of all of your contact with the participants.

4. Chair a meeting of the paint crew during which deadlines will be discussed, assignments made and a detailed work schedule formulated.

5. Contact any participant who was unable to attend your meeting and make sure you work them into the schedule for the show.

6. With the Designer/Technical Director, supervise the paint crew in all aspects of the painting of set pieces and scenery, ensuring that all decisions are made within the context of the production concept.

7. Work within the allotted budget and within the limits of the supplies available and keep the Designer/Technical Director appraised of any needs or possible purchases.

8. Make sure that all brushes are adequately cleaned, supplies put away properly and the paint area reorganized at the end of each evening’s work.

9. Ensure that the paint area is completely cleaned and organized on or before tech weekend.

 

Paint Crew Member
1. Attend the meeting of the paint department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, it is your responsibility to contact the Master Painter to receive information regarding the specific needs of the production.

2. Accept an assignment or assignments related to the painting of scenery and/or scenic pieces for the production and agree to work within the outlined concept.

3. Fulfill the assignment(s) according to the deadlines and schedules determined by the Master Painter during the paint department meeting.

4. Adhere to all safety and operating guidelines.

5. Be responsible for daily cleanup on the set as well as in the paint shop at the end of each evening's work. This includes the proper cleaning of all brushes as well as the reorganizing of the shop area.

6. If you are unable to work when scheduled, it is your responsibility to contact the Master Painter and let him/her know. If the Master Painter cannot be reached, please call the theatre tech office and leave a message with the Designer/Technical Director.

7. Upon completion of all painting tasks for a given production, be willing to return the paint shop area to the condition it was in at the start of the painting process.

Paint Department Operating Guidelines
1. Paint shop hours are generally 6:30 to 9:30 p.m. Monday through Friday. Hours may differ depending on the demands of a given show.

2. Cleanup begins at approximately 9:15 each evening. All tools and supplies must be properly cleaned and put away. It is most important that the shop area be left clean after every work session.

3. If a crew member is unable to work when scheduled, it is expected that they shall contact the Master Painter and let him/her know as soon as possible. If the Master Painter cannot be reached, call the theatre tech office and leave a message with the Designer/Technical Director.

4. Safe working habits are expected. Horseplay will not be tolerated.

5. Report all injuries promptly.

6. If you must leave a work session early, please advise the Master Painter early in the evening so that work can be rescheduled accordingly.

7. If at any time you feel unsafe or physically unable to do something that you are asked to do, tell the person in charge. We do not want you to do something that you cannot or should not do.

The Properties Department and Running Crew

 

Property Mistress/Master
1. Obtain a script for the show you will be working on from either the Director of Theatre or the Designer/Technical Director. Please allow yourself ample time to read the script and to become familiar with it prior to the production meeting.

2. Attend the production meeting for the show. During this meeting the basic concept for the show will be discussed, the needs of the various crews will be coordinate and a calendar of deadlines will be formulated.

3. Within the concept of the show, determine the specific property needs as outlined in the script.

4. With the Designer/Technical Director, setup a date for the Prop Department meeting. Be sure to allow ample time for the Director of Theatre to assemble his/her property needs, as well as enough time for the gathering of all necessary props.

5. Phone all potential crew chiefs to inform them of the upcoming meeting. The remaining calling list shall be divided between the Property Mistress/Master and the crew chiefs and calls shall be made to the rest of the participants. A detailed phone log shall be kept by the Property Mistress/Master of all contact with the participants. This includes the calling of all running crew members as well. Running crew includes fly-line operators, elevator operator and any crew member needed for the movement of heavier scenic or prop units.

6. Chair a meeting of the properties crew at which time a detailed work schedule, gathering plan and calendar will be formulated.

7. Contact any participant who was unable to attend your meeting and make sure you work them into the schedule for the show.

8. With the Designer/Technical Director, supervise the property crew in the gathering, borrowing and placement of all props. Be sure to keep in contact with both the crew as well as the Designer/Technical Director regarding props that are more difficult to find.

