Stage Management Handbook University of North Carolina School of The Arts

Revised: August 12, 2013

 

Table of Contents I. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 1 • Stage Management Office • The Stage Management Team II. General Paperwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 • Contact Sheets • Production Calendar • Load-in / Tech Schedule • Rehearsal Reports • Performance Reports • House Management Form • Pre-Show Schedule III. Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 • Production Meetings • Mass E-mails • Callboards • Blackboard IV. Working With The School of Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 • Get to Know the Work • Meeting the Director • Rehearsal Space • Hospitality • Blackboard • Scheduling • Rehearsal Hotline • Rehearsal Props • Rehearsal Scenery • Rehearsal Costumes • Tickets to Drama Performances • Dressing Rooms • Tech Rehearsals • Archival Photo Call • Pre-Show Call Times V. Working With The School Of Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 • Pre-Production • Rehearsal Spaces • Blackboard • Scheduling • Rehearsal Props • Rehearsal Costumes • Rehearsal Scenery •Tech Rehearsals • Archival Photo Call • Pre-Show Schedule •Nutcracker • Festival of Dance VI. Working With The School Of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 • Get to Know the Opera • Meeting the Director • Rehearsal Space • Hospitality • Blackboard • Scheduling • Who/What/Where • Rehearsal Props • Rehearsal Scenery • Rehearsal Costumes •Tech Rehearsals • Archival Photo Shoot • Pre-Show Call Times VII. Working with the Prop Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 • Prop Storage Checkout • Prop Borrowing Information VIII. Working with the Costume Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 • Scheduling Fittings • Rehearsal Costumes • Tech Notes • Program Copy • Load-In • Wardrobe Crew • Make–Up Shop • Meeting With Pam IX. Working with the Wig & Makeup Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 X. Working with Performing Arts Management . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 • Publicity Photo-Shoot • Program Copy XI. Tech Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 • Paperwork for Tech • Additional Responsibilities Prior To Tech • Post Rehearsal Production Meeting • House Lights • House Announcement • Drama Freshmen as Running Crew XII. Working With Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 • Open Flame/Pyrotechnics/Smoking • Effects with Airborne Artifacts • Chemical Effects • Low Lying Fog Effects

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XIII. Weaponry & Stage Combat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 • Actor Safety • Fight Captain • Weapons Handling, Storage, Permits & Safety Procedures XIV. Injuries, Illnesses & Incidents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 • Emergency Information• First Aid • Allergies • Assessing The Situation • Life Threatening Injuries • Non-Life Threatening Injuries • Injury Reports XV. Performance Emergencies/Evacuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 • Emergency Exits • Weather & Fire Emergency/Evacuation • Stopping a Performance XVI. Post Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 • Strike • Lookbacks XVII. Working At the Stevens Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 • Staff & Building Access • Details & Tech Information • Rooms • Keys • First Aid • Transportation • Parking XVIII. Working In De Mille . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 • Keys • First Aid • Sight-Lines • Crossover • Orchestra Pit • Callboard • Dressing Rooms • Warm-up Space IXX. Student Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 • Students on the Meal Plan • Catering at Stevens Center • High School Students • Complimentary Ticket Policy Appendices Appendix A - House Management Form Appendix B - School of Drama Required Clothing Appendix C - Festival of Dance Appendix D - UNCSA House Announcement Appendix E - Emergency Announcements Appendix F - Map of Stevens Center (includes Basement and Dressing Rooms)

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I. GETTING STARTED STAGE MANAGEMENT OFFICE Office Keys Beginning in the sophomore year, Stage Management students may check out keys to the Stage Managers’ office (Room #117) from the D&P Main Office. Keys must be returned at the end of each year prior to Commencement. If a key is lost, a fine and hold will be placed on your account until the fine is paid. Office Computers & Printers All Stage Managers share the office computers and printers. You must have a D&P email account to log in to the computers. Students are encouraged to backup all documents to a thumb drive and are strongly discouraged from storing data (show-related or otherwise) on the shared computers. For tracking purposes, please print ONLY from one of the office computers, and not your own. For larger jobs, such as multiple copies of a script, please print one copy and make any additional copies in the D&P copy room. School of Drama typically provides copies of scripts for Cast and Directors. There are two wireless printers for use in tech and dress rehearsals. The productions in the Steven’s Center and De Mille have priority over those in P Place, since they are further from the SM Office. (PLEASE take steps to lock up the printers at night during their use in the theatres.) D&P Copiers are only for use by D&P Students for production related work. Office Etiquette Be professional and respectful as this is a shared, working office. Clean up after yourselves, turn off the lights and lock the door when you leave. Shared Office Equipment • Coffee Urns • Cork Boards & Easels • Colored Paper • Hole Punch • Staplers • Ice Chests • Tape Measures 1

* All equipment must be returned when you’re finished using it. D&P Front Office Equipment & Supplies • Copier • Laminator • Fax Machine • Paper Cutter • Hole Punch • Automatic Stapler • Color Printer • Plastic Binding Machine

THE STAGE MANAGEMENT TEAM Stage Management Faculty determines what production you work on and who is on each team. After you are assigned to a production, it is up to the Production Stage Manager (PSM) to determine the delegation of duties and responsibilities for the rest of the team. When there is more than one Assistant Stage Manager (ASM) on a team, one assistant is usually assigned to be the Props Liaison and another is assigned to be the Costume/Wig & Make-up Liaison. Below is a list of the possible roles and responsibilities defined for the production staff: Production Stage Manager / Stage Manager • Meets with Director/Choreographer • Determines the rehearsal needs of the Director/Choreographer • Facilitates setting up rehearsal space • Schedules and runs meetings • Sets up Blackboard, the D&P Callboard, and a rehearsal hot line • Serves as a liaison with the presenting school’s University Administration Manager (UAM). (For Opera, the Managing Director of Fletcher Opera serves as liaison.) • Creates and distributes a script breakdown and running lists • Creates and distributes schedules and calendars • Oversees rehearsals • Writes and distributes daily rehearsal and performance reports • Keeps a prompt book and updates script changes • Oversees Tech/Dress Rehearsals with Technical Director Assistant Stage Manager(ASM) – Costumes/Wig & Make-Up Liaison. • Creates preliminary costume plot and quick change plot • Serves as primary contact for the Costume Shop

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• Communicates in person or on phone with the Shop Manager at the beginning of each crew period • Coordinates rehearsal costume needs with the shops • Provides daily updates and changes from rehearsals to the Costume Shop and Wig/Make-Up Departments • Works with Shop Managers and Drapers to schedule costume fittings • Assigns dressing rooms with collaboration of PSM, Designers and Supervisors Assistant Stage Manager (ASM) – Props Liaison. • Creates preliminary props plot and running sheets • Serves as primary contact for the Properties Director • Works with the Prop Shop to pull rehearsal props • Provides daily rehearsal updates to the Properties Director and Set Designer • Supervises the Freshman Drama Running Crew • Sets up prop tables backstage and supervises prop presets • Writes and distributes Production Meeting minutes. Production Assistant (PA) On larger productions, an additional ASM or Production Assistant is sometimes necessary. The PA duties may include: • Assist with running of stage rehearsals and performances • Child wrangling • Meal or transportation assistance • In Opera, serves as the Director’s note taker during Tech/Dress Rehearsals Assistant Director (AD) This is a 3rd or 4th year Drama/Directing student who serves as an assistant to the Director, who sets his or her duties. Possible duties may include: • Takes notes for the Director • Gives actor notes in rehearsals and performance when Director is not present • Stages understudies or covers during rehearsals and performances • Communicates with PSM on any technical notes or concerns Company Manager On larger productions, such as a tour or a production off campus (Stevens Center), a Performing Arts Management Graduate Student may be assigned as Company Manager and works with the Stage Management

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team to coordinate logistics beyond the scope of the actual rehearsal or performance. These responsibilities include: • Catering arrangements for meals, snacks, water, or coffee breaks • Special contract rider requirements for Cast • Special contracts or letters of agreement, such as participation or employment agreements • Photo and liability release forms • Travel schedules • Hotel arrangements and per diem expenses • Transportation on charter busses • Personal rental cars, vans, or trucks • Special permits and driving directions • Parking

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II. GENERAL PAPERWORK CONTACT SHEETS The PSM should create a Production Contact Sheet and include the Cast, Creative Team, Designers, Technicians, Faculty Advisors for each of the Designers & Crew Heads, as well as the Show Advisor, Costume Shop Manager, Wig/Make-Up Shop Manager, PAM Marketing Representative and CPF Staff.

PRODUCTION CALENDAR The PSM should create a Production Calendar (subject to change and revision) as soon as possible and distribute it by the first Production Meeting. The production calendar should include the following: • First Rehearsal • Load-in Period • Tech Rehearsals, including the Sunday Dress Tech Rehearsal • Dress Rehearsals • Performances • Archive Photo-call • Program copy information due date • Key deadlines for design/production work (as determined by D&P Faculty)

LOAD-IN / TECH SCHEDULE The PSM works with the Technical Director (TD) and Crew Heads to create the Load-in/Tech Schedule. Discuss this with the SM Show Advisor prior to its publication. It should be distributed and discussed at the Production Meeting specifically designated as the Load-in/Tech Schedule Meeting, which should be held at least a week and a half before load-in begins. This schedule should include: • Exact times for every event happening during load-in and tech • Who is involved in each event • What is happening during each event • The location of each event • Meal breaks • Work time • Post-rehearsal in-house tech meetings • Open/unscheduled time • End of day During the meeting, any additional dry tech, transition rehearsals, quickchange rehearsals, and pre-cue time should be scheduled. You must get approval from D&P Faculty for any changes to the published D&P Production Schedule.

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REHEARSAL REPORTS For all rehearsals, including tech and dress, Rehearsal Reports must be completed daily, emailed, and posted on Blackboard by the PSM immediately following rehearsals. Include any tech notes on the report that affect labor and/or money. Use the Contact Sheet as a guide for who needs to receive rehearsal reports. Do NOT include actors in the distribution list for rehearsal reports; DO include the Assistant Directors. From the CPF Staff, only send the reports to Brent LaFever, Robin O’Neal and Jamie Hunter. Please include the Director of Stage Management in the distribution list, even if he/she is not the Show Advisor for the production. If there is any use of firearms in the production, the Stage Manager must include a daily firearm log with each use in the Rehearsal Report.

PERFORMANCE REPORTS Performance Reports serve as a record of what occurred during the performance, onstage and off. Performance Reports should be posted on Blackboard and emailed after each performance. Any technical notes included in the report should also be followed up in person and by email. Accurate house counts can be obtained from House Management. If there is any use of firearms in the production, the Stage Manager must include a daily firearm log with each use in Performance Report. Use the Contact Sheet as a guide for who needs to receive performance reports. Do NOT include actors in the distribution list for performance reports; DO include the Assistant Directors. From the CPF Staff, only send the reports to Brent LaFever, Robin O’Neal and Jamie Hunter. Please include the Director of Stage Management in the distribution list, even if he/she is not the Show Advisor for the production.

