TABLE OF CONTENTS STUDIO 24/26 & DEPOSITS... 2 1. Access To The Space 2. Final Walk Through 3. Shared Space/ Respect IMPORTANT DATES & DEADLINES... 3 IMPORTANT CONTACT INFO... 4 THEATRE THRESHOLD CALLBOARDS... 5 1. The Scene Shop Hallway Board 2. The Studio 24/26 Board SEASON SCHEDULING / SPECIAL PERFORMANCES... 5 THE CASTING PROCESS... 5 1. Auditions & Callbacks 2. Casting THE DESIGN PROCESS... 6 1. Finding Designers 2. Design Meetings 3. Production Meetings 4. Deadlines THE REHEARSAL PROCESS... 7 1. Stage Managers 2. Room Scheduling 3. Time Scheduling SPECIAL SITUATIONS... 9 1. Nudity 2. Fight Choreography PREVIEWS... 9 TECH WEEK... 9 PERFORMANCES... 11 TECH GUIDELINES... 11 1. Production Budget & Purchasing 2. Ground Plans & Light Plots 3. Tech Elements 4. Final Strike 5. Technical Issues FINAL REMINDERS... 15 APPENDIX A: THRESHOLD ORG CHART... 16 APPENDIX B: STUDIO 24/26 GROUNDPLAN... 17 APPENDIX C: DESIGNER JOB DESCRIPTIONS... 18 APPENDIX D: ACTIVITY UNIT INSTRUCTIONS... 21 APPENDIX E: SEASON SELECTION PROCESS... 22 1
WELCOME TO THEATRE THRESHOLD! Congratulations! We are excited to have you working with Theatre Threshold. We ask that you take some time to read through these guidelines. Given the opportunity to direct, perform in, design, stage manage etc., a Threshold production you are required to adhere to the rules below. We see you as learning professionals and therefore we expect professional, prompt, and responsible attitudes from those working with us. Within the first three weeks of school, each Threshold Production will meet with their full company to read this document and sign it. The Guidelines Signature Page will be turned into the Associate Artistic Director to be filed with the Faculty Advisor. All parties are hereby informed that anyone involved in Theatre Threshold CAN NOT use this activity as an excuse to miss, be late to or leave early from any class(es) or Mainstage crew or company assignments. All parties involved in the showcase must enroll in an Activity Unit. Failure to do so may result in being dropped from that show. SEE APPENDIX D: ACTIVITY UNIT INSTRUCTIONS A Threshold Season is defined as one academic semester. STUDIO 24/26 & DEPOSITS A $50 check is required from the director as a deposit for the equipment being used and compliance with these guidelines. This deposit will be held by the Faculty Advisor and returned upon completion of the show and adherence with ALL the guidelines. 1) ACCESS TO THE SPACE a) Directors will obtain all the signatures on their approval form and present it with their deposit check to the Associate Artistic Director in exchange for Studio 24/26 Keys. This exchange will happen on Saturday Morning of Load-In at 10:00 am. b) These keys must be personally returned to the Production Manager following the Final Walk Through. A director MAY NOT give the key to someone else to return for them! 2) FINAL WALK THROUGH a) A Final Walk-Through with the Production Manager will be Friday Night at 7:00 PM after the closing show. This is to insure that the space is clean and clear. At this time, if all rules have 2
been followed and strike completed, the Production Manager will approve the deposit check to be returned. (The Director will have to arrange with the Faculty Advisor to pick it up). You must contact the Production Manager 2 weeks in advance to request an alternate time. If you do not show up to your Walk-Through, your deposit WILL NOT be returned. 3) SHARED SPACE & RESPECT Studio 24/26 is a shared space with other classes and rehearsals. For that reason we will be very strict about the following: a) All Threshold Productions may not exceed a 40 minute run-time, must be able to set up in 10 minutes or less, and tear down in 5 minutes or less. On Friday of their closing, Directors will not be permitted into Studio 24/26 until 11:45am. The director must be ready to open the doors at 11:55am. After the performance, large set pieces and any miscellaneous items that may disrupt the following class must be removed BY 12:55pm. If you go over time your entire deposit will not be returned. b) Studio 24/26 must be restored to its proper configuration after every rehearsal and performance. This configuration is posted on the wall by the center doors. This is to ensure that everyone who uses the room gets a fresh clean room when they come in. Failure to restore the room may result in having the entire deposit withheld. c) Per CSULB policy no production may require any person to stay after midnight. It is the director s and all company members responsibility to adhere to this rule. IMPORTANT DATES & DEADLINES 1) Fall Callbacks Second week of School 2) Spring Callbacks First and Second Week of School 3) Casting Meeting Friday on the last week of Callbacks 4) First Day of Rehearsal Monday at 10:30 pm 4 weeks from opening 5) Ground Plan Due Saturday after 1 st week of rehearsal 6) Light Plot Due Saturday after 2 nd week of rehearsal 7) Cues Due to SM Wednesday of your 3 rd week of rehearsal 3
