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    Theatre

    Handbook

    By Matthew Ciulla

    Independent Study:

    Advanced Technical Theatre C

    Nancy Webster

    May 2010

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    Table of Contents

    SECTION 1 : Putting on a Production at University High Schoola) For Directors3

    b) For the Producer...5c) Technical leadership and crew.....6d) Construction.8e) Lighting....9f) Props.....12g) Sound13h) House15i) Running the Show.16

    j) Strike.17k) Summer Procedure18

    APPENDICES Appendix A

    o A-1: Summer Flyer example.....19o A-2: Strike Info Sheet example.20o A-3: Rehearsal Schedule example.21o A-4: Conflict sheet example......23o A-5: Agreement form example..24

    Appendix Bo B-1: Production Crew email example25

    Appendix Co C-1: Lighting plot example26o C-2: Master dimmer chart..28o C-3: Dimmer Locator sheet32o C-4: Power flow from Lightboard to Fixture.33o C-5: Lightboard instructions..34o C-6: Example Sound Mic Chart.39

    Appendix Do D-1 Props List example..40o D-2 Props Inventory example.42

    Appendix E: Example Signs...45 Appendix F

    o F-1 Example Run Sheet..50o F-2 Example Strike Sheet...53

    Appendix G: Summer Signs...55RULES & GUIDELINES

    a) Keys60 b) Safety Rules and Emergency Procedures Booklet..61

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    Putting on a Production at UHS---For Directors

    Section 1-a

    For DirectorsThis is an annotated timeline of a production process for the use of the Director(s).All crew members and directors should read the safety manual at the end of this booklet.

    Selection of the play Selection of the play/musical is done by the Director. There is a Fall Play and a SpringMusical. The Spring Musical is in conjunction with the Music Director. Though inputfrom students can be accepted, the selection may not be done by a consensus vote. It isvery important to keep casting in mind when selecting the play. All play selections must

    be approved by the Assistant Head of School.

    Play Dates The dates of the production must be coordinated with the Calendar Coordinator and beapproved by the Assistant Head of School. Furthermore, the dates of the Spring Musicalmust be coordinated with the Director of Advancement, because it should be coordinatedwith Grandparents Day. This increases attendance at both Grandparents Day and theMusical. However, under no circumstances can the Musical take place after AP Testing.The Musical must be before AP testing.

    Purchasing Rights The rights must be purchased for each production. It is important to know the dates of theshows before purchasing the rights. Purchase them well in advance of auditions. This isdone through the Business Manager.

    Announcing the play Fall play selection should be finished before the summer mailing is sent out to families.The director should make a flyer to put inside the summer mailing ( Appendix A-1 ).Check with the School Secretary for the date of this. The spring musical should beannounced before the start of January Term, and preferably before the end of November.

    Student Director It is within the traditional spirit of the program for the Director to select a StudentDirector who will be at every rehearsal to assist with attendance, note taking, blocking,lines, etc.; this student also helps to direct the show.

    Rehearsal Schedule A rehearsal schedule should be created before auditions. It should include every date thatthe theatre department will require use of the theatre, and should include every rehearsalthat the play will require. Rehearsals on Sundays should be avoided, with the onlyexceptions being strike and tech week Sunday. The rehearsal schedule must be submittedto the Calendar Coordinator before the first rehearsal.

    Auditions Auditions for the fall play will take place within the first three weeks of school. The datesfor auditions should be on the flyer, and additional flyers should be posted around theschool. Auditions for the Spring Musical should take place in the last week of January,

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    Putting on a Production at UHS---For Directors

    Section 1-a

    which is the first week of second semester. These should be announced all throughoutJanuary Term via email and flyers. Audition dates must be coordinated with the CalendarCoordinator, keeping in mind sports schedules. The following papers should be handedout during auditions: Strike info sheet ( Appendix A-2 ), Rehearsal Schedule ( A-3 ),Conflict Sheet ( A-4 ), Agreement form ( A-5 ).

    Cut/No Cut The fall play is a cut production. This means that not everyone who auditions will becast in a role. This is due to the nature of a straight play. Musicals at University HighSchool are no-cut, meaning that each person who auditions and puts effort into the

    process will be given a role.

    A Word About Sports University High School strives to be an environment in which students can participate inmultiple activities in order to pursue each of their passions. However, the timecommitment of being in a sport and in one of our productions can be stressful to the

    individual, to the cast, and to the director. Therefore, it is important to come up with a policy regarding sports and casting for each show prior to auditions, and to share this policy with any individual playing sports. For example, the policy could be that chorusmembers can play sports and be in the show, etc. Leads in the shows have been able to

    play sports in the past, but this is up to the discretion of the director. This policy should be approved with the Athletic Director and the Assistant Head of School.

    Announcing the Cast Announcing the cast should be done in one of two ways. A cast list could be printed and

    posted on the music room door or theatre bulletin board, or the Director of Technologycan post the cast list on Edline. Students can either accept their role by initialing or byshowing up at the first rehearsal.

    Scripts If the scripts are rented, it is very important to number them and assign each cast membera number. They will be charged if they fail to return them.

    Budgeting You will be given a budget from the Business Manager. Ask him or her for more details.Remember that University High School is tax exempt.

    Technical Oversight The Director should oversee all technical elements of the production to ensure they meetwith their vision for the play. The Director needs to create a list of deadlines for eachdepartment, including construction, lighting, sound, props, costumes, etc. He will thenmeet with each department head and clearly explain these deadlines and otherexpectations.

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    Putting on a Production at UHS---For Producer

    Section 1-b

    For the Producer

    The Producers job is to serve as a faculty, staff, or administration member of UniversityHigh School who oversees University High School Theatre productions. He is notexpected to direct the shows or provide supervision to the technical crews; rather he is toserve as a school liaison for the Director and Technical Director of the shows.

    The Producers job is very flexible and changes to the circumstances. An example of a job the Producer would do is calling a rental company to reserve a backdrop for the production, calling the lighting supply house to order rental lighting, and serving as a lineof communication between the Director and the Assistant Head of School if somethingneeds to be approved.

    The Producer job exists because there is a need for a supervisory individual who isintimately familiar with the goings-on of the theatre department at any given time to be

    present at the school during the school day. It is only logical for this person to be amember of the faculty, staff, or administration of UHS.

    The Director and Technical Director should keep the Producer appraised of the progressand any developments in the process on a weekly basis, and immediately if his attentionis required. This could be done via email or telephone. The Producer is not expected to bea theatre expert; rather the Producer serves as the on-site representative of the TheatreDepartment during the school day should any questions arise.

    The Producer also will assist the Director in making any telephone calls, purchase orders,meetings, etc. during the school day when the Director might not necessarily be present.For example, the Producer could meet with the Business Manager of the school to goover the budget during the school day, etc.

    The Producer is not expected to authorize or approve any particular activities or policiessuch as safety rules, modifications to the house, or the selection of the play. Rather, theProducer will help the Director to bring these items to the attention of the Assistant Headof School for his approval or opinion.

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    Putting on a Production at UHS---Technical leadership and crew

    Section 1-c

    Technical Leadership and CrewBecause of the lack of tech/theatre classes at UHS, all technical work happens outside ofschool hours. Making this happen takes a very structured leadership style and a verywell-defined plan. Without these two elements, it will be very difficult to get students toactively participate and stay involved while still constructing a great show.All crew members should read the safety manual at the end of this booklet.

    Production Crew This is the crew that meets before the final week of rehearsals. This crew builds the set,

    programs and aims the lights, prepares the sound system, and does all pre-show worknecessary for the production to take place.

    Technical Director The Technical Director is the head of Production Crew. The Technical Director must be atechnically proficient individual. In the past at University there has been a student

    Technical Director or, when the Director and/or school administrators feel as thoughoutside help as needed, an outside professional Technical Director is contracted for thework. Regardless, the Technical Director must be able to manage the plan for alldepartments simultaneously, and must be able to direct students in all departments tomake the production successful. The Technical Director also must be able to step in andtrain students on any elements needed. The Technical Director works with the Head ofConstruction Crew and the Director to create a construction plan and set design.