HOUSE MANAGEMENT FORM A House Management Form must be submitted to the Faculty Advisor, Brent LaFever at CPF, the head of the box office (currently Kathi Rainwater), and the Executive Producer for the Chancellor’s Office (currently Katharine Laidlaw). It should be submitted in a preliminary form once the show is in run-throughs and should be updated as needed before the first dress rehearsal. The form should include the following: • Total run time • Number of intermissions & length of each intermission • Total Number of Seats in the house • Use of special effects (i.e. strobe lights, black lights, fog or haze, incense, pyrotechnics and loud sound effects) • Adult material/language

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• •

Potential hazards/blocked seats Late seating policy

[See Appendix A for the standard UNCSA House Management Form.]

PRE-SHOW SCHEDULE The PSM creates the pre-show schedule, which includes the call times for the following: wig & make-up calls, vocal warm-ups (singing and/or speech), physical warm-up, fight call, sound check, channel check, sweep & mop, and pre-set. (See the sections for the individual schools for more information.) It is imperative that the PSM consults with the TD, Crew Heads, Shop Managers and appropriate Designers before making this schedule. Time must be allowed after the Cast and Crew’s final class of the day for a onehour meal break before the first pre-show call. Special consideration should be given to cafeteria schedules.

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III. COMMUNICATION PRODUCTION MEETINGS Production Meetings should be scheduled as needed, generally every other week, during crew hours, but no earlier than 15 minutes after the start of crew period. Only under special circumstances, such as when the Director/Choreographer is unavailable during crew hours and after the Show Faculty Advisors have approved, can a production meeting be scheduled outside of crew hours. You must reserve a room for your meeting in advance. Room reservation books are located in the D&P Main Office. The PSM should solicit agenda items from each department prior to the meeting and work with the TD to create an appropriate order for the Meeting Agenda. All Show Faculty Advisors must be invited to every Production Meeting. One of the production meetings must include the discussion and approval of the Load-in/Tech Schedule.

MASS E-MAILS Never send a group email to the entire school of D&P unless given permission by the front office and/or your Advisor.

CALLBOARDS The D&P callboards are a public communication source. Use them appropriately. Do not post inappropriate images or subject titles on them. Always keep them up-to-date with current paper work. Callboards should include the following information: Production Calendar, including the Load-In and Tech Schedule, Daily Calls, Contact Information, Cast List, Meeting Minutes, Announcements, Program Copy. Please allow space for the D&P Director of Finance to post a weekly budget summary on the board.

BLACKBOARD Blackboard is UNCSA’s virtual callboard. Stage Management Faculty will create a Blackboard page for each production. Once the page has been created, it is the responsibility of the PSM to format the page and keep it updated. Each production’s Blackboard should have the same basic layout for ease in navigating. When creating the tabs on the left-hand side in Blackboard, the order should be: •

Announcements 8

• • •

• • • • • • • • • • • • • • •

Cast List Contact Sheet Schedules o Daily Calls o Production Schedule Scene Breakdown Scenery Costumes Wigs & Make-up Props Lights Sound Rehearsal Reports Meeting Minutes Program Copy Timings Company Management (if necessary) Dialect (if requested by Dialect Coach) Performance Reports Script

Enroll ALL D&P Faculty, Stage Management Students, the Executive Producer (currently Katharine Laidlaw), CPF Staff, Stevens Center Staff (when appropriate), and the Communications & Marketing Staff. Also include the Director, Choreographer(s) & Assistants, Conductors & Music Staff, Fight Choreographer, Voice & Dialect Coaches, and Performers, as well as the Deans, Associate/Assistant Deans, and University Administrative Manager (UAM) for the presenting school. For Drama and Opera productions, please include all Drapers and the Craft Head. For Dance productions, please include the Dance Costume Shop Staff. If there is someone working on the production who is NOT a member of the UNCSA community (and thus does not have an on-campus email address), send the name, email address and title of that person to the Director of the Stage Management Department, who will forward that information to IT. Once the person is given temporary access to Blackboard, you will be notified so that you can enroll him or her in your production’s Blackboard.

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IV. WORKING WITH THE SCHOOL OF DRAMA GET TO KNOW THE WORK As soon as you get your assignment, read the play or musical. A copy can be obtained from the UAM of the School of Drama, currently Mary Jane Degnan. Please verify that the script you are being given is the one being used in rehearsal. The Main Office in D&P often have copies of scripts, but they might not necessarily be the correct version. By the time Stage Management assignments are announced, the Director and the Designers may have already begun working on ideas for the production. Schedule time with the Designers and TD to get up to speed on what has happened so far.

MEETING THE DIRECTOR Once the PSM has read the script, arrange a meeting with the Director. This is a chance to get to know him/her and to learn about the Director’s vision for the production. Discuss the Director’s needs for the rehearsal process and see how you can best support him/her. If it is a Guest Director, you need to be particularly attentive to helping understand the procedures at D&P.

REHEARSAL SPACE Obtaining A Rehearsal Space The UAM at the School of Drama (currently Mary Jane Degnan) assigns the Drama production rehearsal spaces. Typically, the Thrust show rehearses in the Rehearsal Studio in Performance Place, the Catawba show rehearses in the Cobb Rehearsal Studio in Performance Place, and the Patrons show rehearses in the Patrons, until load-in when an alternative rehearsal space will need to be identified. When there are more than three shows rehearsing at the same time, one of the smaller shows will usually rehearse in a studio in the School of Drama. Once you have your assigned rehearsal space, contact the Campus Performance Facilities (CPF) Operations Manager (currently Robin O’Neal) to obtain keys for your rehearsal studio. Setting Up the Rehearsal Space Callboards

Each production should create a portable callboard for rehearsal. (Easels and bulletin boards are in the SM Office.) These callboards should be used for sign-in sheets and other important information.

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Tables & Chairs

If there are not enough tables and chairs in your studio, contact a member of CPF, who will assist you in acquiring additional furniture needed for the rehearsal process. Taping The Floor

Spike tape should be acquired from SM Faculty. Only use gaff tape, spike tape, clear vinyl tape (nicknamed “condom tape”), and removable dots to tape the floor. Do not use clear packaging tape at any time, as it does not come up easily and can damage the floors. Return any left over spike tape to SM Faculty. Taping On Walls

When posting on the walls and doors of Performance Place, use only removable blue painters’ tape on all painted surfaces or gaff/spike tape on all non-painted metallic surfaces. Do not tape on any unpainted wooden surfaces. Pianos

The School of Drama will arrange for the pianos to be tuned for rehearsal. Should the Director or Music Director ask for the piano to be tuned, contact the UAM. First Aid

Each studio is equipped with a first aid kit in the properties closet. Be sure to check that the kit is stocked prior to starting rehearsals. If you need any additional supplies, contact a member of the CPF Staff.

HOSPITALITY There is no budget allowance for coffee & tea service for rehearsals, and it is not advised that you spend your own money to offer this courtesy. It is common, however, for Stage Management to request that the Creative Staff and Cast contribute a set amount ($5.00 per head is an appropriate start) for coffee, tea, lozenges and supplies. Please check with SM Faculty for hot pots and coffee makers.

BLACKBOARD When enrolling people onto Blackboard for School of Drama productions, be certain to include the Dean, the Assistant Deans, the UAM, all Voice/Text/Accent/Dialect Coaches, the Fight Choreographer, Music Staff and Movement Staff.

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SCHEDULING Daily Calls Drama productions work off of daily schedules. The PSM works with the Director to come up with the schedule for the following day, incorporating any necessary fittings, tutorials, etc. It is the PSM’s responsibility to insure that the schedule is properly distributed via email, Blackboard, and on the D&P call board. The Daily Call should be sent to everyone on the Contact Sheet, including Show Advisors. The normal rehearsal week is Monday through Saturday. The maximum number of rehearsal hours per week is 36, except by special permission from the School of Drama. Please do NOT schedule a Sunday rehearsal (except during tech) without speaking with the SM Show Advisor. Rehearsals typically end by 11:00 pm on weekdays. Be certain to include an addition 15 – 30 minutes after the cast is released to do clean-up and quick meetings. Fittings The ASM (Costumes Liaison) will post a Fitting Request in the Costume Shop for the Shop to fill out. When a fitting is needed, the Shop will indicate it on the Fitting Request Form. During the ASM’s daily shop check, the ASM will take note of any new fittings added to the list and inform the PSM each day. After resolving any possible conflicts, the SM includes the fittings in a separate section of the published schedule. The same ASM is responsible for doing daily shop checks to the Wig & Make-up Shop, although there is no formal request from for Wig & Makeup. Should Wig & Make-up need any fittings, they will ask the ASM, who will inform the PSM so the fitting can be added to the daily schedule. Since Costumes and Wig & Make-up work out of two different shops, their fittings should be listed separately from each other on the schedule to help make it clear whom they are getting and when.

REHEARSAL HOTLINE There are several rehearsal hotline extensions through the D&P SM office phone system. At the beginning of each semester, the PSM’s choose the extension they will each use for their show and communicate the number to the cast. After the daily call is distributed each night, Stage Management records the rehearsal on the hotline. For rehearsals Monday through Friday, calls should be recorded by noon of that day. For rehearsals Saturday and Sunday, calls should be recorded by midnight the day prior. 12

REHEARSAL PROPS The ASM (Props Liaison) works with the Properties Director to create a working props list. The ASM schedules a time with the Props Director to pull rehearsal props from the Prop Shop. All rehearsal props must be signed out by the ASM. The Props Director arranges to bring the rehearsal props over to the rehearsal studio. Each studio has a props closet to lock up all rehearsal props daily. Once the show is open, the ASM is responsible for arranging a time to take all the rehearsal props back to the Prop Shop and help put them away. Failure to return rehearsal props in a timely manner may result in a reduction in the ASM’s production grade. If the Director requests actual performance props in rehearsal, please consult with the Properties Director. This request often is made in regard to “perishable” props, such as food and liquids. The needs for each production will be evaluated individually to determine whether that request can be granted and when.

