Category Archives: Handbook

Call for Proposals (Directors / Winter Shorts)

Student Drama Association
For the Fall Winter Shorts
Deadline: 3/29

  • Two previously produced plays running no longer than 40 minutes, and no less than one. (Yes, Famous For Fifteen shows count)
  • Two to five copies of the scripts. (As many as required to easily read aloud in a group setting, not exceeding a reasonable amount for you to print)
  • A 1-sheet letter discussing the potential directors ideas and concepts for the proposed production.
  • Up-to-date contact information.
  • Applicants are asked to have completed the Directing class and stage managed a main stage pro-duction. All applicants are welcome but priority will be given to those students who meet the above mentioned criteria.

The Theatre UAF Faculty will need to approve the final applicants. The directors and plays cho-sen will be announced on April 12th at the S.D.A. meeting (which goes from 1:05 p.m. to 1:50 p.m.) in the Green Room located next to the Graffiti Hall. If you cannot make it to this meeting, make a note on your proposal.

Scripts and proposal letters should be turned in to the Theatre & Film UAF department office located in the Great Hall / Room 302. (Really? yes!)


A. Proposal
1. Write a one page proposal outlining the faculty-directed show and role that you would like to work on for your thesis project. This proposal needs to be approved by the faculty before registering for the thesis course.

  •     Title of play
  •     Role to be performed
  •     Dates and location of performances
  •     Name of producing organization (Theatre UAF)
  •     Name of the director
  •     What role you are interested in playing and why.
  •     A brief synopsis of the plot and description of the character that you are interested in playing.
  •     Why this play and character is an appropriate choice for you as an actor and what you hope to gain from the experience.

B. Advisor Meetings
1. You are expected to set up and attend bi-weekly meetings with your thesis advisor to discuss your progress on the project. It is your responsibility to set up these meetings with your advisor, not the advisor’s responsibility to track you down.

C. Project Binder
Please divide a three-ringed binder into the following categories:

  1. Analysis: detailed written analysis of the play, including style, character, structure, setting, storyline, relationships. Be as detailed as possible about all the characters, themes, concepts in the play.
  2. Research: historical research of the time period in which the play takes place, reviews of past performances, interviews with the playwright, articles written about the playwright or play, interviews with actors or directors who have been involved in past productions, academic analysis or commentary on the work, visual research or media viewed.  Please provide a detailed bibliography of sources used and collected.
  3. Character analysis and detailed character background of your character. Be as detailed as possible including character objectives/goals, others, obstacles, tactics, expectations, relationships, victories. Discuss in detail physical and vocal acting choices based on character’s physical and vocal attributes. Include any research for portraying character’s physical and vocal characteristics. Include your understanding of the director’s concept for the show and how that played into your character development.
  4. Detailed journal of rehearsal process and personal preparation outside of rehearsal done for role. Journal should also include reflection on performances and a final self-assessment of your work on the role.
  5. A personal “critique” of the project.  This critique should address the major facets of your performance journey. This may include discoveries you made during the production process, both personally and as an artist.  Your response should address specific challenges and/or breakthroughs you experienced in terms of preparation and the enactment/portrayal of your character.  Conclude your critique with comments regarding what types of things you would encourage others to repeat, avoid, or change if they were required to do a similar project.
  6. Copy of the rehearsal schedule.
  7. Copy of the script broken down into units and beats. Assign an active verb to each of your character’s lines and an objective for each unit.
  8. Copy of script with blocking clearly marked (can submit same copy as unit/beat copy if neat and readable).
  9. List of personal props and costumes used.
  10. Copy of all notes taken during the rehearsal process (can submit handwritten notes if legible. Please type up if illegible).
  11. Copy of publicity, posters, reviews, program, photographs from show.
  12. Copy of updated resume and headshot.

D. Thesis Defense

  1. You will have a public thesis defense where you will give a presentation on your work on the role and written project. There will also be an opportunity for the audience to ask you questions publicly.
  2. You will have a private thesis defense with the theatre faculty and staff who will be able to ask you further specific questions about your process, choices, and written project.



Students proposing directing projects must meet all of the general guidelines for projects, as outlined in the General Guidelines for All Senior Thesis Projects.

All students proposing a “Senior Thesis” in directing must have a declared concentration in directing and must have completed THR 413W Playscript Analysis and THR 332 Directing Theatre prior to beginning actual production work on the thesis project. Students should have also functioned as an Assistant Director or Stage Manager on at least one faculty directed production prior to the submission of a directing thesis proposal. Students are reminded that this is a three-credit “capstone” course in the directing concentration; students must meet the thesis course guidelines as indicated below.

Senior thesis directing project proposals will be evaluated by the Theatre UAF faculty on the basis of previously completed coursework, practical directing history, the merit of the written proposal, compatibility with departmental season goals and schedules, and the availability of support staff. Previous directing experiences outside the department may also be considered in the evaluation and selection process.

The proposal for the senior thesis project in directing should include the following elements:

  •     Title and author of the proposed selection;
  •     Description of the style and genre of the play;
  •     Statement of cast size and gender distribution;
  •     Brief synopsis of the plot, as well as a description of primary characters and themes found in the work;
  •     Concept and design statement relating to HOW you will produce this show within the parameters of the project guidelines;
  •     Justification for WHY this play is a valid and appropriate choice for YOU as a director and for the theatre department as a whole.

For all senior thesis directing projects, the student must select a 45 minute- one Hour ONE ACT play script which can be effectively cast, designed, rehearsed, staged, produced, and presented in a minimalistic manner. (Any presentation which violates the time or staging requirements will be assessed a lower grade by the project advisor.)  More than one directing thesis project may be scheduled during the same evening. If this occurs, directors are expected to work collaboratively together as they plan and develop technical specifications which will work for each production. Each directing project will be presented two times for a public audience, free of charge. The Department has the authority to schedule the presentation dates and times to best fit time and space considerations.

As stated above, all senior thesis directing projects are to be presented in a minimalistic manner. Student directors will have access to a minimal budget (as determined by the faculty and department chair), which is to cover ALL production-related costs (except script purchase and royalties).  All purchases are to be approved by the faculty advisor prior to the purchase time. Remember the old adage: LESS IS MORE. After obtaining permission from the project advisor and faculty members in the design and technical production areas, directors may pull essential scenic, costume, and properties from department storage.  The faculty (in consultation with the student’s project advisor) must approve all production/staging elements of the production. Students are required to keep their assigned rehearsal space clean and organized at all times, and students who do not completely “strike” their technical elements after the project is completed will not be assigned a passing grade for the process portion of the project.

Student directors are responsible for coordinating and planning all aspects of the project, including the acquisition of necessary actors, staff, designers, technical personnel, and publicists. The Theatre Arts Department does not guarantee access to workstudy or practicum students, or to departmental staff in the shop areas – although it is our intent to help you fully produce your realized production.

The final grade for the senior thesis will be assigned by the project advisor, and will be based on both process (50%) and the final product outcomes (50%).  The remaining faculty members will provide the student director with written comments and reactions for their consideration.

Student directors must carefully document ALL aspects of the production process (as indicated by the project advisor) and compile a professional prompt book at the completion of the project. This prompt book MUST include the following elements:

  • finalized director’s concept/analysis statement (research when available)
  • finalized rehearsal schedule
  • scored script with blocking and textual notation
  • daily rehearsal records listing goals, activities, and outcome assessments
  • production meeting agendas and reports
  • marketing and publicity documents
  • a final self-assessment of both the PROCESS and FINAL PRODUCT

Advisor Meetings: You are expected to set up and attend bi-weekly meetings with your thesis advisor to discuss your progress on the project. It is your responsibility to set up these meetings with your advisor, not the advisor’s responsibility to track you down.

