Jcct production manual

Jay
County
Civic
Theatre,
Inc.

Production
Manual

2012-‐2013

Revised
by
Bryon
Sparks

1

JCCT, INC. PRODUCTION MANUAL 2011-2012

Please
Read
This
Manual!

Whether
or
not
you
have
directed,
stage
managed
or
otherwise
been

responsible
for
a
JCCT,
Inc.
production
before,
it
never
hurts
to

refresh
your
memory.
Nine
times
out
of
ten,
if
you
have
a
question

about
how
we
do
things,
you’ll
find
the
answer
here
—
and
if
you

don’t,
you’ll
find
out
how
to
find
out.
Things
may
have
changed,
too,

since
the
last
time
you
worked
with
us.
Changes
in
our

organizational
structure,
even
the
times
we
live
in
all
affect
the
way

we
do
things.
We
try
to
stay
flexible,
and
if
change
occurs
during
the

middle
of
a
season,
the
Board
of
Directors
will
make
every
effort
to

let
you
know.

This
manual
is
not
simply
—
or
even
primarily
—
a
rule
book.
It’s
a

road
map
to
staging
a
successful
production
that
runs
smoothly
and

is
fun
for
everyone
involved,
and
to
avoiding
some
of
the
potholes

others
have
fallen
into
over
the
years.
It’s
based
on
real
production

experience
with
JCCT,
Inc.,
and
offers
a
chance
to
learn
from
the

successes,
as
well
as
the
mistakes,
of
others.
Please
read
it
now;

copy
the
appropriate
sections
and
give
them
to
people
on
your

production
crew,
and
keep
it
handy
for
future
reference.

2


Jay
County
Civic
Theatre,
Inc.

Mission
Statement

The
mission
of
Jay
County
Civic
Theatre,
Inc.
is
to

cultivate
creative
and
cultural
experiences
for
the

community.

Jay
County
Civic
Theatre,
Inc.
will

promote
the
development
and
maintenance
of

Theatre
Arts
in
Jay
County,
Indiana.
We
will
at
all

times
strive
for
artistic
excellence
through
our

community-‐based,
independently-‐produced
theatrical

performances
and
educational
programs.

3


Congratulations on Being Chosen to Direct for
Jay County Civic Theatre

You are the Director. The JCCT is happy to leave artistic
decisions and interpretation in your hands with the
understanding that JCCT has the final Artistic say. But JCCT
is more than just one production. Your production, and all
those who take part in it are part of our JCCT family. We
want everyone involved with your show to feel like part of
the family and to understand that what they do is important
to our theatre and its reputation among our patrons, our
other volunteers and our community. Your cast and crew, and
what you do for the next several months, are critical to
JCCT’s success.
As the Producer, JCCT, it’s Board and Board Advisors have a
stake in your production and will do all they can to help it
succeed. Open communication, between the Producers (JCCT) and
your Production Staff, is vital in the success of every
production. In order to foster this relationship you will be
assigned a Production Supervisor to act as a liaison between
your production and the Board of Directors.
JCCT also needs to protect its assets, including our
relationship with our volunteers, the community and our
venues. Many of the policies outlined in this manual are
aimed at doing just that, and they grow out of the many years
of experience. If you don’t understand why we do something
the way we do, feel free to ask, or to suggest a better way!
(It is best to submit this to the Board during our regularly
scheduled monthly meetings. Contact the Board President or
Secretary regarding being put on the agenda.)
You and your production are part of JCCT’s long tradition of
creating Quality Theatre for Jay County and surrounding areas
audiences. Thank you for helping us to build on that
tradition.

4


Production Timeline
The Board of Directors has the final Artistic word.

I. One Year to Six Months prior to
production dates:
a. JCCT Board will secure location for performances.
b. Sponsorship Committee will secure a Show Sponsor.
c. JCCT Board will hold preliminary meeting(s) with
Director to discuss vision and concept.

Director is to find Production Staff Members as
called for:
 Stage Manager (Production Supervisor must approve)
 Assistant Director (If Needed)
 Musical Director (If Needed)
 Scenic Designer
 Costume Designer (Check with JCCT, Costume Mistress)
 Lighting Designer (Check with JCCT, INC. Tech Director)
 Properties Master/Mistress
 Sound Designer
 Crew Chief
 Child/Pet Wranglers (as needed)
 Gun Wrangler (as needed)
 JCCT, INC. Is in charge of
 Front of House Manager
 Program Designer – Check for deadlines for program info
 T-shirt-If you have a design in mind please let us know
ASAP.
 Publicity Coordinator

JCCT Board President will make arrangements to order
scripts.

d. Publicity Coordinator needs to check on
Special community events related to the
5


production.
Announce special occasions to production staff.
e. Director needs to approve a production
design and aide in the creation of posters, break-
a-legs, and
cast/crew t-shirts.

***** JCCT BOARD HAS FINAL ARTISTIC SAY *****

II.About One Month before auditions:
a. Schedule volunteers to work auditions. For
musicals, there should be at least 4-5 people per
night. Non Musical shows 2-3 are adequate.
b. The Production Supervisor and available Board
Members must be present at auditions. This is to
assure the JCCT casting policy is being adhered
to.
c. Director is to hold a full production meeting
with all production staff members. At this time,
the director should have a tentative rehearsal
schedule proposed. Start scenic ground plan and
design, lighting plot, costume plot and property
plot.
d. Director is to check venue for audition and
rehearsal space.
e. Director is to present to the Webmaster via
Production Supervisor any Audition Requests to be
posted on the website and Facebook.
III.Auditions:
a. Make sure Audition Forms, Digital Camera,
laptop (and possibly printer, if director wants
pictures attached to audition form) pens and
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stapler are brought to auditions. It is a good
idea to have a proposed rehearsal schedule present
so people know when rehearsals are. Audition form
should contain a conflict schedule. There should
also be a list of all available parts and their
ages and vocal ranges posted for all auditionees
to refer to. Parental consent form must be
completed and signed. If there are a lot of
auditionees, nametags are helpful.
b. Check in auditionees as they arrive. Take
their picture and save on laptop or print out and
attach to audition form (Director’s choice). Make
sure auditions run smoothly and that everyone gets
a fair chance to try out for the part they want.
c. The Production Supervisor and/or appointed
Board Member sit in on casting decisions. If a
Board Member is auditioning, they should not take
part in any casting decisions.
d. Once casting is complete, the Director,
Assistant Director, or Stage Manger is responsible
for contacting auditionees on the decisions. Call
those who are cast first and get their commitment
before calling those not cast. When calling, let
them know when the first rehearsal is. When
contacting those not cast, always encourage them
to help out in some capacity. When calling
children, it is best to speak to a parent,
especially if the child is young. Please make
sure your cast list is complete before any calls
are made. DO NOT post list until it is COMPLETE.
e. Director will set a cast list deadline for
contacting all cast members. Auditionees will
provide best reciprocating contact information at
auditions. In case of lack of contact number, the
director will set a time for auditionees to
7


contact the director.
f. Prepare Cast/Production Staff list to pass out
at first rehearsal and to Production Supervisor.
IV.First Rehearsal:
a. Production Supervisor and Board President
should attend first rehearsal and encourage all
Production Staff members to also come. They
should make a brief announcement welcoming
everyone to the production and JCCT. Make them
aware of the following policies. (IF the show has
Children in the cast, parents should attend at
least the meeting portion of the rehearsal.).
1. All cast members have become members of
Jay County Civic Theatre, Inc.
2. Costume Policy
3. Production Volunteer Policy
4. Venue/Rehearsal Space Policies
5. Attendance Policy
6. Explain that strike is mandatory for all
cast and crew.
7. Explain Theatre etiquette and terms.
b. Introduce other Production Staff members.
c. Pass out cast list and Production Staff
contact list.
d. Arrange for parent volunteers to chaperone
rehearsals if there is a large children’s cast.
e. Special community events related to the
production. Announce special occasions to
Production Staff.
f. Hand out 8x10 posters to cast members to post
around communities.
g. Read through the script as a cast.
V. First Month of Rehearsals (6-10 weeks
prior to show):
8


