Chair of Stage Management
narda.alcorn@yale.edu
Production Stage Manager for the Rep
james.mountcastle@yale.edu
Senior Administrative Assistant for
Stage Management
laurie.coppola@yale.edu
All students who intend to drive Yale Vehicles are required to take Safe Driver Training before driving the company management van or production van. Additional, separate training is required to drive the stake bed truck. Students without a valid driver's license are not permitted to drive university vehicles. See the Vehicle Use policy for further information.
All students are required to take Alcohol Awareness training at the start of their first year of school; the training must be completed before taking workstudy jobs, such as ushering and concessions work.
All Stage Management students are required to be certified in First Aid, CPR and AED. This training happens during Orientation at the start of the fall semester each year. MFA students will be certified in their first year, and then re-certified in their third year.
All Stage Management students will receive their OSHA 10 upon the completion of mandatory coursework, DRAM 59a "Creating a Positive Theater Safety Culture with Supporting Technology."
All Stage Management students will receive weapons safety training from Jen McClure in required coursework, DRAM 59a "Creating a Positive Theater Safety Culture with Supporting Technology."
Stage Managers submit the pre-production safety information sheet ahead of the beginning of rehearsals for the production. The form can be found here.
The pre-production safety information sheet is in place to determine hazards the company may encounter throughout the rehearsal and production process. Previously, this was a form that was printed, filled in and then submitted; now the form is entirely online.
All venues where Actors’ Equity members audition, stage manage, rehearse and/or perform must comply with the safe and sanitary provisions of the applicable Equity agreement.
Any activity performed by Equity members may not take place in a venue (including pre-production conducted by stage management) that has not been previously inspected and approved by a representative of Actors’ Equity. If a Producer/Theatre is planning for Actors’ Equity members to work in a venue that has not previously been approved, and/or has been renovated since the last time Equity members worked there, Actors’ Equity must be notified promptly so an inspection can be scheduled. The Producer/Theatre should notify Actors’ Equity of their intent to use a new venue no later than four weeks prior to the first rehearsal.
Venue approval may be dependent upon the type of employment contemplated; for instance, certain venues may not be approved for dance auditions or rehearsals but may be approved for work that does not include dancing. Some venues may only be deemed suitable for casts up to a certain size. It is imperative that auditions, stage managing, rehearsals and performances occur only in venues that have been approved by Actors’ Equity Association.
If a Producer/Theatre is not sure of the Actors’ Equity approval status for a venue, please contact the nearest Actors’ Equity regional office.
If your production uses theatrical firearms, the Producer must complete this questionnaire and email it to your Equity Business Representative BEFORE THE FIRST PAID PERFORMANCE. (Note: For long-running productions, this form must be filled out every six (6) months).
Requirements For A “Qualified” Instructor for Inclined Playing Surfaces (e.g. Raked Stage, Ramp, Inclined Set Piece, etc.)
Equity has been in consultation with the American Physical Therapy Association and their Performing Arts Special Interest Group (PASIG) and we have learned that the inclined playing surface instructor should have the following qualifications:
Licensed in a field that includes formal training in human anatomy, physiology, kinesiology, biomechanics and ergonomics.
The instructor's training or experience should include the skills and abilities necessary to assess risk factors associated with musculoskeletal injury/illness.
Licensed professionals with such training include physical therapists, occupational therapists, and physicians.
However, individuals in other licensed/certified health care professions may be appropriate after demonstrating equivalent study/knowledge in these areas.
It is highly recommended that instructors should have previous work experience with performing artists that includes work performed in a clinic and at the worksite (theater) and a minimum of two (2) years of health care professional experience.
Use simulated or dummy weapons whenever possible.
Treat all guns as if they are loaded and deadly.
Unless you are actually performing or rehearsing, the property master must secure all firearms.
The property master or armorer should carefully train you in the safe use of any firearm you must handle. Be honest if you have no knowledge about guns. Do not overstate your qualifications.