Faculty Feedback: You are expected to invite the entire faculty to at least 2 runs prior to opening. You are then expected to set up meetings with each faculty member for feedback.

Analysis: detailed written analysis of the play, including style, character, structure, setting, storyline, and relationships. Be as detailed as possible about all the characters, themes, and concepts in the play.

Research: historical research of the time period in which the play takes place, reviews of past performances, interviews with the playwright, articles written about the playwright or play, interviews with actors or directors who have been involved in past productions, academic analysis or commentary on the work, visual research or media viewed.  Please provide a detailed bibliography of sources used and collected.

Detailed journal of rehearsal process and personal preparation outside of rehearsal done for the production. Journal should also include reflection on performances and a final self-assessment of your work.

Thesis Defense

  1. You will have a public thesis defense where you will give a presentation on your work on the role and written project. There will also be an opportunity for the audience to ask you questions publicly.
  2. You will have a private thesis defense with the theatre faculty who will be able to ask you further specific questions about your process, choices, and written project.



Planning Period
1.    Become thoroughly familiar with the play.
2.    Know your fire fighting equipment and the location where each is to be found.
3.    Know which switches on the S.M. console control each work light.
4.    Obtain a scaled floor plan of the set from the Designer and lay out the set on the rehearsal floor.
5.    In the event an Assistant Stage Manager is assigned to the show, give him/her whatever duties you feel are (1) too burdensome for you to carry out, (2) within his/her capabilities of carrying them out, or (3) necessary for his/her to assume because of geographic location.  These duties should be spelled out clearly at the onset of your working relationship and added to as your needs become apparent.

Rehearsal period
1.    Attend rehearsals to become thoroughly familiar with the Director’s interpretation and wishes, actors’ blocking and all other phases of the production that will later need your attention.
2.    You are responsible only to and will take orders only from the Director (and assistant if (s)he has one) and the Technical Director of the show.
3.    Assume full responsibility for a professional attitude backstage once technical rehearsals begin.  You alone are responsible for a perfect performance and must have instant respect and response from actors, crew heads and crews.  Report any infractions or dereliction’s of duties by anyone that you yourself cannot handle to the faculty member involved.  It is your responsibility also that the show remains intact as it was rehearsed and the integrity does not suffer because of changes that may slip in.
4.    Keys and/or lock combinations will be assigned to you by the Technical Director.  You will open all doors necessary to the proper functioning of the performance and no others.
5.    Make a complete list of all actors, crew heads, crew members, light and sound board operators, and anyone else connected with the success of the performance as soon as possible or as soon as crew members are determined, and get their address and phone number.  If anyone is not at the theatre at least one half-hour before performance – longer perhaps for actors – you will either call or send a runner after that person.  Have all company personnel report to you personally and check them off on your sign-in sheet.
6.    Enforce no smoking or eating or drinking on stage or in the auditorium unless it is called for in the script.
7.    Sweep the stage before each rehearsal and performance.  At times it may be necessary to also mop or vacuum as well.
8.    Rehearse all shift crews until they arrive at the proficiency that is expected of them during performance.  This should occur before technical rehearsals begin.  Walk through all shifts slowly at first and speed up as conditions permit.
9.    Spike the set as soon as furniture or other scenic elements are set.
10.    Place luminescent tape or paint wherever necessary for actor’s and technician’s visibility during blackouts.  Inform the Head Electrician where running lights are necessary backstage for the actor’s safety.
11.    Make sure we have as tight security as possible by locking the theatre securely after each rehearsal or performance.  Do not depend on anyone else doing this.
12.    If headsets are being used for communication among the production crew, keep your on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.

Performance Period
1.    You have total authority during any performance and no one may dispute you.
2.    Keep all visitors out of the backstage area before, during, and after the performance.  Visitors backstage at any other time should have a guide.
3.    Before each curtain check entire set carefully; check all stage doors to make sure they work properly and are either open or closed as called for, check drapery hangings, furniture placement, pictures, props, etc.

1.    Assist in the strike until the end.
2.    Check on all Heads of crews to make sure all their equipment used for the play is put away properly.
3.    Take roll call at the end of strike and report to the Technical Director those people assigned to strike but didn’t make roll call.


Planning Period
1.    Become thoroughly familiar with the play.
2.    From the Head of  Sound, find out what sound effects are to be live and what is to be recorded.
3.    In consultation with the Head of Sound, decide on the most effective manner of recording the show, including which machine shall be used for each effect to assure the optimum conditions for running sound during rehearsals and performance.

Working Period
1.    The Head of Sound will show you how each unit in the sound system works.
2.    Once the show tape is made to the Head of Sound’s satisfaction, make dry runs of playing the tape back until you become familiar with the sequence of the machines in the show.
3.    Prior to Technical Rehearsal, set tentative sound levels with the Head of Sound and the Director.

Rehearsal Period and Performance
1.    Report in to the Stage Manager one hour before curtain.  You may have to be in working earlier however.
2.    You will be responsible for making sure the “house monitor” system is turned on at least one hour before the show begins and turned off as soon as the show ends.
3.    You will keep complete and accurate notes of all cues, levels, microphones used, and special sounds as they are set and rehearsed.  Whenever changes are made prior to Dress Rehearsal, you will practice until you are assured of running a smooth show.
4.    If headsets are being used for communication among the production crew, keep your on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.
5.    Every night at the end of rehearsal or performance, turn off all amplifiers, tape decks, mixers, house monitor, etc.

1.    Collect all sound equipment you have used and inspect for signs of damage or wear.  Any problem you have experienced, or anything you think might become a problem should be reported at once to the Technical Director.  Do not attempt to fix, modify, alter or otherwise change any equipment.
2.    Make sure that al equipment is picked up and put away in its proper place (including headsets).
3.    Leave the sound booth and its equipment room as neat or neater than when you started working there.
4.    Report to the Stage Manager that you have finished striking the sound equipment and have him/her examine your area before you leave.


Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script from the Director.
2.    Attend all Production Meetings.
3.    List all sound and music effects (both live and recorded) in chronological order as called for in the script.  (Music will hereafter be implied as part of sound).
4.    Confer with the Director to determine what additions or deletions (s)he wants to make; and the kind, quality, duration, and direction of sound for each effect.
5.    Know what equipment and effects are available to you from the Sound Assistant and learn how to use the equipment.
6.    If live musicians are used, consult with the Musical Director to find out what his/her needs are in the form of musician’s stands, lights, mics, speakers, power lines, instruments, etc.
7.    Plan placement of microphone, speakers, cables or other equipment wherever needed.
8.    In conference with the Director plan on time schedules for sound rehearsals.

Working Period
1.    Supervise the work of the sound crew and be responsible for all sound for the show.
2.    Learn what is available in stock, what can be borrowed, rented or bought and from where, and what can or must be constructed.
3.    Have the Director check on the sound., if possible, before recording it on the final tape.
4.    Make the final show tape on top-quality tape with adequately marked leader tape between cues on reel-to-reel tapes.  be sure to double check order of cues, duration’s, and timing, and relative sound levels.
5.    Instruct the Sound Board Operator how to operate the equipment (s)he will be using during the performance.
6.    Check to make sure all headsets are working. If they are not, report same to the Technical Director.
7.    Prior to technical rehearsals, in consultation with the Director only, but with the aid of the Sound Board Operator, take tentative readings of sound levels for each cue.

