Theatre

Handbook






By Matthew Ciulla

Independent Study:
Advanced Technical Theatre C
Nancy Webster
May 2010
1

Table of Contents

SECTION 1: Putting on a Production at University High School
a) For Directors3
b) For the Producer...5
c) Technical leadership and crew.....6
d) Construction.8
e) Lighting....9
f) Props.....12
g) Sound13
h) House15
i) Running the Show.16
j) Strike.17
k) Summer Procedure18

APPENDICES
Appendix A
o A-1: Summer Flyer example.....19
o A-2: Strike Info Sheet example.20
o A-3: Rehearsal Schedule example.21
o A-4: Conflict sheet example......23
o A-5: Agreement form example..24
Appendix B
o B-1: Production Crew email example25
Appendix C
o C-1: Lighting plot example26
o C-2: Master dimmer chart..28
o C-3: Dimmer Locator sheet32
o C-4: Power flow from Lightboard to Fixture.33
o C-5: Lightboard instructions..34
o C-6: Example Sound Mic Chart.39
Appendix D
o D-1 Props List example..40
o D-2 Props Inventory example.42
Appendix E: Example Signs...45
Appendix F
o F-1 Example Run Sheet..50
o F-2 Example Strike Sheet...53
Appendix G: Summer Signs...55
RULES & GUIDELINES
a) Keys60
b) Safety Rules and Emergency Procedures Booklet..61

Putting on a Production at UHS---For Directors
Section 1-a
For Directors
This is an annotated timeline of a production process for the use of the Director(s).
All crew members and directors should read the safety manual at the end of this booklet.

Selection of the play
Selection of the play/musical is done by the Director. There is a Fall Play and a Spring
Musical. The Spring Musical is in conjunction with the Music Director. Though input
from students can be accepted, the selection may not be done by a consensus vote. It is
very important to keep casting in mind when selecting the play. All play selections must
be approved by the Assistant Head of School.

Play Dates
The dates of the production must be coordinated with the Calendar Coordinator and be
approved by the Assistant Head of School. Furthermore, the dates of the Spring Musical
must be coordinated with the Director of Advancement, because it should be coordinated
with Grandparents Day. This increases attendance at both Grandparents Day and the
Musical. However, under no circumstances can the Musical take place after AP Testing.
The Musical must be before AP testing.

Purchasing Rights
The rights must be purchased for each production. It is important to know the dates of the
shows before purchasing the rights. Purchase them well in advance of auditions. This is
done through the Business Manager.

Announcing the play
Fall play selection should be finished before the summer mailing is sent out to families.
The director should make a flyer to put inside the summer mailing (Appendix A-1).
Check with the School Secretary for the date of this. The spring musical should be
announced before the start of January Term, and preferably before the end of November.

Student Director
It is within the traditional spirit of the program for the Director to select a Student
Director who will be at every rehearsal to assist with attendance, note taking, blocking,
lines, etc.; this student also helps to direct the show.

Rehearsal Schedule
A rehearsal schedule should be created before auditions. It should include every date that
the theatre department will require use of the theatre, and should include every rehearsal
that the play will require. Rehearsals on Sundays should be avoided, with the only
exceptions being strike and tech week Sunday. The rehearsal schedule must be submitted
to the Calendar Coordinator before the first rehearsal.

Auditions
Auditions for the fall play will take place within the first three weeks of school. The dates
for auditions should be on the flyer, and additional flyers should be posted around the
school. Auditions for the Spring Musical should take place in the last week of January,
3
Putting on a Production at UHS---For Directors
Section 1-a
which is the first week of second semester. These should be announced all throughout
January Term via email and flyers. Audition dates must be coordinated with the Calendar
Coordinator, keeping in mind sports schedules. The following papers should be handed
out during auditions: Strike info sheet (Appendix A-2), Rehearsal Schedule (A-3),
Conflict Sheet (A-4), Agreement form (A-5).

Cut/No Cut
The fall play is a cut production. This means that not everyone who auditions will be
cast in a role. This is due to the nature of a straight play. Musicals at University High
School are no-cut, meaning that each person who auditions and puts effort into the
process will be given a role.

A Word About Sports
University High School strives to be an environment in which students can participate in
multiple activities in order to pursue each of their passions. However, the time
commitment of being in a sport and in one of our productions can be stressful to the
individual, to the cast, and to the director. Therefore, it is important to come up with a
policy regarding sports and casting for each show prior to auditions, and to share this
policy with any individual playing sports. For example, the policy could be that chorus
members can play sports and be in the show, etc. Leads in the shows have been able to
play sports in the past, but this is up to the discretion of the director. This policy should
be approved with the Athletic Director and the Assistant Head of School.

Announcing the Cast
Announcing the cast should be done in one of two ways. A cast list could be printed and
posted on the music room door or theatre bulletin board, or the Director of Technology
can post the cast list on Edline. Students can either accept their role by initialing or by
showing up at the first rehearsal.

Scripts
If the scripts are rented, it is very important to number them and assign each cast member
a number. They will be charged if they fail to return them.

Budgeting
You will be given a budget from the Business Manager. Ask him or her for more details.
Remember that University High School is tax exempt.

Technical Oversight
The Director should oversee all technical elements of the production to ensure they meet
with their vision for the play. The Director needs to create a list of deadlines for each
department, including construction, lighting, sound, props, costumes, etc. He will then
meet with each department head and clearly explain these deadlines and other
expectations.


4
Putting on a Production at UHS---For Producer
Section 1-b
For the Producer

The Producers job is to serve as a faculty, staff, or administration member of University
High School who oversees University High School Theatre productions. He is not
expected to direct the shows or provide supervision to the technical crews; rather he is to
serve as a school liaison for the Director and Technical Director of the shows.

The Producers job is very flexible and changes to the circumstances. An example of a
job the Producer would do is calling a rental company to reserve a backdrop for the
production, calling the lighting supply house to order rental lighting, and serving as a line
of communication between the Director and the Assistant Head of School if something
needs to be approved.

The Producer job exists because there is a need for a supervisory individual who is
intimately familiar with the goings-on of the theatre department at any given time to be
present at the school during the school day. It is only logical for this person to be a
member of the faculty, staff, or administration of UHS.

The Director and Technical Director should keep the Producer appraised of the progress
and any developments in the process on a weekly basis, and immediately if his attention
is required. This could be done via email or telephone. The Producer is not expected to be
a theatre expert; rather the Producer serves as the on-site representative of the Theatre
Department during the school day should any questions arise.

The Producer also will assist the Director in making any telephone calls, purchase orders,
meetings, etc. during the school day when the Director might not necessarily be present.
For example, the Producer could meet with the Business Manager of the school to go
over the budget during the school day, etc.

The Producer is not expected to authorize or approve any particular activities or policies
such as safety rules, modifications to the house, or the selection of the play. Rather, the
Producer will help the Director to bring these items to the attention of the Assistant Head
of School for his approval or opinion.
5
Putting on a Production at UHS---Technical leadership and crew

Section 1-c
Technical Leadership and Crew
Because of the lack of tech/theatre classes at UHS, all technical work happens outside of
school hours. Making this happen takes a very structured leadership style and a very
well-defined plan. Without these two elements, it will be very difficult to get students to
actively participate and stay involved while still constructing a great show.
All crew members should read the safety manual at the end of this booklet.

Production Crew
This is the crew that meets before the final week of rehearsals. This crew builds the set,
programs and aims the lights, prepares the sound system, and does all pre-show work
necessary for the production to take place.

Technical Director
The Technical Director is the head of Production Crew. The Technical Director must be a
technically proficient individual. In the past at University there has been a student
Technical Director or, when the Director and/or school administrators feel as though
outside help as needed, an outside professional Technical Director is contracted for the
work. Regardless, the Technical Director must be able to manage the plan for all
departments simultaneously, and must be able to direct students in all departments to
make the production successful. The Technical Director also must be able to step in and
train students on any elements needed. The Technical Director works with the Head of
Construction Crew and the Director to create a construction plan and set design.

Head of Construction
The Head of Construction should be a student at University High School. This individual
must be able to come to nearly every construction session that happens. He will work
with the Technical Director to create a construction session calendar for Production
Crew. During construction sessions, he must supervise all work and direct crew members
to do whatever is needed to construct the set. He must be able to read the construction
plan and break it down into individual pieces for the crew.

Lighting Designer
The Lighting Designer, either a student or outside professional (could be the same person
as the Technical Director) is the individual tasked with overseeing all lighting elements
of the show. This includes the hang, aim, and gel of the lights. It also includes
programming the lighting cues.

Sound Designer
The Sound Designer should design or obtain any sound cues requested by the Director.
He should also prepare the sound system for use in the show.

Props Master
The Props Master is tasked with obtaining all props needed for the show and placing
them on a well-mapped props table. He should work with the Director on this task.

6
Putting on a Production at UHS---Technical leadership and crew

Section 1-c


Costumer
The Costumer is tasked with obtaining all costumes needed for the show and placing
them in an appropriate area. He should work with the Director on this task.

Crew
Traditionally, the Production Crew is an activity that requires a low commitment level on
the part of the crew members (aside from those with leadership roles). This allows a large
number of students to participate in the crew, even if those people can only give one hour
of their time a week. The Crew should be added to an email list, and the Technical
Director or the Head of Construction Crew should send out a weekly schedule to these
individuals.
Traditionally, the work schedule has been daily after school for one to two hours, with a
few 10-12 hour Saturday work days. However, this schedule can be structured in
whichever way will allow the appropriate number of crew members to help construct the
set.

Run Crew
This is the crew that meets during the final week of rehearsals and during the actual
running of the shows.
Stage Manager
This is the head of the Run Crew. He must be a firm leader and be able to pay attention
for long periods of time. During this final rehearsal process, he is in charge of all
members of the Company, including actors and crew members. He also calls the show
from the script, and also runs cue to cue.

Assistant Stage Manager(s)
The Assistant Stage Manager is in charge of backstage during the shows. He directs the
Shift Crew as to where and when to move set elements, shut the curtain, etc. He is also in
charge of ensuring that backstage is quiet during shows, must do a pre-show safety check
of the entire stage and backstage area, and must be a firm leader backstage.

Sound Director
The Sound Director should be a well-trained individual able to mix live sound well. This
could be the same person as the Technical Director if needed. He will run the soundboard
during the show, and will have assistants as needed backstage.

Crew
The Crew performs all tasks needed in the show. This includes running the lightboard,
running followspots, moving the set pieces, moving the curtain, etc. They are under the
direction of any of the above, as appropriate.

House Crew
See the House chapter.

7
Putting on a Production at UHS---Construction Process

Section 1-d
Construction Process
Designing the set
The Director should have a vision of what he wants the set to look like before going into
the construction process. He should meet with both the Technical Director and the Head
of Construction before the audition process begins to discuss this plan and to make a
preliminary sketch. Once the Technical Director and/or Head of Construction have a
finalized set plan approved by the Director, construction can begin. The Director should
explain his expectations to these two individuals, including deadlines, checkpoints, etc.

Modifying the House
Any set pieces that could possibly interfere with the schools use of the
theatre/auditorium/lunch room in any way must be approved by the Assistant Head of
School.

Coordinating set times
It is extremely important that the Technical Director and Director meet with the School
Music Director, Assistant Head of School, and Calendar Coordinator before beginning
construction. There are certain times when the school needs the stage clear, for example
music concerts, special guests, etc. It is imperative that these individuals are consulted
with before construction to avoid having to remove set pieces from the stage.

Choosing construction times
The Head of Construction and Technical Director should decide upon when the set will
be constructed. They must coordinate on-stage times with the rehearsal process.
Traditionally, construction crew has met after school for appx two hours, and on a few
Saturdays for 10-12 hours. The crew should be added to an email list, and a weekly
schedule should be emailed out.

Recruiting a crew
The Head of Construction should make numerous morning meeting announcements,
mass emails, etc in order to find any interested people. It is important to let people know
that there is not a massive time commitment involved, all attendance is optional. This
method has worked well in the past. Example email: Appendix B-1.