    Head of ConstructionThe Head of Construction should be a student at University High School. This individualmust be able to come to nearly every construction session that happens. He will workwith the Technical Director to create a construction session calendar for ProductionCrew. During construction sessions, he must supervise all work and direct crew membersto do whatever is needed to construct the set. He must be able to read the construction

    plan and break it down into individual pieces for the crew.

    Lighting Designer The Lighting Designer, either a student or outside professional (could be the same personas the Technical Director) is the individual tasked with overseeing all lighting elementsof the show. This includes the hang, aim, and gel of the lights. It also includes

    programming the lighting cues.

    Sound DesignerThe Sound Designer should design or obtain any sound cues requested by the Director.He should also prepare the sound system for use in the show.

    Props Master The Props Master is tasked with obtaining all props needed for the show and placingthem on a well-mapped props table. He should work with the Director on this task.

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    Putting on a Production at UHS---Technical leadership and crew

    Section 1-c

    Costumer The Costumer is tasked with obtaining all costumes needed for the show and placingthem in an appropriate area. He should work with the Director on this task.

    Crew Traditionally, the Production Crew is an activity that requires a low commitment level onthe part of the crew members (aside from those with leadership roles). This allows a largenumber of students to participate in the crew, even if those people can only give one hourof their time a week. The Crew should be added to an email list, and the TechnicalDirector or the Head of Construction Crew should send out a weekly schedule to theseindividuals.Traditionally, the work schedule has been daily after school for one to two hours, with afew 10-12 hour Saturday work days. However, this schedule can be structured inwhichever way will allow the appropriate number of crew members to help construct the

    set.

    Run Crew This is the crew that meets during the final week of rehearsals and during the actualrunning of the shows.

    Stage Manager This is the head of the Run Crew. He must be a firm leader and be able to pay attentionfor long periods of time. During this final rehearsal process, he is in charge of allmembers of the Company, including actors and crew members. He also calls the showfrom the script, and also runs cue to cue.

    Assistant Stage Manager(s) The Assistant Stage Manager is in charge of backstage during the shows. He directs theShift Crew as to where and when to move set elements, shut the curtain, etc. He is also incharge of ensuring that backstage is quiet during shows, must do a pre-show safety checkof the entire stage and backstage area, and must be a firm leader backstage.

    Sound Director The Sound Director should be a well-trained individual able to mix live sound well. Thiscould be the same person as the Technical Director if needed. He will run the soundboard

    during the show, and will have assistants as needed backstage.

    Crew The Crew performs all tasks needed in the show. This includes running the lightboard,running followspots, moving the set pieces, moving the curtain, etc. They are under thedirection of any of the above, as appropriate.

    House Crew See the House chapter.

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    Putting on a Production at UHS---Construction Process

    Section 1-d

    Construction Process Designing the set

    The Director should have a vision of what he wants the set to look like before going intothe construction process. He should meet with both the Technical Director and the Headof Construction before the audition process begins to discuss this plan and to make a

    preliminary sketch. Once the Technical Director and/or Head of Construction have afinalized set plan approved by the Director, construction can begin. The Director shouldexplain his expectations to these two individuals, including deadlines, checkpoints, etc.

    Modifying the HouseAny set pieces that could possibly interfere with the schools use of thetheatre/auditorium/lunch room in any way must be approved by the Assistant Head ofSchool.

    Coordinating set times It is extremely important that the Technical Director and Director meet with the SchoolMusic Director, Assistant Head of School, and Calendar Coordinator before beginningconstruction . There are certain times when the school needs the stage clear, for examplemusic concerts, special guests, etc. It is imperative that these individuals are consultedwith before construction to avoid having to remove set pieces from the stage.

    Choosing construction timesThe Head of Construction and Technical Director should decide upon when the set will

    be constructed. They must coordinate on-stage times with the rehearsal process.Traditionally, construction crew has met after school for appx two hours, and on a fewSaturdays for 10-12 hours. The crew should be added to an email list, and a weeklyschedule should be emailed out.

    Recruiting a crew The Head of Construction should make numerous morning meeting announcements,mass emails, etc in order to find any interested people. It is important to let people knowthat there is not a massive time commitment involved, all attendance is optional. Thismethod has worked well in the past. Example email: Appendix B-1 .

    Constructing the Set All crew members should read the safety manual at the end of this booklet. The Head ofConstruction has three main jobs during set construction times. First, he must mentally

    break down the set plan into small jobs that can be easily done by the crew, and he mustconvey this plan to the crew via delegation. Second, he must be able to teach relativelyuntrained people in tool use. Third, he must ensure that safe practices are followed at alltimes. For obvious safety reasons, an adult should be present at all times while tools arein use. Appropriate safety equipment should be used, i.e. goggles, respirators, etc. Also,the Technical Director should create a policy on who is allowed to use the power sawsand other especially dangerous tools, and should approve this policy with the AssistantHead of School. This policy should be strictly enforced at all times.

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    Putting on a Production at UHS---Lighting

    Section 1-e

    Lighting Safety Note:

    The Lighting job is the most dangerous job regularly taken on by UHS theatre. TheDirector, Technical Director, Student Leader, and Lighting Designer should have ameeting to go over all safety rules and create a safety policy. This policy must be strictlyenforced at all times. If you have any questions about safety, first STOP whatever it isthat is raising a question. Then go see the Assistant Head of School. All crew membersand directors should read the safety manual at the end of this booklet.

    Designing the lights The Lighting Designer should work closely with the Director, Technical Director, andHead of Construction so that he can get a vision of what the set will look like. TheDirector should clearly explain his deadlines, vision, and other expectations to theLighting Designer.

    Make a lighting plot The Lighting Designer should make a lighting plot. This is a diagram with each fixturedrawn. Each fixture is labeled with a channel number, dimmer number, fixture type, gelcolor, and aim. (plot example Appendix C-1 ). Reference the master dimmer chart toknow where the dimmer receptacles are ( Appendix C-2 ).

    Choosing gel Choose gel using a gel swatch book. This can be obtained from Indy Stage and Lighting,www.indystage.com . You can also purchase the gel there.

    Hang, aim, gel The Lighting Designer should then give this lighting plot to a lift-experienced individualto execute the lighting plot. He should supervise to ensure it is being done correctly.Because there are no catwalks and no grid, all hanging positions must be accessed using aman-lift. Supervision must be provided to ensure this is done safely. All man-liftoperators should read the lift safety guide at the end of this handbook.

    Every fixture must have a safety cable securely attaching it to the bar in the event ofclamp failure. More can be purchased from Indy Stage and Lighting.

    Power All of the fixtures need to be plugged in to a receptacle. Dimmers are the electronicdevices that provide power to the receptacles. Because of their cost, we do not have adimmer for every receptacle. See Appendix C-4 for information about power anddimmers. See Appendix C-3 for the Dimmer Locator sheet. This will help you to quicklyfind dimmers in the dimmer rack. You must move dimmers to the needed dimmer slots sothat all of your receptacles have dimmers. The dimmer rack is located in the electricalroom. Do not touch anything in the electrical room except for moving dimmers. Do NOTtouch the dimmer rack control unit.

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    Putting on a Production at UHS---Lighting

    Section 1-e

    Using the Lightboard Setting up the lightboard for use is not hard. First, plug a DMX cable in to the DMX1-512 port on the back of the board. Then, run this cable to the lighting control panel and

    plug it in to DMX1. Then, turn on the lightboard. It is now ready for use. Make sure you

    raise up the master slider and turn off blackout so that it will work.

    Turning off the Lightboard First, push the blackout button on the lightboard. Next, power off the lightboard. Then,unplug the DMX cable from the wall panel. If you forget to blackout the lightboard, somelights will be stuck on. You have to turn the lightboard back on to get these off.

    Backup lighting You will notice that when the lightboard is not plugged in, the wall panels buttons can

    be used to turn on lights. If you turn on the lightboard, then push one of these buttons,this will be the backup lighting. If the lightboard is accidentally turned off, the system

    will go to whatever buttons are pressed on the wall panel automatically. Design

    The Lighting Designer should go through the script several times while watching arehearsal. He should mark where particular lighting cues should go, which is every time itseems the lights should shift. Then, the Lighting Designer should sit down with theDirector and begin to program all lighting cues. See Appendix C-5 for light boardinstructions.