9. Work within the allotted budget and coordinate all purchases with the Designer/Technical Director. Many businesses in town will accept Purchase Orders from us and they can be obtained from the Designer/Technical Director. If you must purchase an item with your own money, be sure to give your receipt to the Designer/Technical Director so that you may be reimbursed quickly.

10. Meet all deadlines as determined at the production meeting.

11. Be in attendance at all technical rehearsals and note sessions. If you are unable to attend, please make sure that you are properly represented.

12. During tech weekend, prepare a checklist of all props and their location as well as a complete listing of all scene changes. Coordinate the execution of any property changes from scene to scene. Help all crew members become familiar with the check list and all scene shifts.

13. If it becomes necessary to lock certain props up at night, a detailed list shall be formulated for this as well.

14. Make certain that the work schedule calendar is posted on the bulletin board by the first tech.

15. Assist in the supervision of the strike of the show as it relates to props. Make certain that all props are returned to their proper location in the prop room and that all items that were borrowed are returned to their rightful owners within a reasonable amount of time.

16. Coordinate with the Department Supervisor what shall be done with any prop that is new. Before a new prop can be stored away, it must be properly entered into the catalog.

 

Property Crew Chief
1. Assist the Property Mistress/Master in making phone calls of all participants of the property crew for the departmental meeting. Keep a detailed phone log of all your contact with the participants.

2. Attend the meeting of the property department at which time the basic concept and the needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, be certain to contact the Property Mistress/Master to receive information regarding the specific needs of the property.

3. Assist the Property Mistress/Master in the gathering of props, ensuring that all decisions concerning the properties are made within the context of the production concept.

4. Supervise the property/running crew at a given performance in the pre-show placement of props, their subsequent movement according to the property plot, and their post-show check. Please be certain to check all props against the check list each night before the house opens.

5. Be prepared to make emergency repairs to damaged hand props.

6. Be in attendance throughout the entire performance and assume the general responsibilities of the Property Mistress/Master.

7. If you are suddenly unable to attend a rehearsal or a performance, call the Property Mistress/Master immediately.  Also call the Designer/Technical Director at 459-3149 and be sure to leave a message if no one answers.

8. The crew chief or props master during all shows and technical rehearsals needs to report to the Stage Manager when the department is "ready to start," or by 5 minutes before the house opens (or curtain during tech) meet with the Stage Manager on stage, whichever comes sooner.

 

Property/Running Crew Members
1. Attend the meeting of the Property Department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, it is your responsibility to contact the Property Mistress/Master to receive information regarding the specific needs of the production.

2. If you are a member of the property/running crew; accept an assignment or assignments related to the acquisition of props for a given production.

3. If you are a member of the property/running crew; accept an assignment or assignments related to the placement and subsequent movement of properties during the course of a given production. As a running crew member, you may be requested to accept an assignment related to the movement of set pieces, fly-lines, elevators or heavy furniture pieces during the course of a given production.

4. Fulfill the accepted assignment(s) according to the deadlines and schedules determined by the Property Mistress/Master at the department meeting.

5. If you are unable to attend a rehearsal or performance that you have been scheduled for, it is your responsibility to contact the Property Mistress/Master or the appropriate Crew Chief and the Technical Director with a phone call.

6. If you are working on the final performance night, accept an assignment related to the striking of the show as it relates to the properties department.

 

Properties Department Operating Guidelines
1. Call times for properties/running crew over tech weekend shall be determined by the Property Mistress/Master at the department meeting.

2. Call times for properties/running crew personnel on performance days/nights shall generally be 1 hour prior to the scheduled curtain time. Please note that call times may be adjusted on larger shows.

3. It is suggested that each crew member watch a run-through prior to tech weekend. It has been found to be beneficial to get to know the show before it goes into technical rehearsals.