a. Production Supervisor should attend at least one
rehearsal a week to see how things are
progressing and answer questions. Make any
business announcements to cast that are needed.
b. Production Supervisor should attend all
production meetings to see how things are
progressing.
VI. Second month of Rehearsals (2-6 weeks
prior to show):
a. Production Supervisor is to keep in constant
contact with Production Staff members and
directors. Make sure there are no problems with
any of the production team. Be aware of
expenditures and help keep show within budget.
b. Production Supervisor must attend at least one
rehearsal per week. Make announcements at
rehearsals as needed.
c. Production Staff should recruit help for
hanging posters, set construction, and costumes.
Help recruit stage crew for Stage Manager. Help
recruit for light hang and focus. Check for
specialty props. Assign prop hunter and gatherers
as needed.
d. Publicity Coordinator should arrange to have a
photographer come in to take head shots and
rehearsal shots for advertising. The pictures are
usually taken the last two weeks of rehearsals.
There is usually someone who will volunteer to do
this.
e. Make sure venue has arranged for a Piano Tuner
to tune performance piano during tech week.
f. Publicity Coordinator should talk to
newspapers, radio, and Jay Today (at JCHS) to set
times and dates for publicity shots and
9


interviews.
g. JCCT Board should check with venue regarding
ticket printing.
h. Program information deadline set for three
weeks prior to opening night. Programs to be at
the printer 10 days prior to opening night.
VII. Last two weeks of Rehearsals:
a. Attend to any last minute details.
b. Find location for cast/crew party and keep in
mind the ages of the cast/crew members.
c. Find out from Production Staff members what
else needs to be done and prepare a task list.
d. Arrange warehouse run for any props, and set
pieces that are need for the show. You need to
contact the Warehouse Committee Chairperson.
e. Double check the venue has arranged for a
Piano Tuner to tune performance piano during tech
week.
f. Check with Front House Manager on the
decorations and volunteers needed.
g. Costume Parade.
VIII. Saturday Prior to Tech (Tech
Saturday):
a. Have detailed task list prepared, so that
there is a job for everyone. Assign team leaders
for different tasks: (ie: Set construction, set
painting, costumes, etc.)
b. Provide or collect money for refreshments for
the volunteers. (example: bottled water)
c. Assist Stage Manger in preparing for Technical
Rehearsal, by arranging stage, cleaning up, etc.
d. Cue to cue (Q2Q) Final focus of stage
lighting. Utilize ALL technical aspects of
production.
10


IX.Tech Week (HELL WEEK):
a. Prepare cast and crew for longer rehearsals.
Double check with Parents of younger cast members.
b. Attend to any last minute requests from
directors or design teams.
c. Remind cast to bring in cookies and punch for
intermissions in the front lobby.
X. Performances:
a. Be proud of your accomplishments and make sure
your cast knows that you are proud of their
accomplishments.
b. Make plans for cast party (who brings what,
etc)
c. Arrange for Warehouse run for Strike.
(Returning of props and scenery.) Return
everything borrowed!

XI.Strike:
a. Strike is mandatory for all cast and crew.
b. Stage Manager should prepare detailed strike
task list and assign cast and crew to the tasks.
1. Set and large scenic items.
2. Costumes (sort borrowed costumes from JCCT
owned costumes).
3. Props/Props gathered, sorted and boxed.
4. Cleaning Green Room.
5. Cleaning Dressings Rooms
6. Cleaning Auditorium (clean up trash, etc.)
7. Erase scripts and scores and return to
Production Supervisor.
8. Help take items to warehouse. Requires
travel and vehichle.
11


The DIRECTOR’S DUTIES
The work of the Director is central to the production
of a play. The Director has the challenging task of
bringing together the many complex pieces of a
production—the script, actors, scenic elements,
costuming, lighting, sound and music into a unified
whole.

To accomplish this task, a director needs to:
 Interpret the script.
 Cast the production.
 Collaborate with designers.
 Plan the rehearsals.
 Guide the actors in their work during
rehearsals.

The Director’s work is most often based on a detailed
study and analysis of the script to be produced.
Many careful readings of the script help the director
develop an individual vision of the playwright’s
intentions, which will form the core of his or her
interpretation. This sense of “what the play is
really about” will shape a Director’s thinking about
every other aspect of the production. Directors also
study the characters in the script, gathering as much
information as they can about their physical and
psychological traits. This is vital preparation for
casting, when the actors who are best able to bring
the characters to life in performance need to be
chosen.

Collaboration
The Director’s initial meetings with the scenic,
costume, lighting and sound designers typify the
12


creative collaboration vital to theatre. Any notes
the director has made on the technical needs in the
script are shared with the designers. The free flow
of ideas that takes place here will further refine
the Director’s vision of the production as a whole.

Details in the script about the specific locale(s) in
which the action takes place need to be attended to
early in the production process, because they will
determine both the basic requirements of the set and
the possible movement of the actors on stage. Acting
areas, entrances and exits, and furniture and props
called for in the script or desired by the director
will need to be a part of the scenic design.

The floor plan can then be sketched out. The floor
plan is a basic outline drawing of the stage setting
as it would look from above. (Birds’ eye view) It
is an essential rehearsal planning tool because it
allows a Director to work out the blocking of the
play. Blocking (or staging) is the precise moment-by-
moment movement and grouping of actors and sometimes
moving scenery on stage.

The Director’s creative collaboration continues
during their work with the actors in rehearsals. The
actors will bring their own interpretations to the
project and perhaps inspire the Director to their
interpretation. They will work closely together to
breathe life into the lines and develop a deeper
understanding of the characters’ motivations and
relationships, fleshing out the subtext of the play.
The Director should always keep in mind that this is
a community based organization. There will be
different ages, levels of experience and talent of
13


the actors and volunteers involved. JCCT strives to
encourage and educate everyone participating in a
production and to include them into the creative
process. Later the focus of the director’s work in
rehearsals will broaden to the overall look and feel
of the whole production as transitions between scenes
are smoothed out, effective pacing is achieved and
all the design and technical aspects of the
production are integrated.

Once the production opens, the Director's work is
essentially complete. Now it's the Stage Manager's
job to make sure that every aspect of the production
runs just as the director intended time after time,
until the production closes.

14


An Overview of the Production Process
Planning
It’s never too early to do your homework — whatever
it takes for you to get ready to direct. That will
mean repeated readings of the script ... getting some
friends together to read it out loud ... and
researching and analyzing the play’s setting, its
characters and its plot.
Directors, read through this manual a few times and
note things you’ll need to remember later! Feel free
to check the library for books about directing, or to
talk to other experienced Directors, here or
elsewhere, about your concepts and ideas. Also do not
forget the internet.
First begin thinking about how you want your
production to be staged, and how realistic your
concepts are. If you have really out-of-the-ordinary
staging ideas, talk to our Technical Director and
some of our other experienced technical people to
find out how your plans can be realized on stage and
within our financial constraints, and what your
options are.
Before your auditions are publicized you should start
thinking about how you want to describe the play and
its characters to attract the kinds of Actors you
need. Although JCCT does not permit pre-casting, it
is perfectly OK to reach out to communities, groups
and individuals not usually represented on our stage,
and to encourage them to get involved. In fact, with
the growing number of opportunities for Jay County
Actors, it’s almost essential that you do some
outreach if you want a good audition turnout.
15


Other questions you’ll want to consider early
include:
• How do I best publicize my show? The Production
Supervisor should contact you, but don’t wait.
Getting out early/timely and coordinated
publicity will do your show far more good.
• Do I want to use music with my show (for scene
shifts, pre-show or other uses)? If so, you need
to seek permission to use it. Again, doing this
very early (months in advance) is the only way
to approach it.
• Will my set design require any alterations to the
usual JCCT seating plan or stage and curtain
setup? If so, you should speak to the Technical
Director, and ultimately you also need to get
permission from the Board.
• Do I need any unusual scenic elements, properties
or costume items? If so, where am I going to get
them?
• Will this show appeal to a special audience? If
so, how can I get the word out to them (beyond
normal publicity channels)? Again, you should
work with the Production Supervisor.
Assembling Your Crew
Give some thought to who you want to work with, what
strengths you need backstage, what you want people to
do and whether those you choose will be able to meet
your needs. The Production Supervisor can help you
with a list of past volunteers.
If you are a new JCCT Director, we will be required
to have veterans in at least some of your key
positions, particular Stage Manager and Assistant
Director. We do this for two reasons – to make sure
16


you have the extra support every first-timer needs,
but also to make sure that your production team
includes people who are familiar with how we do
things here. When you do start recruiting crew
members, make sure they understand exactly what you
expect of them. Some Directors need assistants who
can handle taking over a rehearsal or two or who will
work with Actors on technique or lines; others need
well-organized assistants who can handle all the
paperwork. Some Directors require a lighting designer
to run the Board during performances; others don’t
mind it if the designer passes that job on to someone
else.
Don’t assume that asking someone “Will you be my
Stage Manager?” is enough — Stage Managers at JCCT
have various levels of experience. Some of the
questions to resolve:
• How much time are you willing to put into this
production?
• Who will do what?
• Who chooses support crew?
The Production Supervisor will aide in Stage Manager
approval.
Early clarity will prevent later misunderstandings.
Before you discuss your show with designers, you need
to make some decisions about how you want to stage
it. Will it be realistic, abstract, in the round,
thrust or “black box”? Do you want period costumes or
something symbolic? If you aren’t clear about what
you want, your designers won’t be able to meet the
show’s needs, or your concept and none of you will be
happy with the results.