    Prompt Book The Lighting Designer will create the first draft of the Prompt Book for the StageManager. This is the script from which the Stage Manager will call the show. TheLighting Designer should clearly mark where each lighting cue goes in the script,indicated by a line. Next to the line, the Lighting Designer should write the cue number inthis format: LX 1 LX 2, etc.

    Saving and Backing up The Lighting Designer should always use a floppy disk to back up his work. See Appendix C-5 for lightboard instructions.

    Running the show Running the lightboard during the show requires very little training. See Appendix C-5 for instructions on running the show.

    Resetting for the school-year After each production, the lightboard should be reset for school-year use. It isrecommended that you use the default floppy disk to reset to original settings.

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    Putting on a Production at UHS---Lighting

    Section 1-e

    Advanced Lighting Topics Do not attempt unless you are an experienced lighting technician.

    Re-Patching the lightboard

    Repatching will change which lighting channel correlates to which physicaldimmer/receptacle number. It is used to reorder the sliders on the lightboard to a moreconvenient order. See Appendix C-5 for instructions.

    DMX external fixturesIf you have a fixture, shoebox, etc. with its own power supply, but you want to provide aDMX signal, this is very possible. Plug the lightboard into the DMX receptacle in thehouse. Then obtain a 5 pin DMX male to male adaptor. Plug it in to the backstage DMXreceptacle. You now have the ability to plug this adaptor into your fixture, and yourDMX device will be able to run. A description of how DMX works is beyond the scopeof this manual, but you can find great instructions on the internet. Also, be sure to consultyour devices manual to see how to change the channel of the device.

    Record new cues on the house wall panelThe house wall panel is the small panel on House Left that allows individuals who do notknow how to use the lightboard to use some stage lighting. The panel in the house and

    backstage serve the same functions, and if you record a cue onto one, it will go to theother as well. To record a new cue on to it, plug in the lightboard and create the cue.Then, go to the panel and push #5. Then, push the button onto which you would like torecord the cue. Obviously, #5 cannot hold a cue. The first two columns are pile on, somore than one can be activated at once. Only one button from the last column can be

    pushed at a time. Note, the white buttons cannot hold cues.

    Changing the UNISON systemThe UNISON system is the system that interfaces the dimmer rack to the house wall

    panel. The functions described above can be changed, and other functions can be addedto the system. However, this must be done by Indy Stage and Lighting, because itrequires a special piece of software. Note, there is a charge for this service.

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    Putting on a Production at UHS---Props

    Section 1-f

    Props Making a Props List

    At the beginning of the process, the Director should sit down with the Props Master tocreate a props list. This includes anything that is not a costume or set piece that is neededin the show. Some scripts have this provided. In this case, the meeting should ensure thatthe list is accurate. Each prop should have a page number next to it so that the PropsMaster can reference the script as needed. Sample Props List Appendix D-1

    Obtaining Props The Props Master should look through all of UHS theatre storage to see what we alreadyhave. Then, he should go to stores such as Goodwill and Salvation Army to purchaseadditional props. An email could also be sent to the cast and crew members to see if theyhave anything at home. As a last resort, the Props Master should go to a store likeWalMart or Target and purchase the remainder.

    Props TableThe Props Master should then set all of the props down on the Props table. They should

    be in page number order. Around each item, use tape to make a box. On the box, writethe prop item, the page number, the actor that uses it, and the act and scene number. Thisway, it is very easy to tell which props are missing.

    Enforcement The Props Master should ensure that all props are properly returned before, during, andafter each show and rehearsal. It is very important that props return, and it is very easy toloose them. Therefore, it must be the Props Masters job to ensure that they are returned.

    Inventory At the end of each process, an inventory should be performed of the Ranch and other

    props storage areas. An example inventory is Appendix D-2.

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    Putting on a Production at UHS---Sound

    Section 1-g

    Sound Meeting

    In the beginning of the process, the Director and Sound Designer should sit down anddiscuss any sound cues needed. They should also discuss microphone needs, headsetneeds, and house music needs. The Director should make his expectations very clearabout deadlines, content requirements, etc. so that there is no confusion down the road.

    Obtaining Sound Cues The Sound Director should obtain all sound cues using the internet. He may need to mixthem together using Garage Band. They then should be burned to a CD in order, and heshould write where to play them in his script.

    Preparing sound area The Sound Director should thoroughly clean the soundboard area prior to all installations.Throw away all trash and store unnecessary things in the right spots.

    Adding Wireless mics If the show will use wireless mics, they need to be installed into the sound desk. Thisrequires a second soundboard be added to the main soundboard. Place the secondsoundboard on the desk. Run an XLR cable from each of the master outs of the second

    board into two channels on the main board. Turn those channels on and raise the slidersto unity.

    Next, get the colored wireless mic ! snake. Plug each snake channel into the secondsoundboards channels. Now run that snake to the wireless mics. Add power to thewireless mics, and your system is set up.

    Wireless Mic Chart The Sound Designer should make a chart of who uses which wireless mic when. It shouldinclude the ID number of the wireless pac, the ID number of the actual microphone, andthe page number of any changes. Example Appendix C-6

    Wireless Mic adviceUse brand new AA batteries, brand Duracell or Energizer, for every dress rehearsal and

    performance. When you take out old batteries throw them directly into the trash. Do notuse rechargeable batteries. Tape the battery door shut so they dont fall out. Tell theactors that only sound crew can remove their micsthey tend to break them if they do it.

    Headsets Ask the Director and Stage Manager where headsets should be placed. Your job is to wirethem. Place the power supply backstage left. Run an XLR from the back of that into achannel on the wall plate. Now that unplug that channel from the back of the soundboard.Plug another headset into that channel. Now you have a headset station backstage and inthe house, and you can easily run more headsets from those to anywhere you want.

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    Putting on a Production at UHS---Sound

    Section 1-g

    Monitors Monitors should be placed backstage. Plug them in to the monitor jacks.

    Advanced sound section

    AUX 1- SubwooferAUX 2- Center SpeakerAUX 3- MonitorsAUX 4- MonitorsAUX 5 & 6- none

    Accessing the MediaMatrix1. You need a windows computer. This guide is written on Windows XP.2. Obtain a USB serial adaptor such as Keyspan High Speed USB Serial Adapter.

    Get a serial cable that will plug from that into the MediaMatrix.3. Install the serial adaptor on Windows.4. Install X-Ware for X-Frame Release 2.3h from the internet.5. Plug in the MediaMatrix to your computer and run Xware.6. File > Connect to XFrame.7. It should show up. Make sure you read configuration from the device, DO NOT

    create a new one!!!8. Now you can modify settings in the MediaMatrix. See the online user manual for

    specific instructions.9. Note the order in the media matrix is the same as the Aux order above, except add

    L and R to the beginning.

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    Do not forget to write your new setting to the MediaMatrixusing the menu! Wait for it to completely finish beforeunplugging anything.

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    Putting on a Production at UHS---House

    Section 1-h

    House Creating the House

    Several areas need to be converted in order for theHouse to work. First, construct a wall by the musicroom. Zip tie it to the red pillars, and put up a curtain

    between them.

    Next, put up the crew entrance only sign on theoutside of the theatre doors near the music room. Putup the emergency exit only sign on the inside.

    Example Signs Appendix E

    Next, set up the ticket table on theother set of theatre doors. Also, youshould put the theatre entrance thisway signs on all doors except for theones closest to this theatre mainentrance.

    House ProcedureSet out programs, Ensure the theatre looks nice, Get cash boxes w/ lots of 1sExecutive seating for $5 extra dollars (padded seats from gym), make sure there are lotsof late seating seats near the door. Teachers are free with one guest. Everyone else pays.Dont start until everyone is inside.

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    Putting on a Production at UHS---Running the Show

    Section 1-i

    Running the Show

    Stage Manager This is the head of the Run Crew. He must be a firm leader and be able to pay attentionfor long periods of time. During this final rehearsal process, he is in charge of allmembers of the Company, including actors and crew members. He also calls the showfrom the script, and also runs cue to cue.

