purdue university theatre production handbook revised...

Purdue University Theatre Production Handbook

Revised October 2007

Purdue Theatre Production Handbook Revised August, 2007

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Table of Contents

FACULTY AND STAFF CONTACT INFORMATION 3 Division of Theatre 3 Division of Theatre Administration email (@purdue.edu) extension 3 Front of House Staff 3 Faculty and Staff – Acting/Directing 3 Faculty and Staff – Design/Technology 3 Purdue University General Phone Numbers 3

ORGANIZATION AND ADMINISTRATION OF PRODUCTION PROGRAM 4 Mission Statement 4 Program Objective 4 Script Policy 4 Season Script Selection 4 Casting 5 Production Expectations (Actors) 5 Production Expectations (Production Personnel) 6

ADMINISTRATIVE POLICIES 7 Insurance Information 7

Worker's Compensation 7 Reporting Procedure 7 Medical Treatment 8 Payment of Compensation and Medical Expenses 8 Claims Status 8 Use of Sick Leave and Vacation 9 Procedures 9

Vehicle Policies 9 Purchasing Guidelines 10

Credit Cards 10 Petty Cash and Reimbursements 11 Check Requests 11 Direct Billing 11 Sales Tax 11

Key Policy 11 PRODUCTION ORGANIZATIONAL CHARTS 13

CLASSROOM AND INSTRUCTIONAL FACILITIES USE POLICIES 13

CLASSROOM AND INSTRUCTIONAL FACILITIES USE POLICIES 14

CLASSROOM AND INSTRUCTIONAL FACILITIES USE POLICIES 15 Acting Studios 15 Costume Construction 16 Dressing Rooms 17 Costume Storage 17 Green Room 18 Hansen and Mallett Theatres 18

Mallett Theatre Seating Policy 19 General 19 Aisles 19 Seating Arrangements 20 Mallett and Hansen Theatre Stage Floor Policy 20

Scenery and Paint/Props Shops 20 Design and Technology Classroom and Lab (2150) 21

SAFETY POLICIES 22 Division of Theatre Safety Policy 22


Emergencies 22 Individual Responsibilities 22 Special Health Conditions (including pregnancy) 22 Hazard Communication Program 22 University Smoking Policy 23 Theatre Facilities 23 Security 23 Live flame 23 Smoke and Haze 23 Overhead Rigging and Linesets 23 Hard Hat Policy 25 Emergency Medical Procedures 30

EQUIPMENT POLICIES 31 Lighting Equipment 31 Sound Equipment 31 Stage Motors 31 Production (Tech) Tables 31 Weapons 31 Firearms 31

PRODUCTION CALENDAR 33 First DCON (First Design Conversation) 33 First DMTG (First Design Meeting) 33 Set/Cost Prelims 33 Prelim Props and Set/Cost Finals 33 Set/Cost BMTG (Budget Meeting) 33 M/S Set Revisions 34 Rgh Lgt Plot 34 Lgt BMTG 34 Set in Shop 34 Final Lgt Plot 34 Show and Tell 34 PMTG (Production Meeting) 34 Lgt/Snd Hang (Light and Sound Hang/Load-in) 34 Set Load-in and Set Load-in Begins 34 Publicity Photos 34 Rough Sound (Rough SND) 34 Working Set 34 Focus 35 Crew Watch 35 Set Complete 35 Tech 10/12, Tech 1, Tech 2 (Technical Rehearsals) 35 Dress Rehearsals (Dress 1, Dress 2, Dress 3, Final Dress) 35 Press Photos 35 Photo Call MTG 35 Photo Call 35 Strike MTG 35 Strike 35

MARKETING POLICIES 36 Program Copy and Bios 36 Photo Calls 36

Publicity Photos 36 Press Photos 36 Designer Photos 36 Photo Call 36

Complimentary Ticket Policy 36 Usher Policy 37

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Faculty and Staff Contact Information Division of Theatre Main Office 4-3074 Fax 6-1766 Box Office 4-3933 Paint/Prop Shop 4-0546 Scene Shop 4-0546 Electrics Shop 4-3076 Costume Shop 4-0760 Sound Shop 4-5116 Hansen Booth 6-1128 Mallett Booth Division of Theatre Administration email (@purdue.edu) extension Rich Rand, Chair, Producer richrand 4-3081 Rosie Starks, Operations Manager rstarks 4-3080 Darlene Flook, Division Secretary dflook 4-3074 Front of House Staff Dave Lageveen, Director of Marketing and Development dlagevee 4-3084 Faculty and Staff – Acting/Directing Anne Fliotsos, Theory and Criticism fliotsos 4-3075 Kristine Holtvedt, Head of Acting holtvedt 4-3083 Richard Sullivan Lee, Acting and Voice rslee 4-3078 Gordon McCall, Directing gmccall 4-3086 Richard Stockton Rand, Acting and Movement richrand 4-3077 Faculty and Staff – Design/Technology Charlie Calvert, Props and Paint Supervisor calvert 4-3090 Ron Clark, Scene Shop Manager ronclark 4-1207 Rich Dionne, Technical Direction, Production Manager rdionne 4-3073 Joel Ebarb, Costume Design jebarb 4-2144 Russ Jones, Set Design russjones 4-0973 Rachel Lambert, Costume Shop Manager lambertr 4-7687 Michael McNamara, Lighting Design mmcnamara 4-2386 Richard K. Thomas, Sound Design, Head of Design and Technology zounds 4-8150 Purdue University General Phone Numbers Emergency 911 Purdue Police 4-8221 Purdue Fire 4-6919 PUSH (Student Health) 4-1700 General Stores 4-7100 Warehouse 742-4414

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Organization and Administration of Production Program Mission Statement "In a liberal arts setting, the Theatre Division at Purdue University educates students to acquire the discipline, analytical skills, and aesthetic judgment necessary for collaboration with others as productive citizens and artists." Program Objective The study of theatre in the liberal arts tradition is designed to provide each student with the knowledge, abilities, and skills needed to be effective, productive, and socially conscious citizens in our rapidly changing world. By studying the many facets of this art form, the student learns how to apply history, art, psychology, sociology, philosophy, political/economic systems, and many other disciplines toward the creation of a shared theatrical event. The study of theatre encourages the student to develop the knowledge and ability to respond analytically to the concerns of people from a wide range of cultural and intellectual backgrounds, to develop critical thinking, to make aesthetic judgements, to work in a collaborative process, to value the intuitive and creative impulse of the artist, to effectively communicate and to synthesize divergent ideals from a wide array of related disciplines. Theatre is the most collaborative of all art forms. Theatre teaches the ability to create a world that furthers our understanding of our society and its history. In addition to providing a unique Liberal Arts education, the Theatre major is also prepared to compete for entry into graduate programs or pursue a professional career. We believe that the study of Theatre must include both the classroom study ad practical application of those studies. Therefore, the student is encouraged and expected to be an active member of our production community. In this laboratory setting, the student not only applies information and ideas learned in classes, but also learns the critical life lessons of responsibility, commitment, and cooperation which are crucial skills needed for survival in the 21st century. The student is nourished through the study and practice of Theatre for a life as both a citizen of the world and as an artist. Script Policy In most cases, actors may keep scripts issued to them after a production closes. However, in the event that scripts and/or scores have been rented for a production and will need to be returned, the following policy will be followed:

Numbered copies of scripts/scores can be signed out from the Division Secretary prior to the beginning of rehearsals.

Scripts/scores may be marked using pencil only—no ink of any kind may be used in the script/score. Script/score copies must be returned to the stage manager after opening, but prior to closing of the

production. Returned script/score copies must be completely cleaned of any pencil marks and notations. Any fees

or charges due to marked or defaced scripts will be passed on to the user of the script/score. Season Script Selection Purdue University Theatre produces four mainstage and two studio productions in a season. The Script Selection Committee (the Chair of the division, faculty members, one undergraduate and one graduate representative) chooses the plays for the season. It is the committee’s responsibility to gather and review suggestions from students and faculty. You may submit a play by filling out a Play Selection Submission Sheet and returning it to a committee member. The Chair will set the deadline for submissions once the committee convenes in the fall. Criteria for Season Script Selection:

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Presentation of a classical work. Total number of roles in the season. M.F.A. roles/production assignments/thesis terminal projects. Undergraduate acting opportunities. Educational Outreach A variety of production styles and periods, including musical theatre. Size and scope of all shows relative to their placement in the season. ACTF participation Faculty production assignments (designers, directors, actors, dramaturgs, technicians). Box office appeal Cultural diversity. Relationship with other Purdue departments/organizations. Relationship with other arts presenters’ seasons. Compatibility of the Studio and Mainstage Seasons.