Constructing the Set
All crew members should read the safety manual at the end of this booklet. The Head of
Construction has three main jobs during set construction times. First, he must mentally
break down the set plan into small jobs that can be easily done by the crew, and he must
convey this plan to the crew via delegation. Second, he must be able to teach relatively
untrained people in tool use. Third, he must ensure that safe practices are followed at all
times. For obvious safety reasons, an adult should be present at all times while tools are
in use. Appropriate safety equipment should be used, i.e. goggles, respirators, etc. Also,
the Technical Director should create a policy on who is allowed to use the power saws
and other especially dangerous tools, and should approve this policy with the Assistant
Head of School. This policy should be strictly enforced at all times.

8
Putting on a Production at UHS---Lighting

Section 1-e
Lighting
Safety Note:
The Lighting job is the most dangerous job regularly taken on by UHS theatre. The
Director, Technical Director, Student Leader, and Lighting Designer should have a
meeting to go over all safety rules and create a safety policy. This policy must be strictly
enforced at all times. If you have any questions about safety, first STOP whatever it is
that is raising a question. Then go see the Assistant Head of School. All crew members
and directors should read the safety manual at the end of this booklet.

Designing the lights
The Lighting Designer should work closely with the Director, Technical Director, and
Head of Construction so that he can get a vision of what the set will look like. The
Director should clearly explain his deadlines, vision, and other expectations to the
Lighting Designer.

Make a lighting plot
The Lighting Designer should make a lighting plot. This is a diagram with each fixture
drawn. Each fixture is labeled with a channel number, dimmer number, fixture type, gel
color, and aim. (plot example Appendix C-1). Reference the master dimmer chart to
know where the dimmer receptacles are (Appendix C-2).

Choosing gel
Choose gel using a gel swatch book. This can be obtained from Indy Stage and Lighting,
www.indystage.com. You can also purchase the gel there.

Hang, aim, gel
The Lighting Designer should then give this lighting plot to a lift-experienced individual
to execute the lighting plot. He should supervise to ensure it is being done correctly.
Because there are no catwalks and no grid, all hanging positions must be accessed using a
man-lift. Supervision must be provided to ensure this is done safely. All man-lift
operators should read the lift safety guide at the end of this handbook.

Every fixture must have a safety cable securely attaching it to the bar in the event of
clamp failure. More can be purchased from Indy Stage and Lighting.

Power
All of the fixtures need to be plugged in to a receptacle. Dimmers are the electronic
devices that provide power to the receptacles. Because of their cost, we do not have a
dimmer for every receptacle. See Appendix C-4 for information about power and
dimmers. See Appendix C-3 for the Dimmer Locator sheet. This will help you to quickly
find dimmers in the dimmer rack. You must move dimmers to the needed dimmer slots so
that all of your receptacles have dimmers. The dimmer rack is located in the electrical
room. Do not touch anything in the electrical room except for moving dimmers. Do NOT
touch the dimmer rack control unit.


9
Putting on a Production at UHS---Lighting

Section 1-e

Using the Lightboard
Setting up the lightboard for use is not hard. First, plug a DMX cable in to the DMX1-
512 port on the back of the board. Then, run this cable to the lighting control panel and
plug it in to DMX1. Then, turn on the lightboard. It is now ready for use. Make sure you
raise up the master slider and turn off blackout so that it will work.

Turning off the Lightboard
First, push the blackout button on the lightboard. Next, power off the lightboard. Then,
unplug the DMX cable from the wall panel. If you forget to blackout the lightboard, some
lights will be stuck on. You have to turn the lightboard back on to get these off.

Backup lighting
You will notice that when the lightboard is not plugged in, the wall panels buttons can
be used to turn on lights. If you turn on the lightboard, then push one of these buttons,
this will be the backup lighting. If the lightboard is accidentally turned off, the system
will go to whatever buttons are pressed on the wall panel automatically.

Design
The Lighting Designer should go through the script several times while watching a
rehearsal. He should mark where particular lighting cues should go, which is every time it
seems the lights should shift. Then, the Lighting Designer should sit down with the
Director and begin to program all lighting cues. See Appendix C-5 for light board
instructions.

Prompt Book
The Lighting Designer will create the first draft of the Prompt Book for the Stage
Manager. This is the script from which the Stage Manager will call the show. The
Lighting Designer should clearly mark where each lighting cue goes in the script,
indicated by a line. Next to the line, the Lighting Designer should write the cue number in
this format: LX 1 LX 2, etc.

Saving and Backing up
The Lighting Designer should always use a floppy disk to back up his work. See
Appendix C-5 for lightboard instructions.

Running the show
Running the lightboard during the show requires very little training. See Appendix C-5
for instructions on running the show.

Resetting for the school-year
After each production, the lightboard should be reset for school-year use. It is
recommended that you use the default floppy disk to reset to original settings.

10
Putting on a Production at UHS---Lighting

Section 1-e
Advanced Lighting Topics
Do not attempt unless you are an experienced lighting technician.

Re-Patching the lightboard
Repatching will change which lighting channel correlates to which physical
dimmer/receptacle number. It is used to reorder the sliders on the lightboard to a more
convenient order. See Appendix C-5 for instructions.

DMX external fixtures
If you have a fixture, shoebox, etc. with its own power supply, but you want to provide a
DMX signal, this is very possible. Plug the lightboard into the DMX receptacle in the
house. Then obtain a 5 pin DMX male to male adaptor. Plug it in to the backstage DMX
receptacle. You now have the ability to plug this adaptor into your fixture, and your
DMX device will be able to run. A description of how DMX works is beyond the scope
of this manual, but you can find great instructions on the internet. Also, be sure to consult
your devices manual to see how to change the channel of the device.


Record new cues on the house wall panel
The house wall panel is the small panel on House Left that allows individuals who do not
know how to use the lightboard to use some stage lighting. The panel in the house and
backstage serve the same functions, and if you record a cue onto one, it will go to the
other as well. To record a new cue on to it, plug in the lightboard and create the cue.
Then, go to the panel and push #5. Then, push the button onto which you would like to
record the cue. Obviously, #5 cannot hold a cue. The first two columns are pile on, so
more than one can be activated at once. Only one button from the last column can be
pushed at a time. Note, the white buttons cannot hold cues.

Changing the UNISON system
The UNISON system is the system that interfaces the dimmer rack to the house wall
panel. The functions described above can be changed, and other functions can be added
to the system. However, this must be done by Indy Stage and Lighting, because it
requires a special piece of software. Note, there is a charge for this service.
11
Putting on a Production at UHS---Props
Section 1-f
Props

Making a Props List
At the beginning of the process, the Director should sit down with the Props Master to
create a props list. This includes anything that is not a costume or set piece that is needed
in the show. Some scripts have this provided. In this case, the meeting should ensure that
the list is accurate. Each prop should have a page number next to it so that the Props
Master can reference the script as needed. Sample Props List Appendix D-1

Obtaining Props
The Props Master should look through all of UHS theatre storage to see what we already
have. Then, he should go to stores such as Goodwill and Salvation Army to purchase
additional props. An email could also be sent to the cast and crew members to see if they
have anything at home. As a last resort, the Props Master should go to a store like
WalMart or Target and purchase the remainder.

Props Table
The Props Master should then set all of the props down on the Props table. They should
be in page number order. Around each item, use tape to make a box. On the box, write
the prop item, the page number, the actor that uses it, and the act and scene number. This
way, it is very easy to tell which props are missing.

Enforcement
The Props Master should ensure that all props are properly returned before, during, and
after each show and rehearsal. It is very important that props return, and it is very easy to
loose them. Therefore, it must be the Props Masters job to ensure that they are returned.

Inventory
At the end of each process, an inventory should be performed of the Ranch and other
props storage areas. An example inventory is Appendix D-2.
12
Putting on a Production at UHS---Sound

Section 1-g
Sound

Meeting
In the beginning of the process, the Director and Sound Designer should sit down and
discuss any sound cues needed. They should also discuss microphone needs, headset
needs, and house music needs. The Director should make his expectations very clear
about deadlines, content requirements, etc. so that there is no confusion down the road.

Obtaining Sound Cues
The Sound Director should obtain all sound cues using the internet. He may need to mix
them together using Garage Band. They then should be burned to a CD in order, and he
should write where to play them in his script.

Preparing sound area
The Sound Director should thoroughly clean the soundboard area prior to all installations.
Throw away all trash and store unnecessary things in the right spots.

Adding Wireless mics
If the show will use wireless mics, they need to be installed into the sound desk. This
requires a second soundboard be added to the main soundboard. Place the second
soundboard on the desk. Run an XLR cable from each of the master outs of the second
board into two channels on the main board. Turn those channels on and raise the sliders
to unity.

Next, get the colored wireless mic ! snake. Plug each snake channel into the second
soundboards channels. Now run that snake to the wireless mics. Add power to the
wireless mics, and your system is set up.

Wireless Mic Chart
The Sound Designer should make a chart of who uses which wireless mic when. It should
include the ID number of the wireless pac, the ID number of the actual microphone, and
the page number of any changes. Example Appendix C-6

Wireless Mic advice
Use brand new AA batteries, brand Duracell or Energizer, for every dress rehearsal and
performance. When you take out old batteries throw them directly into the trash. Do not
use rechargeable batteries. Tape the battery door shut so they dont fall out. Tell the
actors that only sound crew can remove their micsthey tend to break them if they do it.

Headsets
Ask the Director and Stage Manager where headsets should be placed. Your job is to wire
them. Place the power supply backstage left. Run an XLR from the back of that into a
channel on the wall plate. Now that unplug that channel from the back of the soundboard.
Plug another headset into that channel. Now you have a headset station backstage and in
the house, and you can easily run more headsets from those to anywhere you want.

13
Putting on a Production at UHS---Sound

Section 1-g
Monitors
Monitors should be placed backstage. Plug them in to the monitor jacks.

Advanced sound section


AUX 1- Subwoofer
AUX 2- Center Speaker
AUX 3- Monitors
AUX 4- Monitors
AUX 5 & 6- none

Accessing the MediaMatrix
1. You need a windows computer. This guide is written on Windows XP.
2. Obtain a USB serial adaptor such as Keyspan High Speed USB Serial Adapter.
Get a serial cable that will plug from that into the MediaMatrix.
3. Install the serial adaptor on Windows.
4. Install X-Ware for X-Frame Release 2.3h from the internet.
5. Plug in the MediaMatrix to your computer and run Xware.
6. File > Connect to XFrame.
7. It should show up. Make sure you read configuration from the device, DO NOT
create a new one!!!
8. Now you can modify settings in the MediaMatrix. See the online user manual for
specific instructions.
9. Note the order in the media matrix is the same as the Aux order above, except add
L and R to the beginning.


14
Do not forget to write your new setting to the MediaMatrix
using the menu! Wait for it to completely finish before
unplugging anything.
Putting on a Production at UHS---House

Section 1-h
House

Creating the House
Several areas need to be converted in order for the
House to work. First, construct a wall by the music
room. Zip tie it to the red pillars, and put up a curtain
between them.







Next, put up the crew entrance only sign on the
outside of the theatre doors near the music room. Put
up the emergency exit only sign on the inside.

Example Signs Appendix E






Next, set up the ticket table on the
other set of theatre doors. Also, you
should put the theatre entrance this
way signs on all doors except for the
ones closest to this theatre main
entrance.





House Procedure
Set out programs, Ensure the theatre looks nice, Get cash boxes w/ lots of 1s
Executive seating for $5 extra dollars (padded seats from gym), make sure there are lots
of late seating seats near the door. Teachers are free with one guest. Everyone else pays.
Dont start until everyone is inside.


15
Putting on a Production at UHS---Running the Show
Section 1-i
Running the Show

Stage Manager
This is the head of the Run Crew. He must be a firm leader and be able to pay attention
for long periods of time. During this final rehearsal process, he is in charge of all
members of the Company, including actors and crew members. He also calls the show
from the script, and also runs cue to cue.

Assistant Stage Manager(s)
The Assistant Stage Manager is in charge of backstage during the shows. He directs the
Shift Crew as to where and when to move set elements, shut the curtain, etc. He is also in
charge of ensuring that backstage is quiet during shows, must do a pre-show safety check
of the entire stage and backstage area, and must be a firm leader backstage.

Sound Director
The Sound Director should be a well-trained individual able to mix live sound well. This
could be the same person as the Technical Director if needed. He will run the soundboard
during the show, and will have assistants as needed backstage.