    Assistant Stage Manager(s) The Assistant Stage Manager is in charge of backstage during the shows. He directs theShift Crew as to where and when to move set elements, shut the curtain, etc. He is also incharge of ensuring that backstage is quiet during shows, must do a pre-show safety checkof the entire stage and backstage area, and must be a firm leader backstage.

    Sound Director The Sound Director should be a well-trained individual able to mix live sound well. Thiscould be the same person as the Technical Director if needed. He will run the soundboard

    during the show, and will have assistants as needed backstage.

    Crew The Crew performs all tasks needed in the show. This includes running the lightboard,running followspots, moving the set pieces, moving the curtain, etc. They are under thedirection of any of the above, as appropriate.

    These people should be present at all Dress Rehearsals, as well as a Tech Run Throughand, of course, all performances. With a good Stage Manager and Assistant StageManager(s), the show will go off without a hitch.

    Run Sheet The Director should sit down with the Assistant Stage Manager(s) and the Stage Managerto create a Run Sheet. This should include everything that needs to be moved bytechnicians during the show, as well as any curtain movement, etc. It should be in pagenumber order, and a copy should be given to each Assistant Stage Manager so that theycan be ready to perform the next shift of scenery. At least one Assistant Stage Manager

    per side should be wearing a headset, which will be linked to the Stage Manger so theycan be cued. Example See Appendix F-1

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    Putting on a Production at UHS---Strike

    Section 1-j

    Strike Pre-Strike

    Well before the day of strike, the Strike Director (a member of the crew assigned by the

    Director) should make a Strike Checklist. See Appendix F-2. It should include everysingle thing that needs to be done, in order.

    During Strike On the day of strike, everyone should be handed a copy of the Strike Checklist. Everyoneshould be instructed to bring a drill. Strike can be done very quickly if there are a lot of

    people with a good Checklist.

    Remember Assign a few people to keep areas organized such as cabinets and the Ranch House,otherwise they will become very messy. Make piles for rental return, borrowed return,

    etc. Ensure safety at all times and follow all safety rules. Reset backstage and onstage to perfect condition after the show so that the next show can start with a fresh beginning!

    The House The House needs to be reset to perfect condition after the show.

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    Summer

    1-k

    Summer Procedures Before summer begins, the following should be done:

    1. Clear everything off of the stage and mop it.2. Clear everything from backstage and place them in the appropriate

    cabinets or the Ranch House. Nothing should be left backstage except forvery large objects such as platforms and flats. These should be storedcompletely against the wall in the backstage crossover. They cannot blockthe fire exit.

    3. Organize and clean all cabinets, green room, and electrical room.4. Lock all cabinets, the green room, and the electrical room.5. Put up the Information for Summer Programs signs in a very visible

    place. This includes emergency procedures, emergency map, and closedown checklist.

    6. Put up the theatre personnel only sign on anything that should not beused by summer program participants. This includes flats, platforms,cabinets, tools, etc.

    7. Ensure that there is a sign on door 14 stating that it must remain locked atall times.

    Signs Appendix

    18

    See Appendix G. Print out and hang on wall.

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    Fall Play Auditions: Tuesday &Wednesday

    August 18 & 19University High School is pleased to announce the fall play production, The Foreigner by Larry Shue, a full-length comedy with a cast of 7 people; 5 men and 2 women. The play will be presented on October 16 & 17 at7:00 p.m. and on Sunday, October 18 at 5:00 p.m. The Foreigner will be directed by Mr. Ty Stover, a

    professional actor, director and playwright. Mr. Stover, a graduate of Indiana State University, and a seasoneddirector, actor and teacher, has performed and directed at most of the local theatres, as well as theatres in NewYork City. He has extensive experience working with high school and college students and brings wonderfulenergy and a fresh approach to our school. Nancy Webster will serve as the production coordinator for Mr.Stover.

    Audition Information: Auditions for the play will be held on Tuesday, August 18 and WednesdayAugust 19 at 3:30 p.m. in Andrews Hall. At auditions, in addition to reading from the script,students must prepare the telling of a joke for their audition .

    Information from Dramatists Play Service about The Foreigner :

    THE REVIEWS: Winner of two Obie Awards and two Outer Critics Circle Awards as Best New American Playand Best Off-Broadway Production. Based on what the NY Post describes as a "devilishly clever idea," the play

    demonstrates what can happen when a group of devious characters must deal with a stranger who (they think) knowsno English.THE STORY: The scene is a fishing lodge in rural Georgia often visited by "Froggy" LeSeuer, a British demolitionexpert who occasionally runs training sessions at a nearby army base. This time "Froggy" has brought along afriend, a pathologically shy young man named Charlie who is overcome with fear at the thought of makingconversation with strangers. So "Froggy," before departing, tells all assembled that Charlie is from an exotic foreigncountry and speaks no English. Once alone the fun really begins, as Charlie overhears more than he should-- manydamaging revelations made with the thought that Charlie doesn't understand a word being said. That he does fuelsthe nonstop hilarity of the play and sets up the wildly funny climax in which things go uproariously awry for the"bad guys," and the "good guys" emerge triumphant.

    19

    Appendinx A-1

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    SET STRIKE!

    Sunday, May 2 nd , 20101pm-5pm

    All Cast Members areRequired to Attend

    By accepting your role in thismusical, you are agreeing to

    attend set strike in its entirety.

    You are requested to bring a friend orparent to help, and please bring anydrills that you have (label w/ your name) !

    Questions Ask Matt Ciulla

    20

    APPENDIX A-2

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    R E H E A R S A L S C H E D U L E

    S U N D A Y

    M O N D A Y

    T U E S D A Y

    W E D N E S D A Y

    T H U R S D A Y

    F R I D A Y

    S A T U R D A Y

    2

    3

    4

    5

    6

    7

    8

    9 A c t

    2 ,

    6 - 7 : 3

    0 1 0

    A c t

    1 ,

    6 - 7 : 3

    0 1 1

    A c t

    3 ,

    6 - 7 :

    3 0 1 2

    N O S C H O O L 1 3

    1 4

    1 5

    1 6 A c t

    2 ,

    6 - 7 : 3

    0 1 7

    A c t

    3 ,

    6 - 7 : 3

    0 1 8

    1 9

    2 0 A c t

    1 6 - 7 : 3

    0 2 1

    2 2

    2 3 A c t

    3 ,

    6 - 7 : 3

    0 2 4

    A c t

    1 ,

    6 - 7 : 3

    0 2 5

    2 6 A c t

    2 ,

    6 - 7 : 3

    0 2 7

    2 8

    2 9

    O C T O B E R

    A c t

    1 ,

    6 - 7 : 3

    0

    1

    A c t

    3 ,

    6 - 7 : 3

    0

    2

    A c t

    2 ,

    6 - 7 :

    3 0

    3

    4

    5

    6

    7 A c t

    3 ,

    6 - 7 : 3

    0 ,

    8

    A c t

    2 ,

    6 - 7 : 3

    0

    9

    O P E N H O U S E 1 0

    A c t

    1 ,

    6 - 7 : 3

    0 1 1

    1 2 A l l , 1 2 - 3

    1 3

    A l l , 1 2 - 3

    1 4

    A c t

    2 ,

    6 - 7 : 3

    0 1 5

    A c t

    3 ,

    6 - 7 : 3

    0 1 6

    A c t

    1 ,

    6 - 7 :

    3 0 1 7

    C O N F E R E N C E S 1 8 B R E A K 1 9

    B R E A K 2 0

    B R E A K 2 1

    B R E A K 2 2

    1 ,

    3 : 3

    0 - 5 : 3

    0 2 3

    2 ,

    3 : 3

    0 - 5 :

    3 0 2 4

    3 ,

    3 : 3

    0 - 5 : 3

    0 2 5

    2 ,

    3 : 3

    0 - 5 : 3

    0 2 6

    2 7

    21

    Appendix A-3

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    R E H E A R S A L S C H E D U L E

    S U N D A Y

    M O N D A Y

    T U E S D A Y

    W E D N E S D A Y

    T H U R S D A Y

    F R I D A Y

    S A T U R D A Y

    N O V E M B E R

    1 ,

    3 : 3

    0 - 5 : 3

    0 2 9

    3 ,

    3 : 3

    0 - 5 : 3

    0 3 0

    2 ,

    3 : 3

    0 - 5 :