Casting Graduate and Acting Concentration actors are expected to audition and be available to be cast in any combination of the four mainstage and two studio productions during the academic year. Graduate and Acting Concentration actors must provide a recent headshot or picture/resume at each general audition during the academic year. (They are not required at the call-backs.) Graduate and Acting Concentration actors are required to accept the role in which they are cast and initial the cast sheet within 24 hours. You are required to read all six scripts and have an understanding of the each play’s context, before you return in the fall. It is important that you be proactive in your preparation for auditions. These are suggestions on how you might achieve that in this educational environment:

Discuss the roles for which you would like to be considered with the performance faculty. Have specific reasons for choosing these roles.

You may request that a director consider you for particular role(s). Be aware that the director has the right to allow -- or refuse -- to read you in the role(s).

You may ask the director what s/he would like to see in your audition. Arrive early and appropriately dressed. Maintain a good humor during the audition process. After casting, it is beneficial to your growth to solicit the director’s feedback on your audition.

The director casts the play, in conference with the performance faculty and the chair of the theatre division. The performance faculty acts as a facilitator in the casting sessions and is there to support the artistic development of the actor. We take into consideration your growth as an actor and the need to test your skills, as well as the needs of the production. The director considers our suggestions but, in the end, the final casting decisions are his/hers. The chair approves the final casting. Production Expectations (Actors) All students will receive a production contract for each show in which they are cast. You are expected to read it thoroughly and sign it, returning it to that production’s stage manager. You are expected to adhere to the specific requirements put forth in the contract. Actors must be on time to all performances, rehearsals, fittings, interviews, photo calls, and to all production-related activities. Actors must be thoroughly warmed up, vocally and physically, prior to their rehearsal or performance call time, and arrive ready to work.

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Actors are required to have appropriate rehearsal clothes, including (for men) a pair of trousers, vest and jacket, leather dress shoes; handkerchief; (for women) a long skirt, character shoes or short heels; handkerchief and fan. Special items such as corsets or period clothes may be provided by the costume shop. Actors are expected to know the schedule and to adhere to all deadlines as outlined or as indicated by the director and/or stage manager. For example:

Actors must be off book on or prior to the date indicated by director/stage manager. Actors are expected to memorize blocking and/or choreography as indicated by the

director/choreographer/stage manager. Actors are expected to have mastered dialect and/or pronunciation changes as indicated by the

director/voice-dialect coach/stage manager. Actors are expected to be in attendance for the duration of each rehearsal unless otherwise noted. No other engagements should be scheduled during rehearsal time, even if the schedule indicates that the actor is not called for a specific rehearsal. Actors are expected to apply what they have learned in class to their work in production. It isn’t enough to simply show up to rehearsal. Actors must do appropriate homework for their roles between rehearsals. Actors are expected to work collaboratively and generously with every member of a production team. Everyone involved in a production must be respected. Any problems should be dealt with in a problem-solving manner. Behaviors that would not be acceptable in a professional situation are not acceptable at Purdue Theatre. Some examples of behavior that are considered unacceptable: inattentiveness, rudeness, gossip, resistance to direction, giving direction to fellow actors, defensiveness, negativity, inappropriate commentary, and behavior that is unsupportive to cast, crew, director or faculty member. Physical violence of any sort is unacceptable and may be grounds for immediate probation or dismissal. Additionally, we expect you that you not damage rehearsal/class furniture, properties, costumes and rehearsal/class facilities. You may be required to repair or replace anything you damage. In other words, any behavior that distracts from or fails to contribute to the mission of the production should be avoided. Production Expectations (Production Personnel) Any student who is involved with a production in any way must be enrolled in a course for that work; commonly, this course is THTR 368. Grading: Your grade for this course will be determined by your instructor, in consultation with the director, stage manager, and supervisor(s) of the project. Any deviation from the company rules contained in this document could result in grading penalties. Understand that work on this production in no way excuses you from the obligations of class work. If you have a conflict between an examination and attendance at a required rehearsal, etc., the stage manager will provide you with a letter requesting that the exam be rescheduled in order for you to fully participate in the production. However, it is your responsibility to request the letter from the stage manager in a timely manner and to work with the professor of the conflicting course/exam to resolve the problem, informing the stage manager of any issues related to the conflict. Scheduling: Obtain a copy of the Production Calendar for your assigned show and go over the dates you are required to attend with the stage manager or graduate assistant in your area before you sign this contract and agree to participate in this production. Note that the Division and the Director reserve the right to adjust deadlines and the rehearsal and performance schedule when necessary. Production personnel may be expected to be available during load-ins, crew watch, technical rehearsals, dress rehearsals, preview(s), brush-up rehearsals, all performances, and strike. Rehearsal and performance times are subject to change and production personnel will need to make necessary scheduling adjustments in order to be available at rehearsals and performances.

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Production personnel are expected to be in attendance for the duration of each rehearsal and performance unless approved in advance by their supervisor. Any conflict must be specifically outlined in advance of accepting a production position and must be approved by your supervisor in writing. COMPANY RULES INCLUDE BUT ARE NOT LIMITED TO THE FOLLOWING:

1. You must be on time to all rehearsals, performances, photo calls, and to all production related activities.

2. You must be appropriately dressed for rehearsals (i.e. black clothing and proper 3. footwear). 4. You must be physically able and mentally prepared to execute your responsibilities as directed to

the best of your ability. 5. You must refrain from directing, coaching, or advising other company members during the

rehearsal and performance process. 6. You must properly care for all equipment, scenery, costumes, and props. 7. You must respect the physical property of the production and theatre and abide by all rules and

regulations of the Theatre Division and Purdue University. 8. Any absences, tardiness, or failure to come to rehearsal or performance prepared to work will be

reported to your supervisor and will negatively affect your grade. 9. Once you have signed in, do not leave the rehearsal or performance space without consulting the

stage manager. Never sign in for another crew member or actor. 10. Quiet must be maintained in the rehearsal and performance spaces; this includes any backstage

areas. 11. The cast and crew of a show are responsible for the cleanliness of the spaces they are using:

rehearsal, performance, dressing rooms, storage, and restrooms. 12. Props will be preset before rehearsals and performances. No prop should be touched or moved

before it is needed onstage. 13. Any damage to scenery, props or costumes should be reported to the stage manager. 14. Please check the callboard daily and initial notices when requested. 15. Smoking is not permitted in any of the indoor spaces. 16. Smoking, eating, or drinking (anything but water) while in the proximity of costumes 17. are not permitted.

Production personnel are expected to work collaboratively and generously with every member of the production team. Everyone involved in a production must be respected.

Administrative Policies Insurance Information Worker's Compensation The Worker's Compensation and Occupational Disease Act of Indiana provides protection for all University employees (including student employees) who are injured while carrying out assigned duties both on the premises of the University and while traveling on University business. The Act stipulates that the employer (or its insurance carrier) compensate the injured employee for lost work time and cover medical expenses incurred. Reporting Procedure Work-related injuries and illnesses that require medical attention and/or time away from work are to be reported to the University's insurance carrier. Instructions for reporting injuries/illnesses are available from Staff Benefits. The carrier will submit the State of Indiana Worker's Compensation Board Employer's Report of Injury/Illness on behalf of the University. A copy of the completed report will be sent to the payroll clerk and/or Business Office representative from Staff Benefits once it is received from the insurance carrier. It is recommended that these reports be maintained in files separate from the employee's Human Resources file. If no medical attention is required and no work time is lost, supervisors should informally document details of the incident for future reference. Forms are available from Freehafer Supplies or online to assist with documenting appropriate information.