Technical Rehearsals
1.    Attend all technical rehearsals and remain in close proximity to the Director and be prepared to effect immediate changes or to take notes on further work that still must be done.
2.    Be prepared to take over the Sound Board Operator’s position in case of an emergency during any of the technical or dress rehearsals or performance.

1.    Strike and secure all sound equipment in its proper place.
2.    Report to the Stage Manager when your work is finished so (s)he can check you out.
3.    Return any borrowed items on the next Weekday following strike.


Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crew’s use.
2.    Attend all Production Meetings.
3.    Obtain a copy of the script for your own use and make a list of all properties including set props (furniture, rugs, mirrors, drapes, etc.), hand props, costume props and food stuffs.  Check this list with the Scene Designer and Costume Designer to determine which props they will be responsible for on the list.
4.    Check next with the Director and obtain from him/her a complete and accurate description or sketch of each and every item
(s)he wants in the show and the allowable minimum (s)he will settle for if the wanted item is unavailable.  Consider lengths, widths, depths, style, color, material from which it is made, texture, added decorations, sound, condition (shabby-elegant, old-new, soft-hard, flexible-rigid, etc.), use or strain to which it will be put, trick effects or anything else that may apply.
5.    Check again with both the Designers to ensure correctness of historical accuracy and visual effectiveness of the Director’s needs and wants.  If a dispute arises, let them settle it between them and notify you of the decision.
6.    Go with the Property Master and only examine at this time all items in property storage that can be used in the show, and check these off you list.  Have him/her reserve these for you.
7.    Repeat above with the Costumer and check off usable costume props.
8.    Determine what the budget is for properties from the Technical Director.
9.    Break down the complete prop list into four separate lists: things in stock. things to buy, things to make, things to borrow.
10.    Post property-crew calls on the Call Board if appropriate.
11.    Check with the Director to find out essential rehearsal props the actors will need.
12.    With the Theatre Technical Director, plan work space, time schedules, what materials are available for your use, formulas, working methods or procedures to use, and current ground rules for the shop.

Working Period
1.    Fashion or furnish reasonable substitutes of the real item for use as rehearsal props.
2.    Get prop cabinet keys from the Theatre Technical Director and secure all props including rehearsal props at once and always.
3.    Check out all department props with the Property Master.  You will be held responsible for each prop checked out to you and for item return in good condition.
4.    Repeat above with the Costumer.
5.    Begin work of making props by starting on the most difficult ones or the most time-consuming ones first.
6.    Begin the search for borrowed or rented items.
7.    Buy necessary items; see the Theatre Technical Director for purchase options.
8.    Make complete check lists of props on the stage and their exact placement; those off-stage right, left and elsewhere; when, which and where props are struck; the same for those which are placed on stage or shifted; and who is responsible for edibles.  Note: Wash all food containers, glassware or silverware that an actor is to put to his/her lips, and maintain sanitary conditions around them as you would in your own home.

 Technical, Dress Rehearsals and Performances
1.    Replenish expendables.  Food, cigarettes and other goodies are not to be consumed off-stage by actors or stagehands.  Keep your purchase of these items to a minimum (bare necessity) and keep
2.    Check in  with the Stage Manager at least one hour before curtain.  If the show opens with the curtain up, allow enough time to set up props so that the House Manager can open the house 3/4 hour before curtain.
3.    Secure all props each night in locked areas.  Any broken or damaged items must be repaired in sufficient time for the next performance.  Consider the drying time of paints and glues.

1.    Strike all props immediately to their proper place and in their proper order.  Check in appropriate departmental props to the Property Master or Costumer.
2.    Secure all borrowed props until they can be returned to the owners on the first weekday following strike.
3.    Check out conditions with the Stage Manager before you leave strike.
4.    Return all borrowed or rented props, and clean out all cabinets.  Everything in them has a place of repose elsewhere.


Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend blocking rehearsals or run-throughs with the Master Electrician to observe entrances, exits and major business of the actors.
3.    Obtain a script for your use in the booth from the Lighting Designer.
4.    Obtain enough tracking sheets for each major cue from the Theatre Technical Director.
5.    Learn how to operate the control board from the Master Electrician.
6.    Study the light plot for areas, specials, backing lights, etc.

Working Period
1.    May be required to attend focusing session and heat or dim individual lights as they are called for.
Technical Rehearsal
1.    Set light levels for each scene or for each change of lights within a scene as called for by the Lighting Designer.
2.    Record each dimmer reading on the appropriate form in soft pencil only as each scene is set.
3.    Know what action must be taken to go from cue to cue and record everything you do in the script so that in an emergency the Master Electrician can take over.  Erase old orders and record new changes as they are made, however ephemeral.
4.    You may receive orders to change cues, timing or sequences only from the Lighting Designer or Stage Manager during the show.
5.    Practice on your own in a dry-run situation, if necessary, after the first technical rehearsal until you know your board, the play, the cues and the lights you are controlling.
6.    If headsets are being used for communication among the production crew, keep yours on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.
7.    Lighting alone cannot make a bad show good, but it can make a good show bad.

Dress Rehearsal and Performances
1.    Let no one enter the control booth except the actual control board operator.  Ask anyone else to leave and enforce it!
2.    Maintain as near-absolute silence as possible in the booth.
3.    Do not bring drinks into the booth or allow drinks to be brought in.  One spilled container might short out the whole board.  Cost? $ 7,000.00.
4.    Concentrate on your work.
5.    Be alert.  Don’t get caught napping through a cue.  Always know what your action will be and prepare for it.
6.    Develop a light, delicate tough, e.g., don’t “whomp” up house lights after a dimly lit scene.

1.    Clean control booth and control board, remove labels and markings that you have made.
2.    Run all dimmers to 0.
3.    Put everything in order.
4.    Assist the rest of the lighting crew on stage.


Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend all Production Meetings.
3.    Review the light plot with the Lighting Designer until you are as familiar with the plans as (s)he is.
4.    Schedule work sessions and post light-crew calls on the Call Board.
5.    Become familiar with the operation of the Control board.
6.    Know where all theatre circuit breakers are located and the general areas they control.

Technical Rehearsals
1.    Attend all technical rehearsals.
2.    Be prepared to make immediate changes (or receive notes about changes to be made later) on any work you may have previously done or additional work that you may be asked to do.
3.    Be prepared to take over the duties of the Control board Operator in an emergency.

1.    Check in with the Stage Manager at least one hour before curtain and check each light for power and for proper electrical and artistic characteristics.  Repair any trouble that may exist.
2.    Stand by to trouble shoot during the show if necessary.


Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend all Production Meetings
3.    Make a chart showing which actors are in which scenes in the play.
4.    Make this chart available to the Assistant Costume Designer.
5.    In consultation with the Director, compile a complete list of costumes and accessories demanded by the script or by the Director.
6.    Know what your entire costume budget is, and how much you must allow for laundry costs.
7.    Make rough sketches and get Director’s approval on style and interpretation before proceeding.
8.    Make finished color sketches with material swatches, if possible, and get Director’s final approval.
9.    Provide all necessary working drawings for the construction crew and cutter.
10.    Plan the construction of costumes, and make crew assignments.

Working Period
1.    Attend earliest run-throughs to become familiar with actors’ movements and business.
2.    Check with the Director or Stage Manager for the need for quick costume changes and prepare for such.  Notify the Head of Wardrobe of same.
3.    Select and purchase fabric, accessories and other needed items.
4.    Confer with the Head of Special Effects in the event costumes figure in his/her effects.
5.    Attend all final fittings.