17


You may wish to wait until auditions to choose some
of your production team. Sometimes volunteers show
up at auditions only to be members of the crew or
technical staff.

If you have trouble filling key crew positions,
contact the Production Supervisor (lighting, stage
crew, costumes, props, etc.) They should be able to
help you find the right person for the job.
As a rule, plan to have your key assistants and
designers (Production Staff) before auditions. Meet
with them, discuss your concepts and wishes and get
them working before you get caught up in auditions
and rehearsals. The earlier you get them started, the
less you’ll have to worry about later on.
Working with the Board
JCCT’s Board of Directors fills most of the roles a
producer would fill in professional theatre. The
Board acquires play performance rights, provides you
with a budget, and handles most publicity. The box
office is the responsibility of the Board appointed
Box Office Manager.
To keep the Board up-to-date on your show (and to
keep individual Board Members out of your hair!) a
Production Supervisor is appointed. This is a veteran
JCCT Board Member or Board Advisor who knows the
ropes and can help you, your cast and crew through
the rocky spots that even the best show can
encounter.
One month before auditions you should start attending
Board meetings, held on the second Tuesday of each
month at 6:30 p.m. (check calendar). You, or your
Assistant Director and your Production Supervisor
18


needs to be available for each meeting from then
until just after your show closes to keep the Board
up to date on your progress, answer questions and
stay abreast of theatre developments which may affect
your production. Some of those interim meetings will
be optional, but they are good opportunities for you
to get or give information.
At least one meeting before your auditions: Alert the
Board to any unusual needs, expenses or technical
challenges your show presents. The Board may be able
to suggest options you have not thought of. Your
Production Supervisor will be appointed at this
meeting. Give the Board a list of your key technical
crew. The Board reserves the right to approve crew
members in positions of responsibility for people or
expensive equipment, including:
• Stage Manager
• Lighting Designer
• Scenic Designer
• Master Carpenter
• Light Board Operator
• Sound Board Operator

Although we encourage Directors to recruit new people
for crew positions, there are some exceptions. If you
have never directed for JCCT before, you must choose
a Stage Manager who has considerable experience with
JCCT. All new lighting operators must be approved by
the Board, who may ask them to undergo training. By
now, you should also have discussed special sound,
properties, and special effect needs with the
Technical Director. The Technical Director has the
veto power over design choices, because they have
been chosen for their expertise, the Board will need
19


a compelling reason to override their
recommendations. They can often provide you with
safer, less expensive, more workable solutions to
your design challenges.
Depending on your rehearsal schedule, there may be
two or three Board meetings between auditions and the
time your production closes. You should attend or
submit a report through your Production Supervisor at
all of them so the Board can check in with your
production.
At the meeting after you close your production, make
sure all your show receipts are turned in, and be
prepared to give a final report detailing any
problems or other experiences that might be useful to
the Board or future Directors. Many of the things you
are reading in this manual arose from the experiences
of our Directors. Between meetings, your Production
Supervisor is your link to the Board.

Production Supervisor

The Board will assign each show a Production
Supervisor before auditions.
Directors are encouraged to meet with their
Production Supervisor early, then weekly during
production and to use them as the valuable resources
they are intended to be.
By being familiar with JCCT’S resources and skill
bank, Productions Supervisors can point Directors to
whom or what they need to solve technical and other
problems.
The Production Supervisor can relay emergency
requests to the Board between meetings.
The Production Supervisor can answer or find answers
to questions Directors have about how JCCT operates.
20


Deadlines
A theatrical production sometimes seems like one long
series of deadlines: publicity deadlines, program
deadlines, deadlines for getting photos taken or
coming up with a budget. No matter how well-organized
you are, deadlines can sneak up and catch you by
surprise.
Deadlines are NOT arbitrary. We’ve set them at the
latest possible moment that will allow you to do what
you need to do, but still allow our Board Members and
Production Staff to do their jobs publicizing your
show, putting up displays, etc. By meeting deadlines
(or getting things done early!) you help ensure that
everything runs smoothly and your production has all
the support it needs.
Check the appropriate sections of this manual for
your deadlines, and make sure to add them to your
production calendar. Many Directors like to make
their assistants responsible for keeping track of
deadlines and reminding them when they’re
approaching.

Planning Ahead
Do you expect an unusually large audition turnout?
(Often true for musicals, or shows with roles for
children). If so, consider holding auditions over
four nights, or setting aside a special night for
youngsters. Don’t forget to note if you want the
Actors to come with prepared audition pieces, songs,
or anything else they need to know about ahead of
time. (Have it posted on the website or Facebook via
Webmaster or the Board.)

21


Cast and crew are encouraged to get to know their
Production Supervisor and feel free to contact them:
• If they have problems they are unable to resolve
by talking to the Director, Assistant or Stage
Manager.
• If tech crew needs help solving production
problems.
The Board will use the Production Supervisor:
• As the producer’s eyes and ears, to make sure each
production is progressing smoothly and on
schedule.
• To relay questions, requests and announcements to
Directors between Board meetings
• To help protect the theatre’s human and physical
resources.

22


Planning Your Production

Budgeting
JCCT derives all of its operating funds from ticket
sales and donations. It is essential that each
Director be as thrifty and creative as possible when
determining what they will spend. We encourage you to
seek donations of construction materials, properties,
furnishings, etc. Borrow what you can (although we
advise against borrowing valuable antiques, vintage
clothing or other costly or easily damaged items).
Use materials already in stock (Platforms, flats,
costumes, etc.) wherever possible. Check with the
Warehouse and Costume Committee Chairpersons before
you design your set or begin buying or building
costumes.

Production Budget
Each Director will be given a proposed production
budget by the Board meeting before auditions.
Your budget will include estimates for:
• Scenery
• Costumes
• Properties
• Lighting
• Unusual makeup items (things we would not normally
stock and that have limited use, such as false
eyelashes or beards)
Your budget does not include royalties, posters,
programs, lighting gels, photocopying (schedules,
vocal exercises, study guides, forms and handouts) or
other items that are part of the theatre’s normal
cost of producing shows. If you plan to build or buy
23


items which might be useful beyond your show, talk to
the Production Supervisor about excluding those items
from your budget. It is the Director’s
responsibility to see that the show stays within
budget. That means approving spending in advance,
collecting and initialing receipts and turning them
over to the Production Supervisor. They in turn can
obtain the reimbursements and allocate accordingly.
You may delegate these tasks to an assistant, but you
need to oversee their progress. (Please see the FORMS
section of this manual for expense reports) Check
with the Production Supervisor before buying
hardware, paint, fabric, etc. We may already have
what you need. We would prefer that you pull
whatever you can from our considerable costume stock.
Please ask your Costume Designer to talk with our
Costume Committee Chairperson early in the process to
determine what we have and what you need to build or
rent. We usually prefer to add truly useful items to
our stock; rental may be appropriate for unusual or
rarely used items. But please DO NOT sign a rental
contract until you’ve discussed it with the Costume
Committee Chairperson and the Production Supervisor
and have been approved. While rental may seem like
an easy option for your show, we also need to take
into account what is most cost-effective for the
theatre’s long-term needs. You may shift spending
within your budget categories (if you don’t need your
entire scenic budget but need more for costumes, for
instance), but you may not go over budget without
prior Board approval.