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https://www.purdue.edu/hr/Resources/ps-forms.htm


Fatalities or serious injuries are to be reported by phone immediately to both Radiological and Environmental Management and Staff Benefits. Immediate reporting to the insurance carrier is also required. Indiana law requires that the Employer's Report of Injury/Illness be received by the Worker's Compensation Board within seven (7) days of the onset of injury/illness. Thus, a written explanation from the employing department may be required when reports are received after that deadline. Medical Treatment Employees have three choices for initial medical treatment due to injury/illness. West Lafayette campus employees can be referred to the Student Health Center for treatment. Otherwise, employees should utilize the services of Arnett Clinic Occupational Medical Services on Greenbush Street, Lafayette, or the Regional Occupational Care Center (ROCC) at 50 Professional Court, Lafayette. Hospital emergency rooms should be utilized only when the condition is of an extremely serious nature. During the employee's initial visit to the physician to be treated for a job-related injury, the employee is considered to be in regular pay status. If the employee is able to return to work, but further physician's visits or treatments related to the injury are required during regular scheduled worktime, the employee's time for hours missed will be recorded as "other leave with pay." This guideline is applicable to regular, student and temporary employees. Please contact Staff Benefits for verification of other leave with pay hours. NOTE: The maximum “other leave with pay” allowance is as follows:

2 hours for local area visits/treatment 4 hours for visits/treatment requiring travel of 50 miles or more

Should the supervisor need to verify that treatment is prescribed due to a job-related injury, he/she may contact Staff Benefits for such verification. NOTE: An employee who wishes to seek medical treatment beyond the initial visit must first contact the insurance carrier for assistance in selecting a health care provider. Failure to do so may result in denial of medical expenses incurred. If an employee misses work due to a work-related injury or illness, the employee must provide to his/her supervisor a statement from the attending physician as to the probable length of disability. In accordance with provisions of the Americans with Disabilities Act, all medical information concerning an employee's work-related injury or illness should be forwarded to the appropriate Human Resource Services Human Resource Service Team for Physical Facilities and Housing and Food Services. Other departments should forward to Employee Relations in Human Resource Services. No medical information should be retained in the department. Attending Physician's Reports required by the insurance carrier will be furnished by the Health Care Provider. If the employee does not receive the appropriate information, the insurance carrier will secure the necessary report. NOTE: Time off work due to work-related injury/illness will count toward available leave under the Family and Medical Leave Act (FMLA), as well as, Worker's Compensation leave provided by the University. Payment of Compensation and Medical Expenses Bills received by the department or employee for treatment of a work-related injury/illness should be forwarded to Staff Benefits. If the injury/illness causes temporary total disability of more than seven (7) calendar days duration, the insurance carrier will compensate the employee for lost wages as stipulated under the Worker's Compensation Act. In the event that lost time exceeds twenty-one (21) calendar days, retroactive payment will be made for the first seven (7) calendar days. Claims Status

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Questions regarding the status of a claim should be directed to the insurance carrier or Staff Benefits. It is the responsibility of the employing department to notify the insurance carrier when the employee returns to work or if there are other changes to the employee's attendance due to the work related illness/injury. Use of Sick Leave and Vacation If requested by the employee, any sick leave and/or vacation credits which he/she has accrued may be used to supplement compensation. Payments of sick leave and/or vacation in connection with compensation are subject to withholding tax, contribution to retirement funds, deductions for insurance programs, etc. (Worker's Compensation payments are not taxable.) It is intended that any employee who has sick leave and/or vacation credits available for use shall have the opportunity to receive his/her regular income for as long as possible in the event of wages lost because of the job-related injury or illness. The supervisor or department head should immediately determine the sick leave and/or vacation credits which the employee has available -- and should consult with the employee about the use of these credits for payment of lost wages. Procedures Worker's Compensation for lost wages is not effective until the eighth calendar day. If credits are available, sick leave and/or vacation may be paid for all normally-scheduled work periods during the first seven (7) calendar days. If lost time exceeds seven (7) calendar days, the insurance carrier will pay Worker's Compensation to the employee based on the amount provided by the Act at that time. Accrued sick leave is automatically used to pay the difference between the amount of compensation payment and his/her normal earnings. Once sick leave is exhausted, and with approval of the employee, accrued vacation may also be used to supplement. If sick leave and/or vacation is used for this purpose, compute the difference between his/her normal earnings and the amount of his/her compensation payment for the pay period. Divide this difference by the employee's hourly or daily rate of pay and report this as the number of hours or days of sick leave and/or vacation via the payroll system, i.e., time slips for biweekly staff and payroll changes for monthly staff. The employing department must check weekly to determine that the leave time reported for payment does not exceed the earned/unused time available. If compensation for lost time is paid in excess of twenty-one (21) calendar days, retroactive compensation will be paid for the first seven (7) calendar days. If leave credits have been used for payment of this seven-day period, no adjustment of leave payment is necessary. If the employee does not wish to use available leave credits to supplement his/her income, or if none are available, he/she will need to apply for a leave of absence without pay. This application is accomplished by completion of Human Resources Form 33CS (clerical and service staff) or President's Office Form 33 (faculty, administrative, professional, and graduate staff). Do not process a Form 10B (Biweekly Payroll Change) to place a biweekly employee on leave without pay status. If the employee wishes to maintain group insurance coverage while on leave, he/she should make prior arrangements with Staff Benefits. An employee receiving compensation under the Act will continue to earn vacation and sick leave credits, for a maximum of one year, at his/her normal rate of earnings; therefore, any adjustment in hours to be credited will be reported on a Leave Report Correction Slip (Human Resources Administration Form 12). Questions concerning the coordination of sick leave and vacation credits with Worker's Compensation benefits should be directed to Staff Benefits. Vehicle Policies The Theatre Division has been issued a cargo van for activities directly related to the work of the Division. This includes buying and/or transporting items for Horizon or Marquee productions. This does not include use of workshop productions or any personal use.

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http://www.purdue.edu/hr/xls/33ABSENCE.xls


Only those persons employed by the University may drive the Theatre Van. The Theatre Van must be signed out in advance. A schedule for the Theatre Van is posted on a calendar outside the costume shop; the keys are in a lock box immediately beside the calendar. People wishing to use the Theatre Van should check the calendar for its availability, and schedule their use by writing on the calendar their name, the times the van will be in use, and the purpose of their trip. The code for the key lock box can be obtained by speaking to Rich Dionne, Production Manager. The van should be refueled at Transportation Services on campus; fuel pumps are located at 1175 Harrison Street. On longer trips (Indianapolis or Chicago), purchase gas out-of-pocket, and fill out a travel reimbursement form (available from Rosie Starks or Darlene Flook). Travel is reimbursed at $0.40 per mile. Passenger Van Operator Guide Program On April 9, 2001, the National Highway Traffic Safety Administration (NTHSA) issued a "Consumer Advisory" warning the users of passenger vans, that under certain load conditions, these vehicles have an increased risk of rollover, displaced center of gravity, and difficulty in handling while towing cargo With safety considerations in mind, Vice President of Physical Facilities, Wayne W. Kjonaas, and Vice President of Business Services and Assistant Treasurer, James. S. Almond, issued a policy regarding the operation of passenger vans (July 26, 2001). The policy requires that operators be guided through an informative program to help reduce the potential for rollovers and other safety considerations. This program consists of a narrated guide with live action scenarios. The program will take approximately 20-25 minutes to complete. The program can be found at www.purdue.edu/physicalfacilitiestraining/passenger_van_operator_guide.htm. Students must file a completed Passenger Van Agreement Form with the Production Manager before they will be permitted to drive the Theatre Van. A few rules to remember:

Always lock the doors. Do not smoke or eat in the van. Remove all trash from the van. Please be prompt. Only use the van during the time you have reserved. If you have signed out the van

and find that you don’t need it, take your name off the sign-up sheet. Return your keys as soon as you are done using the van. Do not take the van without signing it out.

You are responsible for any tickets you receive while driving the van. Purchasing Guidelines Most purchasing for Purdue Theatre is through the use of University credit cards, available in the main theatre office. Some purchases may require cash or a check; these methods are somewhat more complicated, but may be arranged by speaking to the Operations Manager in the main theatre office. All purchases must be approved in advance by a major professor, the production manager, or the chair of the division. Credit Cards University credit cards can only be used by approved personnel. University credit cards must be signed out for use, and may only be kept for one day—if you require it for longer, you must return it, and sign it out again. The Theatre Division has been issued seven credit cards, named for each discipline; these names are arbitrary and for tracking purposes only: any card may be used for any type of purchase. To sign out a credit card, pick