Follow all instructions given by the qualified instructor.
Never engage in horseplay with any firearms or other weapons. Do not let others handle the gun for any reason.
All loading of firearms must be done by the property master, armorer or experienced persons working under their direct supervision.
Never point a firearm at anyone including yourself. Always cheat the shot by aiming to the right or left of the target character. If asked to point and shoot directly at a living target, consult with the property master or armorer for the prescribed safety procedures.
If you are the intended target of a gunshot, make sure that the person firing at you has followed all these safety procedures.
If you are required to wear exploding blood squibs, make sure there is a bulletproof vest or other solid protection between you and the blast packet.
Use protective shields for all off stage cast within close proximity to any shots fired.
Appropriate ear protection should be offered to the cast members and stage managers.
Check the firearm every time you take possession of it. Before each use, make sure the gun has been test-fired off stage and then ask to test fire it yourself. Watch the prop master check the cylinders and barrel to be sure no foreign object or dummy bullet has become lodged inside.
Blanks are extremely dangerous. Even though they do not fire bullets out of the gun barrel, they still have a powerful blast than can maim or kill.
Never attempt to adjust, modify or repair a firearm yourself. If a weapon jams or malfunctions, corrections shall be made only by a qualified person.
When a scene is completed, the property master shall unload the firearms. All weapons must be cleaned, checked and inventoried after each performance.
Live ammunition may not be brought into the theatre.
If you are in a production where shots are to be fired and there is no qualified property master, go to the nearest phone and call Actors' Equity Association. A union representative will make sure proper procedures are followed.
State and federal safety laws must be honored at all times.
If any of the above safety tips conflict with the instructions given by a qualified instructor, abide by the instructions from the qualified instructor. If you are still not sure, contact your Equity Business Representative.
In addition to the safe and sanitary provisions in Actors’ Equity agreements, the American National Standards Institute (ANSI) has approved standards specifically for the entertainment industry. If there is a particular production element planned for a show (e.g. dust effects, flying, fall protection, etc.) that is not defined in Actors’ Equity agreements, the ANSI standards shall be in effect. Please keep in mind that the ANSI standards have more comprehensive regulations in the entertainment industry than any other standards.
Actors’ Equity collaborates with entertainment professionals at the Entertainment Services and Technology Association (ESTA) and their Technical Standards Program (TSP) to create and promote standards for the entertainment industry. Actors’ Equity is a member of ESTA as well as a TSP Investor. ANSI standards for the entertainment industry can be found on ESTA's published documents page. All of the standards are free of charge to download at their website.
Some of the current standards available from ESTA include:
ANSI E1.23 - Entertainment Technology – Design and Execution of Theatrical Fog Effects
ANSI E1.26 – Entertainment Technology – Recommended Testing Methods and Values for Shock Absorption of Floors Used in Live Performance Venues
ANSI E1.34 – Entertainment Technology – Measuring and Specifying the Slipperiness of Floors Used in Live Performance Venues
ANSI E1.40 – Recommendations for the Planning of Theatrical Dust Effects
ANSI E1.43 – Entertainment Technology – Performer Flying Systems
ANSI E1.46 – Standard for the Prevention of Falls from Theatrical Stages and Raised Performance Platforms
ANSI E1.53 – Overhead mounting of luminaries, lighting accessories, and other portable devices: specification and practice
ANSI E1.55 – Standard for Theatrical Makeup Mirror Lighting
ANSI ES1.4 - Event Safety – Event Fire Safety Requirements
ANSI ES1.7 - Event Safety – Weather Preparedness
ANSI ES1.9 - Event Safety – Crowd Management
ANSI E1.57 - Recommendations to prevent falls on or off movable parade floats, movable stages, and similar moving platforms
ANSI E1.60 - Guidelines for the Use of Raked Stages in Live Performance Environments
ANSI E1.62 - Minimum specifications for mass-produced portable platforms, ramps, stairs, and choral risers for live performance events
Additional standards are currently being discussed and developed.
