The Final Production Book.

Turning in your final production book. While many companies will differ in what they might want or need at the end of a show (remember space in New York is expensive and storing things can cost money). It's a good idea to ask before you spend a lot of time creating something that others may just throw away. Once I got think into my career (and with the advantage of computers) I began to close the production with making three copies of my production book. One for me and copies for the producer and the director. Who knows when the show may want to be revised or there may be questions about the production you were involved in creating. I've kept to three. With the new national focus on exit standards and the expense of higher education it is a good idea to document a students work as they develop through your program.

At Penn State, beginning in the 2014-2015 year I am going to start collecting the work of students graduating in 2015-1016 forward. The seniors I don't feel it fair to layer on a level of commitment and documentation. For the Juniors forward however I am going to ask for class and production work. It'll clog our little office space but it must be done.

Before you turn in your final Production Book, use this as a guide to insure that all the information is correct. You must turn in a copy of the entire binder which will be kept for a minimum of 7 years to satisfy and NAST questions or concerns.

• You must have copies of the following
  • A complete phone list of all the participants in the show including artistic personnel, production personnel, cast, crew, and important phone numbers. Please include any other contact information you've collected (for example; production numbers on events we manage in addition to the traditional productions we manage).
  • You must include a complete list of emergency health and contact information (this information will be shredded once the book has been graded).
  • All Sign In Sheets properly filled out and notated. NOTE TO SELF TO POST EQUITY SIGN IN REGULATIONS ON THE CALLBOARDS FOR ALL THE ACTORS TO SEE.
  • You should include your rail cue sheets if applicable and your line set schedule including show weight if applicable
  • On a CD or Jump Drive you must include:
    • An entire record of the rehearsal reports.
    • An entire record of the performance reports.
    • All show correspondence emails.
    • This information should be in folders and labelled accordingly.
  • ASM Paperwork should include:
    • Their props tracking sheets.
    • Their Routine Sheets.
    • Any sign in sheets for which they were responsible.
    • Entrance Exit Chart if they ran one.
    • Any plots they have created to run the deck.
  • You should include:
    • From the Scenic Designer the complete set of designer plates.
    • From the Costume Designer a copy of all renderings.
    • From the Lighting Designer one copy of the light plot and accompanying magic/cue sheets.
    • From the Sound Designer any cue sheets and a copy of the Q-Lab file if available.
    • From the Projections Designer any copies of their cue sheets and paperwork.

• The Blocking Script
  • You do not need to digitize your blocking script.
  • You do need to clean up your blocking script for accuracy and layout. While it is understood that in rehearsals blocking change, especially when you are moving from the rehearsal hall to the stage, you must to take the time to correct the entire blocking script to be an accurate representation of the work being done on stage.
  • You must include the blocking key in the beginning of the blocking script.
  • You may use pictures and charts to enhance your blocking script. If you have been assigned to use a blocking software program, you must include the blocking charts available from the software package inserted correctly into your blocking script.
  • It is not important if you choose to put your script on the left hand side of your binder vs. the right hand side of your binder. What is important is that you have it and that it is accurate.

• Your Calling Script:
  • The Calling Script and all cues and warnings must be typed.
  • You must include the Calling Routine Sheet in the beginning of the cueing section.
  • All cues correctly notated and includes all information laid out in the cueing section as taught.