8) Faculty Preview Friday one week from Opening 9) Tech Week/Load-In Saturday, one week before Opening a) Paper Tech/Programming - Saturday b) Q2Q Sunday c) Dress Rehearsals Monday & Tuesday 10:30 pm Midnight d) Student Rep Preview Wednesday 11:00 pm 10) Opening Thursday 11:00 pm 11) Closing Friday at 12:00pm 12) Final Walk Through Friday at 7:00 pm IMPORTANT CONTACT INFO Please cc the Production Manager on all emails: Position Title Name Email What can they help with? Artistic Director Benji Kaufman thresholdartisticdirector@gmail.com Season Selection Associate Artistic Director Lottie Frick csulbdirectors@gmail.com Season Schedule and Deposit Managing Director Ralphie Braccamontes thresholdmanagingdirector@gmail.com Special Purchasing Production Manager Barret Roseman csulbshowcasepm@gmail.com Production, scheduling and deadlines, rehearsals, tech issues, stage management Technical Coordinator Liz Gibson thresholdtechnicalcoordinator@gmail.com Finding Designers, technical issues Faculty Advisor Anne D Zmura anne.dzmura@csulb.edu Scheduling Preview Student Rep President Richard Rodriguez csulbupreps@gmail.com Front of House Questions Prop Shop Coordinator Liz Gibson csulbprops@gmail.com Dept. Props Rentals 4
THEATRE THRESHOLD CALLBOARDS 1) THE SCENE SHOP HALLWAY BOARD The call board in the scene shop hallway is available for Directors, Stage Managers, and Executive Staff Members to post information. It is the responsibility of ALL company members to regularly check that call board for notices 2) THE STUDIO 24/26 BOARD It is the director s responsibility to use the board outside Studio 24/26 to advertise their show. This board should incorporate design ideas and pieces of your process, as well as getting all the students excited for your show. This board should be completed by the Tuesday morning before your showcase. It should also be cleaned up on Friday after your closing by 7pm. SEASON SCHEDULING / SPECIAL PERFORMANCES Directors and Cast Members MAY NOT have 2 tech weeks occurring simultaneously or be cast in such a way as to require 3 tech weeks in a row. Company members may not work on a Threshold production that occurs on the same Friday as an opening of a Mainstage production if they are IN ANY WAY involved (this includes, acting, crewing, designing, stage managing etc.) in the Mainstage production. Directors may submit season time slot requests at the time of their proposal. Those directing in the first three to four slots will be scheduled a.s.a.p. after they have been chosen to direct. The rest of the season will be scheduled after Mainstage Cast Lists have been posted to avoid conflicts. Welcome Friday the first Friday of every season will be reserved for a welcome meeting. Scholarship Production only occurs in the fall and is scheduled for the first available time slot. Devising/ New Works only occurs in the spring and is scheduled for the second to last time slot. THE CASTING PROCESS 1) AUDITIONS & CALLBACKS All directors participating in a Theatre Threshold season must attend the first two nights of Mainstage Auditions. They will watch the monologue auditions and create call back lists. Fall Season: The first three directors scheduled in the fall season will hold callbacks in May, the same week as Mainstage Callbacks. The Associate Artistic Director will meet with all three directors at the end of the week to discuss their cast lists and make sure no actor is double booked. All other 5
directors will schedule call backs with the Production Manager during the second week of the fall semester. The Associate Artistic Director will help coordinate as needed. Spring Season: The first four directors scheduled in the spring season will hold callbacks in December, the same week as Mainstage Callbacks. The Associate Artistic Director will meet with all four directors at the end of the week to discuss their cast lists and make sure no actor is double booked. All other directors will schedule call backs with the Production Manager during the first week of the semester. The Associate Artistic Director will help coordinate as needed. 2) Casting The Associate Artistic Director & Production Manager will host a Casting Meeting on Friday of the last week of call backs and cast lists will be negotiated and determined there. NO CAST LIST MAY BE POSTED UNTILL IT HAS BEEN APPROVED AT THIS MEETING. THE DESIGN PROCESS Theatre Threshold productions will be used as a collaborative workshop. Directors will find a scenic designer, a lighting designer, and a costume designer, and will engage in a collaborative process. This process should include sketches, models, and meetings. Exceptions may be made for shows that obviously don t need a set, sound or costume designer. All designers are required attend the first read through with the cast, and should attend as many rehearsals they need to in order to design the show. Please review Appendix C: Designer Job Descriptions for more information on Designing. 