REHEARSAL SCENERY Communicate with the TD if a request for a mock-up of a specific scenic element for the rehearsal room is made. An efficient, cost-effective solution will often satisfy the needs of the production. Because large scenic elements may involve safety concerns, approval of SM and TD Faculty is required

REHEARSAL COSTUMES The ASM (Costumes Liaison) communicates with the Costume Designer to determine which costume pieces are needed for rehearsal. Please keep in mind that the Costume Shop will not lend out items that are deemed “normal everyday wear,” or things that the School of Drama requires each Student to have. [See Appendix B for a list of School of Drama required clothing.] The School of Drama also has a small collection of period clothing, such as corsets and petticoats, which the Actors can sign out for rehearsal. If other costume pieces are still needed, the Costume Designer will pull the necessary rehearsal pieces and approve their use with the Costume Shop Manager. The ASM must then sign out the costume pieces with the Costume Shop Manager and assume full responsibility for all rehearsal costume pieces. By opening night, the ASM is responsible for returning all rehearsal costumes to the Shop Manager. If any of the rehearsal items have become part of the show package, alert the Shop Manager so she can transfer responsibility for those items to the wardrobe head. Kneepads can also be signed out through the Shop Manager should an Actor ask to use them in rehearsal. Please alert the Costume Designer that 13

the Actor may want to wear the kneepads in the performance to ensure the kneepads will fit in the Actor’s costume. Failure to return rehearsal costume pieces by opening night may result in a reduction to the ASM’s production grade.

TICKETS TO DRAMA PERFORMANCES It is required by the School of Drama that all its Students see every production during the semester. If the production is running during your rehearsals, tech, or performance period, you must arrange with your Director to allow the Cast to see a performance or run through. If your schedule only allows for your Cast to see the production at a paid public performance, you must reserve the tickets for the Cast. Contact the box office manager (Kathi Rainwater) to submit the names of the Students and Staff who need tickets. Tickets will be reserved for the group to be picked up individually on the night of the performance. If your show closes before any of the productions, you are not responsible for reserving tickets for your Cast. As a courtesy, however, let your Cast know which productions you will be arranging for them to see and which you will not. Stage Management should not be involved with securing tickets for the Directors and their Assistants to see their own production each night. Please encourage the Assistant Directors to take on this responsibility to contact the box office and arrange tickets for the Director.

DRESSING ROOMS All the theaters in Performance Place use the same dressing rooms, and often multiple Drama productions will run at the same time. Prior to the first production going into tech, the ASM Costume Liaisons should meet to discuss how to allocate the dressing rooms for each production. Since Wig & Make-up will also need a space to work, the ASMs should speak with the individual Designers to ascertain their needs for the productions. When necessary, teams from different productions will be able to share a space with each other, but don’t assume without discussing it. ASMs are responsible for making the Dressing Room signs.

TECH REHEARSALS Tech rehearsals for Drama productions follow the guidelines of the Actors’ Equity Association LORT Rulebook. The Cast cannot be called for more than two “10-out-of-12” rehearsal days, which are always the Saturday and Sunday before opening. If the tech rehearsal process spans more than two days, all other rehearsals should be “7-out of-8 1/2” or “8out-of-10” rehearsal hour days.

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[For more information about Tech Rehearsals, please refer to Section VII.]

ARCHIVAL PHOTO CALL All photo calls for Drama productions take place following a performance. If the production has a two-week run, the photo call typically occurs after the Sunday matinee of the first week. If the production only has a oneweek run, the photo call typically occurs after the Saturday evening performance prior to Sunday’s closing matinee. The photo calls should take approximately an hour. When they follow an evening performance, they should be completed by 11:45 pm so that everyone can be out of Performance Place by midnight. Please check with the SM Advisor and CPF if you anticipate going beyond midnight. The PSM is responsible for setting the order of the shot list. Please check with the Creative Staff and Designers for their desired list of shots and then create an order that makes the best use of time and allows for the fewest costume, hair and scenic changes.

PRE-SHOW CALL TIMES For Drama productions, there is typically a pre-show vocal and/or physical warm-up and fight call when appropriate. These generally need to happen on the stage, so schedule them carefully as not to conflict with the Crew’s pre-show checks, as well as wig & make-up calls. Check with the Voice/Dialect Coach and Fight Choreographer on your show to determine how long the calls will need to be.

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V. WORKING WITH THE SCHOOL OF DANCE PRE-PRODUCTION As soon as you get your assignment, contact the School of Dance for the names of the Choreographers and pieces, as well as for a copy of the music, if available. Meet with the on-campus Choreographers and/or the Assistant Choreographers to the Guest Artists to get any pertinent information and ascertain what is expected from Stage Management in rehearsal. Because most of the Dance productions are comprised of four pieces and the SM team will usually have a maximum of three SM’s, discuss with the Choreographers how best to support and staff each of the rehearsals. Coordinate meetings with the Choreographers, Designers and TD.

REHEARSAL SPACES You will generally be rehearsing in studios 606, 608, 614, 615 or Studio A. Rehearsal spaces are assigned each week by the Assistant Deans of Dance and can be found on the weekly rehearsal schedule. The Budget & Finance Manager for the School of Dance handles key sign-out for rehearsal studios. CD/DVD/iPod Entertainment Systems The primarily used studios (606, 608, 614, 615, Studio A) are equipped with a CD/DVD/iPod Entertainment System. If the studio you are in does not have a system, rolling CD players and Eon speakers are available in Studio 4 and can be relocated to wherever you are rehearsing that day. Pianos/Pianists/Tuning The School of Dance takes care of all their pianos, including tuning and maintenance. Report any issue to the UAM. When needed, pianists will be scheduled for rehearsals. Prop/Costume Storage Studio A has a lockable closet inside to store rehearsal props/costumes. For all other studios, necessary rehearsal props and costumes can be stored in Studio 4. De Mille Theatre De Mille is often used as a rehearsal space for the School of Dance. It is not equipped with an entertainment system. You will need to use one of the rolling CD players and Eon speakers from Studio 4 for all rehearsals. Work lights for de Mille are located backstage on the DSL wall of the stage.

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CPF and UNCSA Facilities maintain this space in de Mille.

SETTING UP THE REHEARSAL SPACE Callboards

Each production should create a portable callboard for rehearsal. (Easels and bulletin boards are in the SM Office.) These callboards should be used for sign-in sheets and other important information. Taping The Floor

Spike tape can be acquired from any SM Faculty. Only use gaff tape, spike tape, clear vinyl tape (nicknamed “condom tape”), and removable dots to tape the floor. Do not use clear packaging tape at any time, as it does not come up easily and can damage the floors. Return any left over spike tape to SM Faculty. Be sure to use condom tape on all corners & wing lines. The wings are generally close to the dance barres and will often come up when classes do barre work if not properly taped down. Be prepared to maintain and replace your spike tape throughout the rehearsal process. Studio A, 606 & 608 are the only studios large enough to fully accommodate the Stevens Center stage. Check with each Choreographer about orientation of the studio mirrors with upstage and downstage. First Aid

Stage Management should keep a supply of small zip-lock plastic bags with them at all times to use for ice. You can get free zip-lock bags from the UNCSA Wellness Center. Small coolers are also available in the SM office and can be used as a convenience to keep ice in rehearsals. The Pilates Studio in the School of Dance is equipped with an ice machine. You can also obtain ice in the Wellness Center during normal business hours or in the Pickle Jar after hours. Keys to the Pilates Studio can be obtained from the Budget & Finance Manager at the School of Dance.

BLACKBOARD When enrolling people onto Blackboard for School of Dance productions, be certain to include the Dean, the Assistant Deans, the UAM, all Choreographers and Assistants, and the Dance Costume Shop Staff.

SCHEDULING Rehearsal Schedules The administration for the School of Dance distributes a rehearsal schedule each week detailing all rehearsals and their locations. This schedule is usually emailed out by Thursday afternoon or Friday morning of the preceding week. 17

At times, Stage Management may be responsible for posting and distributing changes made to the rehearsal schedule during the course of the week. Replacement schedules should be posted in the glass case adjacent to the Dance Student lounge between studios 608 and 615. Keys for this case may be checked out from the UAM. Please check with Assistant Deans if you will be responsible for posting. The PSM is responsible for scheduling all Tech, Dress and Performance calls. Be certain to include time for warm-up prior to rehearsals and performances. When working at the Stevens Center, Stage Management is also responsible for scheduling bus calls for all Cast members. Fittings The Dance Costume Shop schedules the majority of the fittings directly with the Dance Students; however, the Shop may ask for Stage Management’s assistance as dress rehearsals approach or to schedule group fittings. Check in daily with the Dance Costume Shop to see if you can assist in any way. When guest companies are in residence, Stage Management may be asked to participate in the scheduling of their fittings with the Dance Costume Shop.

REHEARSAL PROPS Many Dance shows do not have Props Directors assigned to them. If so, work with the Scenic Designer and the Property Inventory Manager to sign out any necessary rehearsal props. These props should be locked up in one of the closets in Studio A or Studio 4.

REHEARSAL COSTUMES Any rehearsal costumes - including rehearsal skirts, jackets, and hats - can be signed out through the Dance Costume Shop. Rehearsal kneepads can also be obtained from the Dance Costume Shop. Failure to return rehearsal costume pieces by opening night may result in a reduction in the ASM’s production grade.

REHEARSAL SCENERY Communicate with the TD if a request for a mock-up of a specific scenic element for the rehearsal room is made. An efficient, cost-effective solution will often satisfy the needs of the production. Because large scenic elements may involve safety concerns, approval of SM and TD Faculty is required

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TECH REHEARSALS Typically for Dance concerts, each piece is given its own two or three hours to space and two or three hours to tech. No single number should tech for more than three to four hours on one day. The entire program comes together in performance order for the first Dress Rehearsal. [For more information about Tech Rehearsals, please refer to Section VII.]

ARCHIVAL PHOTO CALL The archival photos are taken during one of the dress rehearsals. Typically this is scheduled by one of the Assistant Deans in conjunction with the Marketing/Communications department. If you are asked to assist in any way with the scheduling of the archival photos, contact the Marketing/Communications department.

PRE-SHOW SCHEDULE The Choreographers and Assistant Deans of Dance will determine what is needed in regard to a warm-up before the show. Typically, ballet and contemporary will warm up separately from each other. Consider any preshow wig & make-up calls so they do not conflict with warm-up.

NUTCRACKER The Nutcracker is unique in a number of ways. Some of the above applies, but refer to Nutcracker Archive information for specifics.

FESTIVAL OF DANCE The Festival of North Carolina Dance is held on the UNCSA campus each year in conjunction with Winter Dance. Approximately 350 students from dance schools and companies across North Carolina come to take classes and do a performance at the Stevens Center. The show techs during the day on the Friday and Saturday of Winter Dance and performs directly after the Sunday matinee of Winter Dance. [See Appendix C for more specific details on the Festival of Dance.] Each student who works on Festival of Dance will receive a stipend from the School of Dance. The PSM is responsible for compiling a list of D&P names and communicating to the Dance Finance Director.