4. Property/running crew personnel must attend at least two technical rehearsals, one of which must be on tech Saturday, tech Sunday or Monday. Please understand that because there are likely to be a larger number of people present on these days it may be necessary to “shadow” someone in order for you to learn the show. It is necessary that all property/running crew personnel are trained during the first three days of tech week so that a smooth run becomes possible prior to opening night.

5. Be advised that the preview performance night (traditionally the Thursday night before opening) will be treated as a performance as there are normally audience members present.

6. Please be prompt for all call times during rehearsals and performances. If you will be late or need to leave early, it is your responsibility to let the Crew Chief know so that adjustments may be made.

7. It is expected that you will wear black attire when running a show. Properties/running crew personnel are seen by the audience and therefore expected to dress and act in a professional manner.

8. At the end of an evenings work, all tools and supplies are to be put away properly. The property room is to be kept clean on a daily basis.

9. Safe working habits are expected. Horseplay will not be tolerated.

10. Report all injuries promptly.

11. It is the individual crew member’s responsibility to notify the Property Mistress/Master or the Crew Chief if they are unable to attend a given rehearsal or performance that they were scheduled to work. If possible, contact the Property Mistress/Master or the Crew Chief by 6:00 or call the theatre between 6:30 and 700. Please do not call the theatre after 7:00 as the box office personnel answer the phone and it is more difficult to get a message backstage.

12. If at any time you feel unsafe or physically unable to do something that you are asked to do, tell the person in charge. We do not want you to do something that you cannot or should not do.

The Scenery Department

Master Carpenter
1. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinated and a calendar of deadlines will be formulated.

2. If necessary, meet with the Designer/Technical Director after the production meeting to discuss the specific needs of the show as well as scheduling work crews.

3. Coordinate the contacting of each participant with either the Departmental Supervisor or the Designer/Technical Director. Each participant on the scenery department crew list shall be contacted by telephone with the option of a letter and given the opportunity to be involved with the current production. Keep a detailed phone log of all your contact with the participants.

4. Keep a detailed calendar of all work sessions and the personnel who committed to work. Knowing who is due in on any given evening will greatly assist in the scheduling of an evening's workload.

5. With the Designer/Technical Director, schedule the workload for a given evening. Make certain that all participants have been accounted for and that no one has been assigned to a task that they may not be capable of doing.

6. With the Designer/Technical Director, supervise the scenery crew in the necessary building, assembly and installation of scenic units for a given production.

7. Work with in the limit of supplies available as well as within the allotted budget and coordinate all purchase with the Designer/Technical Director.

8. Ensure that all crew members are familiar with any machinery that they are asked to use.

9. Make certain that the stage area and the scene shop area have been thoroughly cleaned after each evenings work and that all tools are accounted for and put away properly. The stage area and shop area should be cleaned and swept nightly.

10. Once the scenery is completed for a given production, make periodic checks on the status of that scenery and be available to make and/or supervise any necessary repairs.

11. Support and explain all safety and operating guidelines.

12. Meet all deadlines as determined at the production meeting.

13. Assist in the supervision of the strike of the show as it relates to the scenery.

 

Scenery Crew Member
1. Accept an assignment or assignments related to the constructing, assembly or modifying of scenery, its upkeep during the run of the show and/or its disassembly during the strike of the show.

2. Agree to work within the outlined concept of the production in the building, assembling or modifying of scenic elements.

3. Fulfill all accepted assignment(s) according to the deadlines and schedules determined by the Master Carpenter or the Designer/Technical Director.

4. Adhere to all safety and operating guidelines.

5. Adhere to all crew call times as determined by the Master Carpenter or the needs of a given production.

Scenery Department Operating Guidelines
1. In general, scene shop hours are from 6:00 to 10:00 p.m. Monday through Friday. Some Saturday work sessions may be scheduled depending on the demands of a particular production.

2. At the end of an evenings work, all tools and supplies are to be put away properly and the stage and shop areas are to be thoroughly swept. These areas are to be kept clean on a daily basis.