1) FINDING DESIGNERS It is the director s responsibility to find designers for their show. However, The Technical Coordinator will provide a list of various students interested in design opportunities. All designers require approval before they are allowed to design. Please review Appendix C Designer Job Descriptions for details. The Tech Coordinator will also arrange a meet and greet each semester at which Directors and designers can talk. 2) DESIGN MEETINGS All productions will have at least 1 design meeting prior to rehearsal to discuss the concept. Directors will schedule this meeting if they do not have a Stage Manager. Individual design meetings should then be scheduled as needed. 6
3) PRODUCTION MEETINGS All production meetings are 30 minutes long. The first two production meetings happen on Fridays either from 4:00-4:30 or from 4:30-5:00. The final production meeting will be on a Wednesday from 5-5:30. Directors, Designers, Stage Managers, and the Production Manager, will make this time available and be present at all production meetings. a) The first prod. meeting is on the Friday after the 1 st week of rehearsal. i. Review and finalize the ground plan, discuss rough light plot and check-ins b) The second prod. meeting is on the Friday after the 2 nd week of rehearsal. i. Review and finalize the light design if needed, check-ins. c) The third production meeting will be on Wednesday of the 3 rd week of rehearsal i. Confirm that light plot was approved, and review tech week breakdown 4) DEADLINES a) Final Ground plans are due to the Production Manager and Tech Coordinator by Saturday of the 1 st week of rehearsal b) Final Light Plots are due to the Production Manager and Tech Coordinator by Saturday of the 2 nd week of rehearsal c) Cue Lists are due to the Stage Manager by Wednesday of the 3 rd week of Rehearsal. THE REHEARSAL PROCESS Theatre Threshold productions each have a 4 weeks of rehearsal: 3 weeks of general rehearsal and then tech week. New and devised works may request a five week rehearsal process by contacting the Production Manager 2 weeks prior to their preferred first day of rehearsal. 1) STAGE MANAGERS Ashley Boehne-Ehlers, the Department Production Manager, will assign SMs from the 271 class and they are typically confirmed by the end of the second week of classes. Directors who would like to work with a particular SM need to email her for approval. Please speak with Ashley about the best way to work with your stage manager so the process is clear for both parties. Stage Managers are required at ALL rehearsals. The Stage Manager should also be sending weekly reports on the run time of the show to the Threshold Production Manager, Threshold Artistic Director, Anne D Zmura, and Ashley Boehne-Ehlers. 7
Please let Ashley know if: a) You have any special needs for your show, i.e., require more than one ASM, etc. b) You already have an SM i. Directors are welcome to recruit SM/ASMs from Sarah s 271 class. However, please let her know right away if you have done so, along with their names and emails. ii. Finding a SM for your showcase who is not currently in the SM class requires special permission from Ashley, in writing. If you have already recruited a SM and have not gotten her written permission, please email her right away. 2) ROOM SCHEDULING Every show is already scheduled in a room starting four weeks prior to their Opening. Directors are welcome to discuss trading/moving, however requests must be sent to the Threshold Production Manager via e-mail (csulbshowcasepm@gmail.com) one week prior to request dates so that production can update the room calendars. The way the system works is this: a) 5 weeks prior, room 133 (Only by Request) b) 4 weeks prior, room 37 c) 3 weeks prior, room 38 d) 2 weeks prior, room 241 e) 1 week prior to opening (tech week), rehearse in Studio 24/26 Studio 24/26 is automatically reserved for that week s Threshold show from 10:30pm to Midnight 3) TIME SCHEDULING Rehearsals are scheduled from Mon Fri 10:30 Midnight. Again no person is permitted to stay past midnight. With prior, written approval from the Production Manager, rehearsals can be rescheduled on weekends and during the day as long as this, once again, does not conflict with classes or crew assignments. Off campus rehearsals or rehearsals in a private residence are not permitted. 8