Crew
The Crew performs all tasks needed in the show. This includes running the lightboard,
running followspots, moving the set pieces, moving the curtain, etc. They are under the
direction of any of the above, as appropriate.



These people should be present at all Dress Rehearsals, as well as a Tech Run Through
and, of course, all performances. With a good Stage Manager and Assistant Stage
Manager(s), the show will go off without a hitch.


Run Sheet
The Director should sit down with the Assistant Stage Manager(s) and the Stage Manager
to create a Run Sheet. This should include everything that needs to be moved by
technicians during the show, as well as any curtain movement, etc. It should be in page
number order, and a copy should be given to each Assistant Stage Manager so that they
can be ready to perform the next shift of scenery. At least one Assistant Stage Manager
per side should be wearing a headset, which will be linked to the Stage Manger so they
can be cued. Example See Appendix F-1
16
Putting on a Production at UHS---Strike


Section 1-j
Strike

Pre-Strike
Well before the day of strike, the Strike Director (a member of the crew assigned by the
Director) should make a Strike Checklist. See Appendix F-2. It should include every
single thing that needs to be done, in order.

During Strike
On the day of strike, everyone should be handed a copy of the Strike Checklist. Everyone
should be instructed to bring a drill. Strike can be done very quickly if there are a lot of
people with a good Checklist.

Remember
Assign a few people to keep areas organized such as cabinets and the Ranch House,
otherwise they will become very messy. Make piles for rental return, borrowed return,
etc. Ensure safety at all times and follow all safety rules. Reset backstage and onstage to
perfect condition after the show so that the next show can start with a fresh beginning!

The House
The House needs to be reset to perfect condition after the show.
17
Summer
1-k
Summer Procedures

Before summer begins, the following should be done:
1. Clear everything off of the stage and mop it.
2. Clear everything from backstage and place them in the appropriate
cabinets or the Ranch House. Nothing should be left backstage except for
very large objects such as platforms and flats. These should be stored
completely against the wall in the backstage crossover. They cannot block
the fire exit.
3. Organize and clean all cabinets, green room, and electrical room.
4. Lock all cabinets, the green room, and the electrical room.
5. Put up the Information for Summer Programs signs in a very visible
place. This includes emergency procedures, emergency map, and close
down checklist.
6. Put up the theatre personnel only sign on anything that should not be
used by summer program participants. This includes flats, platforms,
cabinets, tools, etc.
7. Ensure that there is a sign on door 14 stating that it must remain locked at
all times.


Signs Appendix
18
See Appendix G. Print out and hang on wall.


Fall Play Auditions: Tuesday &
Wednesday
August 18 & 19
University High School is pleased to announce the fall play production, The Foreigner by Larry Shue, a full-
length comedy with a cast of 7 people; 5 men and 2 women. The play will be presented on October 16 & 17 at
7:00 p.m. and on Sunday, October 18 at 5:00 p.m. The Foreigner will be directed by Mr. Ty Stover, a
professional actor, director and playwright. Mr. Stover, a graduate of Indiana State University, and a seasoned
director, actor and teacher, has performed and directed at most of the local theatres, as well as theatres in New
York City. He has extensive experience working with high school and college students and brings wonderful
energy and a fresh approach to our school. Nancy Webster will serve as the production coordinator for Mr.
Stover.
Audition Information: Auditions for the play will be held on Tuesday, August 18 and Wednesday
August 19 at 3:30 p.m. in Andrews Hall. At auditions, in addition to reading from the script,
students must prepare the telling of a joke for their audition.

Information from Dramatists Play Service about The Foreigner:

THE REVIEWS: Winner of two Obie Awards and two Outer Critics Circle Awards as Best New American Play
and Best Off-Broadway Production. Based on what the NY Post describes as a "devilishly clever idea," the play
demonstrates what can happen when a group of devious characters must deal with a stranger who (they think) knows
no English.
THE STORY: The scene is a fishing lodge in rural Georgia often visited by "Froggy" LeSeuer, a British demolition
expert who occasionally runs training sessions at a nearby army base. This time "Froggy" has brought along a
friend, a pathologically shy young man named Charlie who is overcome with fear at the thought of making
conversation with strangers. So "Froggy," before departing, tells all assembled that Charlie is from an exotic foreign
country and speaks no English. Once alone the fun really begins, as Charlie overhears more than he should-- many
damaging revelations made with the thought that Charlie doesn't understand a word being said. That he does fuels
the nonstop hilarity of the play and sets up the wildly funny climax in which things go uproariously awry for the
"bad guys," and the "good guys" emerge triumphant.

19
Appendinx A-1


SET STRIKE!

Sunday, May 2
nd
, 2010
1pm-5pm

All Cast Members are
Required to Attend

By accepting your role in this
musical, you are agreeing to
attend set strike in its entirety.

You are requested to bring a friend or
parent to help, and please bring any
drills that you have (label w/ your name)!

Questions? Ask Matt Ciulla
20
APPENDIX A-2
R
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21
Appendix A-3
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22
Appendix A-3
Audition Sheet



Name:____________________________________________ Grade: ________

Mentor:_________________________


Productions youve been in/roles youve played:










Do you have any potential conflicts? (i.e. do you play a sport?)












Do you have any special abilities or talents? (i.e. do you play an instrument?)
23
APPENDIX A-4
Once Upon A Mattress
From The Di rectors
In order to accept your role, please review the following with your parents and
return this sheet at the first rehearsal on Monday, February 11 at 5:30 p.m.

Name_____________________________ Grade___________________

Last year for our musical, Guys and Dolls, we grappled with excessive student
absences from rehearsals. The FIRST time we had all actors & technicians
present was on Opening Night! Obviously, this is not good for any of usso we
have instituted a new policy, which will help us create a beautiful production with
less stress & anxiety!
Please review the rehearsal schedule. You are expected to attend each and
every rehearsal; however, you will be given 4 excused absences; you must request
those excused absences IN WRITING; please allow for 2-days notice. If you
become seriously ill and miss rehearsal, we will discuss your situation. You are
also REQUIRED to attend Set Strike unless you have an absence written here. If
you know NOW which rehearsals you cannot attend, please list them here:



Please read this letter & rehearsal schedule carefully,
discuss with your parents, and sign below.

I understand the i mportance of regul ar rehearsal attendance and wi l l
abi de by the rehearsal gui del i nes as l i sted on thi s sheet. I further
understand that unexcused absences from schedul ed rehearsal s wi l l
be grounds for bei ng di smi ssed from the cast.


Student Signature Date

Parent Signature Date
24
Appendix A-5

Matthew Ciulla <mciulla@universityhighschool.org>

Technical Theatre Spring 2010
If you are interested in joining technical theatre for the Spring 2010 musical, Little Shop of Horrors, please meet in the theatre after school on
Monday, Feb 1. All students are welcome, no experience whatsoever is needed. If you can't make it Monday but want to join, please send me
an email.

Technical theatre crew is responsible for creating the elaborate set for this musical, the lighting design, sound design, special effects, run crew,
costuming, etc. We provide training to anyone who wants it. If you are interested in painting, carpentry, electricity, construction, or just want to
have fun, this is a good activity for you!

If you have any questions, please email me.

Thanks,
Matt






Do you enjoy building things? Working with your hands? Painting? Having
friends? Having fun?

Do you like lights, sound, music, microphones, cords, electricity, costumes, makeup,
or using power tools?

If you answered YES to any one of those questions, then you should seriously consider
joining technical theatre at University High School.

No experience whatsoever is required. We provide excellent training for all who are
interested.

Technical theatre at University is 100% student led and run, which makes for a very fun
experience. If you want to have fun, then you better join tech. Otherwise, you'll be bored.

CALL OUT MEETING WEDNESDAY
DURING LUNCH ON THE STAGE!
B-1
25
APPENDIX B-1



FOH 1 HL FOH 1 HR
C: 1
D: 70
C: 2
D: 69
C: 3
D: 68
C: 4
D: 40
C: 5
D: 41
C: 6
D: 67
C: 7
D: 66
C: 8
D: 65
C: 9
D: 1
C: 11
D: 3
C: 13
D: 5
C: 15
D: 77
C: 17
D: 79
C: 19
D: 8
C: 21
D: 10
C: 23
D: 12
C: 25
D: 81
C: 27
D: 13
C: 29
D: 15
C: 31
D: 17
C: 10
D: 2
C: 12
D: 4
C: 14
D: 6
C: 16
D: 78
C: 18
D: 7
C: 20
D: 9
C: 22
D: 11
C: 24
D: 80
C: 26
D: 82
C: 28
D: 14
C: 30
D: 16
C: 32
D: 18
FOH 2
1
st
Elec
2
nd
Elec
3
rd
Elec

= non-
permanent
position

House Lights
C:
D: 86-90
Backstage Dim
C:
D: 91
C: 42
D: 42

C: 43
D: 43

C: 44
D: 44

C: 45
D: 45

C: 33
D: 31

C: 34
D: 32

C: 35
D: 33

C: 36
D: 34

C: 37
D: 35

C: 38
D: 36

C: 39
D: 37

C: 40
D: 38

C: 41
D: 39

C: 46
D: 46

C: 47
D: 47

C: 48
D: 48
C: 49
D: 49

C: 50
D: 50

C: 52
D: 52

C: 53
D: 53

C: 54
D: 54
C: 55
D: 55

C: 56
D: 56

C: 57
D: 57

C: 58
D: 58

C: 59
D: 59

C: 60
D: 60

C: 61
D: 61

C: 62
D: 62

C: 63
D: 63

C: 64
D: 64

Appendix C-1
26



FOH 1 HL FOH 1 HR
C: 1
D: 70
C: 2
D: 69
C: 3
D: 68
C: 4
D: 40
C: 5
D: 41
C: 6
D: 67
C: 7
D: 66
C: 8
D: 65
C: 9
D: 1
C: 11
D: 3
C: 13
D: 5
C: 15
D: 77
C: 17
D: 79
C: 19
D: 8
C: 21
D: 10
C: 23
D: 12
C: 25
D: 81
C: 27
D: 13
C: 29
D: 15
C: 31
D: 17
C: 10
D: 2
C: 12
D: 4
C: 14
D: 6
C: 16
D: 78
C: 18
D: 7
C: 20
D: 9
C: 22
D: 11
C: 24
D: 80
C: 26
D: 82
C: 28
D: 14
C: 30
D: 16
C: 32
D: 18
FOH 2
1
st
Elec
2
nd
Elec
3
rd
Elec

= non-
permanent
position

House Lights
C:
D: 86-90
Backstage Dim
C:
D: 91
C: 42
D: 42

C: 43
D: 43

C: 44
D: 44

C: 45
D: 45

C: 33
D: 31

C: 34
D: 32

C: 35
D: 33

C: 36
D: 34

C: 37
D: 35

C: 38
D: 36

C: 39
D: 37

C: 40
D: 38

C: 41
D: 39

C: 46
D: 46

C: 47
D: 47

C: 48
D: 48
C: 49
D: 49

C: 50
D: 50

C: 52
D: 52

C: 53
D: 53

C: 54
D: 54
C: 55
D: 55

C: 56
D: 56

C: 57
D: 57

C: 58
D: 58

C: 59
D: 59

C: 60
D: 60

C: 61
D: 61

C: 62
D: 62

C: 63
D: 63

C: 64
D: 64

Appendix C-1
27
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Dimmer Info.
UHS- Matt Ciulla, TD

Dimmer Position
1-2 A
3-4 Q
5-6 GG
7-8 B
9-10 R
11-12 HH
13-14 C
15-16 S
17-18 II
19-20 D
21-22 T
23-24 JJ
25-26 E
27-28 U
29-30 KK
31-32 F
33-34 V
35-36 LL
37-38 G
39-40 W
41-42 MM
43-44 H
45-46 X
47-48 NN
49-50 I
51-52 Y
53-54 OO
55-56 J
57-58 Z
59-60 PP
61-62 K
63-64 AA
65-66 QQ
67-68 L
69-70 BB
71-72 RR
73-74 M
75-76 CC
77-78 SS
79-80 N
81-82 DD
83-84 TT
85-86 O
87-88 EE
89-90 UU
91-92 P
93-94 FF
95-96 VV