    3 0 3 1

    1 ,

    3 : 3

    0 - 5 : 3

    0

    1

    2 S P I R I T R U N

    3

    O P E N H O U S E 4

    2 ,

    3 : 3

    0 - 5 : 3

    0

    5

    3 ,

    3 : 3

    0 - 5 : 3

    0

    6

    1 ,

    3 : 3

    0 - 5 :

    3 0

    7

    3 ,

    3 : 3

    0 - 5 : 3

    0

    8

    9

    1 0

    R u n - T

    h r u ,

    1 1 - 7

    1 3 : 3

    0 -

    7

    1 2

    3 : 3

    0 -

    7

    1 3

    3 : 3

    0 -

    7

    1 4

    3 : 3

    0 -

    7

    1 5

    S H O W

    7 P M

    1 6

    S H O W

    7 P M

    1 7

    N O T E :

    I k n o w t h a t t h e

    l a s t w e e

    k o f r e

    h e a r s a l s

    l o o k s

    l i k e a

    l o t ,

    b u t w e n e e

    d t o g e t

    i n a t

    l e a s t

    3 - 4

    d r e s s r e h e a r s a l s

    b e f o r e

    t h e s h o w .

    T h e

    8 - h o u r

    d a y o n

    S u n

    d a y

    N o v .

    1 1 w

    i l l p r o

    b a b

    l y b e o u r f

    i r s t

    f u l l r u n - t

    h r o u g

    h ,

    g i v e n e v e r y b o d y ' s

    c o n

    f l i c t s .

    I t

    w o u

    l d b e g r e a t

    i f e v e r y b o d y c o u

    l d b e t h e r e t h e

    l a s t w e e

    k . A n

    d s o r r y ,

    I k n o w e v e r y o n e

    h a t e s t o

    h a v e r e

    h e a r s a l o n

    F r i d a y s ,

    b u t t h e r e w e r e a

    f e w

    t i m e s

    I c o u

    l d n

    ' t a v o i

    d i t

    .

    22

    Appendix A-3

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    Audition Sheet

    Name:____________________________________________ Grade: ________

    Mentor:_________________________

    Productions youve been in/roles youve played:

    Do you have any potential conflicts? (i.e. do you play a sport?)

    Do you have any special abilities or talents? (i.e. do you play an instrument?)

    23

    APPENDIX A-4

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    Once Upon A MatFrom The irectors

    In order to accept your role, please review the following with your preturn this sheet at the first rehearsal on Monday, February 11 at 5:30 p

    Name_____________________________ Grade______________

    Last year for our musical, Guys and Dolls, we grappled with excessabsences from rehearsals. The FIRST time we had all actors & tepresent was on Opening Night! Obviously, this is not good for any ofhave instituted a new policy, which will help us create a beautiful proless stress & anxiety!Please review the rehearsal schedule. You are expected to attend eevery rehearsal; however, you will be given 4 excused absences; you mthose excused absences IN WRITING; please allow for 2-days notibecome seriously ill and miss rehearsal, we will discuss your situatioalso REQUIRED to attend Set Strike unless you have an absence writt you know NOW which rehearsals you cannot attend, please list them h

    Please read this letter & rehearsal schedule carefully,discuss with your parents, and sign below.

    I unders tand the impor tance of regular rehearsa l a t tendance anabide by the rehearsa l guidel ines as li s ted on th is sheet I fu

    unders tand tha t unexcused absences f rom scheduled rehearsa lsbe grounds for be ing d ismissed f rom the cas t

    Student Signature Date

    Parent Signature Date

    24

    Appendix A-5

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    Matthew Ciulla

    Technical Theatre Spring 2010 If you are interested in joining technical theatre for the Spring 2010 musical, Little Shop of Horrors , please meet in the theatre after school onMonday, Feb 1. All students are welcome, no experience whatsoever is needed. If you can't make it Monday but want to join, please send mean email.

    Technical theatre crew is responsible for creating the elaborate set for this musical, the lighting design, sound design, special effects, run crew,costuming, etc. We provide training to anyone who wants it. If you are interested in painting, carpentry, electricity, construction, or just want tohave fun, this is a good activity for you!

    If you have any questions, please email me.

    Thanks,Matt

    Do you enjoy building things? Working with your hands? Painting? Havingfriends? Having fun?

    Do you like lights, sound, music, microphones, cords, electricity, costumes, makeup,or using power tools?

    If you answered YES to any one of those questions, then you should seriously consider joining technical theatre at University High School.

    No experience whatsoever is required. We provide excellent training for all who areinterested.

    Technical theatre at University is 100% student led and run, which makes for a very funexperience. If you want to have fun, then you better join tech. Otherwise, you'll be bored.

    CALL OUT MEETING WEDNESDAYDURING LUNCH ON THE STAGE!

    B-1

    25

    APPENDIX B-1

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    FOH 1 HLC: 1D: 70

    C: 2D: 69

    C: 3D: 68

    C: 4D: 40

    C: 9

    D: 1

    C: 11

    D: 3

    C: 13

    D: 5

    C: 15

    D: 77

    C: 17

    D: 79

    C: 19

    D: 8

    C: 21

    D: 10

    C: 10D: 2

    C: 12D: 4

    C: 14D: 6

    C: 16D: 78

    C: 18D: 7

    C: 20D: 9

    C: 22D: 11

    House LightsC:D: 86-90

    Backstage DimC:D: 91

    C: 42D: 42

    C: 43D: 43

    C: 44D: 44

    C: 45D: 45

    C: 33D: 31

    C: 34D: 32

    C: 35D: 33

    C: 46D: 46

    C: 47D: 47

    C: 48D: 48

    C: 57D: 57

    C: 58D: 58

    C: 59D: 59

    C: 60D: 60

    Appendix C-1

    26

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    FOH 1 HRC: 5D: 41

    C: 6D: 67

    C: 7D: 66

    C: 8D: 65

    C: 25

    D: 81

    C: 27

    D: 13

    C: 29

    D: 15

    C: 31

    D: 17

    2480

    C: 26D: 82

    C: 28D: 14

    C: 30D: 16

    C: 32D: 18

    FOH 2

    1 st Elec

    2 nd Elec

    3 rd Elec

    = non- permanent position

    3634

    C: 37D: 35

    C: 38D: 36

    C: 39D: 37

    C: 40D: 38

    C: 41D: 39

    C: 50D: 50

    C: 52D: 52

    C: 53D: 53

    C: 54D: 54

    C: 55D: 55

    C: 56D: 56

    C: 62D: 62

    C: 63D: 63

    C: 64D: 64

    Appendix C-1

    27

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    ftft^l;r C-X

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    tiItil

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    Dimmer Info.UHS- Matt Ciulla, TD

    Dimmer Position1-2 A3-4 Q5-6 GG7-8 B9-10 R11-12 HH13-14 C15-16 S

    17-18 II19-20 D21-22 T23-24 JJ25-26 E27-28 U29-30 KK

    31-32 F33-34 V35-36 LL37-38 G39-40 W41-42 MM43-44 H

    45-46 X47-48 NN49-50 I51-52 Y53-54 OO

    55-56 J57-58 Z59-60 PP61-62 K63-64 AA65-66 QQ67-68 L69-70 BB71-72 RR

    73-74 M75-76 CC77-78 SS79-80 N81-82 DD83-84 TT85-86 O

    87-88 EE89-90 UU91-92 P93-94 FF95-96 VV

    32

    Appendix C-3

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    Appendix C-4

    Signal/Power flow from Lightboard to Fixture

    This will help you to decide if you need to put a dimmer in a particular slot. We do nothave enough dimmers for every slot, so you must determine which receptacles you are

    using and place dimmers in those slots. Obviously, a fixture will not have power if thereis no dimmer in its dimmer slot.

    FixtureBulb Receptacle

    Dimmer Rackwiring andwall wiring

    immer

    (in dimmerracks slot)

    Dimmer Rack Processor

    DMX Jack on wall and wiring

    DMX Cable

    Lightboard

    Power from powercompany

    KEY

    =Low voltage

    =high voltage

    Consult appendix C-2 to know which receptacles arewired to which dimmers. The receptacle number is thesame as the dimmer number. Do not touch anything in the electrical roomexcept for moving dimmers. Do NOT touch the dimmer rack control unit.