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VI. WORKING WITH THE SCHOOL OF MUSIC GET TO KNOW THE OPERA As soon as you get your assignment, read the score if it is in English. If not, research the opera online to get background on the opera. A copy of the libretto, score and CD can be obtained either from SM Faculty or the Fletcher Opera Managing Director, currently Steve LaCosse. The Kenan Music Library (2nd floor) usually has recordings available to check out. By the time Stage Management assignments are announced, the Director and Designers may have already been working on ideas for the opera. Schedule time with the Designers and TD to get up to speed on what has happened so far.

MEETING THE DIRECTOR Once the PSM has read the score and learned a little about the show, arrange a meeting with the Director. Use this opportunity to learn about the Director’s vision for the piece. Discuss the needs of the Director for the rehearsal process and ask if you should set up any meetings for the Director.

REHEARSAL SPACE Our Lady of Mercy (OLM) Gymnasium (Work Place West 5) OLM is maintained by Campus Facilities. Matters pertaining to lighting, heating and air conditioning, cleaning or maintenance should come to the attention of Dianne Millette, Administrative Assistant at 770-3323; [email protected]. If you are unsuccessful with Dianne, reach out to Christopher Boyd, Associate Vice Chancellor, Facilities Management. Keys

All operas rehearse in the OLM gym. Keys to the gym and its closets can be obtained from SM Faculty. Keys must be returned before the last performance. Failure to do so will result in a reduction in your Production Grade. Building Alarm

Rehearsing at OLM after hours or on the weekend requires that you coordinate with Campus Police for the building security system to be disabled before you enter and armed after you leave each day. Call Campus Police everyday before you need to enter the building. If the security system is armed, Campus Police will come over and disarm it. Allow 15 minutes for the Campus Police to arrive. At the end of each day, use the red phone located by the entry door to contact Campus Police and tell them you are finished for the day. 20

Remember to close all windows and lock the door from the rehearsal hall to the stairwell downstairs. Lighting

There is a breaker box located on the wall in the classroom area near the door to the building. The breakers control the lights, electrical outlets and heat. Flip the circuits “on” before you start rehearsal and “off” before you leave the building. There are also two stage lighting fixtures that need to be plugged in to help light the room: one is located by the kitchen, and the other is located by the closets on the opposite side of the gym. Outlets are not easy to find. Plug the light near the kitchen in an outlet in the kitchen and plug the light near the closet in an outlet in the closet. Heating

The heating system is older and does not always work properly. If the radiators are blowing cold air, Campus Facilities must be called to come and adjust them. Because Campus Facilities closes at 4:30 pm on weekdays, Stage Management should check the temperature by 4:00 pm during weekday rehearsals. During weekends, contact Campus Police if there are any problems with the heating. Air Conditioning

The A/C control in OLM is located downstairs in the hallway on the kitchen side. In the hallway downstairs, there is a string lever suspended from the ceiling. If it gets too hot in the gym and you need to turn on the A/C, simply pull the lever towards the side marked "to the gym". Closet Space

There are two lockable closets on the far wall of the gym. Keys for these closets are included in the set of keys you receive from SM Faculty. Bathrooms

Bathrooms are located downstairs in the academic hallway. If you encounter any problems with the bathrooms, contact Campus Facilities. Do not contact CPF.

SETTING UP THE REHEARSAL SPACE Callboards

Each production should create a portable callboard for rehearsal. (Easels and bulletin boards are in the SM Office.) These callboards should be used for sign-in sheets and other important information.

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Tables & Chairs

There are always tables and chairs in the gym. If you need additional tables and chairs, please contact Campus Facilities. Pianos

The School of Music tunes the pianos in the gym. If there is a request for the piano to be tuned, contact the Fletcher Opera Managing Director. Taping The Floor

Spike tape can be acquired from any SM Faculty. Only use gaff tape, spike tape, clear vinyl tape (nicknamed “condom tape”), and removable dots to tape the floor. Do not use clear packaging tape at any time, as it does not come up easily and can damage to floors. Return any left over spike tape to SM Faculty. First Aid

There is a small amount of first aid supplies in the white cabinet directly behind the tables in the gym. Check this supply and obtain any additional supplies needed from the UNCSA Wellness Center.

HOSPITALITY The Fletcher Opera Institute funds the hospitality for the opera productions. Stage Management is responsible for keeping the hospitality stocked with cups, honey, tea, and lozenges. There is also a water cooler jug machine that is used for cold and hot water. The dispenser remains plugged in and “on” at all times. New water jugs will need to be purchased throughout the rehearsal process by Stage Management at a self-serve dispenser at Compare Grocery Store on Silas Creek/Peters Creek Parkway. Submit all receipts to the Fletcher Opera Managing Director for reimbursement. Campus Facilities Housekeeping sweeps and empties trashcans daily.

BLACKBOARD When enrolling people onto Blackboard for School of Music productions, be certain to include the Dean, the Assistant Deans, the Fletcher Opera Staff, including accompanists assigned to the production, Voice Faculty and the Conductor. If supertitles will be used in the production, enroll the Supertitle Coordinator also.

SCHEDULING Weekly Schedules The Fletcher Opera Faculty schedules all weekly music classes, rehearsals, and fittings. The ASM Costume Liaison assists with Fitting Schedules as requested by Fletcher. The Fletcher Faculty emails schedules to the Cast

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and Stage Management at the beginning of the week, usually on Sunday evenings. Fittings The ASM (Costumes Liaison) will post a Fitting Request in the Costume Shop for the Shop to fill out. When a fitting is needed, the Shop will write it on the fitting request form. During the ASM’s daily shop check, the ASM will take note of any new fittings added to the list. The ASM will sit down with the Fletcher Faculty and schedule fittings with them over the weekend when they are making the master schedule for the week. The same ASM is responsible for doing daily shop checks to the Wig & Make-up Shop. Should Wig & Make-up need any fittings, they will let the ASM know by the Friday of the following week to be added to the next week’s rehearsal schedule. There is no request form for Wig & Make-up.

WHO/WHAT/WHERE The Who/What/Where is the single essential piece of opera paper work that serves the same purpose as a scene breakdown. It is a master run sheet that lists every entrance and exit, all props and wardrobe information, as well as all scene shifts and rail cues. Every cue listed also has an associated placement and time. Opera productions are often mounted at several companies, and the Who/What/Where is the archival record of a production.

REHEARSAL PROPS The ASM (Props Liaison) works with the Properties Director to come up with a working props list. The ASM schedules a time with the Props Director to pull rehearsal props from the Prop Shop. All rehearsal props must be signed out by the ASM. The Props Director arranges to bring the rehearsal props over to the rehearsal studio. Each studio has a props closet to lock up all rehearsal props daily. Once the show is open, the ASM is responsible for arranging a time to take all the rehearsal props back to the Prop Shop and help put them away.

REHEARSAL SCENERY Communicate with the TD if a request for a mock-up of a specific scenic element for the rehearsal room is made. An efficient, cost-effective solution will often satisfy the needs of the production. Because large scenic elements may involve safety concerns, approval of SM and TD Faculty is required

REHEARSAL COSTUMES The ASM (Costumes Liaison) communicates with the Costume Designer to determine which costume pieces are needed for rehearsal. The Costume 23

Shop will not lend out things that are deemed “normal everyday wear.” If specific costume pieces are needed, the Costume Designer will pull the necessary rehearsal pieces and approve their use with the Costume Shop Manager. The ASM must then sign out the costume pieces with the Costume Shop Manager and assume full responsibility for all rehearsal costume pieces. By opening night, the ASM is responsible for returning all rehearsal costumes to the Shop Manager. If any of the rehearsal items have become part of the show package, alert the Shop Manager so she can transfer responsibility for those items to the wardrobe head. Kneepads can also be signed out through the Collection Manager should a Performer ask to use them in rehearsal. Alert the Costume Designer that the Performer may want to wear the kneepads in the performance to ensure the kneepads will fit in the Performer’s costume. Failure to return rehearsal costume pieces by opening night may result in a reduction in the ASM’s production grade.

TECH REHEARSALS There are a very limited number of tech hours with the Cast in an opera. To ensure the time you have with the Cast is used wisely, try to schedule an ample amount of pre-cueing time for the Lighting Designer before the Cast comes onto the stage. Once the orchestra is added, it becomes the Conductor’s rehearsal. Typically the Director will want one four-hour spacing rehearsal, followed by a piano tech, a piano dress, an orchestra tech, and an orchestra dress before opening. Orchestra Calls are determined by the Conductor and arranged through the School of Music Large Ensembles Manager. Depending on the length of the opera, the Orchestra is generally called for three to three and a half hours for all rehearsals, except final dress, which is treated as a performance. If Winston-Salem Symphony is used, the Conductor coordinates orchestra calls with the Symphony Orchestra Manager. The Symphony contract determines the maximum and minimum calls and break schedule. In order to plan the tech/dress schedules, the PSM should be fully informed about these arrangements through the Conductor and Symphony Manager. As an opera PSM, scheduling logistics and responsibilities include: • Coordinating the pit load-in schedule with CPF or Stevens Center Staff and the Large Ensembles Manager • Scheduling and arranging for a piano or keyboard for all tech rehearsals 24

• • •

Ensuring the piano is tuned, properly amplified and adequately lit with 2 mini task lamps or goosenecks. Scheduling the sitzprobe and/or wandelprobe with the Orchestra Scheduling a transition rehearsal (if needed) prior to the first Orchestra rehearsal

[For more information about Tech Rehearsals, please refer to Section VII.]

ARCHIVAL PHOTO SHOOT Fletcher Opera usually takes care of the scheduling of archival photos during final dress of the opera. Confirm with Fletcher that the photographer has been scheduled for the proper date.

PRE-SHOW CALL TIMES Typically, the Conductor will want a 20-minute warm-up with the chorus prior to each performance. Do not schedule any wig & make-up calls for the chorus during this time.

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VII. WORKING WITH THE PROP SHOP COMMUNICATION •

•

•

•

As soon as possible, preferably prior to the first day of rehearsal, the Properties Director, PSM and/or Props ASM should meet with the Director to discuss the props list and to learn the Director’s expectations concerning props in rehearsal and performance. If the Director is not available, the Props Director and Props ASM should meet prior to the first day of rehearsal to compare preliminary prop lists and establish a mode of communication to be used throughout rehearsals and performances. The Props ASM serves as the liaison between the Director and Props Director during rehearsals. It is crucial for the Props SM to accurately reflect a Director’s wishes to the Props Director, as well as to communicate information from the Props Director to the Director. The Props ASM should also encourage and facilitate an open dialogue between the Director and Props Director, especially concerning unusual and expensive props. Before strike, the Props SM should speak with the Props Director to discuss how props will be disposed of, packaged, and organized prior to strike.