ALL EQUITY PRODUCTIONS USING SMOKE AND HAZE PRODUCTS MUST COMPLY WITH THE FOLLOWING THEATRICAL SMOKE AND HAZE REGULATIONS.
When creating smoke, haze, and/or fog effects, substances listed in, and in accordance with, the specified limits set forth in the study commissioned by the Trustees of the Equity-League Pension, Health and 401k Trust Funds, entitled “Health Effects Evaluation of Theatrical Smoke, Haze, and Pyrotechnics” (“Study”), may be used:
Theatrical Smoke, Fog and Haze Testing: Calibration Factors (PDF)
Theatrical Smoke, Fog and Haze Testing: Time and Distance Guidelines (PDF)
Health Effects Evaluation of Theatrical Smoke, Haze and Pyrotechnics (PDF)
Quantifiable limits have been placed on a variety of smoke and haze products containing glycol, glycerol, and mineral oil (“Products”). Consequently, Producers/Theatres may use only those Products tested as part of the Study and, further, must use them only within the limits specified. It is important to remember that approved Products include specific combinations of machines, fluids, and attachments (e.g. chiller) that have been expressly designed for those Products. Please remember that no haze, smoke, e-smoking and vaping with glycol and/or glycerol products may be used unless it is included in the current Study. When creating effects with dry ice, liquid carbon dioxide, liquid nitrogen, vaporized water and other substances not listed in the Study, please contact your Equity Business Representative.
In order to ensure compliance, Producers/Theatres must use either the Time and Distance guidelines in the “Equipment-Based Guidelines For The Use Of Theatrical Smoke and Haze” (“Guidelines”) or a portable Air Sampling monitor as outlined in the “Evaluation of Short-Term Exposures To Theatrical Smoke and Haze Air Sampling Protocol” (“Evaluation”):
Equipment-based Guidelines for the Use of Theatrical Smoke and Haze (PDF)
Evaluation of Short-term Exposures to Theatrical Smoke and Haze Air Sampling Protocol (PDF)
Please note that air sampling should commence on the first day when the effects are introduced to the stage, but in no event, later than technical rehearsals at the theatre.
COMPLIANCE PROTOCOLS:
A. Time and Distance Charts in the “Guidelines”: No Actor may be staged or choreographed within a distance from a specific product’s release point during the “wait” time listed on the product’s Time and Distance guidelines chart. These “wait” times begin after the effect’s cue has finished. This method can only be used if a Time and Distance chart has been created for a specific machine/fluid/attachment combination in the “Smoke and Haze Testing – Times and Distance Guidelines” list. Please note, the Time and Distance guidelines for a product was created for only one single fog, smoke or haze cue in the entire performance. If the single effect is not the maximum cue length in the chart, an additional effect from this product can be executed in addition to the first cue to equal the maximum cue length (e.g., cumulative cuing).
1st EXAMPLE: If a production is using a Rosco 1600 smoke machine (medium setting) with Stage & Studio fluid and following its specific product Time and Distance guidelines chart in the Study, an Actor should not be situated within 6 feet of the cue release point until at least 80 seconds following the end of the cue release; an Actor should not be situated within 12 to 18 feet from the cue release point until at least 30 seconds following the end of the cue release.
2nd EXAMPLE: If a production is using a Ultratec Radiance Hazer (100 Fan Speed/100 Haze Output) with Neutron/Luminous 7 Haze Fluid and following its specific product Time and Distance guidelines chart in the Study, an Actor should not be situated within 18 feet of the cue release point to have zero “wait” time following the end of the cue release. The maximum release duration in its specific product Time and Distance guidelines chart is 300 seconds. The options are to run one continuous 300 second cue or break the cue up into multiple cues to equal 300 seconds or less for one performance.