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up one of the seven color-coded credit card clipboards from Division Secretary, and fill out the next open line on the sign out form. (You’ll need to enter your name, the purpose of your shopping, and the date and time you’re taking the card.) Pick up a purchase card request form (in the matching color), sign it, obtain the signature of your immediate supervisor, and return the form to the Division Secretary. When you return the form, you’ll be given the appropriate credit card. When you return the credit card, fill out the purchase card request form you clipped to the clipboard in full, and staple the receipt(s) to it. Return the form and card to Division Secretary. Petty Cash and Reimbursements While the Theatre Division will not issue a petty cash advance (or bank), it may make reimbursements for production related expenses after the fact, with the following restrictions: No expense for any single item may be greater than $50 No payment to any single vendor may be greater than $100 Some examples: A receipt for $90 from Wal-Mart, for 9 $10 picture frames, is reimbursable by the Theatre Division. A receipt for $110 from Wal-Mart, for 11 $10 picture frames, is not reimbursable by the Theatre Division Two receipts, one from Wal-Mart for $90 (for 9 $10 picture frames) and one from Radio Shack for $40, is reimbursable by the Theatre Division. (Receipts that do not meet these requirements will still be reimbursed, but must be processed through the finance office on campus, and can take significantly longer to process.) Check Requests Some vendors will request a check (as opposed to cash or credit cards). Checks meeting the same requirements as petty cash reimbursements may be arranged by speaking with Rosie Starks. Checks not meeting the petty cash requirements will need to be processed through the University finance office, and will take significantly longer to receive; these can be arranged through Rosie Starks, as well. Direct Billing Purdue will happily accept an invoice from any vendor that is willing to bill the University directly. It is important to note that Purdue’s accounts payables office typically pays invoices approximately 4-6 weeks after the invoice is received, and this may be too long a payment cycle for some vendors. Approval of the direct supervisor must be obtained before arranging for direct billing. Sales Tax Because it is an educational institution, Purdue University (and, by extension, Purdue Theatre) is exempt from paying sales tax. When arranging purchases, be sure the vendor is aware that you are purchasing as an agent of Purdue Theatre (and hence Purdue University). Please note that when seeking reimbursement for out-of-pocket purchases, sales tax will not be reimbursed. Tax exemption forms may be obtained from Darlene Flook or Rosie Starks in the main theatre office Key Policy Keys to the Hansen Theatre, Mallett Theatre, technical facility, and other support spaces (including dressing rooms, green rooms, shops, acting studios, and storage closets) are provided to Theatre faculty, staff, graduate students, and stage managers. Keys can be signed out from the Theatre Operations Manager, Rosie Starks, during regular business hours.

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Lost, misplaced, or broken keys will result in a fine.

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Production Organizational Charts

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Classroom and Instructional Facilities Use Policies Acting Studios

East Studio Pao 2154 West Studio Pao 2164

Food and Drink Food will not be permitted at any time in either acting studio, with the following exceptions:

• Graduate acting students who do not have the opportunity to break for lunch during the day will be permitted to eat during graduate studio classes, at the discretion of the instructor.

• Students in classes populated by both graduates and undergraduates will be permitted to eat during classes at the discretion of the instructor.

• Students in classes populated solely by undergraduates will not be permitted to eat during class at any time.

• Food required for use in rehearsal will be permitted at the discretion of the director, producer, and production manager.

• Actors wishing to eat during rehearsal periods will be permitted to eat in the lounge/hallway south of the acting studios, but not in the studios themselves.

• Beverages (soda, juices, water) will only be permitted in the rehearsal studios in closed containers, with the exception of coffee or tea, which will be permitted in styrofoam or plastic cups with lids.

• All trash from food and beverages must be removed to trash cans outside the studios by the person who brought it into the studio.

• At the discretion of the stage management, beverage privileges may be revoked for the entire company if trash is repeatedly left in the studios.

• Stage management should be encouraged to make nightly reminders about trash removal, and to suggest actors label their beverages.

• Any person not removing their own trash at the end of rehearsal will have a point deducted from their production grade.

Keys and Access

• Keys to the acting studios and to the AV cabinets in each will be provided to the following:

o Performance faculty o Staff o Acting graduate students (both with and without assistantships) o Stage management for each production

• The acting studios will be locked behind the last person leaving the room (doors should be locked between classes).

• The AV cabinets in each studio should remain locked except when in use.

• The storage closets for each studio should remain locked at all times.

• The TV/VCR carts in each storage closet should be chained and locked except when in use. Scheduling Scheduling of the acting studios shall be handled as follows:

• All course sessions in each studio shall be scheduled by Rosie Starks, in conjunction with the faculty.

• Calendars for each studio shall be maintained by the production manager

• Calendars for each studio shall be available via Microsoft Outlook and online for public perusal.

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• Weekly calendars for each studio shall be posted by the production manager on the call boards outside the main office.

• Both studios shall remain unscheduled (in as much as possible) from 5:30 to 6:00 pm each weekday; graduate actors may use the space during this time to rehearse for classes as needed.

• Studio space may be requested by emailing the production manager or by filling out a “space use request form” (available from the callboard or online at http://web.ics.purdue.edu/~rdionne/Web_Calendar/index.htm.)

Space Setup and Storage The performance faculty have generated storage layouts for the furniture and acting blocks in each acting studio; these layouts are included at the back of this handbook. Each studio should be returned to these layouts following each class and rehearsal. The storage shelves in the closets between the studios have been labeled for classroom and rehearsal use. It is the responsibility of the faculty teaching in the classrooms and the stage management teams rehearsing in the studios to ensure that items are stored correctly. One 6' folding table shall be stored in each acting studio to serve as a production table during rehearsals. One boombox shall be provided for each classroom, and two shall be provided to stage management for use in rehearsals. Use of the classroom boomboxes may be requested by speaking to the head of the acting program. No items may be removed from the acting studios without permission of the acting faculty. Costume Construction Costume Shop Pao 2139 Craft Room Pao 2139B Fitting Room Pao 2139C

• The Costume Shop is under the supervision of the faculty of Costume Design and Technology and the Costume Shop Manager.

• All inquiries regarding policies and procedures regarding the Costume Shop should be directed to the

Costume Design and Technology faculty and/or the Costume Shop Manager.

• The primary purpose of the Costume Shop and support spaces (craft room and fitting area) is to serve as 1) facilities for the construction and maintenance of costumes for Purdue University Division of Theatre productions and 2) classrooms and laboratory spaces for appropriate costume design and technology courses. All other use of the Costume Shop must be cleared through the Costume Design and Technology faculty and/or the Costume Shop Manager.

• The Costume Shop should not be considered as an available space for meetings or rehearsal activities.

• The facilities and equipment of the Costume Shop and support spaces are for Division of Theatre

costume production use only and should not be used by faculty, staff, or students for non-costume production work or personal projects without the permission and supervision of the Costume Design and Technology faculty and/or the Costume Shop Manager.

• No items or objects of any kind should be removed from or stored in the Costume Shop without

permission of the Costume Design and Technology faculty and/or Costume Shop Manager.

• The Costume Shop must remain locked when not in use.

• For fire safety and prevention purposes, the Craft Room door must be closed at all times.

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Dressing Rooms

Main Level Dressing Rooms Room 1134, seating for 8 Room 1136, seating for 5

·Kettelhut Dressing Rooms (basement)

B133, seating for 10 B135, seating for 11

Total spaces available: 34

• The Dressing Rooms are under the supervision of the faculty of Costume Design and Technology.

All inquiries regarding policies and procedures regarding the Dressing Rooms should be directed to the Costume Design and Technology faculty.

• The primary purpose of the Dressing Rooms is to serve as

o dressing rooms for Division of Theatre and guest productions

o classrooms and laboratory spaces for THTR 256 – Stage Makeup and THTR 556 – Advanced Stage Makeup and other appropriate courses.

All other uses of the Dressing Rooms must be cleared through the Costume Design and Technology faculty.

• The Dressing Rooms should not be considered as available spaces for rehearsal activities.

• The Dressing Room toilets, sinks, and showers are for production use only and should not be used as

alternate toilet facilities by faculty, staff, or students without the permission of the Costume Design and Technology faculty.

• No items or objects of any kind should be removed from or stored in the Dressing Rooms without

permission of the Costume Design and Technology faculty.

• No food or drink of any kind is allowed in the Dressing Rooms other than plain water in spill-proof containers.

• The Dressing Rooms must remain locked when not in use.

Costume Storage

East Storage B134 West Storage B142

• The Costume Storage areas and their contents are under the supervision of the faculty of Costume

Design and Technology. All inquiries regarding policies and procedures regarding Costume Storage should be directed to the Costume Design and Technology faculty.

• The primary purpose of Costume Storage is to serve as the storage area for the collection of costume

items created and maintained by the Purdue University Division of Theatre Costume Design and Technology program. All other storage use of Costume Storage must be cleared through the Costume Design and Technology faculty.

• Costume Storage should not be considered as available spaces for rehearsal activities or meetings.

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• The Costume Storage areas are for production storage use only and should not be used as alternate storage of Division of Theatre property by faculty, staff, or students without the permission of the Costume Design and Technology faculty. Personal property is not allowed to be stored in the Costume Storage areas.

• NO COSTUME ITEM OF ANY KIND may be removed from the Costume Storage areas without

permission and/or supervision of the Costume Design and Technology faculty.

• No food or drink of any kind is allowed in the Costume Storage areas.

• For security purposes, the doors of the Costume Storage areas must remain closed at all times, even when the rooms are in use. The doors should be locked with the lights turned off when the rooms are not in use.

Green Room Use of the Green Room will be limited to times when a production is rehearsing in either theatre space. The Green Room will be opened when stage management arrives for rehearsal and locked upon their departure. Only members of the production company currently in rehearsal or performance will be permitted access to the Green Room. (“Company” or “production company” will refer to any member of the cast, crew, artistic or production staffs associated with a show.)