    Variable

    currentaccordingto DMXsignal

    33

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    !"#$ &'()*+",-# !"

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    #$%& ()* +,-.% .) / 0-12%..%3 4).$ .$% 1$)+ 5,)6,/77-&6 /&0 .$% 8)&1)9%:1 8)&;-6*,/.-)&/,% 1.),%0 .) .$% 0-12%..%< =)+%>%,3 ()* 7/( ,%/0 1$)+ /&0 8)&;-6*,/.-)& -&;),7/.-)&1%5/,/.%9( ;,)7 / 1$)+;-9% 1.),%0 )& 0-12%..%< ?%/0-&6 .$%1% .+) 8)75)&%&.1 1%5/,/.%9(/99)+1 ()* .) 8)&>%&-%&.9( 2%%5 1(1.%7 8)&;-6*,/.-)& 5,%;%,%&8%1 .$% 1/7%3 1*8$ /1

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    38

    APPENDIX C-5

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    Sound Crew Mic Run Sheet

    Start of show

    A1- Elise82- DanielC3- MorganD4- CatieE5- RachelF7- IanG8- Patrick6 (no pack)- Melissa9 (no pack)- Cate10 (no pack)- Abby V.

    . During intermission:o Remove Ian's pack (F) and put on Abby V.o Abby will now have F10

    ' OUICK After Patrick dies (after Suppertime, page 77)o Remove Patrick's pack (G) and put on Cate.o Cate will now have G9

    . SUPER OUICK After Abby V. comes offstage in Meek Shall lnherit , put herpack on Melissa

    o Melissa will now have F6. EXTREMELY OUICK

    oo'.'T:;:rtrilffiT;fi 3rn*

    pack back to Patrick

    o o'.'t;x'#;:ffi;#rage' giver her pack to Ian

    Appendix C-6

    Sound Cre v Mic Run Sheet

    Star of show

    AI- El sB2 Daniel

    3- Morgan04- a i

    - RachelF7 anG8- Pa rick6 (no pack)- Melissa9 (no pack)- a eIO (no pack)- Abby V

    During in ermission:

    Remo a 's pack (F) and put on Abb V.Abby wil now ha e F O

    QUI K A er Pa rick dies (a er Suppertim , page 77 emo e Patrick s pack (G) and pu on a e.

    a e wil now ha eG9SUPER QUI K A er Abby V com s offstage in "Meek Sha l heri pu h rpack on Melissa

    Melissa will now ha e F6EXTREMELY QUI K

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    Af er Melissa comes offs age giver h r pack o an an will now have F7

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    A F U N N Y T H I N G H A P P E N E D O N T H E W A Y T O T H E F O R U M -

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    RANCH HOUSE INVENTORYMARCH 2009

    NUMBER ITEM QUANTITY COLOR SIZE1 Box 1 Multi-colored Small2 Round Box 1 Red and Tan Medium

    3 Old-Fashioned Suitcase 4 Red, Yellow, Brown, BlueMedium-Large

    4 Wall Lamp 1 Black Small5 Old-Fashioned Waffle Maker 1 Silver Medium6 Wall Rack 1 Brown Small7 Bar Mugs 15 Silver Small8 Chalkboard 1 Black, Brown Small9 Bamboo Mats 2 Tan Large

    10 Plates 12 White Small11 Wall Chandelier 2 Gold Medium12 Clay Bar Mugs 3 Beige Small13 Wall Mirror 1 Brown Medium14 Cake Mold 1 Silver Small15 Lion Wall Hanger 1 Gray Small16 Miniature Kitchen Utensils 1 Silver Medium17 Wall Light 1 Brown Small18 Skull Mug 1 Beige Small19 Hanging Candle Holder 1 Brown Medium20 Glass Jars 3 Clear Medium21 Flower Plate 1 Silver Small22 Packaged Napkins 5 White Small23 Water Pitcher 2 White Medium24 Cooking Pan 1 Silver Small25 Coffee Mugs 10 Assortment Small26 Fake Food 33 Assortment Small

    27 Brass Flower Holder 1 Brass Small28 Coffee Pitcher 1 Silver Medium29 Coke Bottle Holder 1 Red Medium30 Wine Glass 2 Clear Small31 Fruit and Cheese Holder 1 Brown Medium32 Flower Vases 3 Red, Yellow, Brass Small33 Sun Plate 1 Multi-colored Medium34 Metal Tray 1 Silver Large35 Cheese Grader 1 Silver Small36 Tea Cups 10 White Small37 Whiskey Holder 1 Silver Small38 Assorted Metal Bowls 9 Brass Small

    39 Cream Soda 4 Multi-colored Small40 Box of Greenery and Flowers 1 Multi-colored Small41 Champagne Glasses 7 Clear Small42 Plastic Mug 1 Clear Small43 Mixing Bowls 2 White, Silver Small44 Silverware Lots Silver, Gold Small45 Long, Sharp Knife 1 Silver, Black Small46 Valentines Day Boxes 4 Red, White Small

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    RANCH HOUSE INVENTORYMARCH 2009

    47Old-Fashioned SpiceContainers 3 Multi-colored Small

    48 Plates 17 White, Silver, BeigeSmall,Medium

    49 Bucket of Fake Food 1 Assortment Medium

    50 Umbrellas 6 AssortmentMedium-Large

    51 small pans 2 silver small52 empty spice containers 9 clear small53 wooden boxes 5 tan small54 bread pans 13 silver small55 large spatula 1 silver medium56 quesadilla maker 1 red large57 box of glass/metal items lots silver/clear medium58 box of fake flower lots multi small59 sabers 3 silver large60 miss. Box of items lots multi medium61 cauldron 1 black medium62 drum 1 tan small63 vase of plants 1 green small64 clarinet 1 black small65 stoplight 1 multi medium66 box of seashells tons multi small67 tiki bar sign 1 tan small68 picture frames 38 multi small-big69 clay cat 1 white small70 light fixture 1 multi medium71 fake plants lots multi medium72 sign: dresses and coats 1 tan medium

    73 metal tins 13 multi medium74 tennis racket 1 brown medium75 fake gun 1 black medium76 pineapple candle holders 13 brown small77 swords 3 silver medium78 Christmas lights 2 bags multi small79 flower baskets 2 brown medium80 talking log 1 brown medium81 metal wash bucket 1 silver medium82 butterfly nets 12 white and pink medium83 tiki lights 4 tan large84 flags 6 multi large

    85 box of green tinted glass 20 green small86 pillows 5 multi small87 glass jar 1 clear small88 wreath of bells 1 multi small89 working electric bar sign 1 white small90 flower vases 7 white small91 old cell phone 1 black small92 candle holders 3 glass small

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    RANCH HOUSE INVENTORYMARCH 2009

    93 old fashioned telephone 1 tan small94 fake snake 1 green small95 assortment metal objects lots multi medium96 check writer 1 brown small97 fake money lots green small98 tray 2 yellow medium99 wood wreath 1 brown small

    100 assortment of cloth 10 multi medium101 dice 22 white different102 Wooden baskets 7 tan medium103 bag 1 tan and red small104 pistol 1 black small105 marbles bag green small106 dead bugs 6 assortment small107 coin holders 4 black and brown small108 handcuffs 1 silver small109 typewriter 1 black and brown medium110 box of glass cups 20 clear medium

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    Little Shop of Horrors Shift Crew

    RUN SHEET

    Matt Ciulla~page 1 of 3

    Before house opens:o Close Screen (NOTE: SCREEN=BACKDROP)o Lower Signo Open & tie back blue curtaino

    Check location of trash canso Check location of stoopo Make sure stage is clearo Make sure Shop is preset & clearo Make sure all four Plants are in correct spotso Make sure backstage is clearo Make sure wainscoating is back on over grabber branch access hole

    Before show starts:o Bring trash can with Izzy inside & place on Trash Can Spike SL

    PROLOGUE:o After Voice of God (p13-LX5):

    ! Fly out Signo At end of prolouge (p14-LX10)