Dress Parade, Dress Rehearsals
1.    Attend Dress Parade and all Dress Rehearsals.
2.    Take notes on costume adjustments and relay information to the Head of Wardrobe as soon as possible.
3.    Make any changes in costumes up to but not after the final Dress Rehearsal.


Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crew’s use from the Director.
2.    Attend initial Production Meeting for Director’s interpretation and wishes and blocking rehearsals or run-though.
3.    Obtain the inventory list of all lighting instruments from the Technical Director.
4.    Examine a blue-print of the ground plan for the set and sectional if necessary.
5.    Obtain a copy of the circuit plot.
6.    Examine existing mounting positions and any possibilities of new additional ones.

Working Period
1.    Attend blocking rehearsals or run-though to observe actors’ movement.
2.    Make complete light plot which contains:

  •     Breakdown of stage into numbered (or lettered) light areas and specials.
  •     Mounting positions of each instrument.
  •     Outlet number into which it is connected (or space for the electrician to notate this).
  •     The area into which it is to be focused.
  •     Type of instrument and wattage of lamp.
  •     Color media type and number.
  •     Special accessories or alteration of instrument.
  •     Power patch interconnections plan.
  •     Instrument schedule filled out.
  •     An indication on tracking sheets of which dimmers are used in each scene / cue.

3.    Meet deadline for completing plot.
4.    Go over complete plans with the Master Electrician until (s)he understands the light plot as thoroughly as you do.
5.    Attend focusing session and either focus lights yourself or supervise the work of others.
6.    With the entire light crew and the Director, set tentative light levels before technical rehearsals.

Technical Rehearsals
1.    Attend all technical rehearsals.
2.    With the Director’s approval, direct subtle changes or nuances that might occur in lighting levels, speed of changes, timing of cues, etc.
3.    Observe color effects of colored lights on color of set, costumes and make-up to ensure enhancement of them.
4.    Make whatever changes you and the Director deem necessary up to but not including the last dress rehearsal.



Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for your and your crew’s use from the Director.
2.    Attend initial Production Meeting and exchange ideas with the Director concerning visual aspects of the play.
3.    Know your budget, space, time and personnel limitations.
4.    Do necessary research.
5.    Check:

  • Technical demands of the play.
  • Sight lines and relationships of the auditorium to the stage.
  • Alteration possibilities of the proscenium arch.
  • Trace of house and asbestos curtain.
  • Light bridge position.
  • Size and shape of the stage and all architectural features.  Obtain or make a ground plan and section drawing of the stage.
  • Trace of the cyclorama.
  • Rigging equipment.
  • Shop facilities and equipment.

6.    Check artistic and practical requirements.
7.    Obtain the inventory of flats from the Theatre Technical Director (if one is available).
8.    Make initial rough drawings and periodically check with the Director for further clarification and assurances that a unity of production styles is evolving.
9.    Use stock scenic items in your set whenever possible without destroying the integrity of the unit.
10.    Make complete working drawings: ground plan, elevations, detail drawings and, if necessary or wanted, a model, colored perspective sketch, rear elevation, hardware charts, etc.  Have 3 blue-lines made of the ground plan.
11.    In consultation with the Theatre Technical Director, run an accurate cost estimate for all new materials needed and check against the allowable scenery budget.
12.    Meet your deadline for turning over completed drawings to the scene shop.
13.    Go over the entire set of plans with the Production’s Technical Director until (s)he is as familiar with the plans as you are.  Include cost estimate.
14.    Go over the designs and painters’ elevations with the Head of Paint Crew and discuss the order in which units are to be painted, style of technique, color mixing and any other information pertinent to your show.
15.    In consultation with the Director and the Head of Properties, select the proper style and period of all props: size, color, shape, special demands, sound, type of material, texture or any other information that will clarify each and every prop.  Design props when called to do so.

Work Period
1.    Select draperies, upholstery material or any other item that will demand only your artistic judgment.
2.    Supervise the Head of the Paint Crew yourself.

Technical Rehearsal Period
1.    Check trim of curtains, drapery folds, set decor or trimmings and those times which directly affect the scenic contribution to the performance.
2.    Make any changes which are visually necessary to make a dynamic scenic contribution to the performance.
3.    Give special instructions to the Stage Manager concerning those scenic items that need his/her special attention during the run.



Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crews’ use from the Director.
2.    Attend all Production Meetings.
3.    In consultation with the Scene Designer, go over the plans and working drawings until you are as familiar with the plans as (s)he is.
4.    Examine all units that can be pulled from stock.
5.    Prepare a list of materials that are needed and turn this over to the Theatre Technical Director for requisitioning.
6.    Steps 3, 4, and 5 might be repeated with variations for the Lighting Designer, Head of Properties, Sound Composer, Head of Special Effects and the Stage Manager.
7.    In the event you are assigned an Assistant Technical Director, share with him/her these items stated herein that you wish to relinquish.  Although you will ultimately have the final responsibility, settle on a clear-cut division of duties before you start work.

Work Period
1.    You will be responsible for all the staff under you as outlined in the PRODUCTION ORGANIZATION CHART.  Although you may not do all or, for that matter, any of the work in a particular category, you should be sure crews are filled, work progressing satisfactorily and that workers are being trained in preparation for Technical Rehearsals.
2.    Post all crew calls.
3.    Supervise the work and work habits of crew members.  Insist that all safety measures are observed and all are aware of possible dangers inherent in a job.
4.    Always keep your work areas as clean as possible.  Put away all material and equipment, tools, hardware and the like at the end of every work session.  Insist on an orderly, clean, safe shop.
5.    Prepare stock items for use.
6.    Build any new units as needed as quickly, as easily, as strong, as well assembled and as safe as is possible.
7.    Prepare all flats and other units for painting.  Check to make sure all edges of flats are glued tightly, dutchmen applied where necessary, holds patched or covered, flats are scrubbed or non-bleedable or not thickly covered with paint, etc.
8.    Meet all pre-established deadlines.
9.    In consultation with the Stage Manager, the Head of the Shift Crew, the Head of Properties, the Wardrobe Head or with anyone else who may be affected, work out a choreographed scene shift master plan plus a breakdown of the plan into individual crew members’ movements and duties.
10.    Prepare stage for scenery setup and supervise movement and positioning of units in their proper place.
11.    Make any necessary adjustments or repairs through to the final performance.

Technical and Dress Rehearsal Period
1.    Attend all Technical and Dress Rehearsals.  Stay in close proximity to the Director.
2.    Keep all crew members quiet.
3.    Receive all complaints, comments or instructions from the Director and pass it on to the Head of the crew involved either immediately or after the rehearsal.
4.    Assume all the responsibilities for the proper technical functioning of the entire production except for the Director’s responsibilities.  You have an equal voice with the Director for correcting errors of a technical nature committed by anyone at any time unless the Director does not want to stop or interrupt a scene for any reason.  Do not waste the actors’ time, however, by correcting a time-consuming task that could be corrected more easily the next day during working hours.

1.    Plan the strike: the sequence in which items are to be removed, assign responsibilities to Heads of crews, and check their work before they leave.
2.    In consultation with the Stage Manager prior to the final performance decide which actors are to be excused from strike.
3.    Leave the stage swept clean and all stage equipment neatly stored away.  Possibly paint the stage before leaving.
4.    Leaving a clean shop, a clean stage and everything stored in its proper place is your final responsibility.  Check with the Theatre Technical Director for his/her approval and release.


