How do I???

Audition???

Audition dates can be found on the call board, or on our main page "Virtual Call Board." We also put audition dates on the school daily announcements.

Here are some TIPS

• Do as much research as you can on your own before the actual audition. Read the play and research the time period, place, and important events that occurred during that time.

• Familiarize yourself with difficult vocabulary and character names. 

• Prior to your audition, fill out the audition form, including: your personal conflicts with the rehearsal schedule. Make note of all the important dates included in the packet for your personal schedule.

• Choose which role(s) your most interested in performing so you can hone in on those character traits and give yourself the best chance of being cast the way you want to be cast.

• Dress well. Don’t dress “in costume” for the role you want to be cast as. Dress in a way that helps you “find” the character. 

• Arrive early. 

• Be respectful of how others rehearse and prepare.

• Be supportive.

• Let your nerves go. The directors want you to succeed!

• Your script is not a mask! The directors understand you will not be completely memorized, however be present- don’t hide behind your script. Allow the paper to become an extension of your arm. 

•  Be brave. Take risks. Being memorable is more important than being safe, and the directors will respect strong choices, regardless of whether they agree with them. Set yourself apart. 

• Try to find differentiation in each character you read for. Vocal and physical changes are wonderful in an audition room. 

• Be open to roles you haven’t considered. The director knows where to place you to make the best show possible.

Okay, I'm in... Now what?

Rehearsal Etiquette

Rehearsals for a production are highly valuable and essential to the successful execution of a stage play. The rehearsal process is not only where the direction of the show is found, but also where actors and technicians develop and grow the most, expanding their knowledge and experience. Some important considerations for rehearsals are:

• If you have issues with another person in the cast or are disappointed with how the casting of the show turned out, then leave it at the rehearsal door. Don’t let your conflicts ruin the experience for you or others around you.

• Always come overly prepared. Bring your script and a pencil to every rehearsal.

• Know your lines within the first two weeks of rehearsal.

• Be respectful and kind to everyone.

• When the directors ask you a question, give you a note, or give instructions, always respond with: “Yes, ma’am/sir.”, “Thank you.”, or “Can you please explain?” Go with the flow and don’t argue. The time to share ideas or have a brief discussion is after rehearsal. 

• If you’re an actor in the show, do character work- this may be on your own time. Rehearsal is for putting the show together with others. It really does help, I promise! This can include writing in a journal, making a collage, making a playlist. Find whatever works for you!

• Be on time! (Early is on time, on time is late!)

• Stay quiet backstage so the time we have together is focused and efficient. 

• There is no division between actors and technicians. Have mutual respect and get along. Be polite to each other and understand that we cannot make a show without a partnership.

• There is always something to do. Ask your fellow actors or technicians if they need help and be proactive or study lines. 

• While positive feedback is encouraged, try not to direct your peers. 

• If not previously written on a conflict calendar, send a written notice of conflict at LEAST 24 hours in advance to the stage manager and director (email is preferable). However, not all conflict will be approved, it must be a legitimate reason. 

• KINDNESS MATTERS. Every member of our team is part of our theatre family. The show does not happen without its lead actor or without a technician pulling the curtains. We need everyone and we need to respect each other and what they do for our little family. PLEASE be kind to each other. Please say “please” and “thank you” when necessary. Please do not give unnecessary comments or criticism. Please offer help when/if you’re able to give it. Share knowledge, share rides, help take responsibility for the social climate of our family and help others find the family community that makes theatre so special. Don’t be the person that makes someone else uncomfortable here.

CONTACT INFORMATION

Email is the best way to communicate with the director.  Please allow 24 hours for a response. Questions about the rehearsal schedule?  Please, look on our virtual call board or contact your stage manager.

But what if I don't want to audition?

We recommend you start by showing up! You can come to tech nights, or reach out to leadership to find out how and where you can help! Once you've done a show, you can sign up for a leadership position. The following is a list of different crews and their responsibilities. 

Crew Opportunities & Responsibilities

Publicity Head & Crew:

• Write a press release/ blurb for announcements.

• “Hire” student photographer and designate dates for headshots.

• Create a flyer and then get approval to hang the fliers all around the school- check dates, times, ticket prices. 

  • The best fliers are visually interesting, but don’t give away TOO much of the plot. No limitations on colors.

• Advertise on social media

  • Still images, “behind the scenes reels”, sneak peaks, actor bios, interviews etc. 

• Design T-shirts: Simplified logo or image with minimal colors (1-2 max) Organize the names for the back of the shirt.

• Design & organize the play bill/program. 