3. If a crew member is unable to work when scheduled, it is expected that they will contact the Master Carpenter and let him/her know as soon as possible. If the Master Carpenter cannot be reached, please call the theatre tech office and leave a message with the Designer/Technical Director.

4. Safe working habits are expected. Horseplay will not be tolerated.

5. Report all injuries promptly.

6. If you will be leaving an evening work session early, please inform the Master Carpenter early in the evening so that work can be rescheduled accordingly.

7. If at any time you feel unsafe or physically unable to do something that you are asked to do, tell the person in charge. We do not want you to do something that you cannot or should not do.

 

The Sound Department

 

Sound Designer
1. Obtain a script for the show you will be designing from either the Director of Theatre or the Designer/Technical Director. Please allow yourself ample time to read the script and to become familiar with it prior to the production meeting.

2. Attend the production meeting for the show. During this meeting the basic concept of the show will be discussed, the needs of the various crews will be coordinated and a calendar of deadlines will be formulated.

3. Within the concept of the show, determine the specific sound needs as outlined in the script and design a sound plot that “fits” the concept.

4. Contact each participant on the sound crew list and setup a meeting to discuss the needs of the show, deadlines and work assignments. Keep a detailed phone log of all of your contact with the participants.

5. Chair a meeting of the sound crew during which a detailed work schedule will be  formulated.

6. Contact any participant who was unable to attend your meeting and make sure you work them into the schedule for the show.

7. With the Designer/Technical Director, supervise the sound crew members in the setup of all necessary equipment. Ensure that all cable is run and dressed properly.

8. It is your responsibility to make sure that all the necessary sound cues for the show have been recorded prior to the first technical rehearsal. This includes the recording of all necessary music before the show as well as during intermission.  This also includes preshow, intermission music, and lobby music, if necessary.

9. Support and explain all safety and operating guidelines.

10. Meet all deadlines as determined at the production meeting.

11. Work within the allotted budget and coordinate all purchases through the Designer/Technical Director.

12. Be in attendance at all technical rehearsals and note sessions. If it is not possible for you to attend, please make certain that you are properly represented.

13. Assist in the supervision of the strike of the show as it relates to sound.

14. All equipment requested from Horace Mann must be acquired by the Designer/Technical Director.  The equipment will be returned to the Designer/Technical Director in the same condition during strike.

15. Find preferably one, but not more than two people to serve as soundboard operators. Sound board operators must run two technical rehearsals minimum.

16. Watch at least one full rehearsal run-through.

17. Make certain that the work schedule calendar is posted on the bulletin board by first tech.

 

Sound Crew Member
1. Attend the meeting of the sound department at which time the basic concept and needs of the show will be explained, deadlines defined, assignments made and crew work schedules determined. If you are unable to attend this meeting, it is your responsibility to contact the Sound Designer to receive information regarding the specific needs of the production.

2. Accept an assignment or assignments related to the execution of the sound effects, the setup and operation of the sound enhancement equipment and/or the strike of the show.

3. Agree to work within the outlined concept of the production in the acquiring of or the creation of live or pre-recorded sound effects, in the placement and wiring of sound effects components, and in the microphone placement for sound enhancement.

4. Fulfill the accepted assignment(s) according to the deadlines and schedules determined by the Sound Designer during the sound department meeting.

5. Adhere to all safety and operating guidelines.

6. Adhere to all crew call times as determined by the Sound Designer and the needs of a given production.

7. If you are unable to attend a pre-determined meeting of the sound crew, a rehearsal, performance or strike - you are expected to contact the Sound Designer. If the designer cannot be reached, please call the theatre tech office and leave a message with the Designer/Technical Director.

8. Test all microphones, sound effects and all sound equipment prior to house opens.

 

Sound Department Operating Guidelines
1. Sound crew workdays and hours shall be determined by the Sound Designer at the sound crew production meeting.