*Work assigned hours a week in your given job to fulfill your assistantship
*Assist the Theatre Technical Director directly and, consequently, others indirectly in whatever capacity you can or whatever assignment has been given to you.
*The technical assistant will instruct and help all other students regardless of their class standing, their job assignments, personalities, or their previous knowledge or ignorance to fulfill as far as possible their latent talents, to instill a love of “good” theatre in their hearts, to lead them to a sense of accomplishment in a job well done, to encourage scholastic as well as production excellence, and to inspire as senior-student leaders a constant desire to improve on what has gone before.  As immediate supervisors you will probably be in the best position to lead these neophytes to greater excellence than anyone else.
*The “shop” assistant will work as a member of the team with the Technical Director (Costumer for Costume Shop assistant).  Their responsibilities will be his/hers in a minor fashion.  (S)he will assume full charge in their absences.  (S)he should be fully acquainted with all production-job duties, know how to operate all equipment and tools safely, know shop operations and procedures, know all technical skills, and be able to function with a maximum of level-headedness during periods of stress.
*The “sound” assistant will supervise the inventory, maintenance and repair of all sound equipment within his/her ability to do so.  (S)he will instruct as many students as possible to the proper use of the equipment so that there will be a continuing flow of capable talent.  (S)he will supervise the cutting of sound tapes and supervise the sound cues, levels, and board operation during the technical rehearsals.  (S)he will report needed expendable items to the Theatre Technical Director well in advance of their being critically needed.
*The “light” assistant will supervise the inventory, maintenance and repair of all lighting equipment within his/her ability to do so.  (S)he will instruct as many students as (s)he can as to the proper use of the equipment so that there will be a continuing flow of capable talent.  (S)he will supervise the work of the head electrician, and supervise the lighting cues, intensity readings and control board operation during the technical rehearsals.  (S)he will report needed expendable items or needed repairs or maintenance beyond his/her ability to the Theatre Technical Director well in advance of their being critically needed.
*The “properties” assistant or Property Master will supervise the inventory, maintenance and repair of all properties owned by the School that is within his/her ability to do so, and maintain order, cleanliness and security in the storage areas.  All properties are to be his/her responsibility, and (s)he will maintain such records that (s)he will know where all properties are at any given time.  Anyone checking out properties will sign a PROPERTIES CHECK-OUT SHEET or EQUIPMENT BORROWING FORM (see Appendix).  All properties will be checked in and out personally by the Property Master at times specified and posted on the property storage room door by him/her.  (S)he will assist whenever (s)he is available in helping students gather together, select, buy or make properties to be used in any production although the responsibilities stated in DUTIES OF HEAD OF PROPERTIES are not his/hers in any way.  When available, during show-construction times, the properties assistant will aid the “shop” assistant.
*The shop assistants will work well within the confines of any safety standards set forth by either Theatre UAF regulations or common sense.  (S)he will not knowingly let anyone else work in a careless or reckless fashion.
*The shop assistant will work with such decency as good manners, good taste and good judgment dictate.

Company Rules

University of Alaska Fairbanks Theatre Company Rules
1.    Please sign in immediately upon arrival for each call. beginning with tech.  Never sign for another actor.
2.    Please use the stage left stage door if you are rehearsing on stage or in the Lab Theatre.
3.    Please use the dressing room level door for dress rehearsals and performances.
4.    Please do not open the sliding doors to enter the theatre.  Do not prop open or interfere with the latching mechanism of any door in the theatre.
5.    Please open and close the stage door quietly.
6.    Please do not open the sliding doors between the stage and the Lab Theatre or the doors between the stage and the Scene Shop.
7.    Please report to the Technical Director or Stage Manager if you break or notice the breakage of ANY THEATRE EQUIPMENT.  We accept that these things happen, but we can not fix it if we’re not informed it’s broken.
8.    Security is your job too.  Please lock up after yourself.  Return all tools, equipment, etc. to their proper place AS SOON AS YOU ARE DONE WITH IT.
9.    Smoking is forbidden anywhere in the theatre.  The only exception is the designated smoking area in the Lab Theatre.  If you do smoke, please use the ashtrays provided.
10.    Please do not eat in the house.  If you bring food to the theatre, please eat in the Lab Theatre only.  Please put all refuse in the trash cans that have been provided.
No smoking, eating or drinking will be allowed on stage after scenery is on stage, the sky cyc is down or curtains hung unless, of course, it is called for in a show.
11.    Please remain backstage after the house is opened on performance evenings.
12.    Please stay out of the box office.
13.    Please stay out of the Control Booth.
14.    Extremely important and emergency messages can get to you by calling 474-7751 during performances.  Other department phones may not be answered.
15.    No visitors are allowed backstage or in dressing rooms during performances.
16.    Please do not engage the Stage Manager in idle conversation during rehearsal or performance.  Wait until there is a break or intermission.
17.    Please do not mingle or otherwise make yourself visible to the audience during intermissions.
18.    Please do not talk loudly or engage in other noisy or distracting activities during rehearsal or performances.  Get used to whispering backstage early in the rehearsal process.  Be sensitive to the noise your shoes or other costume parts make while moving.  Try to make your movements backstage as silent as possible.
19.    Please wear appropriate clothing backstage.  Do not go barefoot.
20.    All cast members must take curtain call in complete makeup and costume.
21.    Please stay out of entrance areas during entrances and exits of other actors and during scene shifts.  Remember: if you can see the audience, they can see you.
22.    Please do not run backstage unless you are explicitly instructed to do so.
23.    Please be alert for your cues.  The Stage Manager is responsible for warns only at the top of each act, not before individual cues once the act has begun.
24.    If you have a conflict with other actors or members of the staff or crew, please bring the problem to the attention of the Stage Manager immediately.  Do not allow a small problem to become a full-blown crisis.
25.    You will be expected to attend strike following the final performance.  Your individual strike responsibilities will be assigned prior to closing night.  Please wear clothes appropriate for strike work.
26.    Please be aware of potential life-safety problems.  If you discover an unsafe situation, please make the Stage Manager aware of it immediately.  Please note that on the UAF campus the Emergency Phone number is 1911.
27.    Please make yourself aware of all exits and fire fighting equipment locations.
28.    Please make yourself aware of the location of the company first-aid kit.
29.    Never take costume items home with you during the run of the show even if the item is your own property (like jeans or shoes).  This will give the costume people a heart failure, and will set them rushing about all the next day looking for a replacement item under the assumption that the item has been lost.
30.    Put all accessory items in you accessory bag, including socks.  If you put your socks in your shoes the laundry worker won’t find them in the morning, and your socks won’t get washed.
31.    Keep your costumes to the right of the correct name board.  Even if you play more than one role.  This aids the staff in checking your costume in after the show.
32.    Shoes should be put on the lower platform of the rack under your costume.   Stack your shoes on top of others if necessary, but put them on the platform, not to one side, on the tables, or in your accessory bag.
33.    Hang each item on a separate hanger.  This speeds up check in, check out, and laundry.  If you lose your original hangers ask a dresser for new ones.
34.    Hang trousers by the cuffs through the fabric using safety pins on the top bars of the hanger.  Skirts should be hung in a similar fashion from the waist band.
35.    If you have any mending needs for your costume, please write it down on the “wish list”.  Write your name, describe the garment with the problem, and describe the problem itself as clearly as possible.
36.    Come on time to all fittings and measurement appointments.  If you absolutely can’t come when you are signed up for—call the costume shop to warn them you won’t be arriving.  If you forgot an appointment call them immediately upon remembering to schedule a new one.  People who repeatedly miss appointments are reported to the directors and get a reputation for unreliability.
37.    Take the time to be kind, considerate and friendly with the costume shop staff and dressers.  They are encouraged to do the same in return.  They are here to help you, but being mostly students, they don’t always know how without being told.  If you need something, ask in a polite, friendly manner and they will do their best to serve your needs.

