DSOA Theatre Handbook 2015-16

Alexander W.
Dreyfoos School of the Arts

Theatre Department
501 South Sapodilla Avenue, West Palm Beach, Florida 33401
2015-16
Department Handbook
Bruce Linser, editor, Dean of Theatre
(The Theatre Department Handbook was originally authored and edited by
retired Deans of Theatre, Beverly Blanchette and Wade T. Handy.)
It is the responsibility of every Theatre student, every student participating in Theatre Department
activities, and their parents/legal guardians to read, understand, and safeguard this handbook.
Failure to abide by the policies and procedures set forth in this handbook by the Dreyfoos Theatre
faculty could result in poor grades and/or dismissal from the Dreyfoos Theatre Department.
-1-
Table of Contents
Welcome Letters: Dean, TPA President, Playbill Committee, Thespian President
Directory
Vision, Mission, Philosophy, Accomplishments
2015-16 Important Dates
Academic and Artistic Honesty
10
Callboards
10
Casting & Awards Policies (including Audition Requirements)
11
Classroom Expectations
12
Dress Code
12
Field Trips
13
Florida State Thespians
14
Grading Policies in the Classroom
14
Juries & Participation Requirements
16
Lab Hours
21
Outside Work/Training
23
Play Reviews
23
Rehearsal & Performance Attendance & Participation Policies
25
Rehearsal/Performance Theatre Etiquette
26
Scope and Sequence
28
Senior Repertoire
29
Senior Repertoire: Performance
30
Senior Repertoire: Technical
32
Showcases
34
Theatre Parents Association
35
Thespian Troupe #4990
35
Wish List
37
Appendix A: Jury Character Analysis
38
Appendix B: Jury Scenic Design Analysis
42
Appendix C: Guidelines for Scenic Design, Costume Design & Construction Juries
43
Appendix D: Participation Requirements & Thespian Lab Hours Requirements
45
Appendix E: Performance Jury Format
49
Appendix F: Production Underwriting Opportunities
51
Appendix G: Student Enrichment Contribution
52
Appendix H: Playbill Ad Sales Information
53
Appendix I: Contact Information Form
54
-2-
Dear Parents and Students:

The 2015-16 Theatre Department Handbook details important information you will need as the school year progresses. To
save money and go green, we no longer print this document; rather, it is available all year on the Dreyfoos Theatre and
Theatre Parents Association Edline pages, as well as on the Thespian Troupe #4990 Facebook group page. We also
recommend that you save the Handbook PDF file to your computer for quick reference.
Staying informed is imperative for success in our program. Students and parents who know what is happening and when,
find that their time at Dreyfoos is both manageable and fulfilling. There are several ways in which you will receive
communication from the department. Edline: the Theatre Edline page has a calendar with all department events and
deadlines; please update your contact information there and check it often to ensure that you have the latest information.
Email: please confirm that Edline, the faculty, and the Theatre Parents Association have your current email address and
phone numbers; please print and fill out the contact form at the back of this Handbook to ensure that your information is
up-to-date. Callboards: students should check all department callboards (located in the hallways of Building Seven) at
least twice a day. If you have questions that cannot first be answered in the Theatre Handbook or Week Ahead emails,
faculty email is the preferred mode of correspondence due to our intense teaching and rehearsal schedules.
We have an exciting year planned for our students! Our faculty has been busy learning and growing over the summer and
is excited to bring that knowledge back to you in the classroom. In addition, a series of guest artists and master classes
are being planned to enhance the already rich and diverse education our students regularly receive. As always, our
extracurricular production program is the opportunity for students to put what they learn in the classroom into professionallevel performance practice, to create collaboratively, and to ascend to new heights as artists and young adults.
Our 2015-16 Meyer Hall series includes two exciting productions, Romeo & Juliet and Shrek: The Musical, as well as the
ever-popular Short-Attention-Span-Theatre showcase. The Marcie Gorman Stage at the Brandt Black Box Theater will
host a Theatre for Young Audiences production (TBA), two Performance Showcases (one each semester) of exemplary
pieces developed in our performance classes, the annual Directing Lab (which includes the venerable Theatre Collective),
and the Senior Class Showcase. We encourage every theatre student (and parent volunteers!) to get engaged in your
department! Be proactive, stay informed, and take advantage of the myriad opportunities available.
In addition to the District and State Thespian Festivals, we have two audition field trips planned for students who are
committed to pursuing theatre at the college level: the Florida Theatre Conference in Gainesville, FL in November (for
juniors and seniors), and the National Unified Auditions in Chicago in February (for seniors only). No student will be taken
off-campus without the signed permission of their parents/legal guardians. Additionally, during the production process
students will not be held later than the previously scheduled end time. We maintain accurate records of students who
attend all approved Theatre Department activities; if you would like to verify that your child was present and working with
us after school hours, please do not hesitate to ask. The safety of all of our students is paramount.
Our days are long in Dreyfoos Theatre, so we appreciate your punctuality in picking up your child at the end of a
rehearsal, performance, field trip, or other event. The off period between the end of one day and the start of the next is
often less than 12 hours. Please respect the limited free time of Dreyfoos Theatre faculty members by departing the
campus and events promptly at their conclusion. We will not leave your child alone and unsupervised on campus, but if a
pattern of late pick-ups emerges, we reserve the right to limit your childs participation in extracurricular theatre activities.
The year is off to a fantastic start, and were glad to include you as a part of our Dreyfoos Theatre Family. Remember: we
are Steppenwolf! We look forward to teaching, learning, and creating art together. The future of the American theatre
begins in Palm Beach County, and it does so at the Dreyfoos School of the Arts Theatre Department!
Sincerely,
Bruce Linser
Dean of Theatre
bruce.linser@palmbeachschools.org
-3-
Theatre Parents Association

Welcome to all new and returning theatre parents,
What is the Theatre Parents Association and how do I join? If you are a parent reading this, then you are
already a member, and we need your assistance. The TPA is made up of dedicated parents who provide
support to the department and faculty, through volunteering and fundraising.
The money Dreyfoos and the Theatre Department receive from the School District is not nearly enough to pay
for the extraordinary programs our children benefit from. The TPA, mostly through the funds raised from
Program Ad sales and concession sales, is able to fill the gap to pay for professional master classes, show
receptions, theatre department supplies, scholarships, sponsor the thespian banquet, and senior gifts to name
a few. The TPA has also been able to make major purchases for the department, including a new Black Box
Theatre dance floor, $3,000 professional video camera, and the much needed curtains for the Black Box
Theatre, at over $20,000.
This year is going to be busy as there are over 30 performances, including the return of the Theatre for Young
Audiences, so we really need your help, and getting started is as easy as 1-2-3;
1. Email Beth Lyons bglyons@hotmail.com, our Volunteer Coordinator and request to be added to
volunteer list. Dont worry, you are not committing to anything by doing so. You will simply receive an
email when help is needed and signup is done online.
2. Use our Edline TPA page. There are many useful links
http://www.edline.net/pages/A_W_Dreyfoos_School_of_Arts/Parent_Associations/Theatre_Parents_Ass
ociation
3. Sign up to receive the TPA Newsletter. There is a link on our edline page above, or email
dreyfoostpa@gmail.com. This monthly newsletter will keep you up to date on all department
happenings.
Your TPA Board
President: Romeo Chicco
Co-Vice Presidents: Susan Litwinka, Michelle Suskauer, and Harris Pollock
Secretary: Susanne Ridley
Treasurer: Karen Lederman
Please join us as we look forward to a terrific year of helping DSOA Theatre reach for the stars!
All the best,
Romeo Chicco
President, Theatre Parents Association
-4-
Dear Theatre Students and Parents,