SPECIAL SITUATIONS Shows with questionable content (i.e. nudity, strong themes, strobe lights, simulated gun shots etc.) must provide notice to showcase production manager no later than one week prior to tech. A notice must also be placed on all showcase doors. 1) NUDITY All participating Actors, Directors, and the Associate Artistic Director must sign the Threshold Actor Nudity Waiver and agree to all conditions therein. 2) FIGHT CHOREOGRAPHY PREVIEWS Students may block their own fight choreography however they must schedule a time with the Production Manager, the week before tech, to have it reviewed for safety reasons. At any time if a member of Threshold Staff, or Department Faculty/Staff deem the fight choreography uncontrolled or unsafe you will immediately be asked to change or cut it. All shows will have TWO required previews. The first preview is for Anne D Zmura at around 3:15pm on the Friday (subject to change) one week prior to your opening in Studio 24/26. DIRECTORS MUST SCHEDULE THIS PREVIEW WITH ANNE at least two weeks prior to this preview. The second preview will be with a member of the Threshold Annual Staff at 11pm on the Wednesday night before your opening. If you have conflicts with either preview you must reschedule at least one week in advance with the involved party. HOWEVER, your final preview must take place during tech week. TECH WEEK All Designers are required to attend tech week. Everyone involved in the production (cast, crew, designers, and director) must help strike the platforms each night. Everyone must be present and help with the final strike after closing. 1) LOAD-IN / LIGHT TECH / PAPER TECH On Saturday: The entire show should be cued and ready to go for Sunday s Cue to Cue. Scenic- Come in to set up and work with lighting designer. Sound- Set levels if needed. Stage management/scenic: Set up prop table, backstage area, and quick-change area if needed. Make sure backstage area is safe. Spike the set and seating area. a) PAPER TECH: All designers that have live cues for the show (mainly lights, sound, and set if there are transitions/set changes) meet with the stage manager and director. The stage 9
manager goes through their script (they should have their cues written in already) and discusses each cue with designers and director. **Warning: If you do not prepare for Sunday then you are going to have a very long and even more stressful day. The entire process will be behind. 2) Q2Q On Sunday: The stage manager runs this rehearsal and learns how to call the cues for the show. We go through the show cue by cue. Stage management calls hold if needed and informs everyone where they will pick up from in the script. This is not a run through and this is not time to work with cast members! a) PRIOR TO REHEARSAL: The set should be up prior to this rehearsal and spiked. Prop tables, quick change, and backstage area are set up. Stage management walks through all of these areas with the cast for safety. The lighting and sound designer should have all of their cues ready to present. 3) DRESS REHEARSAL On Monday & Tuesday, 10:30 Midnight: Costume and Make-up designers are called. Run through the show with all elements. Director gives notes to cast and production team after run through. Directors should give notes to the production team before they address the cast. If time is limited, notes can be emailed to designers unless major discussion needs to happen. 4) THRESHOLD STAFF PREVIEW On Wednesday: A Threshold Staff member will arrive at 11:00pm to watch the show, discuss special FOH Needs, announcements, and confirm an appropriate run time. If a show is longer than 40 minutes, Directors will be advised to cut it or risk losing their deposit. a) ANNOUNCEMENTS: There will be announcements by the Student Reps at the top of the Showcase hour (before your showcase begins). If the director desires the announcements to be made at a different time within the Showcase hour, they may ask a Student Rep. This request must be made Wednesday, at the Threshold Staff Preview. This is to ensure your request will be discussed at the Student Rep Meeting. 5) HALLWAY STORAGE: Items such as platforms and flats and boxes may NOT be stored in the hallway outside of Studio 24/26. They may be moved there during rehearsals but they MUST be either put back into the room 10
or transported to the hallway outside of 37 and 38. If any objects are left in the hallway your deposit may not be returned. PERFORMANCES There will be two performances, one on Thursday night from 11pm 11:40 and one on Friday from 12:00 pm 12:40pm. Remember it is the responsibility of ALL Company Members to ensure that the show is cleared out and the room configuration is restored by 12:55pm on Friday for the next class. TECH GUIDELINES 1) PRODUCTION BUDGET & PURCHASING a) All Theatre Threshold productions receive a budget of $50. This is separate from the deposit. Please review the instructions on the Director s Expense Report. Receipts must be turned in with the expense report to the Production Manager by Friday, after the closing show. Only approved, itemized, cash receipts will be reimbursed. Please email the Managing Director with questions or concerns and consult the Director s Expense Report directions first. b) Any props and materials purchased with the $50 budget become property of the CSULB Theatre Arts Department after your showcase has closed. These items must be turned in with receipts for reimbursement. c) It is not permissible to spend more than $50. All purchases must be made within the means of this budget and any excess spending may result in the cancellation of that production. The purpose of not spending more than the allotted budget is to learn how to work within a designated budget as is done in the professional theatre. d) Online purchases must be made through the managing director with Department funds. Please contact the Managing Director before making any online purchases; they will not be refunded if made separately. 