B. Using a Portable Real-Time Aerosol Monitor in the "Evaluation": If a production wants to use more than one cue and/or more than one machine/fluid/attachment (same or different products) and/or products that do not have any Time and Distance guidelines, production-specific monitoring will be necessary using the “Smoke and Haze Testing – Calibration Factors” list and the Air-Sampling Protocol. You can also use this production-specific monitoring method if a product has Time and Distance guidelines, but would like to use the effect outside the times and distances listed in the product’s chart.
A portable real-time aerosol monitor provides more flexibility than the Time and Distance guidelines, but it requires the rental or purchase of a monitor. The monitor that was used in the Study is called a personal DataRam Model PDR-1000. Prior to air sampling, the portable monitor should be calibrated with the specific product’s calibration factor to receive accurate results. If an Actor is staged or choreographed to be in a particular location before, during, or after a smoke or haze cue is triggered, the monitor should be placed in that same spot when the Actor would be there in full show conditions (e.g. air circulation that will be run during the show, audience and loading doors are closed, etc.). After recording a sample, the complete data results can be downloaded to your computer from the monitor for review. Multiple samples should be taken to get a median. The data results identify whether or not the limits for glycol (40 mg per cubic meter), mineral oil (25 mg per cubic meter), or glycerol (50 mg per cubic meter) have been exceeded. For multiple products being used, calibrate the monitor for 1.00 (raw data). After taking air samples for a median, calculate each product’s effect separately by multiplying the raw data by the specific product’s calibration factor in the Study. For rental and purchase information of the portable real-time aerosol monitor, contact Pine Environmental at 1-800-301-9663 or log on to pine-environmental.com
1st EXAMPLE: If a production is using a High End F-100 with Atmosphere Cold Flow formula, the calibration factor of 2.41 should be programmed into the monitor for this glycol. If the readings are greater than the 40 mg per cubic meter (permitted for glycols), the cue would have to be reduced or the Actor placed further away until the calibration was 40 or less.
2nd EXAMPLE: If a production is using a Look Solutions Unique Hazer with Unique Fluid and Look Solutions Viper II (NT) with Quick-Fog Fluid simultaneously, the calibration factor of 1.00 (100 will read in the monitor) should be programmed into the monitor for raw data. Take the raw data and multiply it by .30 for the Unique product and do the same for the Viper product by multiplying the raw data by 2.02. If the readings are greater than the 40 mg per cubic meter (permitted for glycols) for either or both products, the cues exceeding the glycol limit would have to be reduced or the Actor placed further away until the calibration for both was 40 or less.
NOTICE REQUIREMENTS:
After the Theatre has undertaken either the applicable Time and Distance guidelines or Air Sampling by monitor during tech, the Producer/Theatre must post on the Actors’ callboard a Notice that states that the Producer/Theatre is in compliance with the Study for the applicable Products. The Notice must be posted and, if any of the cues and/or Products have been changed, it must be re-posted in a timely manner.
Additionally, to ensure compliance with the Study, each Producer/Theatre must notify Equity in writing of its smoke and haze effects and any changes made thereafter per its specific contract rules. There is a smoke and haze report for the Producer to complete and send to your Equity Business Representative:
Please refer to the appropriate Equity contractual agreement for further details. If you have any questions or concerns, please contact your Equity Business Representative.
Thank you in advance for your cooperation.
(E.g., the use of sand, dirt, powder, etc.)
If an employer is contemplating the use of sand, dirt, powder and/or other theatrical dust production elements and/or effects, then the employer must obtain and review the product’s Safety Data Sheet (SDS) prior to purchasing.
Product(s) without an SDS will not be used in the production.