Each year, DSOAs Theatre Parents Association produces the Season Playbill, which is distributed to each
patron at all of the Theatre Departments shows throughout the year. It's a glossy, high-quality book, and one
of the most professional-looking programs of any high school in the state. Proceeds from ads sold in the
Playbill are what keep the TPA going throughout the year.
The ads are sold by students and parents, and it's a Win-Win-Win situation all around.
Students Win - 40% of each ad sale is held in the student's account to help pay for any theatre department
expense (approved by the Dean). These expenses include attending ITS District and State Festivals, Chicago
Unified Auditions Trip, the Thespian Banquet, and even Dreyfoos Theatre Department performance
tickets. Ads start at $75, and a student selling just two of these small ads will have enough in their student
account to pay for ITS District Festival or the Thespian Banquet.
Advertisers Win This year the Playbill will be distributed at 32+ performances to more than 6,000 show
patrons throughout the school year. Because Dreyfoos is a magnet school, we have students from all over
Palm Beach County, and therefore audience members from all over the county, which gives a breadth of
demographic coverage that should appeal to many businesses.
Theatre Department Wins Money from program ad sales support the TPAs endeavors to help make it one of
the top high school theatre programs in the country. This includes granting scholarships, providing many
meals for students, staff, and judges throughout the year, hosting the thespian picnic and year end banquet, as
well as buying the extra supplies needed by the department.
Students can also receive lab hours for the time spent in an effort to sell an ad. Students receive one hour for
every documented attempt to sell an ad, whether or not it was successful. (Not valid for family congratulatory
ads) The Sales Pitch Verification form follows this letter. Even if you sell the ad, this form must be filled out
and signed to receive the lab hours.
This is our major fundraiser, and we encourage everyone to get out and sell ads. The deadline to sell ads
is Friday, September 25th, 2015, so dont delay.
If you have any questions for the Playbill team, contact playbill@dreyfoostheatre.com.
Sincerely,
Playbill Committee
-5-
WELCOME FROM YOUR TROUPE 4990 PRESIDENT

Hello and welcome to the 2015-2016 school year! This year has so many great events in store and on behalf of all the
officers: I welcome you. As I said in my speech for Thespian President, Together, we can make the next chapter of ITS
the best one yet, we just have to turn the page Its an honor and a privilege to lead the members of this department as we
continue to write the story of the theatre department, page by page, step by step.
If you are new to the Dreyfoos Theatre Department please jump right in. We welcome you into our family with open arms.
I cannot wait to get to know all of you and work on all of our fun filled projects together. To those of you who are not new, I
look forward to continuing the bond we have and the memories made.
With such a big year ahead of us, we are taking collaboration to a whole new level, and we need your commitment to do
so. We are going to need even more of your energy, focus, and positivity than ever before. In short, we need your
participation. As we all know, theatre is the greatest collaborative art form. When putting together our thespian events, we
are always in need of volunteers to assist with tech, setting up, performing, etc.
Dont get lost in the shuffle! Check our beautiful callboards twice a day, as information is constantly being updated, and
changed. Keep your eyes glued to Dreyfoos Thespian Troupe 4990 Facebook page, Instagram, Edline, Mr. Linsers
emails, and our lovely TPAs monthly newsletter. This year, we want to encourage self-sufficiency and initiative by
stressing the importance of reading the Theatre Handbook. Any question you may have, check the Handbook! If you still
find yourself with questions, dont hesitate to ask any of the officers!
For those of us returning, many changes are coming our way. The most important thing that we can do is to welcome
each and every change with an open mind, and easygoing attitude. Just like us, the department is simultaneously growing
and changing. With that in mind, heres some advice:
Freshman: Congratulations, you made it. Prepare yourselves for the 4-year roller coaster that is high school. Enjoy the
ride, but dont lose track of whats important. Surround yourself with good, hardworking people. Ask questions, take
initiative, and above all---have fun.
Sophomores: One year down, three to go. In your sophomore year it is imperative that you continue to work hard, and
stay focused in every arena, academics being number one. Do it now. Save yourself the stress later.
Juniors: This year is hard, I know. The most difficult part of this year is to keep yourself on track while delving deeper into
the department AND keeping your academics at their STRONGEST. Be confident in who you are, and who you are
becoming. You truly can do anything you set your mind to. Rely on and trust your friends, your family, and most
importantly, yourself.
Seniors: I cant believe it; we are finally here. But we arent done yet. Class of 2016, buckle down, and stay on track. The
only cure for senioritis is focus, and determination. Be the leaders I know we are. Weve made it this far, and I cant wait to
see whats next for us. They told us it would go by fast, but its hard to believe college is coming. Lets cherish this last
year together, focused towards the future up ahead.
Most of all, dont lose track of the reason we all came to Dreyfoos, to share and develop the love we all share for theatre.
If you stay motivated, keep on track, and remain involved by taking advantage of all that Dreyfoos has to offer, you are
only setting yourself up for one thing: success.
Your Thespian President,
Rachael Labes
-6-
Directory
Theatre Department Faculty
Brad Barfield
Edward Blanchette
Michael Blair
Georgia Mounce
Shelley Keelor
Bruce Linser
Michelle Petrucci
Maggie Marlin-Hess
Penny Williams
Acting, Directing, Theatre History

Technical Supervisor; Stagecraft & Design
Stagecraft (Artist-in-Residence)
Guidance Counselor
Voice (Artist-in-Residence)
Dean; Musical Theatre
Musical Theatre, Dance
Acting
Costume Design (Artist-in-Residence)
bradley.barfield@palmbeachschools.org
edward.blanchette@palmbeachschools.org
michael.blair@palmbeachschools.org
georgia.mounce@palmbeachschools.org
shelley.keelor@palmbeachschools.org
bruce.linser@palmbeachschools.org
michelle.petrucci@palmbeachschools.org
maggie.marlin-hess@palmbeachschools.org
penny.koleos@palmbeachschools.org
The Theatre faculty kindly requests that students and parents use only the above-listed email addresses to
communicate. Please refrain from contacting faculty via private lines, home email addresses, or online social
media sites. Students and parents may receive private phone numbers and email addresses for field trip
purposes only; please promptly delete these numbers and email addresses following such trips.
Theatre Parents Association Board and Chairs

Romeo Chicco
President (Board)
Susan Litwinka
Co-Vice President (Board)
Harris Pollock
Michelle Suskauer
Karen Lederman
Treasurer (Board)
Susanne Ridley
Secretary (Board)
romeochicco@yahoo.com
susan@themapworld.com
harris@joxsox.com
michelle@suskauerlaw.com
karen.lederman@gmail.com
sebridley@aol.com
Beth Lyons
Winda Robles
Tina Blount/Juls Diaz
Stella & Joe Pores
Lisa Marie Cohen
Bina Martin
Shannon Moriarity
Tanya Kugel
bglyons@hotmail.com
winda.robles@palmbeachschools.org
teekintina@aol.com / julsd@bellsouth.net
stella@call4health.com / joseph@call4health.com
lisamariecohen@gmail.com
binamartin27@gmail.com
busybocagirl@gmail.com
travelforyou14@gmail.com
Volunteer Coordinator
Concessions Chair
Box Office Co-Chairs
Hospitality/Special Functions
Hospitality/Cast Meals
Playbill/Ad Sales
Transportation
Fundraising
Thespian Troupe #4990 Officers

Rachael Labes
President
Zak Biggins
Vice President
Drew Lederman
Secretary
Maddy Mackarey
Treasurer
Brittney Anderson
Historian
-7-
The Vision, Mission, and Philosophy of the Dreyfoos School of the Arts Theatre Department
Vision:
Mission:
Philosophy:
Students graduating from the Alexander W. Dreyfoos School of the Arts Theatre program will be
the innovators and leading practitioners in the next generation of the American theatre.
The Alexander W. Dreyfoos School of the Arts Theatre Department will provide students with
the comprehensive theatre arts studies and practical experiences necessary to enter prestigious
college, university, or conservatory theatre programs as well as the professional industry.
Theatre is an all-or-nothing proposition. Our students classroom instruction is supplemented
and enhanced by our extracurricular production experiences process applied to product.
Consistent and committed participation in both classroom and after-school activities is
necessary for a complete theatrical education.
Selected Departmental Accomplishments