  • Cast list, Synopsis of scenes, acknowledgements

  • Upload headshots & bios to the program

  • Upload & organize Advertisements, senior ads, break a legs – communicate with Boosters- using share drive.

  • Reminders to Director & Historian for notes.

Props Master & Crew

• PROPS MASTER is responsible for reading the script and marking all the places where a prop is used throughout the show.

• Create a master prop list (The list should include the prop, a description, where you could find it, and what page it is used on)

• Look in props closet for items that we already have.

• Make a plan of how we will get props we don’t have

  • Make, buy or borrow

  • Send amazon links to HOLST for any props for purchase, or materials needed to make props.

  •  Keep your props list updated with what you have found/bought, and make sure that list is shared with Holst & the stage manager

• Pull REHEARSAL items to use AS a prop until the real prop is ready.

• You are in charge of keeping up with all props- have a place they belong, label the place so its actor-proof.

• Make sure all props are put away on tables or bins at all times

• Keep the prop table or bins clean

• During the show assist actors with their props

• At the conclusion of a rehearsal or a show make sure all props are put away in the appropriate places

Costumes Crew Head & Crew

• Once you receive a script read the play and research the time period of the play

• Create a list of what you think each character needs to wear and good colors for them to wear and then show it to the director to see what she thinks- sketches, collages, or Pinterest boards are all helpful ideas as well. 

• Create a spreadsheet of any costume shifts for individual characters, what they’re changing from/into and approximate sequence of when the change would be needed by(page numbers)

• Make a Google Form to collect sizing information for the cast, schedule a time for measurements for any builds or specific costuming needs that require precise measurements.

• Start pulling costumes onto a clean rack that you think could work for the show

• Make a list with a plan for costumes:

  • Pull, borrow, buy or build. 

  • PULL- pull items from our closets, try them on actors, modify if necessary, RESHELVE any items that do not work.

  • BORROW-Communicate with community partners (Actors FIRST, then other HS theatre departments, or IP/First Act etc.)  about any borrowed items, transport borrowed items, keep items labled and keep a spreadsheet with which items came from which people/theatres to return more easily.

  • BUY- Find items to buy ON AMAZON. Send Holst links with sizing. 

  • BUILD- Make a plan to build, send designs/material links (Amazon) to Holst. Order materials with plenty of time to execute the build.

• Keep your list of needs updated and regularly communicate w/ Holst if anything is proving difficult or you’re unsure how to proceed.

• During a show you will need to be backstage or in the dressing rooms to assist all quick changes. “Hire” a crew to help with changes and clean up/ organization of items. Delegate who is responsible for which actors, which quick changes and which areas for pickup.

Hair/Makeup Crewhead & Crew

• Research the time period of the show and write down, draw, or find pictures of what makeup and hair you see each character having

• Show your ideas to the director

• Make sure we have all the supplies necessary, take an inventory of any items we need and send AMAZON links to Holst for purchasing.

• Make a GOOGLE FORM to find out who needs help doing their makeup, and who needs to use communal makeup. 

• At dress rehearsals and performance dates make sure individual makeup items (spoolie, sponge, q-tips etc.) are in individual ziplocks for actors who need communal makeup. 

• Assign crew members to specific actors for makeup and specific crew members designated to hair. Designate space for makeup and space for hair. Assign actors and crew members to specific locations to ease the flow in the dressing rooms.

• Keep up with all supplies; order EXTRA, better to have leftover than not enough.

• Keep the makeup and hair area clean and organized. Sound

• A sound designer will design all of the sound cues in the show (be sure to get them all checked by the director)

• A soundboard operator is responsible for running the sound board during rehearsals and during the show

• Soundboard operators will either be backstage on a portable sound system or in the booth with a sound board

• You are required to provide a sound cue sheet to the stage manager and communicate your cues to the stage manager

• You will be working a lot with garageband as well as QLab so if you sign up for sound be sure you know how to use both

Lights Crewhead & Crew

• READ the script and make a list of lighting cues (cues can be referenced directly in the script, scene changes, or if something happens that makes a light change logical i.e. lightning, or a big reveal.)

• Your spreadsheet should include cue numbers, internal/external, scene location, and any key elements we need to know about that scene’s design needs (i.e. Sunset, power outage, musical number)

• The Light Designer creates a light plot, programs the light design, and plans out when and who will help with light focus.

• The lighting designer and team HANG additional (bonus) lights for focus, DO NOT modify the general wash plot or modify the presets.

• The light designer meets with the stage manager for paper tech to input cues in the right places in the prompt book.

• The light designer has all cues programmed before cue-to-cue, but is available and ready to modify cues as needed during cue to cue.