Product(s) that are organic mixtures (e.g., potting soil, etc.) will not be used in the production
For indoor productions, if the SDS indicates that there is silica, quartz, and/or other carcinogens, then the employer will be required to engage an industrial hygienist to sample the indoor air. The sampling will take place prior to and when actors and stage managers are exposed (e.g., foot traffic on the production elements with a sand or dirt surface, powder is used as a projectile, etc.) during both technical rehearsal conditions and show conditions. The sampling will confirm that the levels are (or are not) within the limits per the appropriate standards, such as OSHA, etc. The industrial hygienist will create a report for the employer and a copy will be sent to Equity.
If levels are not within the limits, modifications will be made immediately before the next exposure to actors and stage managers (e.g., rehearsal, performance). Once the modifications are in place, further air sampling will be needed to confirm that the levels are now within the limits and a copy of the updates will be sent to Equity.
If any changes are made to the product and/or the indoor atmospheric conditions, the show will be subject to conducting additional air sampling by the industrial hygienist. If you know ahead of time that conditions may change, those conditions should be presented to the industrial hygienist during their initial evaluation. Atmospheric condition changes that may affect the levels are adding or subtracting devices that circulate the indoor air (e.g., a fan added backstage, the HVAC system has been adjusted due to the weather outside, adding a smoke and/or haze and/or pyrotechnic and/or chemical snow effect in the show, etc.).
For products that will be used in the proximity of the face (e.g., dirt thrown at an individual’s face, etc.), a qualified individual will make a risk assessment including reviewing the product’s SDS to determine if there are any concerns. Thereafter, the qualified individual will give an orientation to all affected members prior to their first use of the product. Any conditions that change with products, the actors and stage managers will be notified prior to working with the products.
A safe workplace includes not only protocols related to day-to-day occurrences, but ensuring there are plans in place in case of emergencies. Employers should have an Emergency Action Plan (EAP) and educate workers on the safety protocols in place in case of events like active shooters or shelter in place procedures.
Some Equity agreements already require an EAP. However, the union strongly encourages all producers to have protocols fitting these guidelines in place for auditions, rehearsals and performances.
The plan should cover, but not be limited to, emergency evacuation procedures, fire prevention and preparedness, medical and other emergencies, life safety systems (e.g., fire alarm system, fire suppression system, first aid stations, etc.), security awareness, active shooter procedures, shelter in place procedures, etc.
The plan should be in writing and provided to the actors and stage managers no later than the beginning of the first day of work in the space. When updates are made to the plan, a revised copy should be provided immediately to the actors and stage managers.
At the beginning of the first day of work in a space, there should be an EAP meeting. This should be conducted by a qualified individual (e.g., venue manager, facilities director, facilities’ security personnel, third party security firm, etc.). The meeting should include a walkthrough of the space to point out emergency exits, emergency stairwells, fire alarm pull stations, fire-fighting equipment, first-aid stations and shelter in place locations, etc.
For working in spaces for more than two months, subsequent EAP meetings should take place at least every three months. However, if a situation has taken place or there has been an inquiry, etc., a subsequent EAP meeting should be held immediately.
An EAP meeting should be provided to all replacements at the top of their first day working in a space.
For in-person Equity auditions, the plan should be posted and pointed out to the actors and stage managers when they first arrive.
Additional information can be found at the following ANSI standard:
Prior to the first day when the actors and stage managers will be first introduced to the animal(s), a qualified individual(s) (e.g., professional trainer, professional wrangler, safety supervisor, etc.) should conduct a production assessment of all areas and the work planned between the actors, stage managers and animal(s). A plan should be developed to reduce and/or eliminate the risks for the actors, stage managers and the animal(s).
No later than the start of the first day when the actors and stage managers will be first introduced to the animal(s), the qualified individual(s) should give an orientation to the actors and stage managers explaining the results of the production assessment, provide demonstrations and/or instructions and copies of the plan that is in place including safety measures, hazard awareness, etc.
Thereafter, the qualified individual(s) should give an orientation, provide demonstrations and/or instructions and copies of the plan to all replacement stage managers and actors as well as Swings and Understudies no later than the start of the first day when the actors and stage managers will be first introduced to the animal(s).