o Educational Theatre Association Outstanding High School Theatre Program
o Fourteen Florida State Thespian Festival Mainstage Productions
o Two-time winner of Southeastern Theatre Conference Secondary School One-Act Play Festival
o Four-time winner of Florida Theatre Conference Secondary School One-Act Play Festival
o Most awards for a single school at District Thespians Individual Events Festival
o Recognition of students through the NFAA YoungArts program
o Recognition of students through the Arts for Life and Palm Beach Post Pathfinder scholarship programs
o Graduates accepted to college/conservatory theatre programs, including: Boston Conservatory,
Carnegie Mellon, DePaul, Elon, Florida State University, Ithaca College, Juilliard, New World School of
the Arts, New York University Tisch School of the Arts, Northwestern University, Penn State, Point
Park, Southern Methodist University, SUNY Purchase, Syracuse University, University of the Arts,
North Carolina School of the Arts, University of Southern California, and Webster University
Selected Alumni Accomplishments
o Founding theatre/film companies: Randi Berry, Wreckio Ensemble; Kimberlea Kressal, EstroTribe; Nick
Ciavarella, Sound and Space Theatre; Paul Leopold, Descent Artists; Adam Cronin, Bama Productions
o Performed on and off-Broadway (inc. tours): Wicked (Eddie Pendergraft and Kristina Fernandez), Evita
and A Chorus Line (Jessica Lea Patty), West Side Story (Michael Scirrotto), Triptych (Carrie
Specksgoor), No Strings! (Harry Bayron)
o Worked on and off-Broadway: Megan Larche, Casting Director with Binder Casting, Associate Producer
of Bring It On!; Jessica Weeks, Assistant Sound Designer of Nice Work if You Can Get It; Katie Britton,
assistant at The Hartman Group; Drew Ross, Casting Assistant at Manhattan Theatre Club
o Worked in Television and Film: Joshua Harto, Coleman Reece in The Dark Knight and writer/producer
of Memphis Beat and The Lifeguard; Erin Krakow, Army Wives; Sharon Pierre-Louis, The Lying Game;
Ben Yanette, Royal Pains; Reid Ewing, Modern Family
o Performed in regional theatres: Gretchen Porro at Cincinnati Playhouse in the Park, Asolo Rep; Nick
Ciavarella and Greg Roman at Mark Taper Forum; Nancy Noto, Michael Cox, and Daniel Kopystanski
at Actors Theatre of Louisville; Brandon Morris at GableStage; Jessica Mansfield at Virginia
Shakespeare Festival
o Designed professionally: Pamela Kupper, Lighting Design at Radio City Music Hall; Caitlin Hunt,
assistant costume designer, In the Heights; Michael McClain, scenic design at St. Louis Opera
o Commercials: Deprece Reddick and Franchesca Tosti for Pepsi, Maritte Go for Ford
o Self-promotional/stand-up work: Franchesca Ramsey (YouTube, Anderson Cooper Show), Daniel
Karpel
-8-
2015-16 Important Dates

Aug. 13; 5:30-7pm
Aug. 18; Lunch
Aug. 19; 6pm
Aug. 18-20; 4-7pm
Aug. 21; 4-6pm
Aug. 22; 2-5pm
Aug. 24-26; 4-7pm
Aug. 28
New Student Orientation, Black Box

Thespian Meeting, Black Box
Theatre Families Welcome Meeting
Crew Interviews
New Student/Senior Speed Buddy
Thespian Picnic John Prince Park
Season Auditions, Black Box
FTC Applications Due
Sept. 3; Lunch
Sept. 4
Sept. 9; 6-8pm
Sept. 11
Sept. 11; 7pm
Sept. 25

FTC Deposit Due
Open House Curriculum Night
Chicago Applications Due
9/11 Tribute Show; Meyer Hall
Playbill Ad Sales Deadline
Oct. 1; Lunch
Oct. 2
Oct. 2
Oct. 3; 9am-5pm
Oct. 7; 6-8pm
Oct. 9
Oct. 10; 9am-5pm
Oct. 16
Oct. 16; 11:59pm
Oct. 29; 7pm
Oct. 30; 7pm
Oct. 31; 2pm
Oct. 31; 7pm

FTC Balance Due
IE Audition Fest Sign-up Deadline
NFAA YoungArts Taping
College Fair, Gym
Chicago Deposit Due
IE Audition Fest
District Payment Due
NFAA Entries Due
R&J Theatre Major Preview (free)
R&J, Meyer Hall, $20
Nov. 1; 2pm
Nov. 4; 6-8pm
Nov. 6; Lunch
Nov. 5; 7pm
Nov. 6; 7pm
Nov. 7; 7pm
Nov. 8; 2pm
Nov. 9
Nov. 12-14
Nov. 12; 7pm
Nov. 13; 7pm
Nov. 14; 7pm
Nov. 20
Nov. 21
Nov. 24; Lunch
Nov. 30
Nov. 30; 4-7pm
Dec. 1; Lunch
Dec. 1; 4-7pm
Dec. 3; Lunch
Dec. 7
Dec. 11
Dec. 14
World AIDS Day Event

TYA/Directing Auditions, Black Box
Juries begin (Jr. & Soph. only)
Chicago Appointments Due
Lab Hour Cards Due
Prospective Student Open House

R&J, Meyer Hall, $20; Strike 5-8pm
Senior Rep/Jury Declarations Due
FTC Audition Trip, Gainesville
Showcase Theatre preview (free)
Showcase, Black Box, $10
Chicago Balance Due
District IE Festival; Martin Co. H.S.
Thespian T-giving Party, Black Box
Senior Reps begin
TYA/Directing Auditions. Black Box
Jan. 7; Lunch
Jan. 8; 7pm
Short-Attention-Span-Theatre,
Jan. 13; 7-8pm

Jan. 25-29
Jan. 29; after lunch
Meyer Hall, $20

Shakespeare Auds, Black Box
Spirit Week
Black History Show
Feb. 5; Lunch
Feb. 6-11
Feb. 24; 7pm
Feb. 25; 7pm
Feb. 27; 2pm
Feb. 27; 7pm
Feb. 28; 2pm

Chicago Unified Auditions (Seniors)
Shrek Theatre Major Preview (free)
Shrek, Meyer Hall, $20
Mar. 3; Lunch
Mar. 4; 7pm
Mar. 5; 2pm
Mar. 5; 7pm
Mar. 6; 2pm
Mar. 6; 5-8pm
Mar. 12; 7pm

Shrek Strike
R&J Remount Perf. (if show wins
State Mainstage performance)

Mar. 16-20
Florida State Thespian Festival,

Tampa (Approved Delegates Only)
Apr. 1; 7pm
Apr. 2; 10am
Apr. 2
Apr. 7; Lunch
Apr. 7; 7pm
April 8
Apr. 8; 7pm
Apr. 9; 10am
Apr. 9; 7pm
Apr. 15; Lunch
Apr. 15
Apr. 16; 10am
Apr. 18; 4-7pm
Apr. 29
Apr. 29; 7pm
Apr. 30; 10am
Apr. 30; 7pm
TYA Theatre Major Preview (free)

TYA, Black Box, $10
Prom
Directing Theatre Preview (free)
Banquet Registration Due
DirectingShowcase, Black Box, $10
TYA, Black Box, $10
DirectingShowcase, Black Box, $10
Thespian Officer Candidates Mtg.
Grad Bash
TYA, Black Box, $10
Senior Showcase Auditions
Thespian Candidates Essays Due
Senior Showcase, Black Box, $10
TYA, Black Box, $10
Senior Showcase, Black Box, $10
May 2
May 5; Lunch
May 5; 7pm
May 6; Lunch
May 6; 7pm
May 7; 7pm
May 9
May 15; 5-9pm
May 16
May 23
Senior Hour Cards Due

Thespian Officer Elections
Showcase Theatre Preview (free)
Thespian Party, Black Box
Jury Declarations Due
Thespian Awards Banquet
Hour Cards Due
Juries begin (Jr., Soph., Fresh.)
-9-
Academic and Artistic Honesty

Cheating includes any method of assistance on any assignment for which assistance is not allowed. Always
assume that you may not receive assistance on an assignment/quiz/test, unless the teacher instructs you
otherwise.
Plagiarism is defined as presenting someone elses work as if it were your own, whether you mean to or not.
This includes the idea of working together/sharing ideas. Someone elses work means anything that is not
your own idea even if it is presented in your own style. It includes material from books, journals or any other
printed source, the work of other students or staff, information from the Internet, designs and ideas. It also
includes the organization or structuring of any such material. (http://www.vuw.ac.nz/home/glossary/#p)
With regard to theatrical designs, remember that it is considered plagiarism if you use someone elses design
as your own. For example, if you are designing sets or costumes for a play and use a design from another
production as your own (even if you make changes), it is considered plagiarism.
Cheating and plagiarism will not be tolerated in any class; violations will result in the receipt of NC (No Credit)
on the assignment.
Callboards
Bulletin boards (callboards) are located throughout the hallways of Building Seven. Each board is devoted to
certain topics pivotal to the operation of the Department. Students must check each callboard at least twice per
day, every day. I didnt know is not a valid excuse. Students may not post anything on a callboard without
permission from the Dean or the director of a given production.
The Main Callboard is located outside of the main entrance to the black box closest to the Deans office. It
contains information related to students including class assignments, important messages from teachers,
calendar/event dates, and general department information. Adjacent to the Main Callboard closest to the black
box entrance is the Thespian Callboard. This callboard contains information related to Thespian Troupe
activities such as District & State IEs.
The Deadlines Callboard is located outside the Deans office. It contains information of a timely nature
including Jury Declarations & Performance Orders, and Due Dates for Ad Sales, Field Trip & Event Payments,
Hour Card Submissions, Character Analysis Deadlines, etc.
The Community Callboard is located in the hallway outside of Room 7-110. This board contains good news
about current DSOA students and alumni, casting notices for outside work, and information related to shows
and other events happening in the community.
Production Callboards are also located in the hallway outside of Room 7-110. Each Meyer Hall production
shares one board, while the board opposite contains information related to black box productions. Other
callboards throughout the halls include information regarding Design/Production, Costumes, College
Applications & Auditions, Summer Programs, and Current Theatre Events. Other important department
information may be posted on the Thespian Troupe #4990 Facebook group page as well as through the
Theatre Department Edline page.
- 10 -
Casting & Awards Policy