24


Reimbursement
You need to itemize your expenses, if you spend your
own money and want to get reimbursed, you do need to
turn in a receipt initialed by the Director and
noting the category of spending (set, props,
costumes, etc.).
If you do not wish to be reimbursed, please let the
Production Supervisor know what you have spent so
they may provide you with a receipt. This allows us
to get a realistic estimate of what your production
actually cost.
Likewise, if someone donates something of value to
JCCT for your production, make sure to give their
name, address and a description of the item(s) to the
Production Supervisor so we can thank them and
provide them with a receipt for tax purposes.

Donations & Taxes
All funds received during any theatre production are
considered theatre income and should be given to the
Treasurer via the Production Supervisor. This
includes any donations given directly to performers
to pass along to JCCT. Also, if anyone wishes to
claim a donation on their taxes, the Treasurer via
the Production Supervisor, needs to be informed of
the item and its value so that an appropriate
letter/receipt can be drafted to the donator.

25


Scripts
The Board will order sufficient scripts for your show
approximately two weeks before your auditions. If you
need them sooner, let them know. For most
productions, scripts belong to cast members; they may
keep them after the show closes. Musicals, as a rule,
are different: We rent the scripts and scores and
must return them, free of pencil marks, when the show
closes. They usually arrive later, too. The
Production Supervisor will keep track of musical
scripts and scores, and make sure to collect them at
set strike, after cast and orchestra members have
erased all markings.

In the fall of 2009, the Board of Directors of the
Jay County Civic Theatre, Inc. voted to begin a
policy of script deposits for all JCCT (returnable
script) productions. This policy was made necessary
by numerous scripts being lost or not returned over
the last several years. Any script not returned must
be paid for by JCCT, resulting in hundreds of dollars
in unnecessary fees. An organization such as JCCT
cannot absorb these kinds of losses. Therefore, all
cast members receiving scripts for a JCCT, Inc.
production are asked to write a check for $30 made
out to Jay County Civic Theatre, Inc. These checks
WILL NOT BE CASHED but held by the JCCT Treasurer and
WILL BE RETURNED when the script is returned. If the
script is not returned, JCCT then has the right to
cash the check to cover our expenses. If this causes
any hardships, we ask that you have the actors speak
to a board member regarding their specific needs. We
26


do not want anyone to be excluded from JCCT
productions due to this policy but we must also
consider the financial security of the JCCT. (There
is a letter for Actors in the back of this manual.)
Scripts will be signed out and checks collected by
the Production Supervisor.
JCCT does not photocopy any script as an organization
due to copy right laws.

Photocopies (other than scripts or any
material with a copyright)
We are currently printing our posters, newsletters,
programs, brochures, etc. at Progressive Office
Products in Portland, IN. We have an account with
Progressive and you may sign for your copies. Please
check with Production Supervisor before making any
large quantities of copies.

Recording and Videotaping
JCCT does not permit video or audio taping of
performances or rehearsals due to copyright laws.
Virtually all production contracts prohibit taping,
no matter what you may have heard to the contrary.
That includes taping of rehearsals for educational
purposes. Please don’t do it.
Violating production contracts can endanger our very
existence, and will not be tolerated. Make this clear
to your cast, and ask them to pass the information to
their friends and relatives. If our house staff sees
anyone using a video camera during a performance, the
device will be confiscated until the show is over.

27


No such restrictions apply to royalty-free scripts
(i.e., Shakespeare), we prefer that Directors ask
Board permission to video tape those productions.
The rights to these productions belong to JCCT, INC.
There is to be NO FLASH photography during a
performance. We do have a Photo Night set for each
production. This is the best time for family and
friends to take photos of the show.

JCCT takes copyright issues seriously. Please DO NOT
assume you may change a script unless you have
written permission from the copyright holder. If you
wish to make changes, we suggest contacting the play
service early (via the Board); in many cases they
will refer you to the playwright’s representatives.

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Problems and Pitfalls
Even the best-planned production can run into
problems. The trick is anticipating them, and
catching them before they become serious. Here, in no
particular order, are some problems that have cropped
up during recent seasons.

• Smoking on Stage
Directors should carefully consider whether having
a character smoke is worth the ill will it may
generate. If smoking is truly integral to a
character’s personality or the situation, think of
ways to minimize the actual number of times the
character lights up. And, notify the Production
Supervisor so that we can include a warning note
in our pre-show publicity.

• Alcohol on Stage
Directors should know JCCT NEVER ALLOWS alcohol on
stage or even in the venue. Nor do we tolerate
staff, volunteers or Board Members to be under its
influence during a production rehearsal, or
performance.

• Minors and Rehearsals
Directors and Stage Managers should make sure that
each and every Minor involved in a production has
parental approved rides to and from rehearsals.
This is to insure that the parents or guardians
know that JCCT is ONLY responsible for the minor

29


from the beginning of rehearsal or performance
until they are picked up by an approved adult.
(Please see form in handout section.)

• Negativity
Directors and Stage Managers should make sure to
“nip this in the bud asap!” Do not let anyone
person or a group of persons begin negative
feelings that can harm creative process and family
environment that is JCCT. If you are unable to
handle this situation please contact your
Production Supervisor for help in this matter.
JCCT strives to be a place for all to have a
positive Theatrical Experience!

• Language
Directors and Stage Managers should be aware of
the content of the script but also monitor the
language usage during the production process.
JCCT never wishes to offend anyone, but there are
times that it will happen, especially with the
content of some scripts. Please be extra cautious
with mixed casts (i.e. Elementary – Jr. HS with HS
– Adult). Cursing in general is not something we
wish to promote.

Auditions
JCCT productions are open to everyone. No pre-casting
is permitted. We strongly encourage Directors to give
new Actors an equal chance with those who have been
on our stage before. When we give new people a fair
shake and put them on our stage whenever we can that
30


helps ensure a constant pool of fresh talent,
something no community theatre can survive long
without. The no pre-casting rule is one of our
theatre’s few hard rules, and we hope you will make
an extra effort to make sure everyone who tries out
for your show understands it. Yes, it’s OK to
audition someone privately if they can’t make it to
tryouts, but please be sure to let the people who do
show up know that you’ve done so. When you’re
soliciting people to try out (and all good Directors
do that), be clear that you aren’t promising
anything. Few things are as damaging to a theatre’s
reputation as the notion that it’s a closed shop
where shows are pre-cast and new people don’t stand a
chance. Traditionally, 8 weeks prior to the opening
of the show JCCT runs two nights of open auditions,
typically on Monday and Tuesday. Audition space and
time is set up by the Director in consultation with
the Production Supervisor. (The Typical Arts Place
contract allows for 13 rehearsal days - 3 dress
rehearsal days and 4 performance days - so it is to
our advantage to hold auditions at an alternative
location) As soon as the Audition information is set
the Board Secretary will send out press releases. If
you prefer a different schedule, or want to use
another night for callbacks, please notify the Board
Secretary as soon as possible so that we can include
that in the audition publicity. Directors may use
their own Audition forms or those also found in the
Forms and Worksheets section of this manual.

Audition Form
These forms are designed so that you write in your
show’s name and performance dates on the top of one
31


form and then make as many copies as you think you
will need 30 copies is usually the maximum needed, so
don’t go overboard. You can always make more copies
the second day of your auditions should you need
them.

Audition Checklist (This is also found in
the Forms and Worksheets section of this
manual.)
For musicals, you must make your own arrangements for
an audition pianist
At auditions, you should:
• Post a sign on the door welcoming people to
auditions
• Lay out audition forms and plenty of sharpened
pencils
• Post or announce a tentative rehearsal schedule.
• Post and announce production dates.
• Post cast responsibilities and the theatre’s
policies.
(Also found in the Forms and Worksheets section of
this manual)
• Introduce your crew and Production Supervisor.
• Explain the commitment you expect from cast
members, including arranging for their own
transportation arriving on time and taking part
in construction and set strike.
• Impress upon those auditioning that they need to
completely fill out their audition forms, which
are used for publicity and other purposes, and
to list all conflicts.
• Distribute and collect those forms.
• Solicit crew members as needed.
32


• Announce how you will post or announce casting.

Once you have cast your show:
• E-mail a copy to the JCCT Webmaster and your
Production Supervisor so it can be posted on our
web site as soon as possible.
• Clean up after yourself, including returning the
stage to the condition in which you found it.