SHOP CHECKS •

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•

• •

Shop checks serve many purposes, including: following up on rehearsal report notes and previous conversations about a specific prop; sharing new information about a specific prop; sharing a director’s specifications or expectations of a prop; and sharing information that impacts how a prop is handled. The Props SM is encouraged to ask questions of the Prop Shop regarding any and all props to accurately relay information to the Director and Actors in the rehearsal room. The Props SM should be certain to see “show” props during shop check in order to accurately communicate any differences between “show” and “rehearsal” props. Shop checks are the appropriate time for picking up new rehearsal props and/or dropping off cut or broken rehearsal props. Larger props will be transported to the rehearsal hall during shop hours. The Props SM should coordinate the best time with the Director, PSM and Props Director.

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PROP STORAGE CHECKOUT (EXCERPT FROM THE D&P STUDENT HANDBOOK) 1. Props will only be checked out during the hours determined and posted by the Property Inventory Manager. 2. ASMs will be responsible for rehearsal props, and must have pulled items approved for rehearsal use by the Property Inventory Manager. 3. Any prop that is taken for rehearsal from Hand Prop Storage or the Prop Storage Building must be checked out through the Prop Director for that show. The ASM will be responsible for making sure that the items are returned and put away. 4. Any prop needed for rehearsal that is not available in storage and is determined to be necessary for the rehearsal process by the Director of Stage Properties will be fabricated or bought by the Prop Director of the show, with all expenses incurred coming from the show's budget. 5. All UNCSA shows have priority; however, props must be tagged so that we do not agree to lend them out to other organizations.

PROP BORROWING INFORMATION (EXCERPT FROM THE D&P STUDENT HANDBOOK) • • • •

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•

•

Prop hours are Monday through Friday [see posted hours]. Appointments should be made 24 hours in advance. Rehearsal props can be pulled, but the Scene Designer or Prop Director should be present. Prop additions decided upon at a rehearsal can be obtained the next day. To do so, please contact the Director of the Stage Properties Program by leaving a message via email. Props that do not become show props should be returned no later than one week after first tech. Some furniture in the Blue Building is restricted to show use only and may only be taken for rehearsal at the Property Department Director’s discretion. If you sign for props, you are responsible for those props. Any props that are damaged or stolen will be repaired or replaced to the satisfaction of the Director of Stage Properties. Props should be locked up or stored in a secure area every night

REPAIRS DURING REHEARSALS AND PERFORMANCES The Props ASM should notify the Properties Director of any damaged props as soon as possible to make arrangements for any repairs or replacements. Stage Management and/or Running Crew should not make repairs to props without the approval and/or instruction from the Properties Director.

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VIII. WORKING WITH THE D&P COSTUME SHOP SHOP CHECKS •

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•

• • • •

•

Shop checks serve many purposes, including: following up on rehearsal report notes and previous conversations about a specific costume; sharing new information about a specific costume; sharing a director’s specifications or expectations of a costume; and sharing information that impacts how a costume is handled and/or worn. The Costume SM is encouraged to ask questions of the shop manager and/or designer regarding any and all costumes to accurately relay information to the Director and Actors in the rehearsal room. The Costume SM should be certain to see “show” pieces during shop check in order to accurately communicate any differences between “show” and “rehearsal” costumes. Shop checks are the appropriate time for picking up new rehearsal pieces and/or dropping off damaged rehearsal pieces. Be prepared to explain and/or demonstrate specific physical movements that might effect how a costume is built and/or worn. Ask questions about how rehearsal costume pieces (corsets, boots, etc.) are to be worn, used and/or handled. When requesting a rehearsal costume or piece, please try to make the request with as much advance notice as possible by noting the request on the rehearsal report as well as communicating with the designer and shop directly. Keep everyone informed about the use of consumable items, pyro and/or fire effects, and/or specific dance or fight choreography, as they might affect the design and/or build of costumes.

THE FOLLOWING IS AN EXCERPT FROM THE D&P COSTUME SHOP HANDBOOK: The costume shop produces all the costumes for UNCSA productions with the exception of dance productions and some film projects. The shop relies greatly on stage management as their communication link to the directors and performers. The primary point of contact is between Pam (or the Costume Shop Manager) and the ASM. ASMs should go to the costume shop and introduce themselves to the Shop Manager and exchange contact information. (If Pam is not serving as shop manager for the term, she will introduce the ASM to the graduate student who has assumed that responsibility as part of their thesis requirement.)

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CHECK IN WITH PAM (or the current Shop Manager) EACH CREW PERIOD IN PERSON OR BY PHONE.) Always keep the Designer and Pam informed of any scheduling and any changes that involve, directly or indirectly, costumes. Inform them both about load-in, photo calls, PR requests, and dates and GO times of dress rehearsals. This information needs to appear in Tech Notes. Make it a practice to inform the designer and Pam AND the shop manager, about any instance that involves stage blood, liquids, live fire, body mikes, flying, or large physical activity - even if you think they already know this.

SCHEDULING FITTINGS Measurement Fittings: These fittings are short. (Generally, you will be asked to schedule two actors every 20 minutes.) Schedule actors for a specific time and insist that they wear underwear and request that they wear tights, rib knit tank top, shorts, or clothing that fits the body closely but does not compress it as a leotard does. The third and fourth year drama students will need to be scheduled quickly in the beginning of the school year. Please contact Pam ASAP for those fittings. Regular Fittings usually last between 45 minutes and an hour and a half. Fitting Request Form: The fitting request form needs be a full page (8 1/2" x 11") and must include the SHOW NAME in BIG LETTERS along with the words: Fitting Request. This helps everyone distinguish one show from another and the request form from the actual confirmed fitting schedule. When you develop your form, please leave room for us to write the actor’s full name large enough that we can read it. The Fitting Request form must include spaces for the following information: Actor Requested

Date needed

Time needed

Draper requesting

Designer needed?

ASM initials

If you want to add a column for the date of the request, that’s fine. More categories are confusing and leave us less room to write. Post this form on the board by the front door of the costume shop. Do not take the fitting request form away. It is the shop record of who has been requested when. This is how it works. The draper anticipates when he/she will be ready for a fitting and requests the actor for that day. That date, therefore, is the earliest time the draper will be ready. If the request is for Wednesday, he/she will not be ready on Tuesday. If you cannot get it on the day of the request, please let the shop manager know. The workload will need to be adjusted to catch the fitting at a later date. A conversation with the shop manager will help your prioritize the fittings so the shop does not stall on the work load. Fitting Schedule: Once you have initialed the request, we know you are working on making arrangements. If you do not initial the form, we think you have not seen the request. Once you have arranged for the actor to come for his/her fitting, post it on “Black Board” under schedules and costumes. You must schedule the performer for a specific day and time. Example: Tuesday, January 6 ---John Doe -- Requested by: Suzi Q. Draper Please use the actor’s or singer’s full name. 29

When filling out the fitting schedule, list each fitting in chronological order to avoid confusion. Please do not post more then one day at a time. Once fittings have been posted, please discuss any changes with the shop manager. Fittings should be scheduled during regular crew hours. If this absolutely is not possible, work with Pam to see if the designer, the draper, and the actor have a compatible time outside of crew hours that they would be willing to meet. Fittings outside of crew hours should be a rare occurrence due to the fact the show advisors may need to be present. Do not overlap fittings without prior permission from Pam. Given the option, do not schedule back-to-back fittings with the same draper. Remind your actor of the importance of proper undergarments. If there are any “real costumes” in rehearsal they will need to travel with the performer or arrive before the fitting (shoes, corset, petticoat). Impress upon the actor the importance of being prompt. Make sure that they know to notify the shop if they cannot make a fitting or will be late–Shop phone 770-3218 or Pam’s phone 770-3225. Unfortunately, lengthy fittings are needed about the same time as run-throughs and techs. Look for time when the performer is off stage long enough for a fitting and schedule that time. In almost all cases your show will not be the only show in the shop. Please communicate with the other stage managers in production. A draper cannot be double booked without permission from the shop manager. IF YOU HAVE PROBLEMS WITH ANY PART OF THE FITTING PROCESS, SPEAK WITH PAM.

REHEARSAL COSTUMES The Designer, Pam and the Costume ASM should agree on what is needed for rehearsal. These costume pieces will be items that affect the performer's movement, safety, or specific business. We do not provide items considered to be "normal" street clothes or shoes. All drama students are required to own a rehearsal skirt so the shop does not provide long skirts unless the shape or length is odd. Shoe will be provided if they are not a normal dress or street shoe. In addition, the School of Drama has a small collection of rehearsal costumes to which the ASM has access. Please plan ahead for all of your requests so that appropriate items are ready for the stage manager to sign-out in a timely manner. The designer must pull the rehearsal pieces, check with Pam to be sure they are appropriate for rehearsal, and label them with the show name and Costume ASM’s name. Inform Pam and the ASM that they are ready for pick-up. The items may be stored with the Shop Manager. The Costume ASM must sign these out (at this time) from the Costume Shop Manager. The Costume ASM must take responsibility for all rehearsal costumes, which will be released ONLY to the ASM (not the designer or the actor). They must be returned ONLY by the ASM before the show opens, directly to the Shop Manager. The Costume Designer will then clean and restock these items along with the show strike. 30

Failure to return the rehearsal clothes will result in a lower production grade. All transactions must happen during the production hours.

TECH NOTES All rehearsal notes and fitting schedules will be printed in the morning from Black Board. Please enroll all drapers and the craft head to Black Board. Email emergency notes to the shop manager, the show designer and the design advisor.

PROGRAM COPY Pam Knourek is in charge of program copy for the costume area. (Michael Meyer is responsible for make-up and wigs.) Speak directly to Pam, not the designer or student shop manager.

LOAD-IN Confirm that costumes have access to a vehicle for load-in and strike. Generally load-in happens Sunday morning before a Sunday first dress. Prior to load-in, inform the designer of dressing room assignments. Label dressing rooms and mirrors prior to load-in.

WARDROBE CREW D&P or Music students comprise the wardrobe crew. Whenever possible a costume major will be assigned as crew head. The crew needs to see a run-thru before first dress. Let the crew head know when the crew can see a final run with enough time to notify the crew of their commitment.

MAKE–UP SHOP We are a separate shop from the make-up shop and it just confuses everyone if you post its fittings along with ours. Please keep them separate.

MEETING WITH PAM Please get Pam’s teaching schedule at the beginning of your time with the costume shop. The Costume Studios are a classroom in the non-production time slots. If it is an emergency---go for it! You will have access to Pam’s cell phone number. Please feel free to call the Shop Manager with any question regarding scheduling that will affect the shop. If it is late…..text her and see if it is alright to call.