• Strike: the lighting designer returns all bonus lights to their location, cleans up the lighting booth, replaces any bulbs, makes note of any inventory needs.

Stage Manager

• Once you receive a script read through it and take basic cue notes, as well as a “problem’s list” (a MASTER list with WHAT type of need i.e. costume, prop, light; what page number, any notes about that need.)

• Keep and update rehearsal reports for every rehearsal

• Rehearsal reports should include the following: Notes for actors and tech, attendance, rehearsal schedule for that day, and important information that needs to be communicated to the company and directors

• Make sure everyone who is called to the rehearsal comes and that they come on time

• Creating a production book (Usually a 3 inch binder, with multiple tabs)

• The book should include: all paperwork, blocking, cues, cast and tech information, calendars, attendance sheets, rehearsal reports, etc.

• Keep the rehearsals on task and assist the director as needed

• COMMUNICATE between the branches of the production team. Text out reminders to the group me and/or text adult leadership with questions or reminders.

• Communicate with the cast for any traditions- such as who will be leading concentration on show nights, planning which show award will be given which night and communicating/reminding the previous winner (as well as scheduling a day for them to come see rehearsal- IF they are not in the production themselves), communicate with cast about cast parties, director’s gifts and the photo hide in rm 6.

• CALL the cues for the show, and run the tech rehearsals so all tech cues can be perfected.

• Assistant Stage Manager should assist the stage manager- and have the opportunity to shadow the SM to learn all the responsibilities. ASM should also be the main point of contact to run backstage crew/scene changes. (see set crew below.)

Set Crew: Set Designer, Master Carpenter & Run Crew

• Set Designer is in charge of creating the plans for the set, Mama T is the set designer.

• Master Carpenter is in charge of following the set designer’s plans and building.

• Master Carpenter and Tech Head are responsible for maintaining the cleanliness and safety of the scene shop and communicating the vision to the builders.

• Builders are responsible for constructing the set, with the guidance and assistance of the Master Carpenter and Tech Head.

• Builders also assist with painting.

• Many builders are also asked to serve as backstage run crew- they assist with scene changes 

• The ASSISTANT STAGE MANAGER assigns and delegates scene change responsibilities and manages all stage crew responsibilities such as dry mopping, green lights and maintaining set pieces.

How can I do it all???

Not gonna lie. It's HARD. We're at school all day, almost every day, and we need to maintain decent grades to be allowed to participate. The best way to get and STAY in theatre is to take care of your physical and mental health, be kind and be responsible. Here are some tips to help!

Actor and Technician Health

In addition to maintaining high grades and being a well-rounded theatre student, student health and well-being is a top priority in our theatre department. This includes both physical and emotional health. 

Physical Health

• Be safe! Always follow safety precautions in our theatre and shop areas- Nothing is more important than your safety. 

• Drink water! It’s important that students are hydrated during rehearsals. However, DO NOT share any drinks, because it can spread diseases from 1 actor to 20.

• Avoid germs! Wash your hands and don’t eat or drink after others. 

• Sick? Stay home! Please do not come to school or rehearsal if you have had a fever or are throwing up/had diarrhea in the past 24 hours. Don’t risk the health of your fellow castmates. If you have to miss a rehearsal, be professional and communicate with the director and stage manager through email.  Be truthful about your illness - and how we can support you. 

• Stay healthy! Take time to take care of yourself by getting the right amount of sleep. Make sure that you aren’t eating too much or too little. Your body is your tool and, in theatre, a healthy body is essential to create successful art. Be cautious about anything you put in your body. 

 Mental Health

• Stay ahead of classwork and homework. Stay ahead on your work, create routines that work for you.  Don’t let school stress you out to the point of mental instability. Communicate in advance with teachers about your busy schedule if you think you won’t be able to do everything on time. They will be more willing to work with you if you talk to them ahead of time. Utilize your seminar period as well as days off rehearsal so you can stay caught up and not have a snowball effect on your workload.

• Know your limits. You can do it all, but you can’t do it all at the same time. Be able to recognize what is going to be too much in your schedule and do not overcommit. 

• Maintain family time. Keep good relationships with your family members and do your part to contribute at home. Mom and Dad are the ones that allow you to participate, and their support is essential! 

• Medication. Be sure that any medication taken is prescribed to you, and don’t bring it to school, unless it is distributed or handled through our school nurse. 

• Seek help. Your mental health is important-  if you are ever at risk or are engaging in unhealthy behavior, discuss with your parents the benefits of seeing a therapist or psychiatrist if you think it could help you.