Any conditions that change the working with the animal(s) and/or in an area(s), the actors, stage managers and qualified individual(s) must be notified immediately, and the plan should be updated and provided to the actors and stage managers.
If the animal(s) urinate and/or defecate in an area, appropriate and immediate cleaning and disinfecting procedures should be in place and in the plan.
Additional recommended guidelines can be found at the following organizations:
Safety Bulletin #6 from the Industry Wide Labor-Management Safety Committee: https://www.csatf.org/production-affairs-safety/safety-bulletins/
ActSafe: recommended health and safety guidelines – Live Shows:
https://fia-actors.com/policy-work/working-conditions/occupational-health-and-safety/occupational-health-and-safety-details/article/actsafe-recommended-health-and-safety-guidelines-live-shows/
Prior to the first day when the actors and stage managers will be first introduced to the water hazard(s), a qualified individual(s) (e.g., safety supervisor, etc.) should conduct a production assessment of all areas and the work planned between the actors, stage managers and the water hazard(s). A plan should be developed to reduce and/or eliminate the risks for the actors and stage managers.
No later than the start of the first day when the actors and stage managers will be first introduced to the water hazard(s), the qualified individual(s) should give an orientation to the actors and stage managers explaining the results of the production assessment, provide demonstrations and/or instructions and copies of the plan that is in place including, but not limited to, safety measures, hazard awareness (e.g., slipperiness, electricity used in or around water, microphones and their transmitters placed on Actors in or around water, etc.).
Thereafter, the qualified individual(s) should give an orientation, provide demonstrations and/or instructions and copies of the plan to all replacement stage managers and actors as well as Swings and Understudies no later than the start of the first day when the actors and stage managers will be first introduced to the water hazard(s).
Any conditions that change the working with the water hazard(s) and/or in an area(s), the actors, stage managers and qualified individual(s) must be notified immediately, and the plan should be updated and provided to the actors and stage managers.
Water should always be clean. It should be filtered, drained, cleaned, and refilled with fresh, clean water on a regular basis to ensure that it is free of any and all contaminants before the Actors are directed to be in the water.
The water temperature should be no less than 99 degrees and the air temperature in the theater should be between 72 and 76 degrees.
The pH levels of the water should meet Centers for Disease Control and Prevention (CDC) recommendations:
https://www.cdc.gov/healthywater/swimming/residential/disinfection-testing.html
Immediately following rehearsing or performing with water, actors and stage managers should be provided with easily accessible and appropriate materials to dry off (e.g., towels, robes and/or dry clothing). This will ensure that actors and stage managers are not spending an extended period wet. Hair dryers should be provided when necessary.
An individual with appropriate first-aid training should be made available during scenes involving water.
Additional recommended guidelines can be found at the following organization:
Safety Bulletin #17 from the Industry Wide Labor-Management Safety Committee: https://www.csatf.org/production-affairs-safety/safety-bulletins/
Support documents can be found at the webpage for this guidance here.
Do theatrical venues, rehearsal studios and employer-provided shared housing units have to complete all of the steps in Equity’s ventilation guidance before it can reopen?
No. The only prerequisite is to commit to having a ventilation professional as identified in the ventilation guidance do the ventilation verification.
Do producers/theatres, stage managers and ventilation professionals have to complete any or all of the sample forms in Appendix B of the Ventilation Verification?
No. Those are documents for reference. The final HVAC Verification Report should be, at minimum, a cover letter from the design professional as identified in the ventilation guidance with their credentials, documentation of remaining deficiencies and a plan for continued maintenance, repairs, replacement or upgrades to improve energy efficiency, safety, or performance. Actors’ Equity should be informed of the plans that the producer/theater will be making and the timeline, including copies of work orders. If the timeline will interfere with current and/or future productions, temporary mitigation as recommended by the design professionals must be in place.