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IX. WORKING WITH THE WIG & MAKEUP SHOP (Excerpt from the D&P Wig & Make-up Shop Handbook) Wigs & make-up will be assigned an ASM whose job it is to act as a liaison. Often this person is also assigned to Costumes. They should be given all fitting requests and they will schedule fittings as the Actor’s schedule permits. Before Stage Management can post fittings they must be cleared through the Designer and the Shop Manager 24 hours in advance. The Designer must also have the same courtesy for Stage Management and the Actors giving them advanced notice – Stage Management needs 24 hours to schedule and it should be posted at least 24 hours prior to the fitting by Stage Management. Example: Fittings turned in Monday to the ASM can be scheduled earliest by Wednesday. Give both the Shop cop and ASM as much notice as you possibly can. Plan ahead.

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As of the Fall Term of 2012, the PAM Program is not working on productions in this capacity. As new policies are developed, they will be communicated to stage management. When in doubt, check with the Show Advisor or the Executive Producer’s Office.

X. WORKING WITH PERFORMING ARTS MANAGEMENT PUBLICITY PHOTO-SHOOT The Publicity Photo Shoot is for marketing purposes and not to be confused with the Archival Photo Shoot. The Director of Performing Arts Management, Costume Shop Manager, and Wig/Make-Up Shop Manager work together to select a date and choose which Actors should be in the Publicity Photo Shoot. Once a date has been chosen, the Director of Performing Arts Management informs the Director and PSM of the specifics. If possible, the Director will help decide who (s)he wants in the shot. It is the PSM’s responsibility to coordinate the photo-shoot with the actors and provide enough time for the Actors to get into costume, wig & make-up. It is up to the Director whether to attend the shoot; otherwise, the Director of Performing Arts Management will run it.

PROGRAM COPY Stage Management is not responsible to collect program copy information; however, due dates for information should be included on the production calendar. There will be a Performing Arts Management representative assigned to each production, who will be responsible to collect the necessary information. All questions about program copy should be directed to the representative. You will be asked to help proof the program copy before it goes to print. It is very important that you take the time to do this carefully, as mistakes can be embarrassing and costly.

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XI. TECH REHEARSALS PAPERWORK FOR TECH Prior to first tech rehearsal, the following paperwork should be completed and ready for distribution (even if only in draft/preliminary format): • Props Preset & Running List • Costume Preset & Running List • Costume Quick Change List • Rail/Light/Sound/Effect Cue Sheets • Scene Change Plots • Preshow/Intermission/Post Checklists • Dressing Room Assignments • Dressing Room Signs • Actors Call Board & Sign In Sheets • Pre-show Schedule, including Wig & Make-Up Calls, Warm-Up, Fight Call, Mopping, Crew Pre-set • Actor “Tech Packet,” including Tech/Perf Schedule, Pre-show calls & “Rules for Tech” (especially for 3rd year students). • Sign-In Sheets for Actors & Freshmen Drama Prop Crew • House Management Form

ADDITIONAL RESPONSIBILITIES PRIOR TO TECH •

All stage managers should complete a thorough safety check of all onstage and offstage areas including front of house before any cast steps onstage for the first time. Preferably, a portion of the safety check should be done in show light condition. Specifically: Gaff tape & glow tape as needed Check for running lights & clip lights

•

Contact CPF for any special considerations to the operation times of the HVAC system in the theatre. Set Up & Label Prop Tables Confirm Quick Change Booth(s) Confirm that Com is up and working Confirm Audio & Video Monitors backstage and in dressing rooms Confirm that all cue lights are in place and working Confirm Wireless Headset, Wired Headset & Radio assignments. Confirm that a Wired Headset is available in the house for the SM Faculty Advisor’s use. Verify that Tech Tables are properly set up Determine placement of Quick-Change areas offstage

• • • • • • • • •

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FIRST DAY OF TECH/SPACING From the first day onstage with the cast, ALL SM’s should be on headset or radio with each other. The PSM should use the god mic for communicating in the house. The backstage page should also be operational and utilized. Unless the rehearsal is being conducted solely with Work Lights, all backstage work lights should be off. Depending on the desire of the Director and needs for the production, the first day onstage for the cast should include the following: • Safety Walk onstage & off for Cast w/TD & SM Team • Discussion of Emergency/Evacuation Plan • Fire Watch Training w/CPF or Head of Props • Fight Rehearsal for spacing • Rehearsing Open Flame moments • General spacing of show

TECH REHEARSALS Keep the following in mind throughout the technical rehearsals: • Work transitions in work light before doing so in show light • Continue to check and clean-up spike marks • Continue to file Daily Rehearsal Reports that include what was accomplished each day and the major tech notes given at the end of each day. • Include the following day’s rehearsal schedule on the Daily Report. • Unless you are doing a non-stop run through, you must continue to take Equity breaks throughout tech. • ALWAYS practice good headset etiquette

POST REHEARSAL PRODUCTION MEETING At the conclusion of each Spacing/Tech/Dress Rehearsal, the PSM should facilitate a brief production meeting with the Designers, Staff and Director to review running notes, work notes, and the theatre schedule for the next day. The PSM is responsible for informing CPF/Stevens Center Staff about the theatre schedule for the following day. Best effort should be made to leave the theatre by midnight. If, after discussion with D&P Faculty, it is deemed necessary that it is in the best interest of the production to go past midnight, the PSM should notify the CPF staff by 11:00 pm.

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HOUSE LIGHTS Be certain to program house lights during tech. House lights should remain at “full” for preshow, intermission and post show for the safety and passage of the audience.

HOUSE ANNOUNCEMENT Verify that the Sound Designer has obtained the UNCSA approved prerecorded house announcement, which is called by the Calling SM once the House Manager has given the SM the okay to begin the performance. If the director requests that the pre-show announcement be altered in any way or performed live, please speak with the SM Show Advisor first. Permission MUST be granted by the Executive Council. An email with the specific request will need be sent to Jim DeCristo in the COO’s office (with a “cc” to the SM Show Advisor) with a copy of the revised announcement and how and by whom the director wishes it to be performed. A live house announcement must be made in the event that an understudy is going on or there has been a replacement for which a stuffer has not been created. During tech, verify that there is a “god mic” at the call desk. [See Appendix D for the standard UNCSA House Announcements.]

DRAMA FRESHMEN AS RUNNING CREW Serving on the Props running crew for a show is part of the Drama Freshmen class work; therefore, it is important that we (D&P) work to give the drama students the best experience possible. Since you are their direct supervisor, we expect that you will treat them as colleagues with respect and kindness. Create a Sign-In for each rehearsal/performance. Note on the rehearsal & performance reports any late arrivals (specify how many minutes and reason) and absences. Be clear about the rules governing the backstage area, especially as it pertains to phones and laptops. Serve as a positive role model and be supportive and affirming of their efforts. Talk to your Show Advisor if you encounter behavior problems. Bland Wade creates the show assignments for the Drama students. Contact the Freshman Students assigned to your show as soon as you know your tech schedule. Invite them to come to a studio Run Through before the first tech to help familiarize them with the show.

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After the show closes, write a brief evaluation for each Drama Freshman student you supervised. The evaluation should be based on their punctuality, commitment to the show, reliability and the quality of their work. Email the completed evaluation to your Stage Management Show Advisor and Bland Wade, Director of Properties.

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XII. WORKING WITH SPECIAL EFFECTS OPEN FLAME/PYROTECHNICS/SMOKING Working with open flame in a production requires a fire permit. Open flame includes: matches, lighters, torches, candles and lanterns. The fire permit, along with other information on smoking and open flame policies are located on the D&P Information Website and can be downloaded to your computer. The permit is to be completed by the ASM (Props Liaison) or person who will be present during all performances when the effect is being used. The documentation will need to be filled out and submitted to campus police two weeks prior to the first use of the open flame. Once campus police approves the fire permit, the permit should be distributed to CPF or the Stevens Center Staff, SM Faculty Advisor for the show, the PSM of the show, and Director of Properties. The permit should also be posted backstage in the theatre. First use is typically 1st Technical Rehearsal onstage. A minimum of two individuals from the running Crew must be on duty for fire watch for all rehearsals and performances when a flame is being used. Individuals assigned to be on fire watch must be fire extinguisher certified. The PSM coordinates with the TD to schedule fire extinguisher training led by CPF Staff prior to first use.

EFFECTS WITH AIRBORNE ARTIFACTS If the show is using snow or other airborne artifacts that may get blown or tracked into the house, Stage Management must notify the house prior to tech in order to determine the clean up protocol for house staff or crew.

CHEMICAL EFFECTS When working with Chemical Effects such as Fog, Haze or Chemical Snow, the following steps should be taken: 1. Request a Material Safety Data Sheet (MSDS) from the head of the department responsible for the effects. An MSDS outlines the manufacturer’s suggested safe exposure limits and includes emergency exposure instructions. 2. For Drama or Opera: Warn the Voice/Vocal Coaches that chemical effects will be used. Provide them with an MSDS, if requested. 3. Before each use, either the PSE (Production Stage Electrician) or the PSM should call Campus Police to arrange for fire alarms to be put in “test mode”. Test mode does not turn off the fire alarm system; it simply cancels an automatic response from the Fire Department should the alarm be triggered by the effect. 4. Monitor any residue buildup that may occur onstage. 38

5. If working with Musicians, warn the Orchestra Manager of any chemical effects that might affect the atmosphere in which they are performing. 6. The use of any atmospheric effects should be noted in the House Management Form.

LOW LYING FOG EFFECTS When working with Low Lying Fog effects, the following steps should be taken: 1. Both Dry Ice and Low Flow Fog have the potential to mask changes in stage level (i.e. stairs or orchestra pits) or stage obstacles (i.e. scenery units or technical equipment). Represent these safety hazards in rehearsal and wherever possible in the theatre. 2. Low Lying Fog effects have the potential to flow into the orchestra pits. If working with Musicians, test the effects before adding the Orchestra to rehearsals as the fog could have adverse effects, including making music reading difficult and affecting the percentage of oxygen in the orchestra pit. 3. When the Low Lying Fog Effects are chemical systems, the considerations under “Chemical Effects” should be observed as well. 4. Before each use, either the PSE (Production Stage Electrician) or the Stage Management should call Campus Police to arrange for Fire Alarms to be put in “test mode”. Test mode does not turn off the fire alarm system; it simply cancels an automatic response from the Fire Dept. should the alarm be triggered by the effect.