2. At the end of an evenings work, all tools and supplies are to be put away properly. The sound booth and sound room is to be kept clean and organized on a daily basis.

3. If a crew member is unable to work when scheduled, it is expected that they shall contact the Sound Designer and let him/her know as soon as possible. If the Sound Designer cannot be reached, call the theatre tech office and leave a message with the Designer/Technical Director.

4. Safe working habits are expected.

5. Report all injuries promptly.

6. If you will be leaving an evening work session early, please inform the Sound Designer promptly so that work can be rescheduled accordingly.

7. It is expected that you will wear black attire when running a show. Sound crew personnel are seen by the audience and expected to dress and act in a professional manner.

9. The Sound Board Operator during all shows and technical rehearsals needs to report to the Stage Manager when the department is "ready to start," or by 5 minutes before the house opens (or curtain during tech) meet with the Stage Manager on stage, whichever comes sooner.
 

Stage
Management
Handbook
Adopted by:
The Sheboygan Theatre Company Production Committee, July 1997

 

Responsibilities of Stage Managers

• To assist the artistic director and technical director in the supervision of crew members
• Will attend any pre-production meetings.
• To assist the technical director in taping out the ground plan on the floor of the rehearsal space, if possible.

Auditions
• To be present at all auditions.
• To greet people at auditions to make them feel welcome and answer any questions.
• To hand out auditions forms and any other pieces of information.
• To be available to the director during the audition procedure.
• To assist the director during the casting procedure.
• To notify all cast members concerning the first rehearsal.
• To sign out scripts to cast members.
• To explain to parents about parent supervision during rehearsals and performances for large cast shows with children.

 

Actors’ Rehearsals
• To hand out rehearsal schedules to all cast and crew members.
• To have all cast members fill out public relations forms.
• To formulate a list of phone numbers of all cast members.
• To arrive at the theatre each evening no later than 15 minutes prior to rehearsal.
• To go through the nightly procedure, which includes:
• seeing that all necessary scenery and rehearsal props are ready for rehearsal.
• checking that all actors called are present.
• phoning any actors called, but not present.
• To maintain a production book with all blocking, business, light cues, scenic cues, sound cues, etc.
• To maintain a list of all properties and coordinate needs with the props master.
• To coordinate with the Costume Department concerning actor fittings and costume needs.
• To take any notes for the director or crew.
• To communicate with all departments any changes which would affect them such as additions and special effects.
• To know the whereabouts of all actors during the rehearsals.
• To maintain discipline at all rehearsals.
• To insure that rehearsals start and stop on time.
• To communicate to the cast such information as:
• parking
• use of telephone
• rules of eating, drinking, smoking
• rules of theatre maintenance
• rehearsal calls
• complimentary tickets
• rehearsal schedule
• conflicts
• T-shirts
• Assign responsibilities to Assistant Stage Managers

 

Technical Rehearsals
To work with the director and technical director in the coordination and rehearsal of any set changes
• To record in the production book all light, sound, curtain, elevator and other cues numbered in proper sequence.
• To call all technical cues during the run of the show.
• To insure that all technical departments are ready so that tech rehearsal can begin on schedule.
• To begin assuming total technical supervisory responsibilities for the running of the show.
• To decide if assistant stage managers backstage will be calling any cues.

Performances
• To assume total responsibility for performances to include:
• actors
• technical crews
• front of house personnel
• To post and check actor and crew sign in board.
• To call any cast or crew members unaccounted for.
• To make sure lobby doors are closed.