The Theatre Department faculty casts school productions at open auditions as posted on the Callboards.
Casting is done in collaboration by a panel of faculty members. Decisions are made only after group
deliberations. While it is impossible to cast every student in any given production or school year, the faculty will
make the best attempt possible to maximize performance opportunities for all students.
Students are reminded that everyday character and behavior in class and around the department also serves
as part of their audition. The faculty considers not only a students audition for a particular play but also prior
production performance and reliability, classroom behavior and performance, and grades (students may not
participate in a cast or crew if having lower than a 2.0 GPA, or are on academic or arts probation). For
productions that span two semesters but are cast in the first, a student on academic or arts probation may
audition and be cast provisionally pending final first semester grades.
The faculty will not cast any student who is not a theatre major unless there is no student in the Theatre
Department capable of carrying out the specific role. Therefore, Theatre Department auditions are limited to
theatre majors unless otherwise specified.
Students should be aware that often department production material (such as songs and dances for musicals)
will be taught and reviewed during the appropriate classes; however, enrolling in a particular class does not
guarantee casting or the offer of a production position.
Sometimes, when a choice between two equally talented students must be made, seniority may be considered.
Additionally, there may be students who appear in multiple productions due to casting needs. Final casting
consideration comes down to several factors including who is best for the role and the educational value for a
particular student playing a role.
It is highly recommended that students audition and/or interview for every production (whether Meyer Hall or
Brandt Black Box Theater). Auditioning is like working out at the gym; the more you do it, the easier it
becomes.
Casting is the most difficult part of any production. We believe in absolute fairness and do everything in our
power to be both fair and consistent. If you have auditioned for a play or applied for a position and were not
chosen, it is within your rights to ask the faculty what you could do to improve your next audition or interview.
2015-16 Audition Requirements (auditions for R&J & Shrek - August 24-26, 2015; TYA auditions TBD):
Romeo & Juliet

Shrek
15-20 lines of Shakespearean verse NOT from Romeo & Juliet or sonnets
A short contemporary musical theatre song (32-bars or 1 minute of music
a verse & a chorus) w/ CD accompaniment that tells a story
Theatre for Young Audiences (TBA) A short contemporary monologue that shows character and storytelling
Short-Attention-Span-Theatre
Receipt of Superior-rating on a monologue, scene, song, or mime at the
District 15 Thespians Individual Events Festival
Semester Showcases
Chosen from exemplary work in individual performance classes
Directing Showcase
Chosen from exemplary work in the Directing I class (includes Theatre
Collective)
Senior Showcase
Seniors choice of material; selected by audition
A collaborative faculty deliberation process is also used when determining department award recipients, such
as Pathfinder, Top Thespian, and other end-of-year Troupe awards.
- 11 -
Classroom Expectations
The Theatre Department is committed to providing a safe space for students to learn and grow as artists.
Students will not be subject to any sort of ridicule for risks taken or work completed either in or out of class. As
artists, we respect each others creativity and freedom of expression. Additionally, the following classroom
behaviors are expected from students:
o
o
o
o
o
o
o
o
o
Punctuality: please be in your seat when the tardy bell rings and remain in seat unless otherwise
instructed.
Preparation: please be prepared for class at the sound of the tardy bell including being ready to turn in
all class assignments and/or present all class performances.
Presence and Attentiveness: please refrain from talking and other disruptive behavior especially
during performances. This includes turning off and putting away cell phones.
Personal Responsibility: please use restroom and take care of other personal business during lunch or
between classes.
Respect: please respect yourself, your classmates, and your instructors. Practice exceptional audience
behavior. Put away cellular phones and other electronic devices to prevent distraction.
Decorum: please refrain from the use of inappropriate gestures, language, and prop weapons both onstage and off.
Good Citizenship: please do not deface or destroy school, classroom, or personal property. Please
refrain from chewing gum, eating, or drinking in the building. Clean up after yourself when you leave a
classroom or rehearsal.
Versatility: work performed in one class may NOT be used in another class.
Obey all rules set forth by DSOA and individual teachers.
The Theatre Department faculty recognizes that gossip is one of the least attractive qualities of human nature
and that it is difficult to control. We recognize that the spreading of private or personal information about a
person usually has malicious intent. If you hear gossip, or suspect that gossip is being spread, immediately
remove yourself from the situation and refrain from spreading gossip yourself. Teachers will not tolerate gossip
in their presence. Should teachers hear anything that may negatively affect a student, it is their duty, as
mandated by the State, to report it to a higher authority. If you suspect any student of harm or negativity, you
should report it to a higher authority so that the student may receive assistance. We are Steppenwolf!
Dress Code
When actors/technicians work, rehearse, warm-up, and/or perform on the stage, they need to feel free to
move. Your teachers expect you to complete the above tasks while allowing both you and your peers/audience
to feel comfortable.
When you are on stage, you must think, "Where do I want my audience's attention to be?" It is important that
your body is covered. Likewise, when playing certain parts in plays, the clothes you wear will help you create
that character. You can't play Juliet in shorts and flip-flops or Hamlet in pants that are falling below your boxer
shorts. Please dress appropriately and professionally at all times. Remember that every moment is an audition.
All theatre classes have a dress requirement for class. Students should refer to course syllabi specific to each
class for such requirements. In the event a teacher requires students to dress out, students will be granted five
minutes at the beginning and ending of the class period to change clothes.
- 12 -
Field Trips
Several field trips are scheduled throughout the school year. Students will receive specific information
regarding field trips well in advance of the trips. Permission Forms must be completed and turned in no later
than the day before departure for the trip. Students may drive themselves on any field trip only with written
parental permission.
Parents and students are reminded that all School District of Palm Beach County and Alexander W. Dreyfoos,
Jr. School of the Arts rules and policies are in place while on any field trip. Alcohol, drug, controlled substance,
and weapon possession will not be tolerated. Any student caught in possession of any item that is not allowed
will be referred to law enforcement authorities, and further disciplinary action will be taken upon return to
school. Violation of any rule could mean that the entire school will be prevented from participating in athletic
trips, conferences, festivals, or competitions.
Students are responsible for expenses related to food, ground and air transportation, lodging, and other
miscellaneous incidental costs. Financial assistance may be available to students in the form of scholarships
from the Theatre Parents Association or the School of the Arts Foundations Ray of Light Fund. Also, students
may use funds from Playbill ad sales to pay for field trips.
Florida Theatre Conference Auditions
These auditions are open to Juniors and Seniors who are serious about pursuing theatre in college. Juniors
may get a jump on college connections and exploration, and Seniors more interested in attending Florida
schools rather than going out-of-state may use this trip as an alternative to the Chicago Unified Auditions. It will
also prepare all students for the rigors of auditioning either for college programs or professionally. The trip will
take place November 12-14, 2015 in Gainesville, FL. The cost of this trip will be approximately $600.
District Thespian Individual Event Festival
This trip will take place November 21, 2015 at Martin County High School. Students must first qualify at the
school-wide audition on October 10, 2015. Students interested in participating should check the callboards and
attend Thespian meetings. Students may qualify to attend the Florida State Thespian Festival (March 16-20,
2016) as a result of this trip; therefore, if a student cannot or does not wish to attend the State Thespian
Festival, they should not participate at the District level. The cost of this trip will be approximately $75.00.
Chicago National Unified Auditions (College/Conservatory Auditions)
This trip will take place from February 6 - 11, 2016. The purpose of this trip is for seniors who are serious about
studying theatre in college to have the opportunity to audition for multiple schools in one location. Students
must make individual applications/appointments with each school in attendance and report appointments by
December. Applying students will be selected to attend based upon theatre faculty discussion on the benefits
of the student auditioning in this setting. Applications are due to Mr. Linser by September 11, 2015. The cost
of this trip will be approximately $1,200.00.
Florida State Thespian Festival Tampa, Florida
This trip will take place March 16-20, 2016 in Tampa. Students who rank highly at the District Thespian
Individual Event Festival will be invited to participate. In the event that more students qualify to attend the trip
than competitive slots available, the theatre faculty will consider seniority, specific critiques from District IE
judges, and educational value for students. The cost of this trip will be approximately $650.00.
- 13 -
Florida State Thespians