Scene Shop Rules and Regulations

Scene Shop Operations, Rules and Regulations

Students not hired by the department are not allowed to be in the shop without a faculty member (or appointed student) to supervise.

Children are not allowed in the scene shop for safety reasons.  There is now Child Care offered for students through the Advising Center.  Please call them for further details.

If you take tool out of the tool cage, you are responsible for returning the tool to its place.

Students are allowed to use the facilities to work on private projects – times must be cleared through the Technical Director.

Do not use tools you have not been trained on.  See the Technical Director, and (s)he will be happy to set up a time to train you.  If  available, (s)he will teach you at the time you see him/her.
Safety Rules for the Scene Shop

Any workplace that uses electricity, flammable and toxic materials, and tools capable of cutting, gouging, and sawing is an inherently dangerous environment.  With a healthy dose of common sense and a few safety rules, however, working in the scene shop can be safe, efficient, and enjoyable.

  1.     Wear clothing suited to the work:  long pants, short or long-sleeve shirt, and shoes or sneakers (not sandals or open-toed shoes).  Clothing should be reasonably close fitting.  Don’t wear flowing robes-they might get caught in power equipment.
  2.     Tie back, put under a cap, or otherwise contain long hair so that it won’t get caught in a power tool.
  3.     Always get instructions before operating any power or hand tool.  Be sure you know what you’re doing before doing it.
  4.     Pay attention to what you are doing.  Don’t operate any tool unless you are giving it your undivided attention.  Watch your work area for potential hazards such as wood protruding nails and potential fire or electrical hazards.  Either correct the hazard (if you know how) or report it to your supervisor.
  5.     Keep your work space clean.  If the shop is kept neat, clean, and organized, accidents are reduced and you can find tools and supplies you need.
  6.     Know where the first-aid materials are kept.  Disinfect all cuts and splinters, and bandage even minor cuts.  Report all accidents to your supervisor.
  7.     When working with materials that emit dust or fumes, make sure that the work area is well ventilated and that you wear an appropriate mask.


Organization Chart

UAF Department of Theatre & Film: Theatre Production Organization Chart

What follows in chart form is a Table or Organization for productions sponsored by Theatre UAF. This may be extended or condensed or jobs combined depending on prevailing conditions and complexity of a show. This is, then, the chain of personnel through which orders and information should flow.

Dean of the School of the College of Liberal Arts

Department Chair


Assistant Director

Movement coach

Voice coach


    Musical Director

        Orchestra Leader

            Pit Musicians

        Backstage Musicians
Onstage Musicians



Theatre Technical Director

Technical Director

Assistant Technical Director

Scene Designer

    Assistant Designer
Head of Paint Crew

Lighting Designer

    Head Electrician

        Light crew
Floor Electricians

    Control board Operator
Follow spot Operator

Head of Properties

    Property crew

Head of Sound

    Sound board Operator

Set Construction Crew

Head of Special Effects

    Special Effects Crew

Stage Manager

    Assistant Stage Manager

Fly person

Theatre Costumer

Costume Designer

    Assistant Costume Designer

        Costume Crew
Wardrobe Head

            Wardrobe Crew

        Make-up Head

            Make-up crew

        Wig Master or Hair Stylist

Business Manager

Box Office Manager

        Box Office Crew
House Manger


Publicity Manager

    Publicity Coordinator

        Publicity Crew

Guidelines for Student Directing

Guidelines for Student Directing Opportunities – Practicum

The Lab Theatre Program, run through the Student Drama Association in conjunction with the Theatre UAF Faculty, includes all student-directed productions. See the S.D.A. for application requirements. Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their production in advance of registering for the credits.. Credit rarely exceeds 1 Practicum Credit. To see an official copy of the course syllabus for Theatre Practicum; please visit

It is advised that potential directors take at least one of the Directing courses offered (example: Directing Theatre or Film & Video Directing), Stage Manage or ASM for a mainstage production, and be involved in at least one mainstage production (as actor, running crew member, etc.) prior to directing a production of any scale.

Also see: Thesis Guidelines: Directing for additional information.

Theatre Practicum Performance

Theatre Practicum Performance
Credit is awarded for participation as a performer in UAF mainstage productions. Credit will vary from 1 to 3, depending on: a) size of role; b) length and difficulty of rehearsal process. Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their role / production before signing up for credit (must be pre-approved). In these cases; credits will rarely exceed 1 or 2. Also see: Acting Thesis Guidelines for additional information.

To see an official copy of the course syllabus for Theatre Practicum; please visit

Theatre Practicum Technical

Theatre Practicum Technical
Since no structured teaching takes place within the practicum format, the primary objectives are to develop previously acquired skills through participating in producing theatre and to develop new skills through on-the-job training in the production process.
The student may choose one of the following areas in which to concentrate his/her work or may combine two or more of these areas (as agreed upon in consultation with unit heads);

1. Scenery 2. Properties
a. construction and finishingb. running crew a. building and acquisitions
b. running crew
3. Lighting 4. Costumes
a. hanging and focusingb. running crew a. construction, hair dressing
b. wardrobe mistress & running crew
c. makeup crew
5. Sound 6. Publicity, Box Office, House Management
a. creating and recording
b. running crew
Job description available at box office
7. Production Staff
a. stage management
        39 Minimum hours for earning 1 credit;
        78 Minimum hours for earning 2 credits;

117 Minimum hours for earning 3 credits.

To see an official copy of the course syllabus for Theatre Practicum; please visit

The student must keep a time sheet and accurately record the number of hours completed on a regular basis. Each Running Crew position is equal to 1 credit of practicum. Since production work is seasonal, the student is reminded that the approach of production deadlines often demand a more concentrated use of time; a written schedule will be maintained, keeping in mind that the hours cannot be completely equally spaced throughout the semester. If a student does not complete the required number of hours for registered credits, (s)he may receive an unsatisfactory or failing grade for the course. Student commitment and quality of work, as well as the student’s attitude towards learning will be examined upon the assignment of grades.

Student Drama Association

Student Drama Association (SDA)

The Student Drama Association is dedicated to the support and promotion of theatre UAF productions as well as providing additional performance opportunities for UAF students from all disciplines.  The group provides both moral and limited financial support for performance projects of members (after review and acceptance of project proposals by the general membership).  Membership is open to all UAF students upon payment of dues.  The association also receives financial support from the ASUAF.  Other activities include occasional “Open Stages”, “Alternate works”, etc.  Still defining their role at UAF, they ask that you get involved and help find/create their place in the world.

Complimentary Ticket Policy

One complimentary ticket will be given to each registered Theatre Major and one complimentary ticket will be given to each student registered in a Theatre class other than 200X – for opening night or any Matinee thereafter.  Majors enrolled in theatre classes will only receive one ticket per show.

Two complimentary tickets will be given to each production’s running crew, cast and designers – good for any performance during the show’s run.  Majors, or those enrolled in a theatre class will only receive two tickets for that show.

It is customary for the last dress rehearsal to be open for a reduced charge (typically free) to registered full-time UAF students.  Majors, Minors, etc. should feel invited to these runs.  These are called “Preview”

Laundry Facilities

The laundry facilities in the costume shop are for official use by the department, with their primary purpose being for cleaning theatre department costumes.  These machines are maintained by the Theatre Department.  There are laundry and shower facilities located in the Wood Center for general student use.