Welcoming New People
During auditions, make sure everyone trying out feels
welcomed and comfortable, especially the newcomers.
Many Directors like to ask a friend or crew member to
be the official greeter, welcoming people as they
come in the door, collecting audition forms, pointing
the way to the restrooms, replenishing the
refreshments, etc.
Emphasize to those trying out that they are part of a
theater community as well as a community theater.
They share the building with other shows, and are
expected to treat each other with good will and
courtesy. As a Director you are the first point of
contact for many newcomers. If you and your crew are
supportive and encouraging, it makes our theater more
enjoyable for everyone.
After the second night of auditions the Director, the
Production Supervisor (is there to observe and
protect the validity of the casting and only to give
opinions if asked) and whatever constitutes his or
her brain trust, go out and hash out the casting
decisions. Whatever your choice, do let hopefuls
know when and how they can expect to hear the
announcement. Please get a copy to the JCCT Webmaster

33


and your Production Supervisor as soon as possible,
too, so your cast can be added to JCCT’s Web page.
Audition Forms, Schedules and Bios: Who Gets Them?
As soon as possible after casting, please return all
audition forms (both cast and not cast) to your
Production Supervisor. When you have a rehearsal
schedule and cast list, you should:
• Distribute them to cast and crew.
• Give copies to your Production Supervisor.

When you have bios for your key Production Staff,
Director, assistant(s), Stage Manager, Choreographer,
Music Director(s), and Designers, give them to the
Publicity Coordinator, who will distribute them to
those who need them. (See form section)

Rehearsing
No matter where you’re Rehearsing, Make sure your
rehearsal furniture, props, etc. are returned to
where they belong, and put away. Care of Flooring:
Please do not drag furniture or other heavy items
across the floor. Get enough people to safely carry
what needs to be moved. If the floor gets dirty,
sweep, dust or damp-mop.

• Early Rehearsals
At read-through, plan to have your Costumer in to
measure the cast. The sooner measurements are
taken, the sooner the Costumer can get to work.
At that first rehearsal, you have several things
to do besides read through the script. Review
34


with your cast the responsibilities and rules set
out by the theatre. Let them know clearly what
you expect from them, and what they can expect
from you. Be especially clear about what time you
plan to start (and end!) rehearsals. Double check
their conflicts so you can prepare a rehearsal
schedule. Distribute the handy ACTORS’ HANDBOOK
which contains most of the theatre’s guidelines
for Actors. Introduce your Production Supervisor
and let him or her explain what they will be
doing. It’s also a good idea to invite your crew
to the first rehearsal and introduce them. As
soon as you can, hand out rehearsal schedules,
telephone lists and other material you want your
cast to have. Also distribute copies to your
Production Supervisor and the Publicity
Coordinator. Feel free to set your own rules
about who may or may not attend rehearsals
(including children) and how rehearsals will be
conducted. Just let everyone involved know what
those rules are.

• Continuing Rehearsals
Eight to twelve weeks may seem like a long
rehearsal period, but once you subtract:
• Weekends (although you may schedule some
weekend rehearsals)
• Holidays
• Cast and crew conflicts
You may be surprised at how little rehearsal time
you actually have. Schedule as many rehearsals as
you think you need (our experience is that 20
rehearsals is an absolute minimum, and probably
not enough).

35


• Finding Alternate Rehearsal Space
At times you may not be able to rehearse in your
shows venue and may have to find other places to
rehearse. Your Production Supervisor can get a
list of churches, schools and other locations
which may be available, but you need to schedule
them yourself, as early as possible. You may start
rehearsals at whatever time works for you and your
cast, and your rehearsal space. It is customary to
have them end by 9 p.m. for High school and Adults
and 8pm for children, until the week before you
open. This is not professional or academic
theatre. Cast members have families and jobs (or
school), and keeping them late will only cause
problems and complaints.

Difficult People
Sometimes (but fortunately, rather rarely), an Actor
or crew member fails to live up to his or her
responsibilities. You can head off such problems by
being completely clear about your expectations. It
also helps to be consistent: Treat all Cast members
equally and fairly. If necessary, ask your Production
Supervisor to have a word with the offending person.

Dismissing Cast Members
On very rare occasions, an actor must be replaced. If
you believe that is going to happen, contact your
Production Supervisor ahead of time and involve him
or her in the process; that will protect you and the
theater from accusations of unfairness. Be sure to
tell the Publicity Coordinator about cast or crew
36


changes so publicity can be changed accordingly.
Part of JCCT’s role as a community theatre is to
provide opportunities for people with all levels of
talent and experience. There is no guarantee that all
of them will turn out to be great Actors, nor should
we expect them to be. Bad acting, by itself, is not
sufficient grounds for dismissing a cast member.
Directors are urged to work with all Cast members to
encourage them to stretch and grow, and to reserve
dismissal for those rare individuals who actively
refuse to meet their commitments to the show. A
Director who merely believes he or she has made a
casting mistake is asked to live with that mistake as
long as the person involved is trying his or her
best. Who knows they may surprise you!

No Romance in the Wings
The fact remains that romance — and more — has been
known to blossom in the intimacy of producing a play.
In most cases, it’s nobody’s business but the parties
involved. Times have changed, though, and
yesterday’s flirtation can be today’s accusation of
sexual harassment. Although there’s a fine line
between being nosy and looking out for your show,
Directors should be alert to personal relationships
developing among cast and crew, and should be
especially careful not to put themselves in
situations which might be misconstrued. It is also
our responsibility to be aware and to halt any such
relationship between Minors and Adults.

A Note About Children

37


JCCT is proud to count many young people among its
theater family. We’ve watched a lot of kids grow up
right before our eyes and assume increasing positions
of responsibility, on stage and off. Their presence,
though, gives us a special responsibility to look out
for their safety and well-being both for their own
sakes, and to protect the theater from liability. It
is up to each Director to decide whether to permit
non cast children to attend rehearsals or work
parties. Directors should make their policies known
early, even at auditions. If children are brought to
the theater, they must be under direct adult
supervision at all times. If Cast members need to
bring their children to rehearsals or work parties,
please recruit someone to keep an eye on them. Small
children must not be allowed on or near the stage
during construction or set strike; instead, set up a
supervised play area for them in one of the safer
parts of the theatre. Even older children must not
be permitted to use power tools, climb ladders or
take on other risky tasks. Older teens may take on
some of these tasks, but only with proper training
and supervision.
Assorted Other Information
Taking Care of JCCT
JCCT is getting better all the time, thanks to the
hard work of our volunteers and the generosity of our
donors. That makes it more important than ever that
we all do what we can to keep our reputation good and
protect the considerable investment in money and
volunteer effort that is continually being put into
38


our productions. Cleaning the backstage areas
(including the greenroom) is the responsibility of
the show that occupies those areas. It is recommended
that the Stage Manager or their designate sweep the
stage floor before each performance. Clean up our own
messes. Don’t assume that somebody else will take
care of it. If you spill something, mop it up right
away. If you bring food into the theater, dispose of
leftovers in the dumpster Food left in waste baskets
attracts bugs and mice.

Smoking
If there are smokers in your cast, please try to
provide them with sufficient break time to go
outside. Smokers should pick up after themselves and
dispose of butts appropriately. The law does permit
smoking on stage when the action of the play demands
it, although we urge Directors to seek other options.

Tickets and Seating
If your set design would remove or change seating
(with a thrust, for example), you must get permission
from the Board no later than the month before tickets
go on sale. If anything about your show (i.e.,
signing for the hearing impaired) might appeal to
audiences with special seating needs, confer with the
Publicity Coordinator in advance. JCCT will reserve
a seat for you and your assistant every night. Please
leave a note in the box office indicating which two
back-row seats you prefer. These are yours to sit in.
If your show is selling out, you may wish to tell the
box office to sell your seats. If someone donates
something extraordinary to your show, the Director
39


should ask the Board Secretary to send them a letter
which they may exchange at the box office for two
free tickets to the show. Please do so early enough
so they can get their letter in time to reserve
tickets! Cast members are responsible for getting
their own tickets, in advance, just like other
patrons. They should not wait till the last minute
and expect to get seats for their families and
friends.