Participation in the District 15 Thespians Individual Events and Florida State Thespian Festivals are governed
by the rules of Florida State Thespians and the policies of the Dreyfoos School of the Arts Theatre Department.
For information regarding Florida State Thespians, please visit: http://www.flthespian.com.
Directing and Tech titles for 2015-16:
A Dolls House by Henrik Ibsen
The Good Doctor by Neil Simon
The Normal Heart by Larry Kramer
Big Fish by Andrew Lippa & John August
Macbeth by William Shakespeare

Leading Ladies by Ken Ludwig
The Elephant Man by Bernard Pomerance
Ragtime by Terrence McNally, Lynn Ahrens, & Stephen
Flaherty
Grading Policies in the Classroom

Most theatre courses are performance-based in that students are graded primarily on performances and
presentations done while in class. Evaluation forms are used to arrive at individual performance grades.
Faculty will establish rubrics and communicate their components prior to final performance or presentation.
Since theatre is an art form, faculty members, who are experts in their fields, reserve the right to subjectively
grade performances/presentations. Written tests are graded objectively and then averaged with performance
work. Compositions, rehearsals, preparation, participation, audience behavior, proper attire, and attendance
are also factors in determining the final quarterly grade.
Attendance is mandatory and is included in the final grade point average (with consideration given for SRAs or
excused absences as sanctioned by school administration). Since Theatre Department courses are
performance and participation based, it is impossible for a student to perform and participate if not in class.
Classroom focus is on both rehearsal and performance; process is just as important as product. A student will
not receive good grades without good attendance and good work habits.
Grades are averaged with the School District of Palm Beach County GradeQuick system which parents and
students may access via Edline. Faculty members will make their best efforts to update grades regularly.
School administration will also distribute progress reports to students on a weekly basis. It is the responsibility
of the student and parent to stay on top of classroom progress. Do not wait until the last week of the quarter to
check up on your or your students grades. District, school, and department late work policies will be strictly
enforced.
It is the students responsibility to control time outside of class. It is okay for students to say no to activities or
opportunities that will take them out of class or otherwise distract them from their education (especially if that
time out could result in poor grades). Since it is impossible for a teacher to know each students personal
schedule/needs, the student (and parent) must carry this responsibility.
IMPORTANT: Late work is not acceptable in any Theatre Department class. The theatre runs on deadlines,
and it is important for students to take responsibility for these deadlines in preparation for their college and
professional careers. A zero or NC (No Credit) is automatically given for any missed assignment, class work
session, or performance, regardless of the reason for the absence. For excused absences, it is the students
responsibility to make up the missed work immediately upon return to class. Make-up work not presented
immediately will be docked one letter grade for each subsequent class period it is late.
- 14 -
Certain assignments (such as Play Reviews, Jury Declarations, Character Analyses, Hour Cards, or others as
stated by an individual teacher) will not be accepted late for any reason. Students/parents must understand
that teachers are given due dates by which they must strictly adhere, and if student submissions are late, the
teachers work will be late. All due dates for these assignments are posted at the beginning of the school year,
so their deadlines should be planned for far in advance.
Generally, these profiles outline the work it takes to earn a specific grade:
A grade of A will be earned by the student who:
o Anticipates work that needs to be accomplished and takes on the responsibility of completing the work
in a timely fashion.
o Makes wise use of class time by consistently rehearsing, studying, or working on class assignments
without delay.
o Upon completion of an assignment, immediately begins work on the next assignment.
o Displays outstanding audience behavior during performances, lectures, and instructions.
o Assists others, participates in discussions, and works well with peers and instructors to accomplish
tasks.
o Has excellent attendance, and always dresses appropriately.
A grade of B will be earned by the student who:
o Completes work after receiving instructions or direction, within a timely fashion.
o Makes wise use of class time by rehearsing, studying, and working on class assignments.
o Displays good audience behavior during performances, lectures, or assignments.
o Participates in discussions and works well with peers and instructors.
o Has good attendance, and usually dresses appropriately.
A grade of C will be earned by the student who:
o Completes work after receiving instruction or direction, yet does so with minimal interest and with
limited pride in his/her work.
o Minimally uses class time for rehearsing, studying, or working on class assignments.
o Displays frequent discourteous behaviors by sleeping, talking, ignoring performances, lectures, or
instructions.
o Is frequently tardy or absent, and does not dress appropriately.
A grade of D or F will be earned by the student who:
o Does not complete work or completes it only after receiving numerous instructions.
o Makes excuses as to why he/she cannot rehearse, study, or work.
o Is excessively tardy, leaves early, or skips class completely.
o Displays discourteous audience behavior by sleeping, talking, or ignoring performances, lectures, or
instructions.
o Does not work well with others as a team member.
o Has limited pride in his/her work.
o Has poor attendance.
o Does not dress appropriately.
- 15 -
Juries
The jury is a performance/project-based assessment that is used as the semester exam grade. Students must
submit the titles of all pieces that have been prepared in theatre classes during the semester to present for
their jury; only one of the pieces, chosen by the faculty adjudicators on the day of the jury, will be performed for
a final jury grade. Once a piece has been submitted for consideration, it may not be submitted again for
subsequent juries regardless of whether or not it was chosen for final performance. For more information, see
Appendix E.
Only junior and sophomore students will jury in the first semester; seniors will present a Senior Repertoire in
place of a first semester jury (see Senior Repertoire section on page 29). In the second semester, juries will be
presented by junior, sophomore, and freshman students. Juries are presented during theatre class periods and
all theatre classes observe juries. Senior Reps will take place November 30-December 4, 2015. First semester
juries will take place December 7-18, 2015, and second semester juries will take place May 23-June 2, 2016.
Jury pieces for juniors and sophomores are selected by the faculty from the work developed in theatre
department classes during that semester including Acting, Musical Theatre, Design/Tech (scenic design,
scenic construction, costume design, costume construction, lighting design, sound design, make-up design,
stage management prompt book, etc.), or Dance (only for students enrolled in a Theatre Department dance
course and with permission of that courses instructor). Freshmen students only jury during the second
semester and may choose the piece they wish to present for their jury.
Grade Level
Freshmen
Sophomores
Juniors
Seniors
First Semester
No jury required
Chosen by faculty from class work
Senior Rep students choice
Second Semester
Students choice
No jury required
All students must declare their jury selections prior to the jury. The dates of these declarations are Monday,
November 9, 2015 for the fall juries and Monday, May 9, 2016 for spring juries. Students jurying in Acting or
Musical Theatre must also complete a Character Analysis for each selection as part of their class development
of the piece. The purpose of the character analysis is to allow students the opportunity to document the indepth study of their character in the context of the play or musical as discovered in their rehearsal process.
The Character Analysis format appears in Appendix A.
Analyses for all tech jury selections must be submitted with the project or presentation the day of the jury.
Failure to declare jury selections by the deadline and to submit proper analyses with the jury presentation will
result in the final jury grade being lowered by one letter grade. Please see the chart below for declaration and
performance deadlines:
- 16 -
Jury Component
Jury Declarations
Deadline
(at least 3 titles for