• The kitchen facilities of the Green Room will be available for the use of any member of the company of a production, with the exception of the range and oven.

• The range and oven in the Green Room will remain powered off except when required by stage

management or properties for the preparation of food related to a production.

• The refrigerator in the Green Room will not be used to store prop food items; the refrigerator in the props running room has been provided for this purpose.

• Items in the refrigerator must be labeled by the owner, and removed nightly. Items not removed by

the end of the evening will be thrown away by stage management.

• Dishes will be provided for the use of the company in the Green Room; however, every member of the company is expected to clean up after him- or herself.

• Those members of the company who do not clean up after themselves (including but not limited to

messes in the sink, dirty dishes, messes in the microwave, or trash in and about the Green Room), or who leave items in the refrigerator, may be subject to a reduction in their production grade.

Hansen and Mallett Theatres Food and Drink Food will not be permitted at any time in either theatre, with the following exceptions:

• Food required for use in rehearsal and performance will be permitted at the discretion of the director, producer, and production manager.

• Beverages (soda, juices, water) will only be permitted in the auditorium or booth areas in closed containers, with the exception of coffee or tea, which will be permitted in styrofoam or plastic cups with lids.

• All trash from food and beverages must be removed to trash cans outside the theatres by the person who brought it into the theatre.

• At the discretion of the stage management, beverage privileges may be revoked for the entire company if trash is repeatedly left in the theatres.

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• Stage management should be encouraged to make nightly reminders about trash removal, and to suggest actors label their beverages.

Keys and Access

• Keys to the theatres will be provided to the following:

o Performance faculty o Staff o Design and technology graduate students (both with and without assistantships) o Stage management for each production

• The theatres will be locked behind the last person leaving the room. Scheduling Scheduling of the theatres shall be handled as follows:

• All course sessions in each theatre shall be scheduled by Rosie Starks, in conjunction with the faculty.

• Calendars for each theatre shall be maintained by the production manager

• Calendars for each theatre shall be available via Microsoft Outlook and online for public perusal.

• Weekly calendars for each theatre shall be posted by the production manager on the call boards outside the main office and the Hansen Theatre.

• Theatre space may be requested by emailing the production manager or by filling out a “space use request form” (available from the callboard or online at http://web.ics.purdue.edu/~rdionne/Web_Calendar/index.htm.)

Space Setup and Storage No items shall be stored in either theatre, with the following exceptions:

• Lighting instrument racks shall be stored on stage in either than Hansen or Mallett Theatres whenever there is no production in rehearsal or performance in that space. Otherwise, instrument racks shall be stored in the trap room.

• Production tables may be stored in the wings of the Hansen Theatre as needed on a cart.

• Directing class furniture will be stored offstage in the Mallett Theatre, except when a production is in

rehearsal or performance in the Mallett. During these times, these items shall be stored in the acting studios or other appropriate space.

• Items that are directly related to a production currently in rehearsal or performance.

Given the relatively open-access to the theatre spaces, it is not recommended to store production-related items in either space unless absolutely necessary. No items shall be removed from the theatres without permission of the production manager. Mallett Theatre Seating Policy

General Seating is to use the stock platforms provided for the theatre, or additional platforms approved

by the Faculty Technical Director. Seating arrangements must be approved by the Faculty Set Designer and the Faculty Technical

Director by the Final Design Deadline. Aisles

Any aisle between a bank of seating risers and a wall or other obstacle must be at least 42 inches wide.

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A minimum distance of 36 inches must be provided between any seat and the set. An aisle of 36 inches is to be provided on each riser with steps for access to the upper levels of

that riser. Seating Arrangements

No person should ever be seated where he/she must cross more than 9 (nine) seats to exit. Thus, a block of seats can have a maximum number of 19 (nineteen) chairs, provided there are aisles one each side of the block. The longest row allowed with an aisle at one end only is 10 (ten) chairs.

At least two clearly marked fire exits must remain unobstructed and visible. A minimum of 2 wheelchair seating areas must be provided. Each area should be as close to a

fire exit as possible. Each area will cover the space of two theatre chairs. Each area should be adjacent to standard seating to allow seating next to handicap patrons.

All raised seating platforms must have a back rail along the top level, and all seating risers must have railing along their entire length. All seating platforms must have chair stops.

Mallett and Hansen Theatre Stage Floor Policy The black floors in the Mallett and Hansen Theatres are not to be painted in any way other than the existing black paint and finish. Any production requiring a painted or textured floor will use a temporary floor covering for the painted surface. This covering is to be installed as part of the scenery for each production. The temporary covering may be muslin, carpet, or any sturdy fabric, masonite, plywood, or suitable sheet stock, planed wooden flooring, pre-assembled flooring pallets, linoleum or vinyl roll, Marley or any suitable dance flooring, or any reliable surface. Any temporary surface applied in the theatres must be easily removed leaving no permanent damage to the floor. Any flooring and attachment system used for a production must be approved in advance by the Faculty Production Manager or appointed representative. Scenery and Paint/Props Shops

• The Scenery Shop is under the supervision of the faculty technical director/production manager and the scene shop supervisor. The Paint/Props Shop is under the supervision of the faculty technical director and the paint and props supervisor.

• All inquiries regarding policies and procedures regarding these shops should be directed to the faculty

technical director/production manager, scene shop supervisor, and/or paint and props supervisor.

• The primary purpose of the scene shop, paint and props shop, and support spaces is to serve as 1) facilities for the construction and maintenance of scenery and props for Purdue University Division of Theatre productions and 2) classrooms and laboratory spaces for appropriate scenery design and technology courses. All other use of these shops must be cleared through the faculty technical director/production manager, scene shop supervisor, and/or paint and props supervisor.

• The scene shop or paint and props shop should not be considered as a available spaces for meetings

or rehearsal activities.

• The facilities and equipment of the scene shop, paint and props shop, and support spaces are for Division of Theatre secenery production use only and should not be used by faculty, staff, or students for non-scenery production work or personal projects without the permission and supervision of the faculty technical director/production manager, scene shop supervisor, and/or paint and props supervisor.

• No items or objects of any kind should be removed from or stored in the scene shop, paint shop, or

support spaces without permission of the faculty technical director/production manager, scene shop supervisor, and/or paint and props supervisor.

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• The scene shop, paint shop, and support spaces must remain locked when not in use.

• No one shall use any tools in the scene shop or paint shop without proper safety equipment (including, but not limited to, eye, ear, and respiratory protection).

• No one shall use any tools in the scene shop or paint shop without training on their proper inspection

or use by the faculty technical director/production manager, scene shop supervisor, or paint and props supervisor.

Design and Technology Classroom and Lab (2150) It should be remembered that Room 2150 serves three purposes concurrently: a classroom, a computer lab, and a design lab/studio. As a classroom, 2150 should be maintained as a neutral space that allows all classes, regardless of format, full accessibility to the function of the space. Instructors are asked to be considerate when restoring the room after a class for next group of students. As a computer lab, it should be remembered that 2150 may only be accessed for this purpose when a class is not in session, and that the available computers are for course work only. All applicable rules and regulations for a university computing lab apply. As a design lab/studio, students must keep their work area clean. All supplies and projects must be removed from the computer/work stations at the end of class or when the room is not in use and stored neatly and properly in, on, or about the storage unit at the rear of the room. Push pins should always be used on display boards as opposed to staples, which are difficult to remove. Instructions for restoring Computer/Design stations after use:

1. Place keyboard and mouse on the appropriate pads and swing underneath the work surface. 2. Remove all supplies and materials from work surface and clean with Windex and paper towels if

needed. 3. Push chair neatly under work station. 4. Swing monitor so it does not obstruct view of front of classroom.

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Safety Policies Division of Theatre Safety Policy The Division of Theatre strives to implement and abide by all applicable University, State, and Federal Laws and regulations relating to the safety of students, faculty, staff, and the community. It is the responsibility of the Policy Working Group, chaired by the Production Manager, to implement, evaluate, and insure compliance with all policies related to health and safety. The first person responsible for his or her safety is that person. All individuals performing tasks in the theatre facilities, be they faculty, staff, or student, should learn safe procedures and work with an attitude which places safety first. All members of the faculty and staff have the responsibility to assure that safe procedures are carried out in their respective classrooms, studios, laboratories, or performance areas. As a student, employee, or volunteer, you cannot be dismissed or otherwise discriminated against for asserting any concern you may have regarding the health and safety of yourself and/or others. All questions of safety shall be at the discretion of the faculty technical director/production manager. Emergencies

a. In the event of an injury or serious illness: Call 911 Notify your supervisor Do what you can to help and stay calm

b. In the event of a fire Call 911 Notify your supervisor If you have been trained to do so, use a fire extinguisher (if possible) Pull the alarm and evacuate the building as quickly as possible Close, but do not lock, doors when exiting a burning building Always report any injuries or illness to your supervisor

c. Additional emergency procedures can be found by reading the Purdue Emergency Procedures Handbook (http://www.purdue.edu/fire/safety_handbook.pdf).