Staying involved with JCCT and Membership
JCCT encourages cast and crew to stay involved with
the theatre. The JCCT bylaws consider all Volunteers
whether on stage of off JCCT members. Members have a
vote in theatre business, elect our Board of
Directors, serve on committees and, are encouraged to
attend Board Meetings. They may also serve as Crew
and become eligible to run for the Board. We hope
the people involved in a production will want to
remain part of our theatre family. Much of the work
of running our theater is done by our all-volunteer
Board of Directors and their Committees. Dozens of
tasks need to be done regularly. If you are
interested in helping, contact the JCCT Volunteer
Coordinator and ask to be put to work. Cast members
will be called once their shows have closed (as long
as the Volunteer Coordinator has received copies of
their tryout forms from you!) to ask if they would
like to volunteer for upcoming shows. This is a great
way for casts to get together again after their shows
close. There are usually Board positions up for
reelection every May, and nominations are open to any
Theatre member who has served as an on or off stage
volunteer for JCCT any time in the previous season.
40


Those who aren’t interested in, or ready to audition
again right away may want to turn up at auditions
anyway and find out of the next show needs any
backstage help. Even if you only have one free
weekend, you may be able to help build or paint a
set, sew costumes or otherwise be involved. If your
time is limited, contact the Volunteer Coordinator
about serving as an usher, ticket taker or
refreshment server or working in the box office
during a performance. Our never-ending remodeling
efforts may mean periodic work parties at our
warehouse to tear out old stuff, install new stuff
and generally spruce the place up. The Production
Supervisor can tell you if any work parties are
coming up or check the JCCT Web site at:
http://www.JayCivic.org. The theatre also has an
electronic mailing list for informal, theatre-related
communication among our volunteers and supporters. If
you would like to subscribe, contact the Board
Secretary at JayCountyCivic@gmail.com

Taking Care of Our People
The Stage Manager is responsible for learning and
making others aware of the location of fire
extinguishers, fire alarms and emergency exits, and
should also make sure safety guidelines are observed
backstage.

Safe Scenery
Safety must be the No. 1 concern during set
construction. Minors are not to use power tools
under any circumstances (and should not be sent up
ladders); untrained adults should use them only under
41


supervision. Those who use tools must follow proper
safety procedures (wearing goggles or respiration
masks, using safety guards on saws, etc.). Be
especially careful when lifting or moving lumber,
platforms, large set pieces, heavy furniture, etc.,
both to avoid back injuries and to keep from running
into, or over, other volunteers. Sets themselves
must be designed with safety in mind. Among other
things, that means adequate railings on stairs and
platforms (on stage and backstage, adequately braced
platforms and sufficient blue light or glow tape
behind sets so Actors can see where they’re going.
The Production Supervisor can help if you have
questions about set safety. The Technical Director
and Production Supervisor have the final word on
safety issues.

Accidents
If an injury occurs, first see that it is treated
either on site, with supplies which you will find in
the scene shop and backstage restroom First Aid kits,
or at the hospital emergency room, if the injury is
serious. Don’t hesitate to call 911 for an ambulance
if someone is bleeding, unconscious or appears to
have broken a bone. Then immediately report the
injury to your Production Supervisor, who will let
the Board know what happened. Stage Managers should
check First Aid supplies periodically and make sure
they are restocked (we will reimburse them). The
theatre has limited insurance coverage for uninsured
volunteers who are hurt on the job. Contact the
Treasurer about filing claims.

Cast and Crew Security Guidelines
42


Lock your car, and make sure you don’t leave
valuables visible inside. Use the buddy system when
leaving the building at night. Always walk each other
to cars. If someone (especially a minor) has to wait
for a ride, a Production Staff member should wait
with them. Do not allow people (including patrons) to
wait for rides outside the building, alone, in the
dark! Stage Managers are usually responsible for
locking up each night. Someone else should stay with
them until they’re ready to leave. Assign someone to
make sure all theatre-owned tools are gathered up and
accounted for at the end of every construction party.
If tools go missing, report it immediately to the

Retreats
It is suggested that JCCT productions hold a day-long
retreat on a Saturday or Sunday one or two weeks
before opening. Retreats are extremely useful for
polishing the show and completing technical tasks,
they are not mandatory; it is up to each Director to
decide whether to hold one. JCCT does not routinely
hold previews. It is entirely up to you whether to
close your final rehearsal or allow your cast to
invite a few friends and relations. You may be asked
to add a preview or performance for benefit or
marketing purposes, but please do not invite large
groups without asking the Board first (we may have to
pay royalties). Remember: JCCT relies on box office
revenues; we would rather not give away more seats
than we have to.

43


Complimentary Tickets
JCCT does not routinely provide “comp tickets” to
cast, crew or anyone else — although if someone
provides extraordinary support to your show (see
also: Tickets and Seating, above), you may ask the
Production Supervisor (well in advance, please) to
provide them with a letter they can exchange for one
or two complimentary tickets. As Director, you are
generally entitled to 2 seats each night for yourself
and a key assistants; if you do not need them, let
the box office know so they can be sold.

Stage Manager’s Responsibilities
From opening night on your Stage Manager will be
responsible for the Rehearsal Space/Stage and many
other tasks. He or she may delegate some of those
responsibilities. Sometime during the week before
closing, the Stage Manager is to contact the Director
and together you need coordinate your set strike.
They are responsible for helping with the duties
which will allow for the smooth and efficient running
of rehearsals and performances. It is up to you to
decide with your Stage Manager who is responsible for
keeping the master prompt script, setting up
rehearsal space prior to each rehearsal and striking
rehearsal furniture and props as necessary, running
and calling show, posting Cast/Crew Sign-in sheets,
taking and posting Production Meeting notes, Daily
Rehearsal notes, and coordinating the production run
crews.

Rehearsal duties, to be negotiated with Director,
include recording blocking, prompting, taking Line
Notes, contacting absent or tardy actors/crew
44


members, calling cast/crew members in from breaks,
etc.

The Stage Manager should be aware of the location of
telephones and fire extinguishers for use during an
emergency, and be well-versed in all safety
procedures, especially fire evacuation and tornado
procedures.

Pre-Production
1. Reads and studies the play; discusses duties
and responsibilities with the Director.
2. Attends all production meetings.
3. Assists the Director at auditions.
4. Distributes and collects Audition Forms and
Crew Call Forms, emphasizes to auditionees the
need to list all conflicts, takes a Digital photo
of auditionees (which is then stapled to the form)
as needed, keeps track of the order of
auditionees, keeps audition flowing smoothly,
ushers auditionees into theatre, and announces
them as per the Director's instructions.
5. Assists the Scenic Designer in taping out the
ground plan on floor of stage and/or rehearsal
hall as needed.
6. If the Director requests, the Stage Manager
generates a rehearsal schedule and makes copies
for all cast, and crew.

Rehearsal Period:
1. Generates sign in/ sign out sheet.
2. Places and spikes furniture, rugs, etc. as
established by the Director.
3. Obtains and maintains any rehearsal props
45


called for by the Director by the "Rehearsal Props
Due" deadline on the Production Calendar.
Rehearsal props are substitutes of comparable size
and weight used by actors until the final props
are available.
4. The Stage Manager runs weekly Production
Meetings, and takes Production Meeting Report
notes. The Stage Manager will then generate
Production Meeting Reports.
5. At first read through, the Stage Manager
obtains the cast's names, addresses, and telephone
numbers, and then generates a contact sheet which
is distributed to cast and production team.
6. Stage Manager makes sure that every actor
receives a rehearsal schedule and keeps cast
advised of any changes.
7. Takes Daily Rehearsal Reports at each
rehearsal and posts them daily. These reports will
include all changes, additions, or deletions that
arise during daily rehearsals. These changes could
include the addition of a prop, a question to a
designer, a change in rehearsal schedule, etc.
This will be a written record of such requests and
changes to facilitate the timely completion of
tasks and to insure that all members of cast and
crew receive notification of schedule changes and
so on.
8. Arrives at least ten minutes early for every
rehearsal to set stage furniture and any
rehearsal. Stage Manager insures that ALL stage
furniture and rehearsal props are struck and
stored after each rehearsal.
9. Walks through scenes for any absent actor or
assigns a delegate to do so.
10. Attempts to contact any missing or unexcused
46


actors.
11. The Stage Manager insures that all actors are
in place prior to the beginning of each scene.
12. Records in Stage Manager's book all blocking,
intentional pauses, stage business, and all light,
sound, music, special effects, and curtain cues,
etc.
13. Prompts the actors precisely and corrects
mistakes to the extent that the Director wishes.
It is important for the Stage Manager to keep up
with the script during rehearsals and is ready to
prompt an actor immediately upon receiving a
"Line" request. Takes Line Notes of dropped lines,
jumped lines, etc. and distributes to the cast.
14. Taking down blocking OR prompting
actors/taking line notes may be delegated to the
Assistant Stage Manager at the Stage Manager's
discretion.
15. After all rehearsals and performances the
Stage Manager insures that all debris is picked
up.
16. Stage Manager collaborates with the Lighting
Designer, Light Board Operator, Sound Designer,
Costume Designer, Director, Technical Director in
holding a Paper Tech prior to tech week.
17. Stage Manager is responsible for penciling in
all light, sound, fly, actor, and scene shift
cues. The Stage Manager is responsible for
obtaining cue sheets from the Lighting and Sound
Designers in enough time to prepare the prompt
book.
18. The Stage Manager prepares for Cue to Cue
Rehearsal in order to facilitate the efficient and
smooth running of the rehearsal.
19. The Stage Manager is the primary person
47


responsible for communication among production
staff, cast and crew.