32
Appendix C-3
Appendix C-4

Signal/Power flow from Lightboard to Fixture

This will help you to decide if you need to put a dimmer in a particular slot. We do not
have enough dimmers for every slot, so you must determine which receptacles you are
using and place dimmers in those slots. Obviously, a fixture will not have power if there
is no dimmer in its dimmer slot.
Fixture Bulb Receptacle
Dimmer Rack
wiring and
wall wiring
Dimmer
(in dimmer
racks slot)
Dimmer Rack Processor
DMX Jack on wall and wiring
DMX Cable
Lightboard
Power from power
company
KEY
=Low voltage

=high voltage
Consult appendix C-2 to know which receptacles are
wired to which dimmers. The receptacle number is the
same as the dimmer number. Do not touch anything in the electrical room
except for moving dimmers. Do NOT touch the dimmer rack control unit.
Variable
current
according
to DMX
signal
33
12 Express v3.1 Quick Guide
!"#$% &' ()
You can record channel levels into submasters, groups and cues in both the Stage and
Blind displays. Remember that working in Stage affects the output of the console. Changes
made in Blind affect only the stored data. f you modify a cue in Blind, you must play it back
in Stage to see the changes in real life.
*+",
A lighting cue is typically a "look on stage that can be played by pressing a fader Go key.
You create a cue by selecting patched channels, setting their levels and recording all this
information to a cue number. After that, adjust playback timing if you wish.
Record a cue in Stage:
Step 1: Press [Stage] to enter the Stage display.
Step 2: Select channels using the procedure Select channels:, page 8.
Step 3: Set levels for those channels using the procedure Set Channel Levels, page 8.
Step 4: Press [Record] [Cue] [#] [Enter].
!" # $ % For information on Effect cues, see Effects (Chases), page 14.
*+" ./&" /(& 0/' 1 2' 3",
Recorded cues will default to the upfade and downfade times set in the System Settings
menu (the console defaults to five second up- and downfades). Cue fades start as soon as
you press [Go], but you can delay fades by setting upfade and downfade wait times.
Set a new defauIt fade time:
Step 1: Press [Setup] [1] [Enter] to view the System Settings menu.
Step 2: Press [3] [Enter] [x] [Enter] {x} [Enter], where [x] is the new default upfade
time, and {x} is the new downfade time if it is different from the upfade time.
Edit cue fade times:
Step 1: Select the [Stage] or [BIind] display.
Step 2: Press [Cue] [#] [Time] [x] [Enter] {x} [Enter], where [x] is the new cue upfade
time, and {x} is the new downfade time if it is different from the upfade time. f you
want to change only the downfade time, press [Time] twice before entering a
value.
Edit cue fade wait times:
Step 1: Select the [Stage] or [BIind] display.
Step 1: Press [Cue] [#] [Wait] [x] [Enter] {x} [Enter], where [x] is the new cue upfade
wait time, and {x} is the new downfade wait time if it is different from the upfade
time. f you want to change only the downfade wait time, press [Wait] twice
before entering a value.
Matt says: Just set
how you want it to
look using the
sliders, don't listen
to steps 2-3 here.
RECORDING LIGHT CUES AND SUBMASTERS
34
APPENDIX C-5
Note: The full light board manual is over 700 pages long. The theatre
has a hard copy, and should keep it near the light board for reference.
Recording 13
4% $+5,
A group is a recorded set of channels at specific levels. Groups can be used to select
channels and set levels that you use repeatedly through a programming session. Groups
are not played back like cues, so they do not have timing associated with them.
Record a group:
Step 1: Press [Stage] to enter the Stage display.
Step 2: Select channels using the procedure Select channels:, page 8.
Step 3: Set levels for those channels using the procedure Set Channel Levels, page 8.
Step 4: Press [Record] [Group] [#] [Enter].
!" # $ % When creating a group in Blind, you should press [Group] [#] [Enter] first to select the
group you are creating. This will ensure that you start with an empty group.
6+73/,1 "% ,
You can record a lighting look or an effect to a submaster
and then play back the recording proportionally with the
submaster's fader, or force it to full output using the
submaster bump button. You can also apply timing to a
submaster and play it back using the submaster's bump
button. When played back, the submaster will typically
pile-on recorded channels to the stage look.
Record a submaster:
Step 1: Press [Stage] to enter the Stage display.
Step 2: Select channels using the procedure Select
channels:, page 8.
Step 3: Set levels for those channels using the procedure Set Channel Levels, page 8.
Step 4: Press [Record] [Sub] [#] [Enter]. You can also press [Record] and then press
the target submaster's bump button.
Submasters
0
7 8
10
9
4
3
2
1
0
5 6
10
9
2
1
0
3 4
10
9
2
1
0
1 2
10
9
2
1
Matt says: Just set
how you want it to
look using the
sliders, don't listen
to steps 2-3 here.
35
APPENDIX C-5
Disk Operations 17
!" #$ &'() *+ " ,-#
When you write to a diskette, both the show programming and the console's configuration
are stored to the diskette. However, you may read show and configuration information
separately from a showfile stored on diskette. Reading these two components separately
allows you to conveniently keep system configuration preferences the same, such as
default settings and hardware setup, even when you run different shows.
nsert a 1.44 MB high density diskette into the console's disk drive, then proceed as follows
to write to or read from the diskette.
Write to diskette:
Step 1: Press [Setup] [3] [Enter] to view the Disk Functions menu.
Step 2: Press, [1] [Enter] [Enter] to write the show to diskette.
Read onIy the show information:
Step 1: Press [Setup] [3] [Enter] to view the Disk Functions menu.
Step 2: Press [2] [Enter] [Enter] to read show data from the diskette.
Read onIy the configuration information:
Step 1: Press [Setup] [3] [Enter] to view the Disk Functions menu.
Step 2: Press [3] [Enter] [Enter] to read system configuration from the diskette.
To format the diskette:
Step 1: Press [Setup] [3] [Enter] to view the Disk Functions menu.
Step 2: Press [4] [Enter] [Enter] to format the diskette.
Read aII data from diskette:
Step 1: Press [Setup] [3] [Enter] to view the Disk Functions menu.
Step 1: Press [5] [Enter] [Enter] to read all data from the diskette.
SAVING THE SHOW
36
APPENDIX C-5
16 Express v3.1 Quick Guide
!" #$%#&'
Cue playback takes place in the AB and CD Fader pairs in single-scene mode, or just the
CD Fader pair in two-scene operation. Playback is controlled by the [Go], [CIear], [HoId],
[Back] and [Rate] keys.
Play a cue Press {Stage} [Cue] [#] [Go], using the [Go] key of the AB or CD
faders. To playback the cue using the recorded timing, move
both fader sliders to level 10 before you press [Go]. f playing
back in manual timing, move both fader sliders to level 0 before
you press [Go], then move the sliders in your own timing.
pressing [Go] again plays the next cue in the cue list.
Clear a cue Press a fader's
[CIear] key to remove
the current cue from
that fader. You may
need to press [CIear]
twice to remove an
effect cue from the
fader.
Hold a cue Press a fader's [HoId]
key to pause the
playback of a cue.
Press [Go] to resume
the fade.
Move back Press a fader's [Back] key to replay the cue that played just
previously in that fader. Press [Back] again to move backward in
order in that fader. Press [Go] to move forward in order in that
fader.
Rate control Press a fader pair's [Rate] key to take manual control of the cue's
fade rate with the trackpad. This command is especially useful for
effect cues.
Go Hold Hold Go
Back
Rate
Clear Clear
Rate
Back
B A
0
1
2
3
4
5
6
7
10
D C
0
1
2
3
4
5
6
7
8
9
10
RUNNING THE LIGHTBOARD DURING THE SHOW
37
APPENDIX C-5
Do not use C and
D because it
confuses people!
Patching 7
!"# $%& '(
Conventional lights are powered by dimmers, which in turn are controlled by console
control channels. You associate certain dimmers with certain channels by performing a
patch in the Patch display, and then record the channels into show elements such as cues,
groups or submasters. You may patch more than one dimmer to a channel, but dimmers
may only be assigned to one channel at a time. Your console is shipped with a default patch
that associates each dimmer with control channels on a 1:1 basis.
When there are moving lights in your show, you need to use the Setup menu Moving Light
Functions menu to patch the multiple attributes of those fixtures (see Working with Moving
Light (ML) Fixtures, page 18).
Patch dimmers to channeIs:
Step 1: Press [Patch] to go to the channel patch display.
Step 2: Press {Dim} [#] [Enter] {Channel} [#] [Enter]. Repeat for all the dimmers you
want to patch.
!" # $ % If the LED on the [Channel] key is lit before you start, you must press [Dim] before
entering the first number. To unpatch, use the same procedure but press "0" for the
channel number, or press [Dim] [#] [S6 - Unpatch].
ADVANCED ONLY!
38
APPENDIX C-5
Sound Crew Mic Run Sheet
Start of show
A1- Elise
82- Daniel
C3- Morgan
D4- Catie
E5- Rachel
F7- Ian
G8- Patrick
6 (no pack)- Melissa
9 (no pack)- Cate
10 (no pack)- Abby V.
.
During intermission:
o Remove Ian's pack (F) and put on Abby V.
o Abby will now have F10
'
OUICK After Patrick dies (after Suppertime, page 77)
o Remove Patrick's pack (G) and put on Cate.
o Cate will now have G9
.
SUPER OUICK After Abby V. comes offstage in "Meek Shall lnherit", put her
pack on Melissa
o Melissa will now have F6
.
EXTREMELY
OUICK
o
"o'.'T:;:rtrilffiT;fi"3rn*
pack back to Patrick
o
"o'.'t;x'#;:ffi;#rage'
giver her pack to Ian
Appendix C-6
Sound Cre'v Mic Run Sheet
Start of show
AI- Elise
B2- Daniel
C3- Morgan
04- Catie
ES- Rachel
F7-Ian
G8- Patrick
6 (no pack)- Melissa
9 (no pack)- Cate
IO (no pack)- Abby V.




During intermission:
o Remove Ian's pack (F) and put on Abby V.
o Abby will now have FlO
QUICK Afer Patrick dies (afer Suppertime, page 77)
o Remove Patrick's pack (G) and put on Cate.
o Cate will now have G9
SUPER QUICK Afer Abby V. comes offstage in "Meek Shall Inherit", put her
pack on Melissa
o Melissa will now have F6
EXTREMELY QUICK
o After Cate comes offstage, give her pack back to Patrick