Do theatrical venues, rehearsal studios and employer-provided shared housing units have to meet all of the specifications in Equity’s ventilation guidance to stay open?
No. Not all of the above locations will be able to meet all of the specifications in the ventilation guidance. The only thing a producer/theater must do is have a contract with a ventilation professional as identified in the ventilation guidance to complete the ventilation verification, which should include cleaning and filter changes.
If a producer/theater doesn’t have to do all the things in the ventilation guidance... then what is the point of getting a ventilation assessment?
In working with ventilation professionals, Actors’ Equity has learned that many ventilation systems can be made safer with minor adjustments. Also, a ventilation professional as identified in the ventilation guidance will be able to clean a system and make sure it has appropriate filters, maximizing performance and safety. If a ventilation system is poor, a ventilation professional will be able to recommend mitigations, such as appropriate air purifiers. These are all useful adaptations for safety that can only be accomplished by a qualified technician as identified in the ventilation guidance attending to the ventilation system.
What happens if the ventilation professional as identified in the ventilation guidance says the theatrical venues, rehearsal studios and/or employer-provided shared housing units cannot meet Equity’s guidelines without significant investment that it cannot afford?
The ventilation guidelines allow a producer/theater’s ventilation professional to advise on mitigation strategies to make the system safer within the producer/theater’s budget. For those producers/theaters fortunate enough to be able to plan for capital improvement, the ventilation professional as identified in the ventilation guidance will be able to help with planning and budgeting for improvements. However, there may be locations that will never be able to satisfy every aspect of the guidance. This does not preclude those producers/theaters from continuing to produce as Equity houses. Working with a ventilation professional as identified in the ventilation guidance will ensure that the entire workforce is as safe as possible within the theatre’s budget.
Are facilities with no HVAC system required to complete Equity’s Ventilation Verification?
Yes. Ventilation is important in all indoor spaces. The Ventilation Verification documents have specific instructions for certified HVAC professionals to assess and offer mitigation options for facilities that do not have a mechanical HVAC system installed.
Prior to the first day in the theater when the actors and stage managers will be onstage, a qualified individual(s) (e.g., safety supervisor, etc.) should conduct a production assessment of all the production elements and all working areas where the actors and stage managers will utilize.
No later than the start of the first day in the theater when the actors and stage managers will be on stage, the qualified individual(s) should give an orientation to the actors and stage managers explaining the results of the production assessment and conducting a walk of all working areas pointing out the safety measures, hazard awareness, etc.
Thereafter, the qualified individual(s) should give an orientation to all replacement actors and stage managers as well as Swings and Understudies prior to their first rehearsal onstage.
Any conditions that change with production elements and/or in working areas, the actors and stage managers must be notified immediately prior to working with the production elements and/or in the working areas.
This Memorandum of Understanding does NOT apply to work done at Yale Repertory Theatre, as a member of LORT.
See below our current Covid 19 Policies and Guidance.
The following guidance has been updated to reflect the CDCs latest guidance on respiratory illness and Yale University’s updated approach. It has been expanded to include flu and RSV. People testing positive for COVID19., Flu and RSV will still be contagious. By following the new guidance, you are less likely to pass the infection on to anyone else. Prevention strategies like staying up to date on recommended vaccines, covering your coughs and sneezes, washing or sanitizing your hands often, and making sure you clean your frequently touched surfaces can also help.
If you have symptoms of a virus, fever, cough muscle aches etc. stay home and away from others until at least 24 hours after both. However:
If your symptoms are getting better, and stay better for 24 hours, AND you have not had a fever AND are not using fever reducing medication you are less likely to pass your infection to others and you can start getting back to your daily routine.
It is recommended that you take a COVID test.
Use the following added prevention strategies over the next five days:
Wear a well-fitting mask.
Practice good hygiene (hand washing and sanitization).
Keep a distance from others until you are no longer symptomatic.