Dress Rehearsal/Performance Period:
1. Once performances begin, the prompt book
containing blocking notes, lighting cues and sound
cues should be locked in the booth or another safe
place so that it is accessible in the event that
the Director cannot run a performance. The Stage
Manager should create a second book to be kept
with him/her that contains any information that
may be needed during the day, such as contact
lists, schedules etc.
2. The Stage Manager must be familiar with all
Emergency Policies such as tornado warnings, fire,
smoke, etc. The Stage Manager will contact the
Faculty/Staff on Duty/Call for any emergency
situations (equipment failure, smell of smoke,
severe weather). In the case of life threatening
emergency, the Stage Manager notifies Security and
takes charge of implementing proper procedures.
The Stage Manager should obtain a copy of the
safety procedures.
3. The Stage Manager should generate a Run List
for crew members that lists specific duties
before, during and after each performance.
4. Stage Manager should hold scene Shift
Rehearsals with Crew Chief and Run Crew.
5. Takes note of any problems, unfinished
details, painting touch ups, and/or changes and
communicates these to the proper crew chief,
Technical Director.
6. Stage Manager (or delegate) insures the safety
and sanitation of all props and consumables.
48


7. Stage Manager or Assistant Stage Manager or
delegate is responsible for setting up and
labeling any and all prop tables necessary for a
production.
8. The Stage Manager (or delegate) should
generate a Prop Cue Sheet and diagrams for Run
Crew members. These should indicate where every
prop is preset on stage (a photo is often helpful)
and/or where every prop is moved on or off stage
during the run of the show.
9. Stage Manager is responsible for presetting
all props both on and backstage prior to each
Technical and Dress Rehearsal, and every
Performance. These duties may be delegated to the
Assistant Stage Manager or a member of the Run
Crew, but the Stage Manager should confirm that
all props are properly preset and that hand props
are dealt with. Performers are responsible for
checking their own individual props prior to each
performance and the Stage Manager is ultimately
responsible that all props and furniture are
correctly preset.
10. Performers should pick up props from the props
table(s) or designated area backstage and return
them there, and are responsible for presetting any
personal props in pockets, etc. If an actor wants
to assume responsibility for keeping such personal
props between rehearsals and performances, this
should be negotiated with the Stage Manager or
Prop Master/Mistress.
11. Performers are responsible for bringing to the
attention of the Stage Manager any items needing
repair.
12. The Stage Manager insures that all equipment
and personnel are ready for performance. The Stage
49


Manager should establish a check off list of
duties including those that must be accomplished
prior to opening the house and those that must be
accomplished prior to curtain.
13. Stage Manager insures that all work lights are
turned off, front exit doors are unlocked If the
stage is to be swept and/or mopped, the Stage
Manager assigns this task to a Run Crew member and
insures it’s completion prior to the house
opening.
14. The Stage Manager has the ultimate
responsibility that the stage is set correctly and
that all elements and members of the production
team are ready for the performance. This typically
requires a walkthrough of the entire stage and
backstage area prior to the house opening. The
Stage Manager should generate a checklist.
15. The Stage Manager gives the following calls to
cast and crew: one hour; half hour; house open
(after House Manager notifies SM); fifteen
minutes; ten minutes; five minutes; and places (at
two minutes). The Stage Manager cannot give the
"places" call until given the go-ahead by the
House Manager at three minutes.
16. During Dry Tech, Cue to Cue and Tech/Run
Rehearsals, the Stage Manager may stop rehearsal
if necessary. The Stage Manager merely says
"stop." The cast and run crews should hold quietly
in place while the Stage Manager and the
production team address the reason for
stopping. The Stage Manager is responsible for
choosing an appropriate restarting point in the
script and restarting the rehearsal. The Stage
Manager will inform the cast and crew where the
rehearsal will restart (a line or cue) on the
50


Stage Manager's command. The Stage Manager
restarts the rehearsal by simply saying "Go
please”.
17. At intermission, the Stage Manager insures
that any necessary work-lights are turned on
backstage, that no visitors are allowed backstage,
and that any changes are accomplished.
18. During intermission, the Stage Manager informs
the House Manager to signal the patrons back into
the theatre for the next act five minute prior to
the end of the intermission as determined by the
Director. The SM follows the calling procedure
from the top of the show including the following
calls: ten minutes; five minutes; places (at two
minutes). The Stage Manager cannot give the
"places" call until given the go-ahead by the
House Manager at three minutes.
19. The Stage Manager is responsible for keeping
any times requested by the Director which could
include total running time, running time of each
act, and running time of scene changes.

Set Strike:
Leave the theatre in at least as good condition as
you found it — or better! Make it clear from Day One
that your entire cast and crew are expected to help.
Your strike goes beyond just taking down the set: It
includes returning borrowed items immediately,
cleaning the backstage area (and the dressing room
restrooms), sending costumes to be cleaned. Your
strike is not finished — and your cast should not
leave — until you have toured the building with the
Production Supervisor and they agree that everything
is OK. A checklist will be provided to help you make
sure everything necessary gets done.
51


Other Post-Show Responsibilities:
Collect (and erase) musical scores so they can be mailed
back to the company that rented them to us. The
Production Supervisor is responsible for returning the
scores and scripts the week after closing. Turn in all
receipts and attend the Board meeting after your show to
give a final report. Be sure your costumer picks up
clothes after they have been cleaned and returns them to
the warehouse. One final note for Directors who also
act: Please do not plan to try out for a show that
overlaps with yours, unless you first get Board
permission as Director, your show must be your first
priority.

52


Handouts

• An Actors Handbook
• JCCT Drug and Alcohol Policies
• Cast Responsibilities
• Stage Manager’s Responsibilities
• Costumes
• Lights and Sound
• Sets
• Properties
• Make-Up and Hair
• Artwork Requirements

Please copy the following pages as needed.
Distribute them appropriately to your cast
and crew.

53


Forms and Worksheets
Remove the following pages from this manual and
photocopy as many as you need. Distribute them to the
appropriate people, or use them to keep track of your
deadlines, budget and publicity materials. It’s
always a good idea to keep a copy of completed forms
in case they get lost or anyone has questions.

Box Office Report
Deadline Worksheet
Audition Checklist
Publicity Form 1
Publicity Form 2
Publicity Form 3
Script Sign Out Log
Hair & Make-Up Worksheets
Property Log
Photo Call
Sound Cues
Lighting Track Sheet
Dressing Notes
JCCT Audition Form 2011
JCCT Bio Form
Budget Worksheet
Costume Measurement Worksheets
Arts Place, Inc. Stage Ground Plan (simple)
Arts Place, Inc. Stage Ground Plan Dimensions
Arts Place, Inc. House Seating Chart

54


Deadline Worksheet
Please fill in your own deadlines, give a copy to
your Assistant Director and put this somewhere you’ll
see it every day.