Patrick will now have G8
o After Melissa comes offstage, giver her pack to Ian

Ian will now have F7
-
39
A

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40
Appendix D-1
A

F
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41
Appendix D-1
RANCH HOUSE INVENTORY
MARCH 2009
NUMBER ITEM QUANTITY COLOR SIZE
1 Box 1 Multi-colored Small
2 Round Box 1 Red and Tan Medium
3 Old-Fashioned Suitcase 4 Red, Yellow, Brown, Blue
Medium-
Large
4 Wall Lamp 1 Black Small
5 Old-Fashioned Waffle Maker 1 Silver Medium
6 Wall Rack 1 Brown Small
7 Bar Mugs 15 Silver Small
8 Chalkboard 1 Black, Brown Small
9 Bamboo Mats 2 Tan Large
10 Plates 12 White Small
11 Wall Chandelier 2 Gold Medium
12 Clay Bar Mugs 3 Beige Small
13 Wall Mirror 1 Brown Medium
14 Cake Mold 1 Silver Small
15 Lion Wall Hanger 1 Gray Small
16 Miniature Kitchen Utensils 1 Silver Medium
17 Wall Light 1 Brown Small
18 Skull Mug 1 Beige Small
19 Hanging Candle Holder 1 Brown Medium
20 Glass Jars 3 Clear Medium
21 Flower Plate 1 Silver Small
22 Packaged Napkins 5 White Small
23 Water Pitcher 2 White Medium
24 Cooking Pan 1 Silver Small
25 Coffee Mugs 10 Assortment Small
26 Fake Food 33 Assortment Small
27 Brass Flower Holder 1 Brass Small
28 Coffee Pitcher 1 Silver Medium
29 Coke Bottle Holder 1 Red Medium
30 Wine Glass 2 Clear Small
31 Fruit and Cheese Holder 1 Brown Medium
32 Flower Vases 3 Red, Yellow, Brass Small
33 Sun Plate 1 Multi-colored Medium
34 Metal Tray 1 Silver Large
35 Cheese Grader 1 Silver Small
36 Tea Cups 10 White Small
37 Whiskey Holder 1 Silver Small
38 Assorted Metal Bowls 9 Brass Small
39 Cream Soda 4 Multi-colored Small
40 Box of Greenery and Flowers 1 Multi-colored Small
41 Champagne Glasses 7 Clear Small
42 Plastic Mug 1 Clear Small
43 Mixing Bowls 2 White, Silver Small
44 Silverware Lots Silver, Gold Small
45 Long, Sharp Knife 1 Silver, Black Small
46 Valentines Day Boxes 4 Red, White Small
42
APPENDIX D-2
RANCH HOUSE INVENTORY
MARCH 2009
47
Old-Fashioned Spice
Containers 3 Multi-colored Small
48 Plates 17 White, Silver, Beige
Small,
Medium
49 Bucket of Fake Food 1 Assortment Medium
50 Umbrellas 6 Assortment
Medium-
Large
51 small pans 2 silver small
52 empty spice containers 9 clear small
53 wooden boxes 5 tan small
54 bread pans 13 silver small
55 large spatula 1 silver medium
56 quesadilla maker 1 red large
57 box of glass/metal items lots silver/clear medium
58 box of fake flower lots multi small
59 sabers 3 silver large
60 miss. Box of items lots multi medium
61 cauldron 1 black medium
62 drum 1 tan small
63 vase of plants 1 green small
64 clarinet 1 black small
65 stoplight 1 multi medium
66 box of seashells tons multi small
67 tiki bar sign 1 tan small
68 picture frames 38 multi small-big
69 clay cat 1 white small
70 light fixture 1 multi medium
71 fake plants lots multi medium
72 sign: dresses and coats 1 tan medium
73 metal tins 13 multi medium
74 tennis racket 1 brown medium
75 fake gun 1 black medium
76 pineapple candle holders 13 brown small
77 swords 3 silver medium
78 Christmas lights 2 bags multi small
79 flower baskets 2 brown medium
80 talking log 1 brown medium
81 metal wash bucket 1 silver medium
82 butterfly nets 12 white and pink medium
83 tiki lights 4 tan large
84 flags 6 multi large
85 box of green tinted glass 20 green small
86 pillows 5 multi small
87 glass jar 1 clear small
88 wreath of bells 1 multi small
89 working electric bar sign 1 white small
90 flower vases 7 white small
91 old cell phone 1 black small
92 candle holders 3 glass small
43
APPENDIX D-2
RANCH HOUSE INVENTORY
MARCH 2009
93 old fashioned telephone 1 tan small
94 fake snake 1 green small
95 assortment metal objects lots multi medium
96 check writer 1 brown small
97 fake money lots green small
98 tray 2 yellow medium
99 wood wreath 1 brown small
100 assortment of cloth 10 multi medium
101 dice 22 white different
102 Wooden baskets 7 tan medium
103 bag 1 tan and red small
104 pistol 1 black small
105 marbles bag green small
106 dead bugs 6 assortment small
107 coin holders 4 black and brown small
108 handcuffs 1 silver small
109 typewriter 1 black and brown medium
110 box of glass cups 20 clear medium
44
APPENDIX D-2
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45
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Appendix E
49
Little Shop of Horrors Shift Crew
RUN SHEET
Matt Ciulla~page 1 of 3
Before house opens:
o Close Screen (NOTE: SCREEN=BACKDROP)
o Lower Sign
o Open & tie back blue curtain
o Check location of trash cans
o Check location of stoop
o Make sure stage is clear
o Make sure Shop is preset & clear
o Make sure all four Plants are in correct spots
o Make sure backstage is clear
o Make sure wainscoating is back on over grabber branch access hole
Before show starts:
o Bring trash can with Izzy inside & place on Trash Can Spike SL
PROLOGUE:
o After Voice of God (p13-LX5):
! Fly out Sign
o At end of prolouge (p14-LX10)
! Quickly open Screen
ACT ONE SCENE ONE
o Beginning of act (p15-LX13)
! Clock changes time
o After Skid Row (p20-LX34)
! Clock changes time
! Daniel enters with Pod #1
o Grow For Me (p26-LX41)
! Matt operates Pod #1 from under windowsill
o After Grow For Me (p28-LX46)
! During BLACKOUT, Screen Closes
! QUICK during BLACKOUT, add two blue stools to stage right
ACT ONE SCENE TWO
o SEVEN PAGE SCENE CHANGE: (pp28-35; LX47-65)
! Move pod #3 into shop
Cover with sheet
Help Matt into position
! Get rid of all dead flowers and replace with alive ones
! Quietly move fridge into position and store fake wall
! Arrange counter and stools appropriately
! Make the shop look new instead of bad
! Change black stool into red stool
o After Somewhere Thats Green (p35-LX65)
! During BLACKOUT, Screen Opens





Appendix F-1
50
Little Shop of Horrors Shift Crew
RUN SHEET
Matt Ciulla~page 2 of 3


ACT ONE SCENE THREE
o At the end of Closed For Renovations (p38-LX~69)
! Here it Is Sign comes in above Pod #3
o After Feed Me (Get It) (p54-LX98)
! During BLACKOUT, Screen Closes
! QUICK During BLACKOUT, place chair on center shop platform
edge
! QUICK During BLACKOUT, place stool next to chair
! QUICK During Blackout, remove stage right trash can
ACT ONE SCENE FOUR
o During Now (Its Just the Gas) (any time while screens are closed)
! Place body parts and bloody bucket near pod #3
! Check on Matt
o After Orin Dies (p60-LX106)
! During BLACKOUT, Screen Opens
! QUICK During BLACKOUT, remove chair
! QUICK during BLACKOUT, remove stool
ACT ONE CODA
o During happy music at end, fly in sign
o After happy music, BLACKOUT (LX110 p61)
o During BLACKOUT, Screen Closes
o Call Clear to Stage Manager, then intermission begins
INTERMISSION
o Remove Pod #3
o Add Pod #4
o Clip Matt in
o Add And Son to window
o Add two phones
o Place counter and stool appropriately
o Props crew do a props check in shop
o Check grabber branches and finale branches; make sure theyre ready
o Put back stage right trash can
o Remove wainscoating for grabber branch access hole, add vines over
ACT TWO SCENE ONE
o Top of Act (p63-LX112)
! During BLACKOUT, Screen opens
! During BLACKOUT, Screen flies out
o After Suppertime (p77-LX128)
! During BLACKOUT, Screen closes
! QUICK Remove Stage Right Trash Can
ACT TWO SCENE TWO
o SIX PAGE SCENE CHANGE: (pp77-83; LX129-140)
! Add Grabber Branches
Make sure Operators are all set
Appendix F-1
51
Little Shop of Horrors Shift Crew
RUN SHEET
Matt Ciulla~page 3 of 3
! Add Rat Poison and Sword to stage
! Add Our Founder portrait
! Make sure Daniel has fully loaded gun ready
! Re check stool and counter for positioning
! A props check here for inside shop
! Check on Matt
o After Meek Shall Inherit (p83-LX140)
! During BLACKOUT, Screen opens
! QUICK Add back Stage Right Trash Can
o When Audrey exits (p86-LX144)
! Clock changes time
o When Audrey is eaten for real (p91-LX155)
! Clock changes time
o Once the girls start singing and move forward (p93-LX159)
! Screens close during song
o **QUICK** ONE PAGE SCENE CHANGE (p94)
! Move grabber braces out of the way
! Make sure you have Daniel, Elise, Ian, and Patrick in the shop
! Bring in Finale Branches
! Actors stick their head through the holes and put on the flower
headpieces
! Actors hold the branches over their heads with both arms
o After AND THIS THEATRE (p94-LX160)
! Screens open during song
o During blackout before curtain call
! Move finale branches out of the way
! Move plant to safe position
o After curtain call
! During BLACKOUT, Screen closes
! During BLACKOUT, Sign flies in
AFTER EACH SHOW
o Lock up gun and ammo
o Inventory all pieces of All Pods
! Reset them to safe positions
o Props crew do a props inventory on the props table
o Reset show for Act I

Appendix F-1
52
(Turn Over)
STRIKE LITTLE SHOP OF HORRORS
MATT CIULLA
Audrey II will be put in truck Saturday night
o Suellen has inventory list on her computer
Team of 4 technicians will take down all rentals w/ lift QUICKLY & SAFELY
o First priority: Take down backdrop. Put it in the gym
o Second priority: take down 8 rented lights
o Third priority: take down 14 rented extension cables
o Find a LOT of people to help you
! Neatly wrap all cables w/ tie wrap. Store in cloth hampers
! Fold backdrop according to BackDrop Instruction Sheet. Store in
bag
o Disassemble followspots and put near cloth hampers
o Lighting inventory: (in two cloth hampers)
! 4 followspots w/ stands
! 8 lights w/ clamps, gel frames, safety cables
! 14 black extension cables, neatly wrapped w/ tie line
o We also need to return Set Plans in the tube. See Matt for inventory.
o We also need to return body parts in the box. Box them up.
All Actors who cannot use tools or lift anything report to Stage Left and organize
all cables and cabinets constantly. Vacuum. Read labels on cabinets to know what
goes where.
o Help Suellen with the pit
o ask a technician to see which cords need to come down. Take them down
and wrap them neatly. Put them in the correct spot.
o Put away all tables, etc. Clean the green room.
o Put anything that is Matts in Matts pile in the Andrews Hall lobby
o Take down all window coverings in the house and store in cab. 2
o Move padded chairs to the rack and put back in gym
o Move all white tables to the gym
o Put anything that goes to the Ranch House in a pile
o ANYTHING THAT IS RENTED/MATTS GOES IN ANDREWS
LOBBY
All Props go to Katie Gehert/Griffin and Ranch house attendant
All Costumes go to Mrs. Lockwood and Costume attendant
Make a Ranch House pile
All Actors and Technicians who can use tools and lift things report to stage
o ANYTHING THAT IS RENTED/MATTS GOES IN ANDREWS
LOBBY
o Put anything that is Matts in the Matt pile in the lobby
o Remove all set dressings. Give to appropriate person
o Remove everything from the walls.
o Remove refrigerator and place in kitchen
o Clear out the area behind the stage (cross over) behind the supports. This
is where the flats will go.
53
Appendix F-2
(Turn Over)
o Take down all walls neatly. Make sure to disconnect them from everything
first.
o Put all flats (walls) in the cross over area behind the stage. This requires
some organization.
o Remove flooring from floor. Throw in trash.
o Remove black flooring from floor. Salvage whole pieces, throw the rest in
trash.
o Remove the platforms in sections. Un screw them from each other.
o Remove all legs from all platforms. Throw legs in trash.
o Stack the platforms nicely and put in Ranch house nicely.
o Disassemble fire escape and put in Ranch
o Put all misc. set units in Ranch
o Throw all screws and small pieces of wood away
o Move all paint to the Ranch for the summer
o Undo JPs area and reset to original
o Clean green room

54
Appendix F-2
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Appendix G
55
Summer Theatre Signs ---Matt Ciulla
Checklist to do before leaving the theatre

1. The janitorial staff will not be coming in over the summer. Please
clean up any messes! Janitorial supplies are located: in the kitchen
closet closest to the backstage hallway, and in the house left closet
2. All external doors must remain locked and completely shut at all
times. The police check the building at night, and administrators are
called in the middle of the night if they find any doors open or
unlocked.
3. If you used the hex key, release all external crash bars to make sure
they are locked.
4. Fully close the main curtain.
5. (if applicable) raise the projector screen and power down the projector
6. Power down the amplifiers and soundboard desk
7. (if applicable) lock any cabinets, toolboxes, fridges, etc. that you
unlocked
8. Turn off ALL backstage and onstage florescent lights, turn off aisle
and trip lights (switches BSR&BSL)
9. STAGE/HALOGEN HOUSE LIGHT POWER DOWN
PROCEDURE
Blackout the lightboard by pushing the black out button
Power down the lightboard using the power switch on the
back of the lightboard
Power down any other accessories (screen etc)
Walk to House Left, and look at the lighting control
panel. Make sure there is a green light on each off
button. If there is not, press one of the off buttons, this
should make the green lights go to the correct place.
REQUIRED: Unplug the DMX cable from the lighting
control panel. This protects the equipment from shorting
out during an electrical storm
(if applicable) When the house is clear, turn off the
sodium house lights using the white light switch on
House Left. Sometimes this switch needs to be pushed to
one side before you flick it up or down. There is also a
switch for these lights on Stage Right.
Appendix G
56
Summer Theatre Signs ---Matt Ciulla

UHS Theatre Emergency Equipment

Type ABC foam Fire extinguisher: located Stage Left
Above-stage fire vents: There are 2 pulls, both located in the
backstage crossover. In case of fire, pull very firmly on each
handle. (show-stopping, can only be closed by John Walls)
Main curtain pull: Stage Left. In case of fire, quickly close
main curtain.
Telephones: One located in the kitchen next to the
refrigerator, one located in the greenroom, located on the
desk. To call 911, press LINE 1, dial 9, dial 911. Emergency
personnel should report to 2825 West 116th Street Main
Entrance East Building.
Battery-powered emergency lights: located throughout
backstage and the house. Come on automatically in power
outage.
Tornado safe areas: PRIMARY: BOYS AND GIRLS LOCKER ROOMS.
SECONDARY: GIRLS BATHROOM (BY GYM), STORAGE ROOM NORTH OF
GYM, GREEN ROOM. LAST RESORT: ANDREWS HALL, ALONG STAGE.
Fire Alarm pull stations: Located near each exit. Activate
immediately if there is a fire.
If the fire alarm goes off: evacuate the building, fire
department will automatically arrive, also call below list in
order until you get an answer.