2) GROUND PLANS & LIGHT PLOTS: All shows will be required to submit SCALE ground plans & light plots. Please contact the Production Manager for drawings. You should use industry standard representations on all drawings. Failure to submit either drawing on time could delay your access to the venue and decrease your tech time. 11
a) CAPACITY: All Ground plans must comply with all fire code and capacity state laws and University policies. Please contact the Production Manager for more information about fire code. 3) TECH ELEMENTS: Build or Borrow? When using the Studio 24/26, students will respect all the equipment. The scene shop and costume shop will not provide any material, equipment or labor support a threshold production. (see costume shop exception under costumes. ) Available for design purposes are: props, curtains, platforms, flats, a limited lighting inventory, sound board, light board, costumes as provided by cast or purchased with budget. a) PROPS Props may only be obtained from the Prop Shop the week before tech. The director must check out a combination lock from Corey in the Scene Shop. No props will be given out without proof of this. After obtaining said lock, props may be checked out by contacting the Props Shop Coordinator (csulbprops@gmail.com). During the week before tech, props should be locked up in the locker provided in the green room. During Saturday Load-In, all props will be moved to the provided show locker in Studio 24/26. Any props found left out will be confiscated and further access to the Prop Shop will be denied. Borrowing of large furniture must be requested from and approved by the Scene Shop at least one week prior to pick up. All props and the combination lock must be returned Friday of your closing or your deposit will not be returned. i. DAMAGED PROPS All Damages will be reported to the Associate Artistic Director by the Prop Shop Coordinator. Damage to department props will result in the forfeiture of a portion or all of your deposit. b) COSTUMES- Costume designers should work with what the actors have in terms of designing the show, making purchases only if necessary. Costume designers who have been approved by the Costume Shop Manager are allowed the use of the sewing machines if they contact the Shop Manager in advance to arrange a time. Theatre Threshold retains a limited stock of costumes, from previous shows, which designers may borrow. The same lock is required for costume check out as is required for props. Please contact the Technical Coordinator if you are interested in seeing the stock. c) FLATS There is a small inventory of flats that a production may use in the design. They are stored behind the curtains in Studio 24/26. They may be painted for any show s use. However, they must be re-painted back to the designated white base before the deposit will be returned. 12
d) PLATFORMS i. Platforms should always be carried by two people per platform and Always wear closed toe shoes while moving them. ii. Do not drag the platforms on the floor (it scratches the floors and ruins the platforms). Please lift the platforms off the ground when carrying them. iii. Put platforms in platform carts and move them to the end of the hall by Rm 33. iv. Do not overload platforms on the platform carts (only seven platforms per cart) v. Put platform legs back in their box in the proper section according to size. The platform leg box should live in the hallway by the platforms. e) LIGHTS & SOUND i. Only lighting designers and students approved by Stephanie Losleben (the Master Electrician) may use the ladder, the lighting equipment, the sound board, and hang lighting instruments. ii. Please reference the manual that is located in the Lighting Console. If further assistance is needed, please contact the Technical Coordinator. Also, please read over the enclosed manual on the lighting and sound systems in Studio 24/26. 4) FINAL STRIKE: a) Final Strike happens in two segments. i. Immediately following closing, all scenic and costume elements must be struck from the Studio 24/26 and the room prepped for class. This must be done in five (5) minutes or less. Platforms should get returned to their appropriate home, while props and costumes can be returned to the show locker (which should be moved to the green room for ease of strike.) Once the room is clear, Directors must submit their receipts to the Production Manager and then immediately return all borrowed or purchased Props to the Prop Shop. ii. Electrics Strike & Room Cleaning, happen later that night from 5:00pm 7:00pm culminating with the final walk through with the Production Manager. b) Every company member must participate in BOTH STRIKES to help support their designers and fellow company members. You may ONLY be excused from the evening strike for class and Mainstage rehearsals and performances. Outside work will not be an acceptable excuse. c) Stage Manager reminders: i. Ensure that everyone is at the Final Strike or has notified you if they cannot attend 13