The Theatre Department generally allows declared Theatre Majors in good standing to use the machines for personal use when:

  • The costume shop is open for general shop hours
  • The machines are not being used for official business
  • Not to be used without express permission of the costume shop staff between First Dress and Closing performance of any production in the Salisbury Theatre complex or other Theatre Department production.
  • Student(s) bring their own laundry detergent & softeners
  • Students clean up after themselves, and clear the machines promptly upon the completion of their cycles

These general allowances are a privilege – not a right, and will be discontinued if the machines, facilities or costume shop staff are not treated with respect.


School faculty, staff and theatre majors will all cooperate in maintaining prudent security practices.  Office doors will be kept locked when offices are unoccupied; strangers who are thought to be trespassing or handling Theatre UAF equipment will be politely queried; actions observed which are thought to be inconsistent will be reported to the Technical Director, Chair, or Security.

It is noted that loss or destruction of Theatre UAF property is not recoverable.  It is the policy to carry no insurance on most equipment.  The entire School and its programs suffers when equipment is lost, stolen or destroyed.  Therefore all members of Theatre UAF – you who are reading this – are urged to safeguard materials, tools, equipment, costumes, furnishing and fixtures.

The fact that there are over a dozen doors into the auditorium-stage-area alone that need locking should make it apparent that we cannot have doors open at will and still have protection.

Lock Combinations

Lock Combinations, Keys, and  The Green Room

The Green Room (Thtr 101) is for everyone’s use.  The combination is available to all theatre class and project participants.

Other Lock combinations and keys are available to Mainstage Stage Managers and others on a need-to-know basis.  Combinations will be changed after each show of the season.

All combinations are available through the Technical Director.


There are a limited number of lockers available for rent in the Fine Arts Building, first floor outside of the women’s dressing room.  There are also a limited amount available located in the Scene Shop.

Rental is currently $5 per semester through the S.D.A. (Student Drama Association) office.  Issuance is on a first-come, first-serve basis with S.D.A. members
getting first priority for requests, and Theatre Majors getting second priority.


Strike Night

Strike night is the closing night of a production.  The strike refers to the taking down and storing of all scenery, props, costumes, lights, etc. from the show.  All actors and crew members are expected to fulfill assigned specified tasks following the last performance.  With everyone helping, the task is easier and takes a shorter time.  Generally actors will be dismissed 2 hrs into Strike – which may be followed by a non-alcoholic cast-and-crew party to which all major, minors and invited friends are welcome.


Students should not bring valuables to the theatre.  Money, rings, watches, and similar items are easily stolen.  Do not leave such items in the dressing rooms or backstage.  Purses, wallets, money, rings, watches, keys, and other items of value should be given to the stage manager to be locked up in a secure place.  If you have a locker, use it.

Publicity policy


Actors may be needed for pictures to advertise the play. Full cooperation is expected.

Taking of pictures during performance is not permitted, but individual actors may often procure photos of the production from production team members who take photographs for their portfolios.

High resolution versions of the UAF Theatre & Film Department logos, Winter Shorts logos, and selected production photos are available at

Costumes, Makeup, and Props

In most cases costumes will be either made or purchased for each cast member.  Students are expected to furnish their own underwear, shoes, and possibly own outerwear for a show in modern dress.  If a costume needs to be fitted, it is the actor’s responsibility to be present when scheduled.  Actors should also report problems with costumes in a timely fashion. Men may be required to own a pair of black shoes and women a pair of black heels.  If rehearsal skirts or capes are necessary, the costumer will provide them.

An actor should learn to do his or her own makeup.  The actor should take the initiative to discuss with the director what is needed.  (S)he should begin early in the rehearsal period if a special, particularly difficult makeup is required.  A makeup crew will be available to help during dress rehearsals and performances requiring complex makeup.  Makeup may have to be supplied by the individual actor depending on the show.  Wigs will be provided by the department if needed.

Actors are encouraged to use props early in rehearsals.  Props will be in the care of the stage manager or the props manager and are always to be returned to them.  During rehearsals and performances, a special area will be established where props can be obtained .  Students are not, under any circumstance, to remove props from the theatre.


In a Mainstage production, the rehearsal period for a play can run from a 4 weeks to the entire semester. Rehearsals are sometimes held 5 nights and one weekend afternoon a week. They generally last about 3 hours.  In other words, this is a major time commitment. Not every actor is called for every rehearsal.  Rehearsal schedules for student directed one-acts will be somewhat less intensive and somewhat more flexible.

Actors are given a rehearsal schedule usually on a weekly basis.  Actors should attend all rehearsals calling for their scenes. Attendance is extremely important.  If one person is missing from a scene, the absence makes working on that scene difficult. No one should miss a rehearsal unless there is an emergency.  If an actor must miss a rehearsal, s/he should notify the director or stage manager in advance.

Actors are expected to come to rehearsals prepared and ready to work.  They are expected to conduct themselves with a professional attitude which indicates self discipline, initiative, responsibility, openness, honesty, and the ability to work with others.  Students should plan to be at rehearsal on time.  Tardiness is unacceptable.

Actors should wear appropriate clothing to rehearsals so that they can work with a great deal of freedom and be comfortable  Rubber-soled shoes, slacks. and loose shirt/blouse are suggested.  The important thing is to avoid clothing that will hinder the freedom of movement needed for the performance.

Cast and crew who are found to be undependable because they frequently miss rehearsals or arrive late, who are found under the influence of alcohol or drugs, have contracted an extended illness or sustained a severe injury, or cannot successfully continue their participation because of extenuating circumstances will be dropped from the cast or crew and replaced according to the discretion of the theatre faculty.

Members of the production staff should check with the director or designer to find out when they are needed at rehearsals.  Generally, the stage manager and assistant director should plan to be at every rehearsal.  Props manager and assistants should plan to be at all run-though and dress rehearsals starting a week to ten days before opening.  Makeup and costume crews should be on hand beginning with dress rehearsals or earlier if special needs require it.

Visitors are generally not allowed during rehearsals.  These sessions are work periods and not finished productions, and visitors may inhibit actors or may report unfavorably on the production without understanding the work in progress.  Students are to ask the director’s permission before inviting visitors.  Visitors are also not allowed backstage before the shows or during performances, but friends are welcome to visit after the performances.

Backstage Positions

Because our production policy involves a total theatre concept, we expect each major to work in every area of the theatre and gain as much experience as possible over a four year period. In our view, an actor will be better if (s)he understands what is involved in technical theatre, stage managing, costuming, etc.—a costumer will understand the needs of the actor better with some experience in acting. We also encourage theatre minors and non-majors to participate in this total theatre concept.
Production work is usually done every afternoon. Volunteers and other workers should plan to work consistent hours if possible every week.
The following descriptions should help students to understand the kinds of jobs which are available, and more in-depth descriptions are listed in the back of this book.

  • Stage Manager: setting up for rehearsals, sweeping the stage when needed, arranging the furniture and the props for rehearsal, taking notes for the director. During performances the Stage Manager is in charge of running the show and of coordinating all backstage activities.
  • Assistant Stage Manager: prompting and helping the stage manager with the production.
  • Stage/Lighting Crew: Working on the set, to building and painting the set, hanging and focusing the lights. May also help with props or other jobs on stage.
  • Running Crew: Help change the scenery, costumes, and props during rehearsals and performance.
  • Costume Crew: Building or altering costumes for the show.
  • Props Master: Obtaining and maintaining all hand props for the play, supervising props assistants, assigning jobs, make, find, or buy the needed props, setting up prop tables. After performance, puts props away and returns any borrowed materials.
  • Props Assistants: Assisting Props Master.
  • Sound Crew: Creating, recording, and running the sound.
  • Makeup Crew: Assisting actors with makeup and hair.
  • Master Electrician: In charge of hanging and focusing lights.
  • Electrician/Board Operator: The actual running operator of the dimmer system. May also operate follow spots of the other “hands on” electrical/lighting equipment during the show.