To insure that all of the following checks are performed prior to curtain:
• Scenery in place on and off stage
• Props are in place
• Headsets checked
• Sound system checked
• Lights checked
• Costumes ready
• Special effects checked
• Stage area in total readiness
• To give periodic “calls” to actors as time remaining before house open, green room and curtain
• To communicate each evening with the House Manager as to intermission procedures, etc.
• To instruct the House Manager to open house one half hour before curtain
• To maintain discipline over cast and crew regarding headset etiquette
• To make any necessary announcements to cast and crew

Strike
• To secure from all actors and crew any rented scripts or other materials
• To help coordinate with the Technical Director the process of strike

Note: Report any problems, concerns or comments to the Company Stage Manager

 

Stage Manager’s Schedule

The time commitment for the Stage Manager may vary with the show; however the following will usually apply:

Non-Musical Shows
The Stage Manager will assist with auditions and call-backs. The first read-thru or cast meeting needs to be attended. Attendance at blocking rehearsals is not necessary, but a minimum of 5 rehearsals must be attended before the cast is off-book. After the cast is off-book the Stage Manager needs to attend all rehearsals, technical rehearsals, dress rehearsals and performances.

Musical Shows
The Stage Managers schedule will be determined by the Artistic Director and the Stage Manager after the rehearsal schedules have been determined. Regarding music rehearsals, if there is a staggered call, the Stage Manager needs to attend until all cast has been accounted for and then at that time may leave. If no staggered calls are assigned, the Stage Manager does not need to attend that particular rehearsal.  After the cast is off book the Stage Manager needs to attend all rehearsals, technical rehearsals, dress rehearsals and performances.

Production Time Schedule
The Stage Manager’s call is the same as the cast call, no later than one hour before curtain. For example purposes a 7:30 p.m. curtain will be used.

6:30  Check sign-in board for cast and crew
   Check in with cast in dressing rooms and announce time until house open

6:40  Check with props, lights and sound for readiness

6:45  Announce 15 minutes to house open, last call for cast to check props

6:50 Check in with the house manager (introduce yourself), give any last minute instructions or changes in normal activities. Check with departments for last call before curtain. Be sure grand master is down and board operator has control. Do visual check of pre-show lighting, props, etc.

7:00 Announce that the house can open to the house manager. Turn green room lights off and announce that the house is open in the green room. Announce house open in dressing rooms, and give warm-up and/or green room warnings.

7:15  Green Room

7:25  (approx.) Call places

Inform the house manager with the intercom to close the auditorium doors according to plan.

 

Intermission
Call places 3 minutes to curtain.
Call for lobby lights to blink.
Inform house manager with intercom to close auditorium doors at end of intermission.
Start Act II

 

Headset Etiquette
Clear comms (STC’s technical crew communication system) must remain quiet during production unless conversation is pertinent to cues. Crew must be able to hear the Stage Manager’s warnings, stand-bys (if applicable) and executions, and the Stage Manager must be able to hear from the crew acknowledgement of warnings, stand-bys and executions.

Calling a Show
Light cues are numbered.
Sound cues are lettered.

Warnings are called approximately half a page cue is to be executed,
ex. Warn L.C. 5-8
  SC C

Operators are expected to acknowledge warnings with either “warned” or “standing by”

Note: When calling warnings the cue number comes last so that the operator knows that he/she is not to execute anything at this time. When calling executions the cue number comes first so that the operator responds only to the word “go”

Cue executions are called as follows:

 5 go
  C go
  Spot 1 or 2 go
  Elevator 1 or 2 go

The calling of spotlights and elevators should be determined by the Stage Manager and the operator.

Since each show is different, this style of calling may need to be altered (example, calling stand bys as well as warnings)

 

Internship Program
In order to Stage Manage a show, The Sheboygan Theatre Company has an intern program that is recommended. This process gives the participant a clear understanding of what is expected from this position. Note, there is an evaluation process connected with Steps 1 and 2.

1. The participant will assist in the stage managing of a musical show.

2. The participant may then Stage Manage a non-musical show with a mentor.

3. Following evaluation by the Company Stage Manager in conjunction with the Director of Theatre and the Technical Director, the participant would be eligible to stage manage a show on his/her own.

The Company Stage Manager is always available to help any interns or Stage Managers.

 
Assistant Stage Manager

Each Stage Manager is unique in expectations and requirements so what an Assistant Stage Manager does will be different based on the Stage Manager of the show. Below is a list of general items that the Assistant Stage Manager may be responsible for.