Individual Responsibilities

Do not act in ignorance! If you do not know how to do something, don’t. If you do not understand something, do not touch it.

Demand instruction and supervision whenever you feel you need it. Do not work alone! Report any injuries or unsafe conditions immediately, no matter how insignificant they may seem.

Report to your immediate supervisor. If no one is available, report to the main office or any Division Faculty member. If no one else is available, contact Purdue Police.

Follow directions and learn how to do a task safely. Always follow the instructions of the faculty or supervisor, and read these and any other instructions given to you.

The Division of Theatre will send home any student who shows up to class, rehearsal, work call, or performance under the influence of alcohol or any other drug or illegal substance.

Special Health Conditions (including pregnancy) If you are sick, injured, on medication, under a doctor’s care for a short term or chronic condition, or suspect that you might be pregnant, notify your major professor or supervisor immediately. This information will be kept confidential and will not curtail your participation in activities. In some cases, however, your major professor or supervisor may want to make you aware of special circumstances relating to you condition and modify your activity accordingly. It is essential that you notify someone so that in the event of an emergency proper action can be taken to insure your health and safety. Hazard Communication Program

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Anyone working in the theatre has a right to personally receive information regarding any hazardous substances to which he or she might be exposed. This includes any hazardous materials present in the work area being used by others. Copies of Material Safety Data Sheets (MSDS) and information on how to use them are available through the Production Manager.

All chemicals must be stored in proper containers with accurate and complete labels. Notify your supervisor of any unlabeled or mislabeled containers.

Do not throw chemical containers in the trash or flush chemicals down the sink. Notify your supervisor that there is hazardous material to be disposed.

University Smoking Policy Smoking is not permitted in any building or classroom, or within 30 feet of any building. Theatre Facilities

Access to Division of Theatre facilities is limited to those who are a part of a Division of Theatre activity or for whom special permission has been granted.

Training is required to work in any of the Division’s facilities. No one is permitted to work without it. Instruction is given in class, during studios, and by the supervisor as needed. Be sure that you are aware of and received all pertinent training. Do not assume that previous experience is sufficient, up to date, or correct. Discuss previous training with your supervisor or major professor.

All facilities are to be kept clean at all times. Security

Keep track of all valuables. The Division of Theatre is not responsible for lost or stolen items. Keep all classrooms and studios locked when not in use.

Live flame Live flame is only permitted on stage when absolutely required by the script. A request to use live flame must be made in writing by the stage manager and filed with the Production Manager prior to the first technical rehearsal. The production manager will then seek approval from Mike Koppes, Purdue University’s Fire Safety Officer. Smoke and Haze Smoke and/or haze may be used on stage upon approval of the Production Manager. To obtain approval, a request to use smoke or haze must be made to the Production Manager in writing at least two weeks prior to the first use of smoke or haze on stage. The Production Manager will obtain approval for the use of smoke or haze from Purdue’s Environmental Health and Safety office (who reserve the right to request a demonstration of the effect, and to impose restrictions and regulations on its use). Smoke and haze usage shall be limited to the regulations proscribed by Actor’s Equity Association, in the document, “Equipment-Based Guidelines for the Use of Theatrical Smoke and Haze,” available from the Production Manager, or by download from the Actor’s Equity Association website. Overhead Rigging and Linesets All overhead rigging is subject to inspection by the faculty technical director/production manager. Only those personnel certified by the faculty technical director/production manager as experienced in rigging practices shall be permitted to work in any capacity directly related to rigging. Certification shall be granted in three levels; these levels and the skill sets associated with them are as follows (note that these descriptions are not exhaustive; additional material may be presented at seminar sessions and appear on examinations): Loader Certification

• Principles of counterweight systems • Safely loading and unloading the arbor • Safe working practices on the weight rail • Minimum 8 hours experience under the supervision of a certified loader

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Fly Operator Certification • Certified Loader • Attaching loads to battens • Safety tie-offs • Setting up and operating a bull line or bull winch • Principles of hemp rigging, and hemp rigging operation (pin rail and hemp terminations) • Knot tying • Safe working practices on the fly rail • Maintaining the rail log • Inspecting the system • Minimum 8 hours experience under the supervision of a certified fly operator

Rigger Certification

• Certified Loader • Certified Operator • Minimum 8 hour seminar on rigging to cover ESTA Theatre Rigging Examination materials,

including o Rigging theory o Safe rigging practices, including fall protection and relevant federal and state regulations o Standard rigging systems, including hemp and single- and double-purchase counterweight o Implementing and installing rigging equipment o Inspecting rigging systems o Safe practices in the use of hoists and mechanical systems o Tracking systems o Fire curtains systems

Personnel wishing to obtain certification at any level should attend a scheduled training seminar appropriate to their level of interest. After this, personnel can arrange to fulfill the minimum number of supervised experience hours (or by attending the ESTA Certification preparatory seminar, in the case of Rigger certification). Once these hours have been fulfilled, personnel can arrange to take a brief certification examination (which may consist of both a written and hands-on portion); a grade of 75% or above will be required for certification to become effective. Those who fail the examination can arrange to retake the exam after another period of 8 supervised experience hours (or another session of the ESTA seminar).

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Hard Hat Policy Statement of Policy It is the policy of Purdue University Theatre that all personnel working in the theatre when there is a danger of items falling from overhead shall wear appropriate head protection. Definitions and Specifications Dangerous Situations For the purposes of this policy situations deemed having danger of falling items shall include:

Hansen Theatre • Grid-level rigging • Grid-level circuiting/cabling • Catwalk-level equipment hanging • Catwalk-level circuiting/cabling • Catwalk-level focusing • In-use chain motors

Mallett Theatre

• Grid-level rigging • Grid-level equipment hanging • Grid-level circuiting/cabling • Gallery-level rigging • Gallery-level equipment hanging • Gallery-level circuiting/cabling • In-use chain motors

All Spaces • Any situation deemed dangerous by the appropriate supervisor

Acceptable Hard Hats Hard hats which meet or exceed ANSI Z89.1-2003 specifications for Type 1, Class G protection are the minimum acceptable for the purposes of satisfying this policy. Purdue University Theatre has purchased 10 hard hats which meet ANSI Z89.1-2003 criteria, and which will be available for student, faculty, and staff use. Implementation Notification Whenever possible, students, faculty, and staff of the Division of Theatre shall be notified in advance of a situation requiring hard hats in either space. This can most easily be accomplished by emailing the information to the Production Manager, the Division Secretary, or the Theatre Operations Manager, who can then forward this information to the appropriate parties. Signage All entries to the theatre must have signage indicating that the use of hard hats is required. This signage shall be posted immediately before beginning the work requiring hard hats, and shall be removed immediately after it is completed. The supervisor for the work involved shall be responsible for posting and removing this signage. Signage shall be posted on the following entries: Hansen Theatre

• Upstage Right Entrance • Downstage Right (backstage) entrance • Downstage Right (apron) entrance • Upstage Left Entrance • Downstage Left (backstage) entrance • Downstage Left (apron) entrance

Mallet Theatre • West Side Front-of-house entrance • East Side Front-of-house entrance • Northeast backstage entrance

Magnetic signage meeting OSHA requirements will be provided for this purpose. Availability of Hard Hats A common, easily-accessible storage area shall be determined in which hard hats may be stored for student, faculty, and staff use during those times when hard hats are required in a theatre. It shall be the responsibility of the supervisor for the work requiring hard hats to ensure that Division-owned hard hats are readily accessible for any one needing access to the theatre.

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Enforcement It shall be the responsibility of the supervisor of the work requiring the use of hard hats to ensure their proper use.


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Emergency Medical Procedures All students working in any capacity on a Division of Theatre production will fill out an emergency medical

form detailing all pertinent medical history and contact information. It will be the responsibility of the major professor or faculty supervisor to ensure this form is filled out.

A master book of all medical forms will be kept by the Operations Manager, with copies of the appropriate student forms provided to the faculty supervisor/major professor of each area.

An emergency contact list with the telephone numbers for campus police, medical services, and Division of Theatre design/technology faculty and staff should be available in all shops and theatres. This phone list should be accessible, while still protecting the privacy of the personal information available on it.