performance; 1 title
for tech)
Jury Performance
Dates
Declaration
Deadline
Fall November
9, 2015
Spring May 9,
2016
Fall December
7-18, 2015
Spring May 23June 2, 2016
Fall - December
14, 2015
Hour Cards
Spring May 16,
2016
Consequence of Not
Turning In On Time
Final jury grade
docked one letter
grade.
Failure to present on
the day called
docked one letter
grade per day;
Failure to present at
all results in an F.
Not eligible for
Thespian induction,
awards, or
scholarships
The Jury Order List will be posted prior to juries. Students will be scheduled randomly to jury within a particular
class period starting with upperclassmen and moving to underclassmen. Students must be prepared to jury on
the first day of the class during which they are scheduled. Depending on scheduling, students may be asked to
present their jury during a class period in which they were not scheduled, however, in the event that this
becomes necessary, they will be given plenty of notice of the change. If a students name does not appear on
the list, or if a name appears during a period in which that student does not have a theatre class, it is the
students responsibility to inform the Dean so that the error may be corrected.
Participation Requirement
Theatre is a collaborative art form. As stated in your entrance audition interviews, all Theatre Department
students are expected to be involved, versatile, well-rounded artists and are therefore required to participate in
all aspects of the department technical and performance while at Dreyfoos. This is a common practice at
arts schools nationwide. Its purpose is two-fold: to provide educational experiences that cannot normally be
provided in the classroom and guarantee that all students are well-rounded theatre collaborators both on and
off stage. This participation, which counts for 20% of your jury grade each semester, must include the
following:
ALL STUDENTS
All students, regardless of track (technical and performance) must interview for at least one crew position each
semester. If offered a crew position, they must accept it and fulfill the minimum crew contract in good standing
for the entire run of the production, including strike. Minimum crew commitment is two consecutive days per
week. Productions may be mainstage or black box shows.
- 17 -
In addition to interviewing and fulfilling a crew position if assigned, all students must attend at least one of the
two productions in the first semester and three of the six productions in the spring semester. Productions can
be mainstage or black box shows. Attending invited dress rehearsals or ushering for performances will gain
students free access to shows while still earning them full jury points only if they stay for the entire
performance.
PERFORMANCE STUDENTS
In addition to interviewing for a crew position AND attending the required productions each semester, all
students on the performance track must present an audition at the season auditions each semester in the fall
for the mainstage productions and in the spring for the department black box productions. If offered a role in
any production, they must accept it and fulfill the contract in good standing for the entire run of the production
(rehearsals and performances), including strike.
NOTE: performance track students who did not fulfill the crew interview requirement during the fall semester
will not be eligible to be cast in either of the mainstage productions that audition in the fall semester. They may
still audition and be cast in the Theatre for Young Audiences production in the spring semester provided that
they have interviewed for crew in the second semester.
For more information and answers to frequently asked questions, please see Appendix D.
Failure to be present when called to perform will result in a lowering of the final jury grade by one letter grade
per day. Failure to present a jury at all will result in the grade of F for the jury, and thus a failure of the
semester exam. Students may only make-up a jury if they provide official documentation from a certified
medical professional of a communicable illness, an injury that would prohibit their performance, or death of an
immediate family member. Routine or previously scheduled appointments (e.g. eye doctor, orthodontist) or
parent notes are not acceptable excuses. The Theatre Department faculty will confer on a case-by-case basis
should there be an absence due to extenuating circumstances. The faculty will participate in a secret vote to
determine whether the student will be allowed to jury, with or without grade penalization, or not allowed to jury.
Guidelines for All Jurying Students
o Read the play. Every student must have read the entire play from which the presentation is selected
and must be able to justify all work based on the play. Be sure you have the script; if you do not have
the script, most likely you can order it from Amazon.com or the Drama Book Shop.
o Choose appropriate material. Material for performances must be chosen for general audiences that
may include children, senior citizens, and/or people from varying societies/religions/races. If there is
even a slight chance that material may offend any member of the audience, the performer must
introduce the piece with, My piece contains material that may possibly offend. If you think you might be
offended, you may exit the room before I begin. Failure to adequately warn the audience will cause
failure/lower grade/disciplinary action. Please consider that you are preparing material for general
auditions and that no one in a professional audition wishes to feel offended or uncomfortable.
o Know the facts. Students should review the jury evaluation criteria before and during jury preparation
and rehearsal.
o No student may use a prop weapon of any kind.
- 18 -
Respect in the Theater. Every student must be an exceptional audience member during the jury
performances. Any disturbance made by a student including use of a cell phone or other electronic
device will result in the lowering of his/her own jury score by one grade.
Reflect and grow. Students will receive evaluation forms that are to be brought home to
parents/guardians. Students should keep a file of these forms to review deficient areas for
improvement.
Be prepared. Submit character analysis and lab hours before pre-jury due dates. Have everything you
need for your jury when you are called.
The Acting Jury

o Student must present a memorized monologue that is at least one minute and no longer than two
minutes in length from a play published through a reputable theatrical publishing house (e.g. Dramatists
Play Service, Samuel French). The monologue must have been developed and worked in a Theatre
Department class during the semester in which it is presented; significant improvement is expected on
material between class work and jury presentation.
o The monologue may NOT have been submitted for or presented at a previous jury or worked on in
class during a previous semester; all pieces must be developed in class during the semester in which it
is presented.
o Student must be prepared to submit a written character analysis, in proper format, for the selection
chosen on the date the jury is presented.
o Student must submit a clean photocopy of the monologue from the printed script; do not type out a
version of it in your own format. The copy should clearly state the title of the play, playwright, character
name, and student name.
o Student must submit an Hour Card in the proper index card format by the pre-jury due date.
Evaluation Criteria of the Acting Jury
Eighty percent of the final jury grade is evaluated on the following points:
o Presentation/Dress/Groundedness
o Moment Before
o Volume/Diction/Vocal Production
o Vocal Variety
o Clarity of Arc/Storytelling
o Physicality/Blocking/Action
o Focus/Memorization
o Emotional Investment/Stakes/Truthfulness/Sincerity
o Relationship to Scene Partner
o Character Analysis/Copy of Monologue
Twenty percent of the final jury grade is evaluated on the Participation Requirements fulfilled during the
semester.
The Musical Theatre Jury
o Student must present a memorized song from the musical theatre canon. The song must have been
developed and worked in a Theatre Department class during the semester in which it is presented;
significant improvement is expected on material between class work and jury presentation.
- 19 -
o
o
The song may NOT have been submitted for or presented at a previous jury or worked on in class
during a previous semester; all pieces must be developed in class during the semester in which it is
presented.
Student must have pre-recorded accompaniment; live accompaniment will not be permitted nor will
singing a cappella. Please exhaust all other accompaniment options before requesting recordings from
Mr. Linser. Plan ahead; last-minute requests will be denied.
Student must be prepared to submit a written character analysis, in proper format, for the selection
chosen on the date the jury is presented.
Student must submit a clean photocopy of the sheet music for the selection; lyric sheets will not be
accepted. The copy must be double-sided, reduced to fit on the page, and should clearly state the title
of the musical, title of song, composer/lyricist, character name and student name.
Student must submit an Hour Card in the proper index card format by the pre-jury due date.
Evaluation Criteria of the Musical Theatre Jury

o Presentation/Dress/Groundedness
o Moment Before
o Volume/Diction/Vocal Production
o Pitch/Tone/Musical Line
o Physicality/Blocking/Action
o Focus/Memorization
o Emotional Investment/Stakes/Truthfulness/Sincerity
o Relationship to Scene Partner
o Character Analysis/Copy of Sheet Music
semester.
The Dance Jury
o Only students enrolled in Dance I or II, or Dance Career Prep may choose to submit a Dance jury.
o Students electing to present a dance jury must receive permission from Ms. Petrucci prior to jury
declaration deadline. After attaining permission, students will receive guidelines for the Dance jury.
o Selections must be drawn from Broadway musicals.
Evaluation Criteria of the Dance Jury
o Presentation/Appropriate Dress
o Choreography/Level of Difficulty & Creativity
o Dance Technique
o Characterization
o Emotional Investment/Commitment/Sincerity
o Use of Space/Focus
o Musicality/Accents/Rhythm
o Performance Quality
o Character Analysis
- 20 -
semester.
The Costume Design or Construction Jury
o Student must present an individual costume design or construction project (no group work allowed).
During the first semester, student must design or construct from a play on the Florida State Thespians
Tech titles list, and follow the Florida State Thespians requirements as outlined by your instructor, Mrs.
Williams. During the second semester, student may design or construct from a play on the following
years Florida State Thespians Tech titles list or a play of their choosing with prior approval from Mrs.
Williams.
o The project may have been worked in a Theatre Department class; however, significant improvement is
expected on material that originates in a theatre class.
o The project may NOT have been presented at a previous jury.
o The project must represent work done during the semester in which the jury is presented. Student
should not procrastinate until the end of the semester to complete the project.
o Student must submit lab hours in proper index card format before the pre-jury due date.
Evaluation Criteria of the Costume Design or Construction Jury
o Knowledge of Play
o Interpretation (appropriate to production concept, time/location of play)
o Execution/Craftsmanship
o Creativity
o Functionality
o Unification of Design
o Appropriate Research
o Costume Plot / Color Palette
o Justification of Design and Choices
o Professionalism / Appropriate Dress
semester.
The Scenic Design or Construction Jury
o Students enrolled in Stagecraft I or II may elect to present a Scenic Construction jury.
o Students enrolled in Theatre Technologies I and Stagecraft III or IV may elect to present a Scenic
Design jury.
For more information regarding the Scenic Design and Scenic Construction juries, please consult Mr.
Blanchette directly.
Lab Hours
Lab Hours are required to be inducted into the Dreyfoos International Thespian Troupe 4990 and to be eligible
to receive annual Thespian awards and scholarships. The Dreyfoos Theatre faculty will only accept Lab Hours
for time spent working on Dreyfoos Theatre Department productions, within the Dreyfoos Theatre Department,
or through a Dreyfoos Theatre Department sanctioned activity.
- 21 -
o
o
o
o
o
o
o
o
o
o
A total of 100 hours is required to be inducted into Dreyfoos Troupe 4990. These hours are cumulative,
so hours earned in one year will carry over to the next until 100 hours have been achieved.
All hours must be logged before or after school time, no matter the circumstances.
Lab hours may be earned by completing a number of activities within the DSOA Theatre Department,
including: auditioning for shows, seeing Dreyfoos Theatre productions, observing Dreyfoos Theatre
rehearsals (only with directors permission), building/painting scenery, stage managing, publicizing
shows, creating costumes, performing, hanging lights, running sound, attending master classes, and
other department events, being involved in IEs, helping out with auditions, ushering, maintaining the
script library, helping theatre teachers with whatever they need done, selling ads for the playbill... The
opportunities for lab hours are many and varied. And we cant get to know you if you dont get involved!
Students must sign in or clock in at all Dreyfoos events in order for time to be awarded.
Hours are to be recorded by the student on a 5X8 index card and submitted at the end of each
semester prior to the start of juries. Each hour must be documented with correct date/time/description
of activity. Failure to adequately document hours will result in a reduction of hours at the discretion of
the faculty.
First semester Lab Hours are due by December 14, 2015. Second semester Lab Hours for seniors are
due May 2, 2016. Second semester Lab Hours for all other students are due by May 16, 2016.
Students on Academic or Artistic Probation must still complete the Lab Hour requirement. It is
recommended that these students fulfill their lab hour requirement at times most convenient to their
schedule so that homework comes first.
Donations will NOT be accepted in lieu of lab hours.
Hours will NEVER be accepted when a student is paid or working for a profit-earning company.
For more information and answers to frequently asked questions, please see the Participation
Requirements in Appendix D.
Lab Hour Card Format