Auditions:
• Greet actors and make them feel welcome
• Hand out necessary paperwork and answer any questions
• Take care of late comers

Rehearsals:
• Take attendance and call anyone who is late
• Maintain conflicts list
• Take blocking notes
• Reading and standing in for absent actors
• Set up rehearsal furniture and props
• Maintain discipline
• Know cast whereabouts
• Coordinate costume fittings

Technical rehearsals/performances:
• Shadow stage managers
• Make sure actors are ready for entrances
• Make sure areas are clear for running crews and scenery
• Notify stage manager of problems or concerns
• Call cues as directed by stage manager
• Maintain noise discipline
• Maintain green room etiquette

 

 

 
Glossary

A

ALTERNATING CURRENT (AC): Electric current which alternates its direction of flow. This type of current is most commonly used in theatres.

ACT CURTAIN: A curtain that is opened and closed to mark the beginning and end of an act.

ADAPTER: A length of cable with a different type of plug on each end.

APRON: The portion of stage located in front of the proscenium arch.

ARBOR: A metal frame that is used to support counterweights in a system used to fly scenic units.

B

BARN DOOR: A metal shutter used to limit the spill created by a lighting instrument. This unit is normally added to Fresnel fixtures.

BATTEN: A pipe (usually 1-1/2 inches in diameter) on a set of lines (usually aircraft cable) to which lights, scenery or drapes are hung.

BORDER: A short black curtain located above the scenery to help hide the fly space. Sometimes referred to as a valance.

C

CALL BOARD: A bulletin board used to communicate with actors and crew located in the Green Room near the soda machine.

CLEAT: Metal hardware, or a strip of 1x2 used to secure scenic flats.

COLOR FILTER: A thin piece of colored plastic used to add color to lighting instruments.  Also known as gel.

CORNER BLOCK: A triangular piece of 1/4 inch plywood used to reinforce the corners of scenic flat units.

COUNTERWEIGHT (system): The mechanical use of weights to help balance heavy scenic units attached to battens.

CROSS FADE: Smooth fade from one cue into another.

CUE TO CUE: A rehearsal for the benefit of the technicians only. The rehearsal moves sequentially through the course of the play and is generally used to improve scene changes, sound cue execution and lighting levels.

CURTAIN WARMERS: Lighting on the Act Curtain or the scenery before the show begins.

CYCLORAMA: A large, seamless sheet of material (usually blue) hung from a batten and is normally lit to suggest a sky.

D

DARK NIGHT: Evenings when there is no performance.

DIRECT CURRENT (DC): Electrical current which flows in one direction only. Batteries are a source of direct current.

DOWNSTAGE: Toward the audience.

DRY TECH: A rehearsal for crew only to iron out mechanical problems.

DUTCHMAN: A strip of canvas or muslin used to hide the seams between scenic flats.

F

FIRE CURTAIN: A fireproof curtain located immediately in front of the Act Curtain.

FLIES: The space located above the stage area occupied by line sets and hanging scenery.

FLOOR POCKET: An opening in the stage floor which contains a receptacle for stage plugs.

FLY LINES: The ropes located on stage right which raise and lower the battens.

FOCUS: Aiming and adjusting lighting instruments.

G

GAIN: Volume control on an amplifier and mixer before the fader.

GOBO: A metal plate with a pattern cut into it. Used in a lighting instrument to project that pattern onto the stage floor or on scenery.

GRID: The metal framework above the stage which supports the rigging used to fly scenery.

GRIEVANCE:  A complaint which is accompanied by uneasiness.  For example it may be made in regards to an individual who does not follow guidelines or one who uses verbal abuse.

GROUND ROW: A low profile of scenery usually designed to represent rocks or earth. Normally it is self-standing.

H

HEADS UP: Cover your head immediately! Something may be falling from above you.

HOUSE: The auditorium and front of the theatre.