    ! Quickly open Screen ACT ONE SCENE ONE

    o Beginning of act (p15-LX13)! Clock changes time

    o After Skid Row (p20-LX34)! Clock changes time! Daniel enters with Pod #1

    o Grow For Me (p26-LX41)! Matt operates Pod #1 from under windowsill

    o After Grow For Me (p28-LX46)! During BLACKOUT, Screen Closes! QUICK during BLACKOUT, add two blue stools to stage right

    ACT ONE SCENE TWOo SEVEN PAGE SCENE CHANGE: (pp28-35; LX47-65)

    ! Move pod #3 into shop Cover with sheet Help Matt into position

    ! Get rid of all dead flowers and replace with alive ones! Quietly move fridge into position and store fake wall! Arrange counter and stools appropriately! Make the shop look new instead of bad! Change black stool into red stool

    o After Somewhere Thats Green (p35-LX65)! During BLACKOUT, Screen Opens

    Appendix F-1

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    Little Shop of Horrors Shift Crew

    RUN SHEET

    Matt Ciulla~page 2 of 3

    ACT ONE SCENE THREEo At the end of Closed For Renovations (p38-LX~69)

    ! Here it Is Sign comes in above Pod #3o After Feed Me (Get It) (p54-LX98)

    ! During BLACKOUT, Screen Closes! QUICK During BLACKOUT, place chair on center shop platform

    edge! QUICK During BLACKOUT, place stool next to chair! QUICK During Blackout, remove stage right trash can

    ACT ONE SCENE FOURo During Now (Its Just the Gas) (any time while screens are closed)

    ! Place body parts and bloody bucket near pod #3! Check on Matt

    o After Orin Dies (p60-LX106)! During BLACKOUT, Screen Opens

    ! QUICK During BLACKOUT, remove chair! QUICK during BLACKOUT, remove stool

    ACT ONE CODAo During happy music at end, fly in signo After happy music, BLACKOUT (LX110 p61)o During BLACKOUT, Screen Closeso Call Clear to Stage Manager, then intermission begins

    INTERMISSIONo Remove Pod #3o Add Pod #4o Clip Matt ino Add And Son to windowo Add two phoneso Place counter and stool appropriatelyo Props crew do a props check in shopo Check grabber branches and finale branches; make sure theyre readyo Put back stage right trash cano Remove wainscoating for grabber branch access hole, add vines over

    ACT TWO SCENE ONEo Top of Act (p63-LX112)

    ! During BLACKOUT, Screen opens! During BLACKOUT, Screen flies out

    o After Suppertime (p77-LX128)! During BLACKOUT, Screen closes! QUICK Remove Stage Right Trash Can

    ACT TWO SCENE TWOo SIX PAGE SCENE CHANGE: (pp77-83; LX129-140)

    ! Add Grabber Branches Make sure Operators are all set

    Appendix F-1

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    Little Shop of Horrors Shift Crew

    RUN SHEET

    Matt Ciulla~page 3 of 3

    ! Add Rat Poison and Sword to stage! Add Our Founder portrait! Make sure Daniel has fully loaded gun ready! Re check stool and counter for positioning!

    A props check here for inside shop! Check on Matto After Meek Shall Inherit (p83-LX140)

    ! During BLACKOUT, Screen opens! QUICK Add back Stage Right Trash Can

    o When Audrey exits (p86-LX144)! Clock changes time

    o When Audrey is eaten for real (p91-LX155)! Clock changes time

    o Once the girls start singing and move forward (p93-LX159)! Screens close during song

    o **

    QUICK ** ONE PAGE SCENE CHANGE (p94)! Move grabber braces out of the way

    ! Make sure you have Daniel, Elise, Ian, and Patrick in the shop! Bring in Finale Branches! Actors stick their head through the holes and put on the flower

    headpieces! Actors hold the branches over their heads with both arms

    o After AND THIS THEATRE (p94-LX160)! Screens open during song

    o During blackout before curtain call! Move finale branches out of the way! Move plant to safe position

    o After curtain call! During BLACKOUT, Screen closes! During BLACKOUT, Sign flies in

    AFTER EACH SHOWo Lock up gun and ammoo Inventory all pieces of All Pods

    ! Reset them to safe positionso Props crew do a props inventory on the props tableo Reset show for Act I

    Appendix F-1

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    (Turn Over)

    STRIKE LITTLE SHOP OF HORRORSMATT CIULLA

    Audrey II will be put in truck Saturday nighto Suellen has inventory list on her computer

    Team of 4 technicians will take down all rentals w/ lift QUICKLY & SAFELY o First priority: Take down backdrop. Put it in the gymo Second priority: take down 8 rented lightso Third priority: take down 14 rented extension cableso Find a LOT of people to help you

    ! Neatly wrap all cables w/ tie wrap. Store in cloth hampers! Fold backdrop according to BackDrop Instruction Sheet. Store in

    bago Disassemble followspots and put near cloth hamperso Lighting inventory: (in two cloth hampers)

    ! 4 followspots w/ stands! 8 lights w/ clamps, gel frames, safety cables! 14 black extension cables, neatly wrapped w/ tie line

    o We also need to return Set Plans in the tube. See Matt for inventory.o We also need to return body parts in the box. Box them up.

    All Actors who cannot use tools or lift anything report to Stage Left and organizeall cables and cabinets constantly. Vacuum. Read labels on cabinets to know whatgoes where.

    o Help Suellen with the pito ask a technician to see which cords need to come down. Take them down

    and wrap them neatly. Put them in the correct spot.o Put away all tables, etc. Clean the green room.o Put anything that is Matts in Matts pile in the Andrews Hall lobbyo Take down all window coverings in the house and store in cab. 2o Move padded chairs to the rack and put back in gymo Move all white tables to the gymo Put anything that goes to the Ranch House in a pileo ANYTHING THAT IS RENTED/MATTS GOES IN ANDREWS

    LOBBY All Props go to Katie Gehert/Griffin and Ranch house attendant All Costumes go to Mrs. Lockwood and Costume attendant Make a Ranch House pile All Actors and Technicians who can use tools and lift things report to stage

    o ANYTHING THAT IS RENTED/MATTS GOES IN ANDREWS

    LOBBYo Put anything that is Matts in the Matt pile in the lobbyo Remove all set dressings. Give to appropriate persono Remove everything from the walls.o Remove refrigerator and place in kitcheno Clear out the area behind the stage (cross over) behind the supports. This

    is where the flats will go.

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    (Turn Over)

    o Take down all walls neatly. Make sure to disconnect them from everythingfirst.

    o Put all flats (walls) in the cross over area behind the stage. This requiressome organization.

    o Remove flooring from floor. Throw in trash.o

    Remove black flooring from floor. Salvage whole pieces, throw the rest intrash.o Remove the platforms in sections. Un screw them from each other.o Remove all legs from all platforms. Throw legs in trash.o Stack the platforms nicely and put in Ranch house nicely.o Disassemble fire escape and put in Rancho Put all misc. set units in Rancho Throw all screws and small pieces of wood awayo Move all paint to the Ranch for the summero Undo JPs area and reset to originalo Clean green room

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    I N F O R M A T I O

    N

    F O R

    S U M M

    E R

    P R O G R

    A M S

    Appendix G

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    Summer Theatre Signs ---Matt Ciulla

    Checklist to do before leaving the theatre

    1. The janitorial staff will not be coming in over the summer. Please

    clean up any messes! Janitorial supplies are located: in the kitchencloset closest to the backstage hallway, and in the house left closet 2. All external doors must remain locked and completely shut at all

    times . The police check the building at night, and administrators arecalled in the middle of the night if they find any doors open orunlocked.

    3. If you used the hex key, release all external crash bars to make surethey are locked.

    4. Fully close the main curtain.5. (if applicable) raise the projector screen and power down the projector6. Power down the amplifiers and soundboard desk7. (if applicable) lock any cabinets, toolboxes, fridges, etc. that you

    unlocked8. Turn off ALL backstage and onstage florescent lights, turn off aisle

    and trip lights (switches BSR&BSL)9. STAGE/HALOGEN HOUSE LIGHT POWER DOWN

    PROCEDURE Blackout the lightboard by pushing the black out button Power down the lightboard using the power switch on the

    back of the lightboard Power down any other accessories (screen etc) Walk to House Left, and look at the lighting control

    panel. Make sure there is a green light on each off button. If there is not, press one of the off buttons, thisshould make the green lights go to the correct place.