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XIII. WEAPONRY & STAGE COMBAT ACTOR SAFETY When staging involves combat, the use of contact weaponry (swords, shields, knives, etc.), or any stage action (stage fights, pratfalls, or any stage action which may result in actor injury), the PSM should take an active role in ensuring that it is done properly and under the supervision of the Drama Faculty Fight Director. The PSM and the Property Director are responsible for maintaining and inspecting the weaponry. Consult with the Fight Director, Properties Director and/or Armory on the proper maintenance techniques and inspection procedures, as these will change by weapon type and weapon construction materials.

FIGHT CAPTAIN Chosen by the Fight Director, Fight Captains are Drama Students from the Cast or the Assistant Director. The Fight Captain attends all fight rehearsals, leads the pre-show/pre-rehearsal fight calls, and is responsible for noting the Actors on the fight choreography. Although the Fight Captain is responsible for knowing the fight choreography, the Stage Management team should be familiar with the choreography as well. A member of the Stage Management Team must be in attendance for every fight rehearsal, including pre-show fight calls.

WEAPONS HANDLING, STORAGE & PERMITS, & SAFETY PROCEDURES Stage Management must obtain a Weapons Permit from Campus Police when real or theatrical guns, swords, or any type of staged weapon is used in stage business or combat. The weapons permit and other information on using weapons on the UNCSA Campus are located on the D&P Information Website and can be downloaded to your computer. [As of the 2011–2012 academic year: Under current NC state law, there can be NO firing of blanks, including starter pistols, anywhere in the school’s rehearsal or performance spaces.] An escort by Campus Police is required when transporting a weapon from the Prop Shop to the rehearsal hall and/or performance space. In addition to the permit, Campus Police must be provided with a photo of every weapon that will be used, and a description of how the weapons will be used. Stage Management must provide four original copies of the permit to be signed and distributed to Campus police, CPF or Stevens Center, the PSM of the show (to be kept in the production book), and to be posted at weapons lockup in the theatre. A copy should also be made for SM Faculty Advisor for the show.

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Proper care and handling is required when working with weapons in rehearsal. Stage Management must learn how to take care of the weapon from the show’s Properties Director. Depending on the production and the types of weapons used, it may be Stage Management’s job to maintain the cleaning of the weapons. In any case, Stage Management is responsible for safe weapon maintenance and handling of firearms, swords, rapiers, and other weapons used in stage combat. All weapons must be kept locked up at all times. A CPF approved gun cabinet or a secure closet in the performance space should be used for this purpose. Each performance space is equipped with a gun cabinet lockup. The key can be obtained from Campus Performance Facilities Operations Manager. During the run of the production, this key must be kept with Stage Management or the ASM (Properties Liaison). Safety is the primary concern if a weapon is used in a production. Guns must always be kept with Stage Management and given to the Actors immediately prior to their entrance and retrieved from them immediately following their exit from the stage. Guns are never to be left on prop tables or unsupervised backstage. Weapons must be returned to the locked cabinet/closet or kept in Stage Management’s possession until intermission or final curtain. If there is any use of firearms in the production, the Stage Manager must include a daily firearm log with each use in the Rehearsal and Performance Report.

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XIV. INJURIES, ILLNESSES & INCIDENTS EMERGENCY INFORMATION Every student working on your production should fill out an Emergency Information Sheet containing, but not limited to, the following: legal name; date of birth; phone numbers; school and permanent addresses; emergency contact name and phone number; allergies; other pertinent medical conditions; personal physician’s name, address & phone number. Each

FIRST AID Each theatre has at least one first aid kit. Additionally, first aid kits are either located in each rehearsal space or – if not - a floating first aid kit is available. While chemical ice packs are available in the first aid kits, treatment with regular ice is preferable. Each theatre has access to a freezer. Stage Management should keep a supply of zip lock bags or plastic bags from the Health Center on hand. Each first aid kit should also include some kind of latex gloves should any member of the team or staff come in contact with another person’s blood. Each stage manager is strongly encouraged to download the American Red Cross First Aid app to his/her cell phones. The app is free and contains updated directions for most emergencies.

ALLERGIES If a cast or crewmember reports that he/she has a severe allergy (i.e., cats, wool), please have them make an appointment with Health Services so that a complete history can be discovered. For minor allergies, keeping Benadryl (available from Health Services) in the first aid kit is recommended. Students with life-threatening allergies should be encouraged to carry an EpiPen with them. It is recommended that all stage managers know how to use an EpiPen. This training is available through Health Services.

ASSESSING THE SITUATION Whenever an injury occurs to anyone during studio rehearsals, tech & dress rehearsals, or performance, begin by assessing the situation and tending to the victim. • If the rehearsal or performance cannot continue, calmly and clearly request an end to all stage elements and effects such as music, sound, lighting or fog. Request full work and house lights to half. Bring in the show curtain if applicable.

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• • •

•

Make an announcement to ask all unnecessary personnel to clear away from the situation (i.e., send the Cast and unnecessary Crew to the green room). When working with the School of Dance, notify any Dance faculty who are at the theatre or rehearsal studio to help assess the situation For some School of Dance productions (“Nutcracker,” for instance), a physician or athletic trainer may be assigned to attend each performance. The Athletic Trainer’s office makes the arrangements with box office and house manager for seats. If this happens, the PSM will be notified of the seat locations and should pass that information along to each assistant on the team. Evaluate the victim: Is the injury life threatening or non-life threatening? Once determined, follow the procedures outlined below.

LIFE-THREATENING INJURIES The most important skill in assisting in any life-threatening situation is to be trained in both CPR and First Aid. It is strongly recommended that all Stage Managers receive this training. A life threatening injury may include the following: the victim is not breathing or breathing with great difficulty; is unconscious; is bleeding profusely; has fallen from a great height; or has a bone sticking out. If any of these conditions exist, proceed as follows: •

•

•

•

•

•

Call 911. For CPF emergencies, direct the ambulance to 1533 South Main Street. For Stevens Center emergencies, direct the ambulance to the stage door on Marshall Street. The emergency dispatcher will provide additional instructions in treating the victim until the paramedics arrive. If given the choice, please ask the ambulance to take a student under the age of 18 to Baptist Hospital Pediatrics Emergency Room. For those above the age of 18, the emergency department at Wake Forest Baptist Medical Center is the preferred emergency room. Next, call Campus Police. (336-770-3362 [Emergency]; or ext. 55 on the campus phone system). They will assist the ambulance in reaching the theatre or rehearsal space, including the Stevens Center. Next, call the Director of Health Service, Ann Potter’s cell (336-971-1264); home (336-368-4079). PLEASE DO NOT publish or give out Ann’s phone numbers to anyone other than your staff. If the injury involves a high school student, call the High School Residence Life 24/7 on-call line (336-414-9545). The Residence Life staff is the legal guardian in the absence of a minor’s parents. The Residence Life staff will be responsible for communicating with the parents of the victim during treatment. For College students under the age of 18, call College Residence Life at 336-462-7789. If the injury involves a college student, refer to the Emergency Contact Information, which every stage manager should provide at the beginning of rehearsals. In a serious but non-emergency situation, for advice from a trained nurse, call “Health Link” (888-267-3675). They can also provide an ER referral, if necessary. 43

•

•

• •

Direct the Crew to prepare a path for the paramedics and stretcher. Depending on the theatre and scene design, this could involve flying out soft goods, the relocation of scenery and stored items and the installation of ramps at the loading doors. Determine who from the Faculty, Cast or Crew is best suited to travel with the victim to the hospital. Have that person take the Emergency Contact Information to the hospital with the victim. Ask someone to retrieve the victim’s personal belongings from the dressing room so they can go with the victim to the hospital. Begin preparing to either continue with the rehearsal or performance or planning the next rehearsal or performance.

NON LIFE-THREATENING INJURIES •

• •

•

•

•

• •

If a non life-threatening injury that requires medical attention occurs during regular hours (8-5; M-F), Call Campus Police (336-770-3321 [24 hour nonemergency]; or ext. 55 on the campus phone system). They will assist in transporting the victim to Student Health Services (336-770-3288). Or if transporting the victim requires a stretcher, Campus Police will call for an ambulance. Call Health Services (336-770-3288) to let them know a student is on the way. If a non life-threatening injury orthopedic injury has occurred after hours and weekends, call Laura Santos’ cell phone (336-382-1139). If Laura is unavailable, then call Ann Potter’s cell phone (336-971-1264). PLEASE DO NOT publish or give out Laura’s or Ann’s phone numbers to anyone other than your staff. If the Athletic Trainer is ever on call for a specific performance, Health Services will contact the PSM directly to give you the trainer’s cell phone number. If the injury involves a high school student, call the High School Residence Life 24/7 on-call line (336-414-9545). The Residence Life staff is the legal guardian in the absence of a minor’s parents. The Residence Life staff will be responsible for communicating with the parents of the victim during treatment. For College students under the age of 18, call College Residence Life (336-462-7789). If an ambulance is summoned, direct the Crew to prepare a path for the paramedics and stretcher. Depending on the theatre and scene design, this could involve flying out soft goods, the relocation of scenery and stored items and the installation of ramps at the loading doors. If it is determined that the injured needs to go the ER for immediate medical attention, determine who from the Faculty, Cast or Crew is best suited to travel with the victim to the hospital. Be prepared to either continue with the rehearsal or performance or begin planning the next rehearsal or performance. The emergency department at Wake Forest Baptist Medical Center is the preferred emergency room. Ask someone to retrieve the victim’s personal belongings from the dressing room so they can go with the victim to the hospital. 44

•

Begin preparing to either continue with the rehearsal or performance or planning the next rehearsal or performance.

INJURY REPORTS An Injury Report serves as a record for Health Services and the school. The purpose of the report is to document the facts of what/where/when/how was done to cause and treat the injury in case of future medical problems, physical therapy or liability issues. A report also communicates an incident that may prevent a student from attending classes or rehearsals, and it keeps faculty informed of any possible safety concerns. Injuries should be reported by the end of the day they occur. A copy of the Design & Production Injury Report form is posted on the D&P Information Web Page. The PSM should also report the incident directly to the Faculty Advisor and report the injury in the daily Rehearsal/Performance Report. Copies of the Report should be sent to Health Services (Ann Potter), the UAM of the presenting school, and CPF Director (or Stevens Center TD and Manager). A copy only needs to be sent to Campus Police if an ambulance had been summoned. For orthopedic related injuries, it is important to file an Injury Report to the Athletic Training Staff for follow up treatment. When is it necessary to file an Injury Report? In general, a report should be filed if the person’s injury stops him/her from performing his/her duty for any length of time (i.e., a dancer is forced to sit out of rehearsal; a technician is bleeding so much he/she has to stop work for first aid.) Head injuries should always be reported, as their severity is some times not known immediately. If someone merely turns an ankle, bangs an elbow or receives a minor cut or bruise, but is able to continue work, you most likely will not need to file a report. If, however, you know that the student will be going to Health Services due to the injury, you must fill out a report no matter how minor you think it is. No matter how minor, the PSM should always make a brief mention of ANY accidents or injuries on the Rehearsal Report, whether an Injury Report is filed or not. This will serve as a record if a seemingly insignificant injury turns out to be more severe. Be careful not to try to diagnose an injury (i.e., “She sprained her ankle.”) Stick to the facts. When in doubt, immediately contact SM Faculty advisor for the production.