I

INTENSITY: The “brightness” of a beam of light.

INTERMISSION: A pause between acts of a play.

K

KEYSTONE: A small piece of 1/4 inch plywood cut in a wedge shape used to reinforce joints in scenery.

L

LAMP: A theatrical term for the light bulb used in a lighting instrument.

LEGS: Narrow draperies used to hide the offstage areas.

M

MASKING: Either curtains or scenic flats used to conceal the backstage areas from the audience.

MONITOR: A speaker that allows people to hear the play from a remote location.

P

“PLACES”: A signal given by the stage manager to cast and crew informing them to take their respective positions either before the rise of the curtain or at the beginning of an act.

PRE-SET: 1. A pre-determined lighting level prior to the start of an act. 2. To place props, costumes, etc. prior to the performance or their use.

PROP:
     Consumable: Items used for one performance only.
      Food: Any item eaten or drunk by the actor.
     Hand: Items handled by the actor.
     Personal: Items used by one actor only.
     Set: Furniture, rugs, draperies or pictures.

PROSCENIUM: The wall that separates the auditorium from the stage.

PROSCENIUM PANEL:  A canvas covered frame used to change the size and shape of the opening to the stage.

PYROTECHNICS: Devices used to create fire, smoke and explosive effects.

R

RAIL: The top and bottom boards in the frame of a flat.

RAKE: A platform slanted toward the audience.

RUN: The total number of performances.

RUN THROUGH: The rehearsal of a play from beginning to end instead of scene by scene.

S

SCRIM: A thinly woven material though which object may or may not be seen depending on the lighting.

SHIM: A thin piece of wood used to fill space or for leveling.

SHIN BUSTERS: Lighting instruments placed in the wings near floor level. They cast a horizontal beam of light.

SPIKE, SPIKE MARK: To mark the position of scenic items on the stage floor or the position of fly lines.

STAGE LEFT: To a person’s left as they face the audience.

STAGE RIGHT: To a person’s right as they face the audience.

STAGE WEIGHT: An iron slab placed on the arbor of a counterweight system used to balance heavy scenic units hung on battens. They are generally 1” thick per every seventeen pounds.

STILE: The left and right wooden vertical strips of a scenic flat.

STRIKE: 1. To take down sets, lights, etc. from the stage after the final performance. 2. To clear the stage of set pieces, props, etc. during a performance as part of a scene change.

T

TEASER: The long horizontal flat or drape located just behind the act curtain used to help create an adjustable proscenium opening.

TECH:  When the actors and technical crews begin the process of rehearsing together for opening night.

TOGGLE: The wooden crosspiece in a scenic flat.

TORMENTOR (torm): Long narrow curtains or flats just upstage of the act curtain located to the extreme left and right proscenium arch used to mask the wing space.

TRAVELER: A curtain that opens left to right or from the center into the wings.

U

UPSTAGE: Away from the audience.

V

VOMITORY (voms): Aisle ways located in the house that lead to the area located under the audience seating area. Used by actor for entrances and exits.

W

WINGS: The space outside of the acting area to the left and right.

Z

ZIP CORD: Lightweight household electrical wire used for practical lights on the set.
 

Final Thought
Thank You

The theatre process has been called a work of art in itself. The process of community theatre however is one that can truly be called amazing. Consider this: In a matter of a few short weeks, a group of volunteers come together, some audition, some build and paint scenery, some construct costumes, still others gather props or hang and focus lighting equipment. All of those people are working together to produce a piece of art. As many as seventy people can be scattered throughout the theatre’s facilities all working on the same product and all have the same goal - to produce the best theatre possible. It has happened over and over for many decades at the Sheboygan Theatre Company and we look forward to many, many more.

 

The Sheboygan Theatre Company is glad that you have chosen to be a part of its family. We are certain that you will find it a most rewarding experience. The Sheboygan Theatre Company exists because of you as well as for you. It is your theatre. Make the most of it and have fun!