ii. During the final strike check off the procedures completed on the Final Strike Procedures Check off List under your show name. iii. Ensure that the Final Strike Procedures Check off List is completed. iv. Once all of the procedures are completed give the Check off list to your director. They will turn it into the Production Manager during the final walk through that night. d) Director Reminders: i. Put all of the platforms away in their proper places. ii. Put platform legs away in proper section in platform leg box. iii. Sweep the floors iv. Take everything off of the Studio 24/26 Callboard (including staples). v. All lighting equipment and accessories must be stuck neatly to the meat rack and cupboards. vi. Return any borrowed props and costumes. vii. Return the curtains on their original runner tracks and flats to their original places. viii. Put seats, rehearsal blocks etc. against walls. ix. Clear showcase floor of all tape (DO NOT use masking tape). x. If anything has been painted then you must restore it to its original color. xi. Use the Final Strike Procedures Check Off List to help you complete all of the procedures above before the Production Manager does the Final Walk Through. 5) TECHNICAL ISSUES If there is a problem with equipment please place a tag on the item (located in the Cabinet #1 miscellaneous box) and put it in the fixtures that need repair section in cabinet #1. -Then fill out an incident report. *If the problem is too big to place a tag on please report it to: your technical coordinator or the Showcase Production Manager, with a description of what is wrong. They will report the problem to Stephanie or faculty if she is unable to fix the problem. 14
FINAL REMINDERS REMEMBER, it is your responsibility to notify the appropriate person for any deviations from this schedule. If we have not heard from you within the specified time limits, we will assume that you plan on being present at the above dates and times. Be professional by being punctual. Failure to comply with ALL of the above guidelines will result in a loss of the $50 deposit and/or cancellation of show. 15
APPENDIX A: THRESHOLD ORG CHART 16
APPENDIX B: STUDIO 24/26 GROUNDPLAN (Not to scale) Door 4 Curtain Track Curtain Tracks Door 3 Door 2 Speakers Curtain Track Door 1 17
APPENDIX C: DESIGNER JOB DESCRIPTIONS 1) SCENIC DESIGNER The Scenic Designer collaborates with the Director to create a ground plan before rehearsals start. This includes how many platforms, if any, are used, and where set pieces are placed on stage. They discuss set needs, such as furniture, expressed in the script and decide if they are necessary or if they can be replaced with something else that would help promote the themes and ideas of the play. Scenic Designers then go and collect such needs or build according to budget. They should make adjustments as necessary to accommodate the space, budget, and availability of pieces. They MUST attend every design meeting and production meeting to relate progress on set pieces. It s Mandatory for the Scenic Designer to attend all of Tech week (that includes LOAD-IN, Q2Q, DRESS REHERSALS, PERFORMANCES AND STRIKE) to help set up platforms and place set pieces in proper places and after rehearsal assist in striking the venue back to its set plan for classes the next day. They must then attend all performances in order to help with strike afterwards. During final strike after the last show, the Scenic Designer must assist the director in seeing that every platform and set piece is moved out of the venue as quickly and efficiently as possible and see that all props and set pieces are returned to their proper places. In the absence of a Props Master, the set designer must fulfill those duties as well. The Technical Coordinator is available to answer any questions that arise. a) SCENIC PREREQUISITES: Have taken 142, be approved by Dept. Technical Director 2) COSTUME DESIGNER The Costume Designer collaborates with the Director to determine what costuming elements will be necessary for the show. They will discuss costume needs, like how many costumes per character and if there are any quick changes. They will also note specific pieces referred to in the script and decide if they are