Borrowing Practices

1. Properties belonging to Theatre UAF will be checked out only at specified times during the week and only by the Technical Director or appointed personnel.
2. Furniture and properties will not be loaned to faculty, staff, or students for personal use in their homes or apartments.
3. Tools may occasionally be loaned out for private use overnight or for short periods of time during the day if (1) they are not needed by shop personnel at that time and (2) they are checked out with the Technical Director personally. No one else has the authority to check out tools or equipment of any sort unless the Theatre Technical Director so delegates authority. Any individual checking out tools or equipment assumes the responsibility of returning each item in the same or better condition than when they picked it up. Borrowers will be held liable for payment or replacement in like kind if items are lost or broken.
4. A rental fee will be charged for any piece of stage equipment borrowed by any other organization at the standard rental fee of 10% of the purchase price per week with a minimum charge of one week rental.

Use of School’s Name

Any activity resembling theatrical activity, any acceptance of a grant or grant proposal, or any use of the space, materials or labor force found within the School,. or any like situation to which reference is made or implied that Theatre UAF is sponsor. co-sponsor, instigator or beneficiary shall be forbidden to students or others without the prior approval in writing from the Chair and Business Manager. The Dean has the privilege, of course, of reversing the decision.


All Technical Theatre Emphasis Theatre Majors are required to exhibit their portfolio to the design faculty at the beginning of each semester. Exhibition Announcements are posted at the beginning of the semester at the Theatre Office and on the S.D.A. Bulletin Board. Students will be expected to bring a portfolio representing a rounded background of all their work from the past. In this portfolio, the student should include past class and production work. They must also submit a recent resume at this time. A place and time will be announced – most likely for the Green Room. Students should arrive early and set up their display area. The faculty will arrive at the designated time to view all portfolios. At this time students are encouraged to inform the faculty how they wish to take part in the upcoming semester.

Were you looking for current Portfolio Review information? That’s available here.
This is the Department’s policy on Portfolios.


Casting is a difficult process both for those auditioning and for the director. Talent is not the only consideration. Cooperation, dependability, creativity, intellectual understanding, physical suitability, psychological suitability, emotional maturity, and many other characteristics are involved. Those actors who are not cast are urged to get involved working backstage and to audition again. A student is more likely to be cast in future productions if (s)he becomes known as a dependable and responsible worker. Our casting process is color, race, religion and gender blind. Casting in all Theatre UAF productions shall be open; i.e., no parts may be cast prior to Open Auditions. Non-majors, faculty, staff and members of the community are welcome to auditions for all productions. In the event of two actors of equal ability, however, priority on casting will be given to theatre majors.


Open tryouts are held for each production. All Acting Emphasis Theatre Majors are required to participate in the morning audition workshop at the beginning of each semester. Audition Announcements are posted in the theatre office and the S.D.A. Bulletin Board. Posters and newspaper articles are also used to publicize the name, times, and dates of the plays.

The procedure for auditions is as follows: An audition appointment sign-up sheet will be posted at the Box Office so students can sign up for a specific audition time. At this time, audition information forms will be available for students to take and fill out – these will be collected at or by the audition. Upon arriving at the designated audition location (usually the theatre or Green Room), the student will submit the information form and a recent copy of their Resume. The student will then perform a monologue for the directors of all the productions that semester.

Depending on the director, actors will be asked to perform a monologue or read from the script. Sometimes callbacks are required.
For musicals, students should check with the director of the play for specific requirements. Typically, students are expected to come to auditions prepared to sing a song of his/her own choosing. Everyone is to provide his or her own music, and may select an accompanist – though one will be provided by the Theatre Department.

Were you looking for current Audition Information? That’s available here.
This is the Department’s policy on auditions.

Town Meetings

Mandatory General Meeting “Town Meetings”
Occasionally the department will call mandatory general meetings (called “Town Meetings”). These meetings will usually take place Tuesdays or Thursdays between 1:05-1:50 P.M., the all-campus free period in the Lee H. Salisbury Theatre. During this time, announcements of a general nature will be made, lectures of a theatrical interest given, discussions and exchange of ideas held. This meeting is mandatory for all declared theater majors, faculty members and staff involved in production. Visitors and other students are, of course, always welcome. As matters discussed at this meeting are of vital interest, everyone is strongly urged to arrange his/her class and work schedule to attend these meetings. Necessary absences should be discussed with the department Chair. Roll will be taken at the beginning of each meeting. Flagrant cases of unexcused absences may result in dismissal from the theatre program.

Production Participation Requirement

Majors and minors in theatre are expected to participate actively, extensively and continuously in the production activities of the program throughout their enrollment as majors or minors at the university. Typically, this mean that a major is expected to work on some aspect of every major production and a minor on approximately half the major productions. Failure to meet the department’s expectations with respect to such participation will be considered in approving students for graduation. A student whose failure to fulfill this expectation is, in the view of the theatre faculty, jeopardizing his/her future graduation approval and will be notified of this situation, and for this purpose each student’s progress in the program will be reviewed annually toward the end of each academic year. Theatre majors may take theatre practicum for elective credit, but it will not be counted in the credit total for the major.

Theatre Majors

Theatre Majors are expected to attend a performance of each UAF production. To aid in this; all majors are allowed One Complimentary ticket to each Theatre UAF production. These are available at the box-office two weeks before a show opens. In addition, students are allowed to attend the final preview at no cost. Student I.D. Is Required! Please see section on Complimentary tickets.
Majors with an Acting Emphasis are required to audition at the beginning of each semester for All Productions that semester. Auditions will be posted. Please read the Audition Section in this handbook.
Majors with a Technical Emphasis are required to exhibit their portfolios at the beginning of each semester. The exhibition will be posted. Please read the Portfolios Section in this handbook.
Theatre Majors are required to fully read and understand this manual / handbook.
The program in Theatre is structured to familiarize students with the theory and practice applicable to all aspects of theatrical production. With a variety of career options open to theater majors, the program’s coupling of classroom study with a substantial schedule of productions is designed to prepare the student pursuing the major or minor for employment or further education. In addition, theatre classes and productions are open to the participation of all students and provide unique opportunities for creative expression and development when coupled with other programs. Students pursuing a major or minor in theatre are encouraged to work closely with a theatre faculty member in arranging their individual program of study, including courses in related disciplines.
See Production Participation Requirement and Mandatory General Meeting sections.

Selection of Shows for Mainstage

Main stage productions are the mainstay of the department’s economy. They are the means by which all other things are possible; Studio Theatre, hired assistants, acquisition of materials, equipment maintenance, etc. Therefore, it behooves each and everyone of us to support this fully and to do everything possible to make this a success, for without it being a success, everything else fails. It is the major showcase of the department whose purpose is to put before an audience the very best and highest quality of performance of which we are capable. The purpose of the mainstage plays, then, is to create a steady attendance to shows that are popular with all audiences. Therefore they may be less experimental in nature than those produced in Studio Theatre. The season is very carefully selected with these factors in mind.