School Emergency Contacts (call in order):
NAME JOB NUMBER






Appendix G
57
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58
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Appendix G
59
Theatre Keys
1: Padlock on tan lighting cabinet and padlock on blue lighting cabinet
2: Padlock on black sound cabinet
3: Padlock on black power and saw cabinet
4: File Cabinet
5: Padlock on top tool chest
6: Bottom tool chest
7: Back of Amp Rack
8: Dimmer rack door in electrical room
9: Lighting control panel House Left and UNISON box in electrical room
10: Rolling sound rack doors
11: Padlock on wireless mic box
A: Ranch House door
B: Padlocks on Ranch House garage
C: White House door
D: Andrews Hall refrigerators and freezers
E: Fire Alarm Control Panel in Andrews Hall
F: Small Key box
G: Padlocks on doors to Ranch House interior rooms
G2: Power lockout for table saw
P1: Spare padlock 1
P2: 3 Spare black padlocks
Z: Big Key Box
Z1: Universal fuse box key
Pyro: Padlock on pyrotechnics toolbox
GMK: Master key to all interior doors to Andrews Hall. Does not work on exterior doors.
Hex Key: Used to pop open exterior doors in Andrews Hall

Code to the pyrotechnics area of cabinet 4: 31-04-25
The key to the roof is kept by the Athletic Director.


Note: There are two identical sets of keys. One is for the director of the show, and one is
for the School Secretary to keep. If any changes are made to the directors keyset (i.e.
buying a new lock, changing a lock), the Fire Marshal mandates that the School
Secretary must be provided with a copy of the key immediately to add to her keyset. This
ensures that there is always a set of keys on hand for the school to use when needed.

If the director of the show is not directing the next production at University High School,
he should turn his keys in to the Assistant Head of School so that they can be given to the
director of the next production. Note that this could include student directed or parent
directed mid-year shows.

Theatre keys should not be given to summer program participants.
60
SAFETY RULES
AND
EMERGENCY
PROCEDURES

All technical theatre personnel must read this guide.


Section 1: Safety rules............................................62
Section 2: Lift Safety Rules..................................69
Section 3: Emergency Procedures booklet.......73













Before each production process begins, the Director, Technical Director, Producer(s), and
Student Leader(s) should have a meeting to go over all safety rules and create a safety policy. This
policy must be strictly enforced at all times. If you have any questions about safety at any time, first
STOP whatever it is that is raising a question. Then go see the Assistant Head of School. All crew
members and directors should read the safety rules.
61
Safety Rules
This is a general list of safety rules for use in the theatre. All individuals involved
with each of the various departments should read these safety rules. They should
be followed at all times.

University High School specific rules:
NEVER WORK ALONE
Anyone using the lift must read the lift safety pages thoroughly and fully
follow the rules listed.
Construction may not happen without a qualified adult supervisor on duty.
All equipment must be locked back up when not in use. Do not leave
dangerous equipment unlocked at any times.
All tools used from heights must be tied to a safety line so they do not fall
on peoples heads.
Only trained adult professionals should modify any electronic device or
lighting fixture. This includes extension cords, fixtures, soundboard, etc.
Use only UL listed and manufacturer approved modification devices. It is
very dangerous to modify any electronic equipment that will be energized.
The Director, Technical Director, and Producer should make a policy about
who is permitted to use especially dangerous tools such as saws,
sledgehammers, etc. This should include an element of a training
requirement on that equipment. This policy should be strictly implemented
to ensure safety.
Anyone using the lift, supervising use of the lift, or assisting the lift
operator must first read, understand, and agree to the Lift Safety Section
of this booklet.






See the following pages for
the Theatre Safety Rules.


Adapted from The Texas Education Agency
www.uil.utexas.edu
62
Handbook for One-Act Play
Web: www.uil.utexas.edu Email: uildrama@uts.cc.utexas.edu
162
CAUSES OF ACCIDENTS
Safety in the theatre means safeguarding crews, casts, and audiences from all foreseeable hazards and
emergencies. Learning to work safely is a vital aspect of educational theatre. Most accidents can be
avoided by replacing unsafe habits with safe practices. The main causes of accidents:

g Insuffcient knowledge
g Improper use of tools and facilities
g Failure to safeguard hazardous equipment
g Failure to remove faulty equipment
g Carelessness
g Taking unnecessary risks
g Being in a hurry
The most dangerous time of a production is the strikewhen the show is over and the technical elements
are dismantled and stored. This time of exhilaration and exhaustion warrants a greater degree of attention
and vigilance than any other period in the course of the production.
GENERAL SAFETY REGULATIONS
Running, practical jokes, throwing tools or materials, jumping from one level to another, or any other
dangerous activity is not permitted.
The proper method of bending the knees, keeping the body erect, and pushing upward with the legs
should be used when lifting objects. Assistance should be obtained when lifting or carrying heavy objects.
The shop, stagehouse, or other work area must be cleaned and left in a safe condition. All tools
should be returned, foors cleaned (using a vacuum or wet mop rather than dusting and sweeping),
trash emptied, and walkways and exits left clear and unobstructed. In short, any potential safety or fre
hazard must be eliminated.
Open traps and unusable platforms or step units must be barricaded (fenced or roped off) or covered.
They should be marked with large signs at all times between work periods or performances.
Cleanliness and order in the storage areas should be maintained at all times.
Any accident should be reported immediately to the supervising teacher so that frst aid and/or medical
attention can be administered without delay
CLOTHING AND PROTECTIVE EQUIPMENT
Hard-sole shoes should be worn while working in the scene shop, stage, loading dock, or anywhere
in the theatre facility. Tennis shoes are not desirable; sandals and bare feet should not be permitted.
Only performers (actors, dancers, musicians) in dress rehearsal or performance should be permitted
to wear open toed or soft construction shoes on stage and in pre-production areas. Workers loading or
unloading trucks, moving platforms, scenery, stage weights, or other heavy objects should wear steel-
toed work boots.
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Loose-fitting clothing, scarves, ties, or
jewelry should not be worn while using power
equipment. Long hair should be tied back
or covered. Long-sleeved shirts should be
either buttoned at the cuffs or rolled to the
upper arm.
Goggles, face shields, or safety glassesall
ANSI rated for impactshould be worn while
working around the shop or stage when in the
vicinity of anyone painting, spraying, sanding,
cutting, drilling, chiseling, hammering, nailing,
or stapling. Safety glasses shall have side
guards to defect incoming projectiles from
the side. Welding masks and shields shall
be used around welding operations.
Ear muffs should be worn during prolonged
exposure to excessive noise.
Gloves should be worn to protect against
abrasion, punctures, and solvents. Gloves
shall NOT be worn when operating saws,
drills, lathes, or other equipment that could
capture the fabric of the glove and draw the
worker into the machine.
Hard hats should be worn while scenery or
lighting equipment is being rigged overhead,
or when the worker is in a low ceiling area
where there are exposed sharp and/or hard
surfaces that could cause head injuries.
Wear special work clothes which can be removed after work. Wash clothes frequently and separately
from regular clothing.
Wash hands in soap and water during work breaks, before eating, and after work. Never use solvents
to clean hands.
Knee pads should be worn when tasks require the worker to kneel down and rest weight upon the
workers knees.
FIRE PROTECTION
Theatrical fres can be divided into three categories:
1. Class Afre involving ordinary combustibles such as paper, cloth, cardboard, and wood
2. Class Bfre involving petroleum base products such as paint, oil, grease, and fuel
3. Class Celectrical fre
Proper procedures for evacuation should be discussed and rehearsed.
Exits and access to exits must be kept clear and unobstructed at all times. During periods of occupancy,
no exit door should be locked, chained, or obstructed by any means. The door must be readily opened
from the inside.
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ABC fre extinguishers must be well-maintained and unobstructed at all times. Students should be trained
in their use. Staff and Students should know the locations of all Fire Extinguishers, Fire Alarm Activation
Stations (Pull Stations), Fire Hose Cabinets, Fire Curtain controls (releases) (if facility is equipped with
a fre curtain), and smoke vent hatch controls (releases) ) (if facility is equipped with smoke vents).
Flammables such as paint, thinner, and spray cans should be stored in special metal storage cabinets.
All rags or clothing materials saturated with fammable paints or solvents should be properly discarded
outside of the building.
Open fames on stage should be avoided if possible. Adequate enclosure and safeguards must be
provided if open fames are used.
Electric light bulbs must not be covered or decorated with paper or other combustible material
Exit signs shall remain visible to the occupants at all times and may not be covered, dimmed, removed,
or disabled in any way.
Doorways / openings through fre protective partitions (i.e. prosceniums with fre curtains, doors exiting
the stage or shop, etc.) shall not be blocked from fully closing or propped-open with scenery, carts,
stage weights, or other obstacles that will prevent them from closing in the event of a fre. Latching
mechanisms shall not be defeated.
Scenery, fabrics, and props shall be fabricated from non-fammable materials or shall have materials
treated with fre retardant chemicals.
LADDERS
4 Before any ladder or scaffolding is used, it should be inspected to assure that it is in safe condition.
A chair or box should never be substituted for a small ladder.
4 Ladders should be constructed of electrically non-conductive material like wood or fberglass. Metal
ladders should be avoided wherever possible as they can conduct electricity.
4 Wood ladders should not be painted inasmuch as paint hides splits and defects (shellac or varnish are
acceptable alternatives). Any ladder or scaffolding that is damaged, missing the manufacturers safety
labels, or is otherwise unsafe should be removed from service. Do not modify any ladder or scaffolding
by drilling holes, adding casters or rolling bases unless they were specifcally manufactured by the ladder
or scaffolding manufacturer as an authorized accessory.
4 Nonskid safety feet should be installed on any straight ladder before it is placed in service. Guard
rails should be used on scaffolding.
4 The base of a straight ladder should rest on a level surface and should be placed so that the distance
away from the wall or surface against which it leans is approximately one quarter the length of the ladder.
4 Straight ladders should be tied off, blocked, or otherwise secured when in use. Or, an assistant should
support the ladder against accidental slipping or sliding.
4 A step ladder should always be completely opened and climbed only on the side with the steps. Never
stand or work from the top of a step ladder.
4 Tools or other objects should be secured against falling while work is being performed from a ladder.
Such items should never be left on a ladder, dropped, or pitched to another worker.
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4 Only move ladders when they are unoccupied. Only move man-lifts when they are lowered to the
transport position. Only one person at a time shall be on a ladder.
4 Provide Personal Protection Equipment (PPE) such as fall protection harnesses, fall arrestors, shock
arresting lanyards, etc., as required to protect workers.
TOOLS AND MACHINERY
4 Keep the work area free of clutter.
4 Know the location of the master electrical switch in
the scene shop.
4 Before operating machinery or power tools for
the frst time, be checked out on proper operation
procedures by the supervising teacher.
4 Dress properly. Wear hard-sole shoes, avoid loose
clothing, and cover or tie long hair that could catch in
moving parts or air vents.
4 Use safety eye or face protection. Wear safety
glasses with side shields, impact goggles, full face
shields, or masks/respirators as indicated by the nature
of the work being performed.
4 Do not use any defective or questionable electrical
tool, machine cord, connection, or accessory. Report
any defects for repair or replacement immediately.
4 Understand the application, limitations, and potential hazards of any tool or machine you use.Select
the proper tool for the job to be done. Dont improvise.
4 Use only recommended accessories. Keep guards in place and in working order.
4 Make sure saw blades, drill bits, etc., are sharp, clean and regularly maintained.
4 All saws should be adjusted before use to expose only the minimum amount of blade necessary. The
fngers and hands must be kept clear of the blade at all times.
4 The blade in the table saw should be recessed when not in use.
4 Do not use a tool with a frayed cord or broken connection. Use only heavy-duty U.L.-listed extension
cords of proper wire size and length.
4 Electrical lines running along the stage foor should be taped or otherwise secured to prevent tripping
during work periods, rehearsals, and performances.
4 Use clamps or a vise to hold work in place when practical, freeing both hands to operate the tool.
4Avoid accidental startup. Make sure the switch is off before plugging in the cord or when power is
interrupted. Never carry a power tool with your fnger on the switch.
4 Ground all power tools. If a tool is equipped with a three-prong plug, it should be plugged into a
three-hole electrical outlet.
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4 Remove adjusting keys and wrenches before turning on a tool or machine.
4 Do not force tools.
4 Do not over-reach. Maintain proper footing, balance, and a secure grip on the tool you are using.
4 Never adjust or change bits, blades, or belts with the power tool or machine connected to an electrical
outlet.
4 Never brush away chips or sawdust while tools or machines are operating.
4 Never leave tools or equipment running unattended. Disconnect equipment from the power source
when not in use.
4 Never surprise, touch, or talk to anyone operating a power tool or machinery.
4 Return tools to the tool room immediately after completing work.
RIGGING
Applicable to stage equipped with a
counterweight or hemp system.
4 Only authorized and trained personnel are
permitted to work with the rigging equipment and
to enter the grid area above the stage.
4 Safety procedures should be explained to the
entire crew at the beginning of each work period
involving rigging.
4 Work should be arranged so that all rigging
and fying are done together, with no other work
taking place on stage.
4 When a scenic piece is coming in, or when an
arbor is being loaded or unloaded, there should
be complete silence on stage.
4 The technical director or crew head should
be the only person to call instructions to the grid
crew. The director should inform both the grid
and stage crew before a batten or piece is pulled
in or out.
4 The correct call to warn of a batten, scenery, or line coming in under control is Heads up! The
emergency call for falling objects is Clear the stage!
4 Pockets should be emptied before going on to the grid. Tools brought onto the grid must be tied or
secured to the worker. Safety belts should be worn while working on the grid.
4 Ropes or electrical lines must never be dropped to the stage foor from the grid. They should be
pulled up, coiled, and carried down.
4 Any discovered irregularity in cable, rope, or the counterweight system should be reported immediately
to the supervising teacher.
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LIGHTING
4 Only authorized and trained personnel are permitted to work with lighting circuitry, dimmers, and
instruments.
4 Know the location of the master electrical switch for the stage lighting equipment.
4 Do not work around electrical equipment without shoes on.
4 Any electrical or mechanical defect or irregularity must be reported to the supervising teacher for
correction. No repair of faulty equipment or instruments should be undertaken unless the supervisor
has been consulted and approved corrective repair or maintenance. Always inspect portable lights,
foggers, cables, and connectors for damage before use. Do not use equipment that is designed to
have an equipment safety grounding conductor and the connector is missing the grounding pin. Do not
use equipment where the cable jacket or insulation has pulled-back from the connector body and/or the
equipment cord strain relief.
4 Even when disconnected, some electrical equipment can cause shocks. Never remove the cover of
a device without assessing the potential danger.
4 Should an electrical shock occur, the source of power must be shut off immediately and artifcial
respiration applied if the victims breathing has been interrupted and stopped.
4 Any incidence of electrical shock, no matter how slight, must be reported for immediate correction to
the supervising teacher.
4 Food or beverages should not be allowed in the light control area.
4 When changing lamps in lighting instruments, always unplug the device before opening the fxture
housing. Always wear leather gloves to protect against sharp metal corners, hot metal parts, and broken
glass. Do not touch the glass globe of the lamp with bare hands or fngers body oils will cause a hot-
spot to develop on the glass and can cause the lamp to explode.
PAINT, SOLVENTS AND CHEMICALS
4 Be aware of potentially toxic materials: powdered pigments and dyes, freproofng chemicals, spray
adhesives and glues, solvents, and paints. Keep a fle of Material Data Safety Sheets (MSDS) for all
powdered pigments and dyes, freproofng chemicals, spray adhesives and glues, solvents, and paints
used in the facility.
4 Compare labels and use products that contain the least toxic ingredients. For example, replace
turpentine with mineral spirits.
4 Use premixed paints rather than dry pigments.
4 Use water-based or latex paints rather than oil-based paints and enamels.
4 Use products that are in solution rather than in powdered form.
4 Avoid aerosol cans and spray products.
4 Choose brushing and dipping methods in applying paint over spray methods whenever possible.
4 Avoid breathing vapors and use proper ventilation when painting. General dilution ventilation can be
used with acrylic, latex, and artists oils. Spray painting requires exhaust ventilation (i.e. an air circulation
system that exhausts the contaminated air to the outside, not back into the building ventilation system).
Safety Rules
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Lift Safety Rules
