Meet with Production Supervisor:
___________________________________________
(To discuss crew and tech needs tentative budget, etc.)
Board meeting #1: Advance planning
___________________________________________
Special needs reported
___________________________________________
Meet with production crew (at least once a week during
production) __________________________________
Prepare for auditions; lay out expectations
PR Form 1 _________________________________
(Includes material for audition notices)
Board meeting #2: Pre-audition report
_____________________________________________________
___________________________________________________
(Submit names of key crew people, approval from Set, Lighting,
Costume Designers due)
Auditions
____________________________________________________
Don’t forget to give copy of cast list to Production Supervisor.
Board meeting #3: Progress report
____________________________________________________
(Lighting Manager’s approval due)
(Additional Board meetings, if applicable):
____________________________________________________

55


PR Form 2 due
____________________________________________________
(information about opening, for newsletter and releases)
Poster art to Publicity Coordinator
____________________________________________________
Take stage
____________________________________________________
Program art to Publicity Coordinator
_________________________________________
Contact newspapers
___________________________________________________
T-shirt orders in
____________________________________________________
PR Form 3 due
____________________________________________________
Bio forms due
____________________________________________________
Final program changes due
____________________________________________________
Opening night!
____________________________________________________
Set strike
____________________________________________________
Final Board report
____________________________________________________

56


Budget Worksheet

Scenery:

Costumes:

Properties:

Other:

Miscellaneous:

TOTAL:

Notes about unusual expenses:

57


Jay County Civic Theatre, Inc. – AUDITION FORM
Production: ___________________________________ Directed by: _______________________________
ROLE CONCIDERED for - Director’s USE ONLY: ___________________________________________________________

Name: ______________________________________________ Sex: ______ Age: ________ AUDITION #__________
(as you would like it to appear in the Program)
Home Address: _____________________________________ City: _____________________ State: _____ Zip: __________
Home Phone: ________________________ Cell Phone:_______________________ Work Phone:__________________
Do you have an answering machine? (Yes or No) Do you accept TEXTS? (Yes or No) Do you FACEBOOK? (Yes or No)
E-mail Address: (PLEASE PRINT CLEARLY)_________________________________________________________________
• Height:________ Weight:________ Hair Color:__________ Eye Color:____________
• Vocal Range: (circle one) SOPRANO MEZZO ALTO TENOR BARITONE BASS NOT SURE
• Do you sing Harmony? (Yes or No) Do you read Music? (Yes or No) Do you Play an Instrument? ( Yes or No)_________
• Dance Experience: Style of Dance________________________________________________YearsStudied______________
• Special Skills: (Juggling, gymnastics etc..)___________________________________________________________________
Role(s) Auditioning for: _______________________________________________________________________________
Will you accept any role, including chorus? (Yes or No)
PAST THEATRE EXPERIENCE:
YEAR THEATRE COMPANY SHOW TITLE ROLE

IF NOT CAST in the show, or if cast and have time, would you be willing to be on a CREW? (Yes or No)
If “Yes”, please circle the crew(s) that you interested in:
LIGHTING SOUND MAKE-UP FUNDRAISING SET CONSTRUCTION PROPS
PUBLICITY PARADE COSTUMES FRONT of HOUSE FUNDRAISING

List ALL CONFLICTS on BACK - BOTTOM ½ of this FORM. Now through end of production. (Work, Vacation etc..)

NOTICE: The rehearsals will be closed to the public. Rehearsals “typically” run Monday – Thursday 6:30pm – 9:00pm, until the
last few weeks then the weekends may be used and should be marked on calendars as TBD (To Be Determined). Show dates
are _______________________. There will be a “3 strike policy.” Your name and photos will be used for marketing and archival
purposes.

I have read the entire form and understand the commitment that I am making if I am cast. I also commit that I will be
available for rehearsals and show dates as explained above.

Signature: ________________________________________________________________Date:______________________

Parent or Guardian Signature:(for those under 18 years of age) ____________________________________________________
58


Publicity Form 1
(Due by deadline provided by Board Secretary, due
about 81 days before opening)

Director:
____________________________________________________

Director’s E-Mail:
____________________________________________________

Director’s Phone: Day:
___________________Evening:________________________

Play Title:
____________________________________________________

Playwright:
____________________________________________________

(For Musicals:) Book by:
________________________________________________

(For Musicals:) Lyrics by:
________________________________________________

(For Musicals:) Music by:
________________________________________________

Auditions
Dates:
____________________________________________________

Time: _______________________ Callbacks? __________

59


Casting Needs: Men: __________ Women: ____________
Children: ___________

Special Information: (separate auditions for kids,
prepared audition pieces or songs, etc.)
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
______________________________________________

Publicity Form 2
Information for production publicity
(Due by deadline provided by Publicity Coordinator,
due about 56 days before you open)

Your name: _____________________________ Phone
number: _________________

Email address
_____________________________________________________

Play Title:
_____________________________________________________

Playwright (Lyricist, etc.):
________________________________________________

Script Service:
_____________________________________________________

60


Director & Designers (as appropriate, and as they
wish to be listed in the program):
• Director: ___________________________________

• Set Design: ___________________________________

• Lighting Design: ______________________________

• Costume Design: ________________________________

• Poster and program art: _______________________

• Musical Director: _____________________________

• Choreographer: ________________________________

• Original music composed by: ___________________

Attachments (These are due now. Make sure the
appropriate people get them turned in.)

Audition Forms: If you have not already done so send
legible copy of your audition forms to your
Yes | No

Completed Bio Forms: If you have not already done so,
give your completed bio forms (for cast, Director,
assistant(s), Stage Manager, musical Director,
conductor and Choreographer) to your Production
Supervisor. Yes | No

Content Notice and Director’s Notes.

61


Content notice:
• This play is (check all that apply):
□ Suitable for all ages
□ Suitable for older children
□ Not suitable for children
• This play contains (check all that apply):
□ Profanity
□ Vulgarity
□ Strong language
□ Extreme language
□ Bawdy or risqué humor
□ Sexual situations
□ Partial nudity/Nudity
□ Violence
□ Smoking

Director’s Notes: A brief (no more than two
paragraphs) note to go in the program; designed to
add to the audience’s enjoyment or understanding of
the show. Keep it short and sweet. (Attach to this
form.)

62


Publicity Form 3

(Due by deadline provided by Publicity Coordinator,
usually 18 days before opening.)

Director:___________________________________________

Phone: ________________ E-mail:_____________________

Play Title & Author:
__________________________________________________

Setting (optional):
____________________________________________________

Scenes (optional):
____________________________________________________

Intermission: _______minutes between ___________ and
_________ (Standard: 15 minutes)

Crew List: Complete the crew list below. Fill out or
add only those positions which apply to your show. Do
not list your designers here — you gave them to us on
PR Form 2. Only note changes to your design team
here. Regarding those who have filled multiple
backstage roles during the course of your production
(i.e.: set dressing, props construction and shift
crew), the Program Editor may choose to list that
person’s contributions on a single line if space
constraints require.

Note: We do not expect you to have all crew and
acknowledgments at this time. You will be able to add
63


more when your program is brought to you for
proofreading the week before you open.

Special Thanks for this production go to…: Please
list all individuals, businesses and organizations
who have made a material contribution to your
production. Please do not list anyone already noted
in the crew list, or family members unless they
actually worked on the show.

Publicity Form 3 continued
CREW LIST
Production Supervisor: ____________________________
Assistant Director: _______________________________
Production Assistant(s): __________________________
Orchestra/Vocal Conductor__________________________
Stage Manager: ____________________________________
Head of Set Construction (if different from Set
Designer): ________________________________________
Set Construction (+cast and crew):
___________________________________________________
____________________________________________________
Set Dresser (if different from Set Designer):
____________________________________________________
Scenic Painter (if different from Set Designer):
____________________________________________________
Master Electrician (if different from Light
Designer):__________________________________________
Lighting Board Operator: ___________________________
64


Lighting Hang and Focus: __________________________
Sound Designer: ___________________________________
Sound Operator (if different from Sound Designer):
___________________________________________________
Sound Recording (if different from Sound
Designer):_________________________________________
Live Sound Effects:________________________________
Special Effects: __________________________________
Costume Assistant: ________________________________
Wardrobe Mistress (if different from Costume
Designer): ________________________________________
Additional Costumes by
(rented/borrowed):_________________________________
Sewing (if different from Costume
Designer):_________________________________________
Dresser(s): _______________________________________
Property Master/Mistress:__________________________
Property Construction (if different from Property
Master/Mistress): _________________________________
Makeup Designer: __________________________________
Makeup Assistant(s):_______________________________
Hair Stylist: _____________________________________
Lobby Photos: _____________________________________
Production Photos: ________________________________
Poster and Program Printing: ______________________
Other (list):

65


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