Page History

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1. Review casting policy. Make sure they're aware that the audition pool could be small.
2. Review time maximums (15 hours per week)
3. Make sure the director understands that casting an actor with a lot of conflicts in a lead role makes for stressful rehearsal scheduling
4. Review overall rehearsal scheduling policies with the Director and SM; make sure each individual's role and responsibility is clear
5. Performance Space Constraints
6. Other Policies
   1. Ensemble DEI Policy (on website under Administrivia)
   2. Ensemble Member priority 
   3. Make sure the director has signed a Director Contract (should be done around director choice/play choice)

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It is a good idea to try to make designers stick to their deadlines, it makes for smoother sailing.
Things to keep in mind include:

• Dates of Designer Runs and Costume and Props parade should be decided upon early
• Lights final deadline should be at least a week after Sets final deadline or Designer Run, whichever comes later.
• Costumes and Props final deadline should be near Costume and Props parade
• Publicity should be done relatively early, especially in the spring. Teaser posters should be put up at least a week before put-in. Final posters should appear on campus starting at put-in.

Production Staff Issues

• Director/Design Meeting: if possible, set up a meeting with the Director, Set Designer and Costume Designer at the earliest-this can be done as soon as those positions are filled, even before auditions(Sound and Lights can be included as well, though Lights could need more concrete input on Sets first). Since these two departments often need the earliest start, it helps to map out any concepts/ideas with the Director so that they can start designing asap. If it's hard to schedule, this can also be done alongside the Director Onboarding meeting. (note: this should ideally be a more in depth conversation that the pre-production meeting with all prodstaff discussed above).
• Dates of Designer Runs and Costume and Props parade should be decided upon early
• Lights final deadline should be at least a week after Sets final deadline or Designer Run, whichever comes later.
• Costumes and Props final deadline should be near Costume and Props parade
• Publicity should be done relatively early, especially in the spring. Teaser posters should be put up at least a week before put-in. Final posters should appear on campus starting at put-in.

Production Staff Issues

It is important to check in regularly with production staff to make sure that everyone is doing their jobs. If anyone is not on top of things, consider monitoring them more closely. If they are unorganized, help them get organized. If they are unsure how to something should be done, explain it to them or have them talk to a more experienced ensemble member. If they are slacking, meet them in person and create a more stringent work schedule. If they are unresponsive to email, call them. If they are unresponsive to calls, try reaching them through It is important to check in regularly with production staff to make sure that everyone is doing their jobs. If anyone is not on top of things, consider monitoring them more closely. If they are unorganized, help them get organized. If they are unsure how to something should be done, explain it to them or have them talk to a more experienced ensemble member. If they are slacking, meet them in person and create a more stringent work schedule. If they are unresponsive to email, call them. If they are unresponsive to calls, try reaching them through one of their friends. If all else fails, pay them a personal visit. Not everyone responds to email regularly: it is your job to adapt to their preferred means of communication, not vise versa.

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It helps to have production meetings scheduled at a regular time (Sundays after rehearsal, for example). The first and last prod meetings are typically 60 minutes long and include the full prod staff. All other meetings can be split in two by departments (see prod contract). Prod staff members (except the Producer, TD, and SM) are only required when their department is called. Usually, however, it tends to be easier to call everyone and try to arrange the meeting to accommodate those who have to leave.

Rehearsal Period

First Readthrough (IMPORTANT!)

At the first readthrough, you should make several announcements, including

Note post JC 2023: If any prodstaff member, especially department heads/designers are not able to attend the meetings, ask that they fill out an updates form/report before the meeting. This should include what they worked on over the past week, any issues they ran into, and any questions they have for the Director/Producer. Make sure this requirement is outlined in the prodstaff contract.

Rehearsal Period

First Readthrough (IMPORTANT!)

At the first readthrough, you should make several announcements, including

• Introduce Producer, SMs, Officers (Introduce Producer, SMs, Officers (+ Phone Numbers)
• Review Performance Dates
• Upcoming Events, Office Access
• Callboard
• Key Dates (Off Book, Designer Run)
• 15 Hour Policy
• Conflicts: Alert SMs, Test Conflicts
• No Lateness, No Unexcused Absences
• Requirements: build hours, booth hours, put-in, strike
• Make clear that designers are in charge of things getting done, they should not be doing everything themselves
• Schedule Overview, Tech Week
• Group Introductions
• Director Vision
• Measure for costumes - invite costume designer

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1. Auditions
2. Read Through
3. Designer Run(s)
4. Costume and Props Parade
5. Papertech (SM)
6. Q2Q (SM)
7. Put-in and Strike (TD)
8. Put-in and Strike (TD)
9. That the fight choreographer gets credited in the program if there was fight choreo

Video Policy

To Co-Produce or Not Co-Produce

Producing can be a lot of work, so in certain cases, it might be reasonable to split the job between two co-producers. However, co-producing requires a lot of coordination and organization. Be prepared to see your co-producer a lot. A good pair of co-producers will typically:

• Have similar work habits
• Both be willing to take initiative and responsible for tasks
• Communicate well with each other
• Will remain on good terms even in times of crisis

If you decide to co-produce, it is useful to have a Google spreadsheet shared between the two co-producers of all the producer tasks. Assign a co-producer to make sure it gets done; when it is, check it off on the spreadsheet so both co-producers know. To make sure both co-producers are kept in the loop, create an email list with both co-producers and make sure that prod staff/actors use this email list.

2. That the fight choreographer gets credited in the program if there was fight choreo

Video Policy

To Co-Produce or Not Co-Produce

Producing can be a lot of work, so in certain cases, it might be reasonable to split the job between two co-producers. However, co-producing requires a lot of coordination and organization. Be prepared to see your co-producer a lot. A good pair of co-producers will typically:

• Have similar work habits
• Both be willing to take initiative and responsible for tasks
• Communicate well with each other
• Will remain on good terms even in times of crisis

If you decide to co-produce, it is useful to have a Google spreadsheet shared between the two co-producers of all the producer tasks. Assign a co-producer to make sure it gets done; when it is, check it off on the spreadsheet so both co-producers know. To make sure both co-producers are kept in the loop, create an email list with both co-producers and make sure that prod staff/actors use this email list.

It can also be fun to make a couples' name for the co-producers. 

Assistant Producers

Having an Assistant Producer is a great way to involve underclassmen/people new to theater in dirstaff-and it also takes some of the load off you! It's very useful to get a second opinion on any show-related decisions you're making, though the ultimate responsibility falls on you. It can be difficult to split up tasks between assistant and lead roles; I would recommend having a shared to-do list and asking them to fill out any tasks they particularly would like to help out with. It is also nice to ask Assistant Producers to help out at the beginning of the show timeline, when there is a lot of producing work to be done: they can help out with sending prodstaff offers, and with auditions if they are not auditioning. Make sure they are kept up to date on all show business( cc them on any emails you send/make a shared mailing list), and if they're new to prodstaff/the ensemble, make sure they get an intro into what producing is all about! By the end of the show, they should ideally know everything producing entails, and may even want to produce a future showIt can also be fun to make a couples' name for the co-producers. 

To Act or Not To Act

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1. Take care of yourself. Be positive. Keep calm and produce on.
2. Be prepared to be available 24/7, when someone in the production needs you, you need to be ready to respond and help or direct them quickly to ensure the show continues forward forward
3. Keep Interactions with the Director Positive
4. If Transitions are difficult, have a Transition Call.
5. If you find yourself stuck on unsure of what to do, ask the Officers for help. You can also call on former producers for advice.