University High School Specific Rules
Only trained and authorized individuals may use the lift
Anyone using the lift must read and agree to all of the rules pertaining to
the lift, including the rules on the following pages, which were provided by
the manufacturer
All of the rules on the following three pages, as well as on any signs or
stickers on the lift itself, also apply at University High School
A qualified adult must be directly supervising use of the lift at all times to
ensure all rules are followed.





See the next three pages for the
Manufacturers safety instructions.

The complete manufacturer manual should be kept in the tube shaped Manual
Storage Area built into the lift. It includes maintenance information, parts
information, etc.
Safety Rules
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BEFORE USE

Survey the job ite for potential hazards such as un tampered earth fills, unlevel surfaces, overhead
obstructions, and electrically charged conductors or wires. Be aware of any potential hazards and
alway consider what could happen. Watch for moving vehicles in the area of use.

Read and understand the manufacturer's operating manual. Make ure you have a complete
under tanding of all operating and safety instructions provided.

Only trained and authorized personnel shall be allowed to operate thi equipment.

Inspect the equipment for damaged or worn parts. Also check for cracked welds, hydraulic leaks,
damaged wiring, loose wire connectors, or damaged ca ters and outrigger . Also check for any
improper operation. DO NOT use if damaged in any way. Improperly operating equipment must be
repaired before using.

DO NOT operate thi equipment if you are under the influence of alcohol or drug or if you feel ill,
dizzy, or unsteady in any way. Operator must be physically fit, thoroughly trained, and not easily
excitable.

Wear proper clothing for the Job. Wear personnel protective equipment as required by federal, state,
or local regulations.

Locate, read, and follow all directions and warnings displayed on the equipment.

Inspect the equipment for any "DO NOT USE" tags placed on the equipment by maintenance
personnel. DO NOT use any equipment tagged in this way until repairs are made and all tags removed
by authorized maintenance personnel.

Make sure the platform and your shoes are free of mud, grease, or other foreign material. This will
reduce the possibility of slipping.

DO NOT modify, alter, or change the equipment in any way that would affect its original design or
operation in any way.

DO NOT use this equipment in ways for which it is not intended.
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! DANGER! This machine is not insulated
near electrical power lines and DOES NOT
provide protection from contact with orel dmity to any electrically charged conductor. User
must maintain safe clearance at all ti (mmtmum of 10 feet) and always allow for platform
movement such a wind induced sway. Alway contact the power company before performing work
near power lines. Assume every line is hot. member, power line can be blown by the wind!
VOLTAGE RANGE SAFE APPROACH DISTA CE
(Phase to Phase) (Meter)
o to 30V AVOID CONACT
Over 30V to 50KV 10 3.05
Over 50KV to 200KV IS 4.60
Over 20KV to 350KV 20 6.10
Over 350KV to 50KV 2S 7.62
Over 50KV to 750KV 3S 10.67
Over 750KV to IOKV 4S 13.72

Position lift far enough away from power ss to ensure that no part of the I ift can accidentl y reach
into an unsafe area.

DO NOT u e without all outriggers flly extended, locked, and stabilized.

DO NOT override or by-pass manufacturer's safety devices.

Operate only on a firm and level urface. DO NOT use on surfaces which will not support the weight
of the equipment or the force exerted on the outriggers during use of the lift.

DO NOT use without entry chainlbar in place.

DO NOT release outriggers or move unit with a person or materials on board.

DO NOT tand or sit on guard rail. Work only within the platform guard rail area and do not lean
out over guard rai Is to perform work.

DO NOT attempt to increase working height with boxes, ladders, or other means.

DO NOT use this equipment when exposed to high winds, thunderstorms, ice, or any other weather
condition that would compromise the safety of the operator.

DO NOT climb up or down masts.

DO NOT allow ropes, electric cords, hoses, etc. to become entangled in the equipment when the
platform i being rai ed or lowered.

DO NOT use the work platform as a "dead man" in performing work operations which produce
excessive horizontal force.

Keep yourself and all personnel away from potential pinch or shear points.
Page 11 of 54
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Hor eplay is prohibited-Report any misuse of equipment to the propr authorities.

Always maintain good footing on the platform-o not wear lippery soled shoe .

DO NOT exceed manufacturer's platform load limits and make sure all tools and equipment are evenly
distributed over the entire platform.

Always make certain all personnel are clear and there are no ob tructions before repo itioning
platform.

If welding is performed by a worker from the platform, do not allow electrode contact with any part
of the platform.

DO NOT exceed platform load ratings by transferring loads to platform at elevated heights.

Cordon off area around the base to keep personnel and other equipment away from it while in u e.

DO NOT u e guard rails to carry materials and do not allow overhang of materials when elevating
platform.

Stay clear of wires, cables, and other overhead ob tructions.

Always disconnect power at Master Power Switch and remove key (CAT) or di connect power at
knife witch and lock cover (Cougar) when not in use to guard again t unauthorized u e.
Safety Rules
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Emergency Procedures

During rehearsal or building days:
Find the nearest staff member. Follow his or her instructions.
If no staff member, or if the emergency is severe:
Fire: Pull the fire alarm and evacuate the building immediately.
Medical: Call 911, render first aid as needed
Tornado: Go to girls locker room

During a show with a live audience:

On the following pages is the Emergency Manual for a Show with Live
Audience.

A copy of this manual in a red binder should be placed in the following places before
each production process. It should be clearly visible, and all technicians whose job is near
these binders should read it over so they are ready to use it.
Backstage Left
Backstage Right
Soundboard
Lightboard
Stage Manager with God Mic
Director, if needed
These manuals should be removed and placed in a cabinet after the end of each
production process. They should not be left out over the summer.