necessary or if they can be replaced with something else that will still help promote and maintain the themes and ideas of the play. They should set up meetings with actors to take measurements and have fittings as well to make sure the costumes fit properly before the show. They MUST attend every design meeting and production meeting to relate progress on costuming pieces. Costume designers should work with what the actors have in terms of designing the show, making purchases only if necessary. Costume designers who have been approved by the Costume Shop Manager are allowed the use of the sewing machines if they contact the Shop Manager in advance to arrange a time. They must attend at least one full run-thru rehearsal before tech week to take note of any blocking the could be strenuous on the costumes and attend all the dress rehearsals (Monday Wednesday) taking notes of how the costumes look on stage in order to make any adjustments if necessary before the show opens and also ensure all the costume pieces 18
are safely returned at the end of each run-thru. They must then attend all performances in order to distribute costumes and ensure they are safely returned, free of damage, after each performance. During final strike after the last show, the Costume Designer must assist the director in seeing that the performers return every costume piece so that each piece can be returned to its proper location/owner. Costumes Designers must also collaborate closely with Makeup Designers as this falls within the same realm of the overall physical appearance of the performer and Lighting Designers to ensure the costumes are lit well while onstage. The Technical Coordinator is available to answer any questions that arise. a) COSTUME PREREQUISITES: Have taken 146, however you need to be approved by the Costume Shop Manager to use the machines in the costume shop. 3) LIGHTING DESIGNER The Lighting Designer collaborates with the Director to get the ideas the director has in regards to lighting. The Lighting Designer should also collaborate with the rest of the design team to get their ideas. For example, the Lighting Designer should talk to the costume designer about the colors of the costumes. The Lighting Designer should start to research the mood, atmospheres, place, time, and colors he/she envisions the play calls for. Once you decide what kind of colors, patterns, and the direction of light. Show the Director your ideas and research. If the Director likes the direction the Lighting Designer is going start to talk to the Master Electrician about equipment or accessories that are needed. Some accessories are easily available like GOBO s or gels, talk to the Director so the proper paperwork is filled out. Some accessories or equipment are not easily available and may take time to build like booms or drop pipes. If you need accessories that are not easily available talk to the Master Electrician early on in the process and remind her what your needs are as the date gets closer to your hang. Remember your scale light plot is due the Saturday after the second week of rehearsal (one week from Hang). As a Lighting Designer you should attend as many rehearsals, run through and stumble through as possible. This is where you will start to finalize your light plot and cue sheet. The Lighting Designer must also attend every design meeting and production meeting to relate progress on set pieces. The Lighting Designer must give the Stage Manager the cue sheet on Wednesday before the hang. It s Mandatory for the Lighting Designer to attend all of Tech week that includes HANG, Q2Q, DRESS REHERSALS, PERFORMENCES AND STRIKE. The Lighting Designer needs to make sure that the lights are struck and back in their place before NOON of the following day. It is also the Lighting Designers responsibility to report anything that is broken or not working properly. The Technical Coordinator is available to answer any questions that arise. a) LIGHTING PREREQUISITES: Have completed 148, been assistant lighting designer on at least two other Threshold productions, and be approved by Dept. Master Electrician 19
4) SOUND DESIGNER The Sound Designer collaborates with the Director to set the mood of the play by preparing or creating music, sound effects, and voiceovers recordings within the limited budget. They discuss sound requirements expressed in the script with the director, such as a plane crash sound effects, and decide if they are necessary or if they can be replaced with something else that would help promote their artistic visions of the play. They suggest music and sound effects to the director. The sound designer then prepares a detailed sound cue sheet that includes the requirements and their ideas. They edit, find, compose, or record the sound cues for the show. They should attend every design meeting to relate progress on sound cues. They should distribute the cue sheet to the stage manager