A. Students Name
Sophomore
Date
8/7/14
8/23/14
8/23/14
8/24/14
8/29/14
8/30/14
8/31/14
9/7/14
9/4-10/25
Times
10am-4pm
Lunch
4pm-6pm
4pm-7pm
4pm-5pm
4pm-6pm
4pm-7:30pm
Lunch
Fall 2015
Description of Activity
Scenic Shop Work Session
Thespian Meeting
Production Crew Interview
Thespian Picnic
Production Auditions
Production Callbacks
Production Rehearsal & Freshmen Dinner
Thespian Meeting
Build Crew
TOTAL NUMBER OF HOURS:
# of Hours
5
1
2
3
1
2
3.5
1
46
64.5
- 22 -
Outside Work / Training

Theatre students and parents should use due diligence when pursuing outside theatrical work. With a booming
film and television industry in South Florida, there are many who would like to take advantage of you. If you are
looking for agency representation, please do a proper web search to ensure that the agency is SAG-AFTRA
registered and do not pay them anything until they book you for a job. Also, you do not need a manager.
When pursuing outside stage work, take into consideration the rehearsal schedule and hours. Many outside
groups rehearse late into the evening. Will you be able to fulfill your fifty lab hours at Dreyfoos and maintain
high academic and artistic standards if you take on additional outside work? Some students can manage their
time in such a way that they can do this; others cannot.
Thanks to the intensive training that our program provides, Dreyfoos acting students should not feel obligated
to pay for outside acting coaching or classes. While we encourage our students to explore the various
methodologies of acting, we also fear that students exposed to too many methodologies and opinions at once
may suffer from confusion. It is best to focus on one mode of training at a time before branching out.
Dreyfoos Theatre students interested in pursuing musical theatre in college and for a career, however, would
be well-advised to engage in outside vocal and dance training; the competition is fierce in this discipline, and
you will be up against students who have been in voice lessons and dance classes for ten years or more.
Play Reviews
Play reviews are due to all teachers who assign them. Please refer to individual teacher syllabi for specific
requirements, restrictions, and due dates.
Departmental Requirements for All Courses Requiring a Play Review:
o You must review a play you see during the current grading period & after school has begun. You may
not review a play you saw during the summer or the same play twice.
o Failure to attach proof of attendance (ticket stub) will result in the docking of one letter grade.
o It is preferred that you review a live play in a professional venue where the artists are being paid for
their work. (Videotaped or movie versions of a staged play may be acceptable on a case-by-case basis;
please obtain advanced permission from your teacher based on your circumstance. Waiting until the
last minute will not be an acceptable reason for not seeing a live performance.)
o Plays you are watching in other classes (i.e. Hamlet in your English class) may NOT be used for the
play review assignment.
o Play reviews must be submitted in hard copy form only. They must be typed in essay form, and they
must follow the parameters of a composition written for an English class.
o Play reviews are not accepted late for any reason; this is a semester assignment. Dont procrastinate.
Turn the play review in early to avoid problems.
o If you are absent, for any reason, on the final due date, you must send your play review with a parent or
other student. The teacher is not responsible for accepting a play review that is not put directly in that
teachers hands.
The following questions will guide you in writing your play review. Please read them carefully before you see
your play, and remind yourself of them as you are viewing the play. Review them again as you write your play
review. Type your review in essay form; please do not merely number and answer the questions.
Compose the review in your own words. Students may not share play reviews or submit reviews written
together. Using the internet to explain plot summary is plagiarism (please see Academic and Artistic Honesty
- 23 -
section of this Handbook). State your honest opinion of the production; be it positive or negative. Support your
opinion with reasons and examples. Use your intelligence in answering these questions. The evaluation of your
work does not depend on whether you like the production, but on how well you support what you say.
Name the actors, designers, technicians, directors, etc. Do not list names as in a program, but speak about
their work. (Example: The mood created by lighting designer, John Lighter, evoked the fear and turbulence the
character was experiencing.) When discussing the acting, use the actors name (not the character name).
When discussing the story, use the characters name (not the actors name).
Play Review Suggested Questions (from Strasbergs Method by Lorrie Hull, adapted by Beverly Blanchette)
1. What is the title of the play? Where did you see it? When did you see it? Who starred in it? What was
special or unique about it? This should be in the first paragraph.
2. Give a brief summary of the plot in your own words. You need not summarize the entire action of the play.
3. Did you like the acting? Did you believe the actors? Did you find the whole cast working together as a
convincing ensemble? Was the acting truthful and exciting? Whether you answer yes or no to these questions;
say why and support your opinion. Which actors were the most outstanding (positively or negatively)? Why?
4. Did you like the direction? Was the movement of the actors motivated in the general blocking? Was the
overall idea of the script communicated to you? Did you understand what the script was about and the
directors point of view? Do you think the director correctly interpreted the script? If the script was interpreted
differently, was this to your liking? Consider the style of the production. What style was dominant? Was it
evident and consistent throughout the production?
5. If there was music, singing, or dancing, did it add or detract from the production? Who directed or
choreographed these aspects? Discuss all aspects of the production including scenic design/construction,
lighting, sound, and the implementation of all. Did it work for the production or not? Why or why not?
Play Review Rubric
An A play review is an incredibly thoughtful, well-supported essay that takes into full account all merits of the
play, including story, direction, performances, and design elements. All opinions are supported by specific
examples from the performance. The analysis is exceptional and the corresponding judgment is a logical
conclusion from the analysis. All personnel are properly credited through the review. The review is typed in
essay form and free of spelling and grammatical errors. The ticket stub is attached as proof of attendance.
A B play review is a thoughtful, supported essay that takes good account of the play and its direction,
performances, and design elements. Most opinions are supported by examples from the production, but more
detail should be employed. The judgment reasonably follows the analysis. Most personnel are credited
properly throughout the review. It is typed in essay form, but there are spelling or grammatical errors. The
ticket stub may or may not be attached as proof of attendance.
A C play review lacks support as it glazes over details in the analysis of the play. Some aspects of the
production may be missed completely. Generally, opinions are not supported by examples from the production.
There is a lack of detail. Personnel are credited, though not always properly. There are numerous spelling
and/or grammatical errors. It is typed or legibly handwritten. The ticket stub may or may not be attached as
proof of attendance.
- 24 -
A D play review is most likely incomplete of detail and analysis. Several production aspects are missed in the
discussion, and opinions are not supported by examples from the production. Personnel are rarely credited.
There are numerous spelling and grammatical errors. The review appears as though it were done in a limited
amount of time with a lack of seriousness for the assignment. It is typed or somewhat legibly handwritten. The
ticket stub may or may not be attached as proof of attendance.
An F play review disregards the necessity of the assignment. There is little to no detail or citation of examples
from the production. Most analytical elements are missed. There may be a conclusion, but it means nothing
without the analysis to back it. Personnel are rarely credited. Spelling and grammatical errors abound. It is
typed or illegibly handwritten. The ticket stub may or may not be attached as proof of attendance.
Rehearsal & Performance Attendance & Participation Policies
The Dean serves as the Producing Artistic Director of the Dreyfoos Theatre Department. All Dreyfoos Theatreinitiated performances, whether presented on-campus or off, are subject to the preview and approval of the
Dean.
All theatrical work produced by the Dreyfoos School of the Arts must be created within the Dreyfoos Theatre
Department. This should be noted particularly for Thespian Festivals, Short-Attention-Span-Theatre, and class
showcases. Work developed through outside coaching or studios may not be entered into consideration for
these productions.
Rehearsal schedule guidelines have been established by the Theatre Faculty to meet the requests of students
and parents involved in the departments productions. With these guidelines, it is expected that students attend
all rehearsals/performances, while fulfilling the expectations of the production director, without allowing grades