    REQUIRED: Unplug the DMX cable from the lightingcontrol panel. This protects the equipment from shortingout during an electrical storm

    (if applicable) When the house is clear, turn off thesodium house lights using the white light switch onHouse Left. Sometimes this switch needs to be pushed toone side before you flick it up or down. There is also aswitch for these lights on Stage Right.

    Appendix G

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    Summer Theatre Signs ---Matt Ciulla

    UHS Theatre Emergency Equipment Type ABC foam Fire extinguisher : located Stage Left

    Above-stage fire vents : There are 2 pulls, both located in the backstage crossover. In case of fire, pull very firmly on eachhandle. (show-stopping, can only be closed by John Walls) Main curtain pull : Stage Left. In case of fire, quickly closemain curtain. Telephones : One located in the kitchen next to therefrigerator, one located in the greenroom, located on thedesk. To call 911, press LINE 1, dial 9, dial 911. Emergency

    personnel should report to 2825 West 116 th Street MainEntrance East Building. Battery-powered emergency lights : located throughout

    backstage and the house. Come on automatically in poweroutage. Tornado safe areas: PRIMARY: BOYS AND GIRLS LOCKER ROOMS.SECONDARY: GIRLS BATHROOM (BY GYM), STORAGE ROOM NORTH OFGYM, GREEN ROOM. LAST RESORT: ANDREWS HALL, ALONG STAGE. Fire Alarm pull stations : Located near each exit. Activate

    immediately if there is a fire. If the fire alarm goes off : evacuate the building, firedepartment will automatically arrive, also call below list inorder until you get an answer.

    School Emergency Contacts (call in order): NAME JOB NUMBER

    Appendix G

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    S u m m e r

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    t C i u l l a

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    E X I T

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    Appendix G

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    F O R U S E

    O N L Y

    B Y U

    H S T H E A T R E

    P E R S O N N E L

    A N Y Q U E S T I O N S , P L E A S E C A L L T H E E M E R G E N C Y

    C O N T A C T S I N O R D E R

    .

    Appendix G

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    Theatre Keys1: Padlock on tan lighting cabinet and padlock on blue lighting cabinet2: Padlock on black sound cabinet3: Padlock on black power and saw cabinet4: File Cabinet5: Padlock on top tool chest6: Bottom tool chest7: Back of Amp Rack8: Dimmer rack door in electrical room9: Lighting control panel House Left and UNISON box in electrical room10: Rolling sound rack doors11: Padlock on wireless mic boxA: Ranch House doorB: Padlocks on Ranch House garageC: White House doorD: Andrews Hall refrigerators and freezersE: Fire Alarm Control Panel in Andrews HallF: Small Key boxG: Padlocks on doors to Ranch House interior roomsG2: Power lockout for table sawP1: Spare padlock 1P2: 3 Spare black padlocksZ: Big Key BoxZ1: Universal fuse box keyPyro: Padlock on pyrotechnics toolboxGMK: Master key to all interior doors to Andrews Hall. Does not work on exterior doors.Hex Key: Used to pop open exterior doors in Andrews Hall

    Code to the pyrotechnics area of cabinet 4: 31-04-25The key to the roof is kept by the Athletic Director.

    Note: There are two identical sets of keys. One is for the director of the show, and one isfor the School Secretary to keep. If any changes are made to the directors keyset (i.e.

    buying a new lock, changing a lock), the Fire Marshal mandates that the SchoolSecretary must be provided with a copy of the key immediately to add to her keyset. Thisensures that there is always a set of keys on hand for the school to use when needed.

    If the director of the show is not directing the next production at University High School,he should turn his keys in to the Assistant Head of School so that they can be given to thedirector of the next production. Note that this could include student directed or parentdirected mid-year shows.

    Theatre keys should not be given to summer program participants.

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    SAFETY RULESAND

    EMERGENCYPROCEDURES

    All technical theatre personnel must read this guide.

    Section 1: Safety rules ............................................62Section 2: Lift Safety Rules ..................................69Section 3: Emergency Procedures booklet .......73

    Before each production process begins, the Director, Technical Director, Producer(s), andStudent Leader(s) should have a meeting to go over all safety rules and create a safety policy. Thispolicy must be strictly enforced at all times. If you have any questions about safety at any time, firstSTOP whatever it is that is raising a question. Then go see the Assistant Head of School. All crewmembers and directors should read the safety rules.

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    Safety Rules This is a general list of safety rules for use in the theatre. All individuals involvedwith each of the various departments should read these safety rules. They shouldbe followed at all times.

    University High School specific rules: NEVER WORK ALONE Anyone using the lift must read the lift safety pages thoroughly and fully

    follow the rules listed. Construction may not happen without a qualified adult supervisor on duty. All equipment must be locked back up when not in use. Do not leave

    dangerous equipment unlocked at any times. All tools used from heights must be tied to a safety line so they do not fall

    on peoples heads.

    Only trained adult professionals should modify any electronic device orlighting fixture. This includes extension cords, fixtures, soundboard, etc.Use only UL listed and manufacturer approved modification devices. It isvery dangerous to modify any electronic equipment that will be energized.

    The Director, Technical Director, and Producer should make a policy aboutwho is permitted to use especially dangerous tools such as saws,sledgehammers, etc. This should include an element of a trainingrequirement on that equipment. This policy should be strictly implementedto ensure safety.

    Anyone using the lift, supervising use of the lift, or assisting the liftoperator must first read, understand, and agree to the Lift Safety Sectionof this booklet.

    See the following pages for

    the Theatre Safety Rules.Adapted from The Texas Education Agency

    www.uil.utexas.edu

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    C AUSES OF A CCIDENTS

    Safety in the theatre means safeguarding crews, casts, and audiences from all foreseeable hazards andemergencies. Learning to work safely is a vital aspect of educational theatre. Most accidents can beavoided by replacing unsafe habits with safe practices. The main causes of accidents:

    g Insuf cient knowledge

    g Improper use of tools and facilities

    g Failure to safeguard hazardous equipment

    g Failure to remove faulty equipment

    g Carelessness

    g Taking unnecessary risks

    g Being in a hurry

    The most dangerous time of a production is the strikewhen the show is over and the technical elementsare dismantled and stored. This time of exhilaration and exhaustion warrants a greater degree of attentionand vigilance than any other period in the course of the production.

    G ENERAL S AFETY R EGULATIONS

    Running, practical jokes, throwing tools or materials, jumping from one level to another, or any otherdangerous activity is not permitted.

    The proper method of bending the knees, keeping the body erect, and pushing upward with the legsshould be used when lifting objects. Assistance should be obtained when lifting or carrying heavy objects.

    The shop, stagehouse, or other work area must be cleaned and left in a safe condition. All toolsshould be returned, oors cleaned (using a vacuum or wet mop rather than dusting and sweeping),trash emptied, and walkways and exits left clear and unobstructed. In short, any potential safety or rehazard must be eliminated.

    Open traps and unusable platforms or step units must be barricaded (fenced or roped off) or covered.They should be marked with large signs at all times between work periods or performances.

    Cleanliness and order in the storage areas should be maintained at all times.

    Any accident should be reported immediately to the supervising teacher so that rst aid and/or medicalattention can be administered without delay

    C LOTHING AND P ROTECTIVE E QUIPMENT

    Hard-sole shoes should be worn while working in the scene shop, stage, loading dock, or anywherein the theatre facility. Tennis shoes are not desirable; sandals and bare feet should not be permitted.Only performers (actors, dancers, musicians) in dress rehearsal or performance should be permittedto wear open toed or soft construction shoes on stage and in pre-production areas. Workers loading orunloading trucks, moving platforms, scenery, stage weights, or other heavy objects should wear steel-toed work boots.

    Safety Rules

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    Loose-fitting clothing, scarves, ties, or jewelry should not be worn while using powerequipment. Long hair should be tied backor covered. Long-sleeved shirts should beeither buttoned at the cuffs or rolled to theupper arm.

    Goggles, face shields, or safety