If a fever returns, stay home until the fever ends.
Masks will be available in DGSD buildings and rehearsal rooms.
Please wear a mask if you have symptoms.
If you have COVID19 when you return to your normal routine, you should wear your mask through day 5.
Anyone who develops symptoms is recommended to do a rapid COVID test. Anyone over the age of 50 who develops symptoms is strongly recommended to do a rapid COVID test.
Rapid antigen tests are still available at these locations and from outside the Safety Office until the end of term.
If above testing for COVID-19 is negative and significant symptoms persist, individuals should consult with their healthcare provider. They should remain at home until they no longer have a fever and are feeling better.
Let your Chair/faculty/supervisor know. Stay home and away from others until at least 24 hours after both:
Your symptoms are getting better overall, and
You have not had a fever (and are not using fever-reducing medication).
If your symptoms are getting better AND you have not had a fever AND are not using fever reducing medication you may return to normal activities.
Mask for 5 full days.
Avoid large gatherings where you cannot keep your distance from people.
Wash your hands thoroughly.
The CDC is no longer recommending any specific action for close contacts.
Vaccination against COVID19 is strongly encouraged.
HIPAA Reminder: A person’s test result is confidential unless they give permission to share that information publicly.
https://campushealth.yale.edu/ for university guidance on masking, testing, and health guidelines. Please note that this is the Yale University site, and that on our production we will be following additional DGSD/Yale Rep guidelines as well as AEA guidelines.
https://www.cdc.gov/ncird/whats-new/updated-respiratory-virus-guidance.html for full CDC guidance.
In all open-air and tent theatres, an outdoor plan should be made in accordance with applicable standards (e.g., the current ANSI ES1.7 standard).
Available adequate covered rehearsal space, which should be safe, comfortable (e.g., temperature and relative humidity) and healthful (e.g., air quality) at all times should be provided.
A plan should cover, but not limited to, costume adjustments, hot and/or cold fluids (e.g., ice packs, cool water misters, Gatorade, hot water bottles, hand and feet warmers and other appropriate fluids, cooling and/or heating methods and devices) being made available and easily accessible to the actors and stage managers at all times, staying hydrated and a heat acclimatization and/or hypothermia and frostbite prevention program from a qualified individual or organization (e.g., physician, medical services, OSHA), limits on the length of time when engaged on continuous dance sequences and/or scenes requiring strenuous physical activity, extensions of time for rest periods and marking during rehearsal, etc.
Both thermometers and hygrometers should be installed and easily accessible in all zones within a space.
When the air quality has reached the “unhealthy level for sensitive groups” in the local area as defined by the Environmental Protection Agency (EPA), updates on the plan for the day and necessary accommodations for those who are included in the sensitive group as defined by the EPA should be made. When the air quality has reached an “unhealthy level” in the local area as defined by the EPA, work should not continue outdoors.
At the start of the first day when the actors and stage managers will be in the open-air and/or tent theatres, there should be an orientation for the entire cast and stage managers conducted by a qualified individual (e.g., physician, medical services). A copy of the plan should be distributed to each company member at the meeting.
An orientation by a qualified individual should be provided for all replacement actors and stage managers as well as swings and understudies, before their first rehearsal in the open-air and/or tent theatres.
Equity has a standard protocol for reporting all work-related illnesses and injuries. This system, which assists our injured members in navigating the complex workers’ compensation system, calls for a weekly report to be submitted by the stage manager with all such illnesses or injuries listed.
Injuries should be reported on a weekly basis, however, you can submit an injury at any time during the week. If no injuries occurred for the week, submit this form at the end of the week and indicate no injuries.
All work-related illnesses or injuries should be included, whether or not the actor or stage manager misses work or visits a physician. Also, a form should be submitted whether or not there are injuries in a particular work week.
If you have any questions or need further information regarding the form or the protocol, please contact the Injury Department.
The form submittal can be found here.