If an accident occurs during regular working hours, it should be immediately reported to the appropriate supervisor.

If the appropriate supervisor is not available at the time of the accident, it should be reported to the nearest faculty/staff member on site or the Production Manager.

The Supervisor must report the incident to the Operations Manager so that all necessary paperwork may be started.

Students may only work during non-regular work hours with the permission of their supervisor who, at their discretion, will determine the nature of the work that can be done and any additional safety measures required.

No one should ever work alone in any theatre or shop space. If an accident occurs during non-regular working hours, it should be reported to the nearest faculty/staff

member on site. If no faculty or staff members are present at the time of the accident, the Production Manager should be called immediately.

If an accident is severe enough to warrant calling an ambulance, whether during regular or non-regular working hours, 911 should be contacted first, and the Production Manager contacted an ambulance has been dispatched.

Any student involved in an accident of any degree will be required to fill out an accident report within 24 hours. In the case of a severe accident where the student is unable to fill out paperwork, witness statements to the accident will be required in the same time frame.

The use of alcohol or illegal drugs on campus grounds is a violation of University policy. Reports on accidents that occur as the result of the use of illegal substances will be forward to University personnel for disciplinary action.

The Production Manager can be reached at 337-3223.


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Equipment Policies Lighting Equipment Only those personnel certified by the lighting design faculty shall have permission to operate or manipulate the lighting equipment in either theatre. This shall include (but not be limited to) the house lighting, lighting consoles, dimmer racks, lighting fixtures, and power and control cables. Sound Equipment Only those personnel certified by the sound design faculty shall have permission to operate or manipulate the sound equipment in either theatre. This shall include (but not be limited to) the sound consoles, computers, communications equipment, speakers, microphones, amplifiers and distribution equipment, and any cables. Stage Motors Only those personnel certified by the faculty technical director/production manager shall have permission to operate stage machinery of any kind. This shall include (but not be limited to) the stage lift, chain motors, and any winches, motors, lifts or the like installed for a particular production. Production (Tech) Tables Production tables shall be set up on top of row F in the Hansen Theatre. The production technical director shall arrange for the seats in row G to be removed in the week prior to tech; the master electrician shall set up the lighting designer’s table, the production sound engineer shall set up the sound designer’s table, and stage management shall set up the stage manager’s table. The production sound engineer shall be responsible for setting up the communications system for all the production tables, and the master electrician shall be responsible for providing lighting at the tables and the cue light system. Weapons

All weapons are to be treated as dangerous implements, and handled appropriately. Access to all weapons is to be restricted. Keys should be given to the stage manager or Properties Master only. All actors, technicians, and others who will handle the weapons must be given safety training by a qualified

individual. The stage manager (or a crew member) must be instructed on the proper care, cleaning, and storage of all

weapons in the production; this person will be responsible for insuring this care, cleaning, and storage. Firearms Storage

Firearms must be kept under multiple locks at all times when not actively in use in rehearsal or performance. Firearms must be kept in a locked box, which is itself locked in a restricted access area. In the case where the weapons are capable of firing blanks, ammunition and weapons must be locked separately.

Firearms should not be unlocked until directly before they will be used onstage. Firearms must be handed directly from the stage manager or directed crew member to the actor, and back at the end of the scene. Firearms should not be left on a prop table unattended.

Access to all firearms is to be restricted. Keys should be given to the stage manager or Properties Master only. Safe Use and Handling of Firearms

Blanks can kill. Treat all firearms as though they are loaded. This includes real as well as prop guns. All actors, technicians, and others who will handle the firearms must be given safety training by a qualified

individual. In the case of rental firearms, request the training directly from the company from whom the weapons are rented.

Firearms shall NEVER be fired in rehearsal rooms, or any space other than on stage. Never point a firearm at anyone, including yourself. Consider that whatever you point the weapon at, that

object will be destroyed. Do not point firearms at the audience. Never place your finger on the trigger until you are ready to shoot. Keep your finger alongside and off of the

trigger. Know where and what your intended target is. If you or another person involved are moving, do not fire

towards the other person. Do NOT engage in horseplay with any firearms or weapons. NEVER discharge a firearm when the barrel has become clogged with dirt or foreign material. The Property

Master should inspect the barrel of the weapon before every firing. Maintain all safety devices in place until the firearms are ready to be used.


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Never lay down a firearm or leave it unattended. Unless actively performing or rehearsing, all firearms should be secured.

Hand loading or altering factory-loaded blank ammunition shall be done only be person qualified (either by license or experience) to work on firearms.

No person is to be coaxed, coerced, or otherwise forced into handling a firearm. Firearm jams or malfunctions must be called to the attention of the Properties Master. Do not attempt to

adjust, modify, or repair a firearm or attempt to unjam the firearm. Malfunctioning firearms should be taken out of service until properly repaired by a person qualified to work on firearms.

All State and Federal safety regulations are applicable and override these guidelines if they are more stringent. Live Ammunition Live ammunition is not to be used in the theatre. No exceptions will be made. Notification

Prior to the use of any firearms onstage, the Purdue University Police department shall be notified in writing. They will be given the opportunity to inspect the weapons, their storage, and handling. The Purdue University Police Department has the authority—at it’s own discretion—to impose any additional regulations on the use of firearms.

A copy of all paperwork related to the ownership, use, and function of all firearms will be given to the Production Manager, who will file a copy with Purdue University Police at their request.

Firearms may not be used in any rehearsal or performance until items 1 and 2 above have been completed. Notification must be posted on a sign in front of the lobby entrance at every public rehearsal and performance

announcing the use of firearms in the production.


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Production Calendar The production calendar at Purdue University is a highly-structured timeline of design and production processes designed to guide you through the steps typical to a production. The particular terms seen on the calendar are defined below; guidelines specific to your discipline can be found in the attached document, “Guidelines for Timelines and Seminar Presentations” (“Seminar Guidelines”) which should also be available from your major professor. A hardcopy of the production calendar will be distributed once, at the beginning of the academic year. The production calendar can also be viewed online at the Purdue Theatre Web Callboard, web.ics.purdue.edu/~rdionne. Updates to the calendar occur frequently, and will be reflected on the online calendar, and faculty, staff, and students should refer to the online production calendar often; ignorance of a deadline, meeting, rehearsal, or other event which has been published on the production calendar will not be excused. For the purposes of this discussion, the following definitions will be used:

Artistic Team: any person in a position to discuss the artistic scope and conceptualization of a production, including, but not limited to, the Director, Scenic Designer, Costume Designer, Sound Designer, Lighting Designer, Assistant Designers, Assistant Directors, Dramaturgs, Stage Managers, Fight Directors, Choreographers, etc. Production Team: those members of the production staff directly responsible for the oversight of a particular production discipline, including, but not limited to, the Production Manager, Producer, Stage Manager, Technical Director, Paint Charge, Properties Master, Costume Shop Manager, Master Electrician, Production Sound Engineer.

First DCON (First Design Conversation) It is by this date on the calendar that members of the Artistic Team are expected to have begun having conversations with each other and the director. There are no formal meetings; these conversations are expected to be individually scheduled and motivated. First DMTG (First Design Meeting) Design meetings are held once a week, usually on Monday afternoons (at 3:30 or 4:30) beginning approximately four weeks after First DCON. At these meetings, the artistic staff will talk through the aesthetic concepts and conceits for the production, culminating in final designs after approximately eight weeks. Design meetings are usually low-key and informal; however, all who attend should always come prepared to be a part of the conversation, and should bring whatever aural or visual aids help communicate their thoughts and ideas. Attendance: Artistic Team, select members of the Production Team as needed. Set/Cost Prelims Held approximately two weeks after the First DMTG, the Set/Cost Prelims meeting is when the set and costume designers are expected to present preliminary designs for the production to the rest of the Artistic and Production Teams. Attendance: Artistic Team, Producer, Production Manager, Technical Director, and other members of the Production Team as needed. Prelim Props and Set/Cost Finals Three weeks following the Set/Cost Prelims Meeting, the set designer will present a final version of his or her design and a preliminary list of props and research for the production; the costume designer will present a final version of his or her design as well. Attendance: Artistic Team, Producer, Production Manager, Technical Director, and other members of the Production Team as needed. Set/Cost BMTG (Budget Meeting) Two weeks following the presentation of final set and costume designs, the Technical Director will present a materials and labor expense estimate to the Producer, Production Manager, and Artistic Team; at this meeting, recommendations to bring a show within budget (if necessary) will be made. In addition, the costume designer and costume shop manager will present information regarding expected expenses for the costume design. Attendance: Artistic Team, Producer, Production Manager, Technical Director, and other members of the Production Team as needed.