and attend a paper tech to discuss the cues in detail prior to tech week. They should program sound cues on a playback device, such as a computer via Qlab, Multiplay, Itunes, Windows media player, Soundbyte, SFX, a C.D., a MP3 player, an IPAD, Tablet, phone, IPOD, etc. They should set all of the sound levels or the volume for each cue with the director and find away to make this consistent for each tech rehearsal and show. They should also attend everyday of tech week to take notes on trouble spots and supervise sound assistants and board operators. The sound designer will discuss notes with the director as needed after tech rehearsals. They will take care of all agreed upon notes by the next tech rehearsal or show. The Technical Coordinator is available to answer any questions that arise. a) SOUND PREREQUISITES: Have completed 148, been assistant sound designer on at least one other Threshold production, be approved by Dept. Master Electrician 5) PROPS MASTER The Prop Master collaborates with the Director and Scenic Designer to gather and make props and set dressing for the show. They MUST attend all production meetings and report progress on props. They should gather what they can from cast and crew as appropriate. Then they should go to the Prop Shop Coordinator to ask if props can be borrowed from the school inventory. They should then buy and/or make props as budget allows. It s Mandatory for the Props Master to attend all of Tech week (that includes LOAD-IN, Q2Q, DRESS REHERSALS, PERFORMANCES AND STRIKE) to assist in set up and strike of set and props. On the day of final strike they should assist the Scenic Designer in striking quickly and efficiently and assist them in returning all set and props to their proper places. The Technical Coordinator is available to answer any questions that arise. a) PROPS PREREQUISITES: None, however 142 is highly recommended and you need to have taken 146 and be approved by the Costume Shop Manager to use the machines in the costume shop 20
APPENDIX D: ACTIVITY UNIT INSTRUCTIONS All Staff and Company members of Theatre Threshold must enroll in an activity unit for each role they play in Theatre Threshold. If a person is on staff, Directing, and is cast in two threshold shows, they will need to fill out 4 activity units forms and are required to take 4 activity units. Activity Unit Forms and a printed class schedule proving you are enrolled in those activity units, should be submitted to the box outside Ashley Boehne-Ehlers Office within the first two weeks of school or within five days of being cast. Failure for students to comply with this may result in being dropped from working on each roll that is unaccounted for. If a student s credits are too full or they have already maxed out their activity units, each form may be individually waived BY EITHER Josh Nathan or Sarah Borger. All students must still turn in an activity unit form for each roll in which they are participating EVEN IF THEY ARE HAVING THEM WAVIED. 21
APPENDIX E: SEASON SELECTION PROCESS 1) SUBMISSION PROCESS: The Artistic Director will announce when Theatre Threshold begins accepting submissions and when the acceptance has closed. Submitting Directors must have completed or about to complete THEA 347. Submissions will only be accepted electronically. We do not accept paper submissions. 2) SUBMISSION STRUCTURE: A Submission is an email, sent to csulbdirectors@gmail.com, with the subject line (Submission: Name of Director). Attached must be a pdf electronic copy of the script and a Director s Concept Letter. The Concept Letter MUST have a header with: i. Director s Name, Academic Standing (freshman, junior ) ii. Phone Number & Email iii. Title & Author of the Play iv. Cast Size v. Requested Performance Dates b) The Concept Letter has two parts. First, director should briefly addresses: i. Have you taken intermediate directing? ii. Are you available after your closing to discuss your work in the Directing classes? iii. Are you willing to write a short essay on the Threshold Facebook page about your work to promote a larger discussion for our audience? c) The body of the Concept Letter should answer: i. Why do you want to direct this show? ii. Briefly tell us what the play is about (plot)? Themes? iii. Why is this play important today? iv. What do you want to work on as a director? v. What challenges will you face with this play? vi. What questions/ ideas are you hoping to rise for the audience? vii. Anything else we should know? d) Adapted works provide Author, information, and copies of source materials. 3) SELECTION PROCESS: The Associate Artistic Director will then schedule Applicants for a five (5) minute Director presentation in front of the selection committee. (All presentations are on one evening that directors must make themselves available for.) After reviewing all the applicants, the selection committee will announce the selected shows. 22