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XV. PERFORMANCE EMERGENCIES/EVACUATION EMERGENCY EXITS At no time should any emergency exit be blocked by scenery or for the storage of any item. Lit emergency exit signs may never be covered.

WEATHER & FIRE EMERGENCY/EVACUATION Always make sure you have access to a “god mic” while calling the show. In the event of a severe weather emergency or fire that necessitates the stopping of the performance or rehearsal and the evacuation of the theatre, the following protocol should be followed: • Campus Police will notify CPF/House Management of a severe weather warning/advisory and the need, if any, to evacuate the building. • House Management will notify the Stage Management. • The Calling SM will announce on headset that the performance must stop. House lights should come up to full; house curtain should come in (curtain warmers up); the live mic at the calling desk should be made hot. • An announcement will be made by the Calling SM to inform the audience about the current condition. • If there is a power failure, an SM should come onto stage and inform the audience of the situation in a clear, calm and wellprojected manner. Emergency lights will automatically come on in the house and backstage areas. • Stage Management should instruct the Performers and Crew to evacuate as the emergency dictates. • Whenever possible, the Crew should fly out all scenery to the grid and make sure all emergency exits are cleared of scenery, props, etc. • If safe to do so, Stage Management should check backstage rest rooms, dressings rooms, pit area and crossover areas to ensure everyone is out of the building. • House Management is responsible for assisting patrons. • CPF/Campus Police are responsible for ensuring the building is evacuated and are responsible for coordinating emergency vehicles. [See Appendix E for announcement content and specific instructions.]

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XVI. POST PRODUCTION STRIKE • • • • • • • • • • •

Remove spike tape from rehearsal studio and stage Take down all signs backstage and in dressing rooms Return all spike, glow and gaff tape to faculty Collect actors’ left behind personal property Clean backstage Remove pipe and drape Clean Hospitality setups Return any unused office supplies to the Stage Management Office Empty all backstage/booth trash cans Remove labels from cue light console Final walkthrough of space with CPF/Staff Member

LOOK-BACKS Following each production, the Stage Management team meets with Stage Management Faculty for a one hour Look-Back. The Look-Back gives an opportunity for the faculty to critique the team and each individual member to give feedback to the other team members.

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XVII. WORKING AT THE STEVENS CENTER STAFF & BUILDING ACCESS The Roger L Stevens Center is located downtown at 405 West 4th Street. Stevens Center Management offices are on the 9th floor. The box office is open from 9 am – 5 pm, Monday through Friday, with the exception of some performance or special event days. The House Technical Staff will collaborate with Stage Management on the Load-In, Tech and Dress schedules for each production. Access to the backstage areas outside of the Tech/Dress/Performance schedule may be restricted if prior arrangements have not been made with the House Staff. Additionally, in order to visit the space before the scheduled load-in, you must arrange a time with the House Staff. The front-of-house entrances are located on Fourth Street. The loading dock door and performers’ ramp are located on Marshall Street between 4th and 5th Streets.

DETAILS & TECH INFORMATION Precise information regarding the physical facilities, stage dimensions, policies, equipment, scale drafts and up-to-date contact information is available on the Stevens Center website http:// backstagestevens.com

ROOMS The Stevens Center includes one rehearsal studio, one orchestra green room, two large chorus dressing rooms, six principal dressing rooms, two guest artist dressing rooms, one conductor dressing room, a green room and a kitchen. Check on the availability of each room for each production before planning room assignments. Details on room capacity are available online. [Please see Appendix F for a map of the Stevens Center]

KEYS The PSM can sign out keys to all available rooms and closets through the House Staff.

FIRST AID There is a large icemaker on the 10th floor of the Stevens Center for the use of all productions. Stage Management should always have ice coolers, zip lock bags and small towels on both sides of the stage or outside both

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large dressing rooms in the basement. Chemical cold packs, although useful in an emergency, are inferior to real ice in addressing an injury. It is the policy of the Stevens Center to NOT distribute analgesics (aspirins, ibuprofen, etc.) to students.

TRANSPORTATION The D&P provides transportation to the Stevens Center for all members of the production. Each department head is responsible for arranging transportation for his/her Crew. Stage Management is responsible for scheduling the transportation for the Performers to and from the Stevens Center. A “bus call” should be included in any schedule when Performers are going downtown, and transportation time (15 minutes) should be allotted into the schedule. The buses are operated by the Student Activities Department at UNCSA. Determine the bus schedule at the same time you create the Load-In/Tech schedule and send it to Student Activities so that they have adequate time to schedule drivers. Student Activities also provides bus runs for student audience members, and those runs will be scheduled in conjunction with the calls for the Performers. If the Cast is not too large, the post-performance bus may take the Performers and the audience members back to campus together. There are multiple bus drivers. Student Activities can provide up-to-date “on call” phone numbers of personnel assigned to drive each day. The drivers ONLY need to be phoned when rehearsals do not follow the published schedule.

PARKING With the exception of the annual production of The Nutcracker, the school does not provide parking at the Stevens Center. Students who choose to drive to the Stevens Center are responsible for finding their own parking. Street parking is free and un-metered on weekdays after 6:00 pm and allday on weekends. Personal cars should not be parked in the loading zone on Marshall Street. These parking spaces are for loading and unloading purposes only.

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XVIII. WORKING IN DE MILLE De Mille typically houses one School of Dance production and one Opera each year. The remainder of the time de Mille is used for smaller presentations and as a rehearsal and class space for the School of Dance.

KEYS The de Mille keys come from CPF. Verify that the keys (approximately five) you receive open up all the necessary doors.

FIRST AID The first aid kit in de Mille is located in the Stage Management booth.

SIGHT-LINES Sight lines are restricted in de Mille, especially stage right (house left). Tabs may need to be hung for performances to help mask the backstage.

CROSSOVER Crossover space in de Mille is limited. Take note of large costumes and props that may need to be crossed upstage and plan accordingly.

ORCHESTRA PIT The orchestra pit can flood if there is a great deal of rain. Have a plan in place for stopping the show, especially during tornado season, and know the emergency procedures for evacuation if needed.

CALLBOARD There is a bulletin board upstairs by the dressing rooms, outside the double doors that lead to the upper ring. This can be used as the callboard for Performers and Crew during the run.

DRESSING ROOMS There is one large dressing room stage right (usually for chorus), and six or seven smaller dressing rooms upstairs stage left (for principals and Wig/Make-Up). Wig/Make-Up usually uses the dressing room in the corner because it is larger, and has shelves built into it for supplies. There is also a small dressing room upstairs stage left separate from the others. It is the first door on the right and can accommodate two or three people. Paging System and/or Program feed from the stage may need to be installed for SR Dressing Room. Sound Crew is responsible for this task if the PSM determines it is necessary to page artists and/or provide program feed from stage to dressing rooms. 50

WARM-UP SPACE The School of Dance will post a warm up schedule and assign studios in Dance for warm ups, as part of their weekly schedule. With the operas, if it is inconvenient for the chorus to warm-up onstage or in the large dressing room, make a request, either from the School of Dance or the School of Drama, to reserve one of their studios for the daily vocal warmup.

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IXX. STUDENT LIFE STUDENTS ON THE MEAL PLAN All Students are required a one hour break for breakfast, lunch and dinner. For Students on the meal plan, these one-hour breaks must align with the cafeteria hours.

CATERING AT STEVENS CENTER If, by necessity, the schedule cannot accommodate travel to and from campus for a meal in the cafeteria, a catered meal must be provided to all Students on the meal plan and those dependent on school transportation to on-campus housing. If there is not a Company Manager on the production, Stage Management should arrange the meals with Dinning Services. Stage Management must have the Dean of the presenting school approve the order. Dining Services is a division of Auxiliary Services. See the UNCSA website for catering information, catering menus, and contact information for catering personnel. Plan ahead as arrangements must be confirmed three to five days in advance, keeping in mind that Dining Services receives food shipments on Thursdays. Vegetarian, vegan and kosher options are available. An exact number of alternate meal orders is required when placing the order.

HIGH SCHOOL STUDENTS All resident high school students are on the meal plan; therefore, all guidelines in the above paragraphs apply. Only select high school seniors are allowed to keep vehicles on campus; therefore, transportation consideration must be taken for all Stevens Center performances involving high school students. High School Student Curfew All high school Students residing in the dorms have a curfew of 10pm on school nights. On weekends, the curfews are as follows: 9th Grade – 10pm; 10th Grade – 10:30pm; 11th Grade – 11pm; 12th Grade – 11:30pm. Additionally Students under disciplinary action can have an early curfew of 9:00 pm. To extend a curfew for production purposes, submit both a cast list and a production schedule (with bus times, when applicable) to the head of the High School Residence Life Department. Call the high school residence life “on-call” number (336-414-9545) when a rehearsal or performance goes past curfew unexpectedly.

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The High School Residence Life Student Handbook is revised annually and is available on the School website visit: “Student Life” > “Student Info and Forms” > “High School Handbook.” For additional information, contact Residence Life and Housing. Contact information is below. Jennifer Wells ([email protected]) Scott Herdershot ([email protected]) Kelli Perkins ([email protected])

COMPLIMENTARY TICKET POLICY The complimentary ticket policy at UNCSA is as follows: Each Student who works on a production in any capacity is entitled to two comp tickets to that specific production. For a production a Student didn’t work, the Student can receive one comp ticket to that production. For a student to reserve comp tickets and purchase additional tickets, please ask them to phone the Box Office at (336) 721-1945, Monday through Friday, 11am until 6pm. Tickets may be picked up at the on-campus Box Office in Watson Hall or at the Stevens Center Box Office (see website for hours). Stage Managers should NOT handle reserving complimentary tickets for the company.

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APPENDICES APPENDIX A- HOUSE MANAGEMENT FORM APPENDIX B- SCHOOL OF DRAMA REQUIRED CLOTHING APPENDIX C- FESTIVAL OF DANCE APPENDIX D- UNCSA HOUSE ANNOUNCEMENT APPENDIX E- EMERGENCY ANNOUNCEMENTS APPENDIX F- MAP OF STEVENS CENTER INCLUDING BASEMENT AND DRESSING ROOMS

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