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M/S Set Revisions One week following Set/Cost BMTG, the set designer will present design revisions which reflect the results of the budget meeting and subsequent revision conversations. Attendance: Artistic Team, Producer, Production Manager, Technical Director, and other members of the Production Team as needed. Rgh Lgt Plot Indicates the date the rough light plot (and its attendant materials) is due for presentation to the lighting faculty and graduate students. Lgt BMTG On the Monday following the submission of the rough light plot, the Master Electrician will present an estimated materials and labor estimate for the lighting needs of the production. Attendance: Artistic Team, Producer, Production Manager, Technical Director, Master Electrician, and other members of the Production Team as needed. Set in Shop Indicates the date the set will begin construction in the shop, and the date at which the Technical Director will present the build plan and set design to the shop. Final Lgt Plot Indicates the date the final light plot (and its attendant materials) is due for presentation to the lighting faculty and graduate students. Show and Tell Held as part of the THTR 597 Seminar class, the Show and Tell is a formal presentation of the artistic conceptions of the production to the design and technology faculty, staff, and graduate students, as well as any other members of the faculty and the production team (and student body) who are free to attend. This is a semi-formal presentation; designers (directors, choreographers) should prepare appropriately (including their dress: business casual as opposed to casual). PMTG (Production Meeting) While design meetings are primarily focused around the aesthetics of the production, the production meetings should focus on the realization of these aesthetics. As a result, these meetings should be populated by the production team as well as the design team, and should primarily address technical/pragmatic/real-world issues, as opposed to conceptual concerns. Production meetings are held weekly, on Thursdays (at 3:30 or 4:30pm), and nightly after technical and dress rehearsals, and following any preview performances. Attendance: Artistic Team, Production Team, others as requested. Lgt/Snd Hang (Light and Sound Hang/Load-in) Indicates the date on which the lighting plot and the sound system are hung and cabled and tested in the theatre. These calls are typically run by the master electrician and production sound engineer. Set Load-in and Set Load-in Begins Indicates the beginning of the set load in process (for Marquee Productions) or the date on which the set is loaded into the theatre (for Horizon Productions). Publicity Photos The date at which publicity photos are likely to be scheduled for a production. Rough Sound (Rough SND) Indicates the date that rough sound models and (attendant materials) should be presented to the sound faculty. Working Set Indicates the date at which the set should be safe for actors to work on, and also at which any scenery with which the actors interact (i.e. doors, actor-operated tracking scenery, stairs, etc.) is completed.


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Focus Indicates the date on which the lighting plot is focused prior to tech. Crew Watch Indicates the date at which crew members working the production should watch a run-through of the production prior to the beginning of technical rehearsals. Set Complete Indicates the date at which all scenic construction, installation, and paint treatment should be complete. Tech 10/12, Tech 1, Tech 2 (Technical Rehearsals) Indicates specific technical rehearsal calls (incorporating all elements except costumes). “10/12” refers to a 10 hour rehearsal spanning 12 hours, typically running from 11:00am -11:00pm, with a 2 hour dinner break from 4:00pm-6:00pm. Attendance: Artistic Team, Production Team, others as requested. Dress Rehearsals (Dress 1, Dress 2, Dress 3, Final Dress) Dress rehearsals mark the integration of costumes into the production. Generally by this point the other technical elements have been integrated smoothly; as a result, dress rehearsals are generally run as full-tech run-throughs, with holds called only as needed. Attendance: Artistic Team, Production Team, others as requested. Press Photos The date at which press can be expected to photograph rehearsal. Photo Call MTG A meeting held on the Thursday prior to the archival photo call, to coordinate the shot priorities for the call. Attendance: Artistic Team, Stage Manager, others as requested. Photo Call Photo call is a one-hour photo session with an archival photographer. Typically a photo call will consist of at least 15 but no more than 30 posed or limited-action shots. Strike MTG At the strike meeting—held the Thursday prior to the strike call—members of the production team will go over the plan for strike, coordinating schedules, calls, and needs. Attendance: Production Team, others as requested. Strike The strike call for a production.


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Marketing Policies Program Copy and Bios Program copy—including staff/artist names and titles, biographies, and designer/director notes—shall be turned in to the Director of Marketing no later than 4 weeks prior to the first public performance of a production. Area supervisors shall be responsible for providing the staff lists—properly proof-read for spelling—for their specific areas as follows:

Shall be responsible for: Stage Manager Director, vocal coach/captain, fight

choreographer/captain, dance captain, stage manager, associate stage manager, assistant stage managers, deck/running crew

Production Manager Set designer, costume designer, lighting designer, sound designer, musical director, choreographer, associated assistants

Technical Director Set construction crew Scenic Charge Paint crew Properties Master Properties crew Costume Shop Manager Costume construction crew, wardrobe crew, hair and

makeup designer/crew Master Electrician Lighting crew and operators Production Sound Engineer Sound crew and operators Director of Marketing House Management, ushers

Prior to printing, programs will be available to be proofed by the director, production manager, and producer. Photo Calls Publicity Photos Publicity photos will be scheduled approximately three to four weeks prior to the first public performance of a production. In consultation with the director, costume shop manager, and costume designer, a limited number of pictures will be taken with specific actors in costume. The availability of specific costumes for this photo shoot will be at the discretion of the costume shop manager and the costume designer. The stage manager will schedule the specific time of the shoot, according to the participants schedules. The location of the shoot will be determined based on the availability of the theatre spaces and the specific needs of the production, in consultation with the Production Manager. If necessary, some additional lighting in the theatre spaces may be requested of the Lighting Faculty. Press Photos Local press—including the Journal and Courier and The Exponent—will send photographers to the Monday rehearsal prior to the first public rehearsal of a production to take photos for press articles. For Marquee Productions, this will typically coincide with the first dress rehearsal. For Horizon Productions, this will typically coincide with a technical rehearsal; specific costumes may be made available at the discretion of the costume shop manager and costume designer. Designer Photos Designers are encouraged to take portfolio photographs during the final dress rehearsal. Photo Call An archival photo call is scheduled following the first Sunday matinee of every production. These photos are typically for the Director of Marketing’s archives (for use in future publicity), but designers are welcome to take photos during this time as well, provided this does not interfere with the archival photographer’s work. On the Thursday prior to the photo call, a photo call meeting will be held to determine how many, and which, looks will be selected for the photographer to shoot. Anyone with a stake in the images chosen should attend this meeting; additionally, they should send a list of their proposed looks prepared to the stage manager in advance of this meeting. One faculty member serving on the artistic team for a production (or the director, if no other faculty are serving on the artistic team) will function as Art Director for the photos, to ensure the photographer understands what is expected out of each look. Complimentary Ticket Policy


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Anyone directly related to a specific production will be entitled to 2 (two) complimentary tickets for that production (this includes actors, artistic and production staff, and faculty and staff), with the following exception: students who are paid for less than 20 hours of work per week will be entitled to 1 (one) complimentary ticket. Students may assist the Director of Marketing by distributing posters advertising a production, and receive two complimentary tickets for distributing 15 posters. Students who agree to usher for a production will be permitted to attend the performance for which they usher free of charge. Complimentary tickets can be arranged by picking up a ticket voucher from the Director of Marketing; this ticket voucher can be taken to any Purdue University Box Office location and exchanged for tickets to a specific performance. Usher Policy Ushers are an integral part of students’ participation with Purdue Theatre. Trained by the house manager each performance night, ushers greet theatre patrons, take tickets, distribute programs, and show audience members to their seats. Ushers are often the only people representing Purdue Theatre with whom the audience has contact on performance night; consequently the patrons will often judge the success of their evening as much on the ushers’ behavior and communication as on the quality of the actual production. Audiences consider ushers as official representatives of Purdue Theatre; courtesy, accuracy, and dependability are the three most important aspects necessary to function well as an usher. Courtesy includes the pleasantries of greeting the patron and answering questions in a polite, honest, and efficient manner. Accuracy means being sure to seat the patrons in the correct seats. Dependability means arriving at the Theater on time and completing your duties in a responsible manner. Finally, as an important part of their representing Purdue Theatre, ushers must be dressed neatly—“dress casual”; no blue jeans or t-shirts. Any Purdue student may usher for Purdue Theatre. For their work ushers see the performance for free. Any student may sign up for ushering with Peggy Felix in the main theatre office two weeks before opening night of each production. Ushers need to arrive at the Theater one hour before curtain (6:30 p.m. for evening performances; 2 p.m. for matinees). Ushers will be instructed in their duties by the house manager. Be advised that an usher’s responsibility does not end when the performance begins. An usher is on duty for the duration of the time the audience is in the Theater.

purdue university theatre production handbook revised...

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