Over the summer:
See the summer procedures section of the Theatre Handbook for signage.
73
Emergency Procedures for UHS Theatre with a
LIVE AUDIENCE AND FULLY STAFFED CREW
If you see an emergency:
1. Remain Calm.
2. If you are in immediate danger, IMMEDIATELY
evacuate the building/take appropriate measures
and (if a fire), pull the fire alarm. Do not follow
these instructions if they are a risk to your safety.
3. Get in contact with the Stage Manager through
headset or other means. Describe the emergency.
The Stage Manager will decide which of these
procedures to enact if any.
4. Once instructed by the Stage Manager, follow
the enclosed instructions for this particular
emergency.
If the fire alarm is going off: This is a "Level One Code
Red". Follow the procedure, do not wait for Stage Manager.
CONTENTS:
-
1. LEVEL ONE CODE RED (large, uncontrollable fire)
2. LEVEL TWO CODE RED (small, controllable fire)
, 3. ODl LUE (medical emergency)
CODE BLACK 4. (power outage)
S. CODE TORNADO
6. rCODE EVAC (non-fre emergency evacuation)
7. Brief Technical Stop Procedure (Smin)
(major problem that makes the continuing the show impossible without fixing)
not for emergencies otherwise provided for in this manual (ex: fire, medical)
8. Extended Technical Stop Procedure (lSmin)
(extremely major problem that makes the continuing the show impossible without fxing)
not for emergencies otherwise provided for in this manual (ex: fre, medical)
UHS Tech Theatre Emergency Procedures, Updated Mar 2010 by Matthew Ciulla,
1. LEVEL ONE CODE RED -
UNCONTROLLABLE FIRE OR FIRE ALARM ACTIVATION
Stage Right: Turn on the sodium houselight switch} located under the
lighting control box stage right. Pull the fire vent handles in the
backstage hallway. Loudly instruct cast and crew to evacuate. Evacuate
the building and assemble in the East parking lot.
Stage Left: Close the main curtain. Turn on the fluorescent stage left and
fluorescent stage work lights} switches located stage left near fire
extinguisher. Pull the fire vent handles in the backstage hallway. Loudly
instruct cast and crew to evacuate. Evacuate the building and assemble
in the East parking lot.
Cast: Evacuate the building and assemble in the East parking lot.
Stage Manager: Inform the crew on headset of the emergency using
code words. Using the god mic} or} if unavailable} an air horn and a loud
voice} make the following announcement: "Ladies and Gentlemen} At
this time} we need to ask you to exit the building through the exit door
nearest you. Once again: Please stand and calmly exit through the exit
door nearest you. Move away from the building to the East parking lot.
Thank you.
}}
Then} evacuate the building and pull the fire alarm.
Light Board: Turn on all available area lighting. Then} evacuate the
building and pull the fire alarm.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume. Then} evacuate
the building and pull the fire alarm.
Persons Trained in Fire Extinguisher Use: DO NOT ATTEMPT TO USE
FIRE EXTINGUISHER. EVACUATE THE BUILDING.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
2.LEVEL TWO CODE RED -
SMALL, CONTROLLABLE FIRE
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. If it gets smoky, pull the fire vent
handles in the backstage hallway. Loudly instruct cast and extra crew to
proceed to the green room immediately. Keep everyone away from the
fire. If fire becomes out of control, declare Level One Code Red & pull
fire alarm immediately.
Stage Left: Close the main curtain. Turn on the fluorescent stage left and
fuorescent stage work lights, switches located stage left near fire
extinguisher. If it gets smoky, pull the fire vent handles in the backstage
hallway. Loudly instruct cast and extra crew to proceed to the green
room immediately. Keep everyone away from the fire. If fire becomes
out of control, declare Level One Code Red & pull fire alarm
immediately.
Cast: Proceed to the green room immediately. Stay away from the fire.
Stage Manager: Inform the crew on headset of the emergency using
code words. Using the god mic, or, if unavailable, an air horn and a loud
voice, make the following announcement: "Ladies and Gentlemen. May I
have your attention please! We are currently experiencing some
technical difficulties on stage. Please bear with us and the performance
will continue in just a moment. Thank you for your patience." If fire
becomes out of control, declare Level One Code Red & pull fire alarm
immediately.
Light Board: Turn on all available area lighting. If fire becomes out of
control, declare Level One Code Red & pull fire alarm immediately.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume. If fire becomes
out of control, declare Level One Code Red & pull fire alarm
immediately.
Persons Trained in Fire Extinguisher Use: Respond to fire using proper Pult
Aim, Squeeze, Sweep method. Do not risk personal safety. If fire becomes out
of controt declare Level One Code Red & pull fire alarm immediately.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
3. CODE BLUE -
Medical Emergency anywhere in theatre (ex: seizure, heart attack,
unconsciousness, head injury, broken bone, diabetic shock, delivering a baby)
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. Loudly instruct cast and extra crew to
proceed to the green room immediately.
Stage Left: Close the main curtain. Turn on the fluorescent stage left and
fluorescent stage work lights, switches located stage left near fire
extinguisher. Loudly instruct cast and extra crew to proceed to the
green room immediately.
Cast: Proceed to the green room immediately.
Stage Manager: Inform the crew on headset of the emergency using
code words. Using the god mic, or, if unavailable, an air horn and a loud
voice, make the following announcement: "Ladies and Gentlemen. May I
have your attention please! We are currently experiencing some
technical difficulties on stage. PLEASE REMAIN SEATED. Please bear
with us and the performance will continue in just a moment. Thank you
for your patience. If there is a doctor in the audience, could you please
come to the stage. Thank you." Then, ensure 911 has been called.
Light Board: Turn on all available area lighting. Call 9+911 (ress 'line
x
'
first)from the kitchen phone and describe the emergency.
Address: 2825 W 116th St. Carmel IN. 46032. East Building. After
the call, go outside and direct EMTs inside.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume. Call 9+911
(ress 'line x
'
frst)from the kitchen phone and describe the
emergency. Address: 2825 W 116th St. Carmel IN. 46032. East
Building. After the call, go outside and direct EMTs inside.
Persons Trained in First Aid: Respond to incident after fulfilling above
duties.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.

4. Code Blac
Power Outage
Batter powered lights will come on automaticall.
Stage Right: Instruct all cast and crew members to sit quietly and
remain quiet and calm. Turn on backup walkie talkie and listen for
instructions.
Stage Left: Instruct all cast and crew members to sit quietly and remain
quiet and calm. Turn on backup walkie talkie and listen for instructions.
Cast: Sit quietly and remain quiet and calm.
Stage Manager: Inform the crew of the emergency using code words
through the backup walkie talkie. Using an air horn and a loud voice,
make the following announcement: "Ladies and Gentlemen. May I have
your attention please! We are experiencing a temporary power failure
and are forced to pause this evening's performance until power is
restored. PLEASE REMAIN SEATED. Please bear with us and the
performance will continue in just a moment. Thank you for your
patience."
If no power within 15 minutes: "Ladies and Gentlemen. May I have
your attention please! Due to the power failure we are forced to cancel
the remainder of this evening's performance. Crew members have taken
up positions with flashlights to help you leave the theatre safely. Please
watch your step. Thank you."
Light Board: Do what you can to bring light into the space. The window
curtains could be opened to let in natural light.
Sound Board: Remember the amplifiers and sound board will have to be
powered on after the power is restored.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
5. Code Tornado-
Tornado warning in UHS area (tornado sirens or weather radio/TV)
Safe Rooms: Primar: Boys and Girls Locker Rooms. Secondary: Girls
Bathroom by Gym, Storage Room North of Gym, Green Room. Tertiar: Sit in
rows on foor in Andrews Hall, frst row's backs against stage.
Sit against walls/lockers with legs pulled up ready to assume the "get down"
position.
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. Loudly instruct cast and crew to
proceed to the locker rooms immediately. Assist the Stage Manager
direct people if possible to do so safely.
Stage Left: Close the main curtain. Turn on the fluorescent stage left and
fluorescent stage work lights, switches located stage left near fire
extinguisher. Loudly instruct cast and crew to proceed to the locker
rooms immediately. Assist the Stage Manager direct people if possible to
do so safely.
Cast: Proceed to the locker rooms immediately.
Stage Manager: Inform the crew on headset of the emergency using
code words. Using the god mic, or, if unavailable, an air horn and a loud
voice, make the following announcement: "Ladies and Gentlemen. The
national weather service has issued a tornado warning for University
High School and the surrounding areas. At the present time there is no
immediate danger, but we have been instructed to seek a place of safety.
Please quietly exit the theatre through the West doors, and walk toward
the locker rooms by the gym, where you will be given further
instructions. " Then, tell people about safe rooms and get people
divided up into them.
Light Board: Turn on all available area lighting. Assist the Stage Manager
direct people if possible to do so safely.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume. Assist the Stage
Manager direct people if possible to do so safely.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
6.CODE EVAC
NON FIRE EMERGENCY EVACUATION
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. Pull the fire vent handles in the
backstage hallway. Loudly instruct cast and crew to evacuate. Evacuate
the building and assemble in the East parking lot.
Stage Left: Close the main curtain. Turn on the fuorescent stage left and
fluorescent stage work lights, switches located stage left near fire
extinguisher. Pull the fire vent handles in the backstage hallway. Loudly
instruct cast and crew to evacuate. Evacuate the building and assemble
in the East parking lot.
Cast: Evacuate the building and assemble in the East parking lot.
Stage Manager: Inform the crew on headset of the emergency using
code words. Using the god mic, or, if unavailable, an air horn and a loud
voice, make the following announcement: "May I have your attention,
please? Please, may I have your attention? A situation that is not
immediately threatening requires us to evacuate the building at this
time. We ask that you please walk to the nearest exit. Thank you for
your cooperation. " Evacuate the building and assemble in the East
parking lot. Call whichever emergency phone number is appropriate.
Light Board: Turn on all available area lighting. Evacuate the building
and assemble in the East parking lot.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume. Evacuate the
building and assemble in the East parking lot.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
7. Brief Technical Stop (5 minutes)
MAJOR PROBLEM WITH A TECHNICAL ELEMENT OR CAST MEMBER THAT
MAKES CONTINUING THE SHOW IMPOSSIBLE WITHOUT FIXING
Not for emergencies otherwise provided for in this manual (ex: fire, medical)
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. Loudly instruct cast and extra crew to
proceed to the green room immediately, Assist with the fixing of the
problem as quickly as possible.
Stage Left: Close the main curtain. Turn on the fluorescent stage left and
fuorescent stage work lights, switches located stage left near fire
extinguisher. Loudly instruct cast and extra crew to proceed to the
green room immediately. Assist with the fixing of the problem as quickly
as possible.
Cast: Proceed to the green room immediately.
Stage Manager: Inform the crew on headset of the situation. Using the
god mic, or, if unavailable, an air horn and a loud voice, make the
following announcement: "Ladies and Gentlemen. May I have your
attention, please? We are currently experiencing some technical
difficulties on stage. Please bear with us and the performance will
continue in just a moment. Thank you for your patience." Supervise the
fixing of the problem as quickly as possible. If the time becomes
excessive, move to "Extended Technical Stop".
Light Board: Turn on all available area lighting.
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones. Turn the god mic to the loudest volume.
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.
8. Extended Technical Stop (15 minutes)
EXTREMELY MAJOR PROBLEM WITH A TECHNICAL ELEMENT OR CAST
MEMBER THAT MAKES CONTINUING THE SHOW IMPOSSIBLE WITHOUT
FIXING
Not for emergencies otherwise provided for in this manual (ex: fre, medical)
Stage Right: Turn on the sodium houselight switch, located under the
lighting control box stage right. Loudly instruct cast and extra crew to
proceed to the green room immediately, Assist with the fixing of the
problem as quickly as possible,
Stage Left: Close the main curtain, Turn on the fluorescent stage left and
fluorescent stage work lights, switches located stage left near fire
extinguisher, Loudly instruct cast and extra crew to proceed to the
green room immediately, Assist with the fixing of the problem as quickly
as possible,
Cast: Proceed to the green room immediately,
Stage Manager: Inform the crew on headset of the situation, Using the
god mic, or, if unavailable, an air horn and a loud voice, make the
following announcement: "Ladies and Gentlemen, May I have your
attention, please? We are currently experiencing some technical
difficulties on stage, At this time we will take an early intermission,
Please feel free to leave your seats and visit the concession stand, and
we will dim the lights as soon as we are ready to resume the
performance, Thank you for your patience," Supervise the fixing of the
problem as quickly as possible, If the time becomes excessive, cancel the
show. Use show cancelation procedure from "Code Black",
Light Board: Turn on all available area lighting,
Sound Board: Stop all sound effects/music and mute all cast/hanging
microphones, Turn the god mic to the loudest volume,
UHS Tech Theatre Emergency Procedures. Updated Mar 2010 by Matthew Ciulla.