to suffer.
Because directors will abide by these guidelines, it is expected that students involved in productions will not
use rehearsals and performances as excuses to stay out late or miss class, homework, tests, or projects.
Students may NOT request time out of any class to rehearse, work on scenery/lighting, etc. The department
will not support any student who chooses to miss class. Teachers, likewise, must be conscientious of student
time and will NOT take advantage of it by asking them to leave class to rehearse.
Similarly, we request that parents not use rehearsals/performances as something to take away from the child
as a punishment. Once the student and parent agree to participate in a production, it should be considered a
serious commitment as one would a job.
Guidelines for Students & Parents:
1. School/class work comes first. Do not use the show as an excuse to miss assignments, extend due dates,
etc. You must be in class whenever possible. When you know youre going to be absent, ask for assignments
in advance, and do them.
2. Attend your classes. You may not attend any after-school activities if you are absent more than of the
school day. We will monitor this.
3. Attend all rehearsals and be ready to work when rehearsal begins. If you are absent from three rehearsals,
you will be cut from show. Three tardies or instances when you leave a rehearsal before you are dismissed,
will count as one absence.
4. Dont use the show as an excuse to: stay out late, miss class, miss deadlines, miss homework. The show
should help you manage your time.
- 25 -
5. Dont ask to be excused from ANY class to work on the show. If we need you, we will ask for you. When
you take advantage of the production, it hurts our ability to pull you when we need you.
6. Dont lie to your parents. Dont say you were at rehearsal when you were not. This hurts our ability to pull
you into rehearsals when we need you.
7. Just say NO! to other extra-curricular activities. Once youve accepted a position on a show that must be
your first and only extracurricular priority.
8. Ask your parents to help with publicity, concessions, costumes, scenery/props, Box Office/Group Sales,
donations, or meals. Parents - please offer to help; we need producers and volunteers for every show to keep
ticket costs down and situations running smoothly.
Guidelines for Production Directors:
1. Do everything possible to limit rehearsals, stay on schedule, end rehearsals on time, and keep parents
informed of changes. Should a director feel that extra time is needed, he/she will ask the cast/crew for
approval. Then, the stage manager will meet privately with the cast/crew for a secret vote. The director will
accept the decision without repercussions.
2. Avoid keeping students past scheduled times at all costs. If emergencies arise & students are needed to
stay past scheduled times, then directors will send out email messages and/or make personal phone calls.
3. Avoid rehearsals on holidays, teacher work days, and half days.
4. Avoid time out of class (limited to one dean-approved SRA per production).
5. Avoid rehearsals during lunch, breaks, or any other free student time.
6. Limit weekend rehearsals to three; no longer than six hours each.
7. Allow breaks at 10 minutes per 80 minutes of rehearsal (Equity rules).
8. Create a professional atmosphere during the rehearsal/production process.
9. Follow the below approximate production time frame:
4:15 to 6:30 pm for blocking/staging rehearsals (4-5 weeks) - 6:51pm Tri-Rail
4:15 to 7:30 pm for cleaning/polishing rehearsals (2-3 weeks) - 7:46pm Tri-Rail
4:15 to 8:30 pm the week leading up to tech/dress rehearsals (1 week only, if needed) - 8:46pm Tri-Rail
Tech/Dress rehearsals may run later in order to allow for adequate pre-show preparation and to ready students
for the challenge of performing a show in the evening.
Rehearsal & Performance Theatre Etiquette
To provide the most professional atmosphere possible, everyone involved in the play production process,
whether on stage or off, is expected to adhere to the following rules and guidelines. Those who do not may be
dismissed from the production.
1. Respect one another. This includes directors, stage managers, designers, technicians, crew members, and
actors. Never criticize or correct each others work. Trust that everyone has a job to do and knows what needs
to get done to make it happen. Focus on your own part of the collaborative process.
2. Speak only positively about the show. Negativity breeds negativity. You are our best public relations firm.
Sometimes during the process, it may seem like mass confusion, but it is really organized confusion. The show
will be good trust us!
3. Do not give notes to each other. Refrain from side-coaching your peers. When you begin to direct your
fellow artists, you are no longer teammates. Do your own job; leave directing to the shows director.
- 26 -
4. Refrain from seeking side-coaching from other sources. Everyone is a critic and may wish to offer advice or
assistance; however, only your immediate director has the one, clear vision for this production. Trust your
director. Side-coaching is dangerous because it can confuse you as the actor and muddy your directors vision
of the playwrights intent.
5. Your body is your instrument. Stay healthy. Make smart choices (i.e., dont party the night before a long
rehearsal or a performance). Protect your voice and your body at all times.
6. Just say NO! to other extra-curricular activities. Once youve accepted a position on a show that must be
your first and only extracurricular priority.
7. Be prompt and ready to work at the scheduled start time.
8. Call in advance if you must miss a rehearsal or arrive late. Be considerate of everyones time. You havent
been excused from rehearsal until youve heard it from the directors mouth.
9. Check callboards, emails, and phone messages for updates. You must be responsible. We might not have
time to call you with changes, so pay careful attention to the callboards.
10. Review the rehearsal and performance schedules carefully. If youre with the show, youre with the whole
show. There will be no substitutions of cast or personnel except in an emergency.
11. Mind all due dates.
12. Learn lines/songs immediately. However, dont memorize for inflection/reaction; this must come from an
honest response to your partner.
13. Do your homework (research, character analysis, etc.) on your own. Come into rehearsal with knowledge
already behind you. Dont wait for us to mold you. Share only those parts of your characters back story that
affect relationships with those specific characters. Remember that in real life, we dont know each others
complete history, so neither would your characters. Protect your inspiration by not revealing it to anyone. Once
revealed, it is usually lost.
14. Accept a note with a simple Thank you. Do not waste time with explanations. If you have questions or
concerns, speak with your director or immediate supervisor privately.
15. Respond to a cue with a simple, Thank you, or repeat the cue by simply stating, Standing by or
Warning received.
16. Headsets are for show communications (cues and acknowledgements) only. Do not speak on the headsets
about anything other than the show and the business relating to it.
17. Once dress rehearsals are completed, all experimentation must stop. It is extremely unprofessional to
change what has been rehearsed and approved by the director.
18. Opening/Closing Night gags are unprofessional and ruin the performance for everyone.
19. During rehearsals, professional courtesy dictates that the wings remain silent so that those working on
stage may focus. During performances, remain absolutely quiet at all times while offstage and backstage.
20. No gifts/thanks should be given from the stage; those who dont receive feel left out.
21. Do not touch props or costumes that are not yours. Return props to the prop table and hang all costumes
neatly on the hangers provided when you are finished with them.
22. Keep dressing rooms, rehearsal halls, and theatre spaces neat and organized. Clean-up after yourself!
23. Cell phones and cameras are not permitted for use in the dressing rooms, costume shop, or backstage.
24. Maintain the magic! The audience is not to see you during pre-show, intermission, or post-show. After
curtain call, get out of costume and make-up before greeting your family and friends. Do not invite anyone
backstage who is not immediately involved in the production.
25. Leave your personal drama at home or at the stage door. The theatre and rehearsal halls are safe spaces
in which to work and create. Being an artist doesnt give you permission to be the class clown, act out, or
make a fool of yourself or the Theatre Department in public. Save it for the stage.
- 27 -
Scope and Sequence

The Theatre Department requires that students remain in residence at the School of the Arts for the duration of
their high school matriculation. No student will be permitted to graduate in three years. Students must complete
the four-year scope and sequence, unless entering Dreyfoos as a sophomore or later.
No student will be granted a leave of absence to pursue outside work. If a student wishes to pursue outside
professional work for an extended period of time, s/he must withdraw from the school. To return, s/he must reaudition with the understanding that openings in upper levels are few.
Because of the busy extracurricular Theatre Department schedule, we caution our students about enrolling in
several Advanced Placement courses per year. We suggest you research the admissions requirements of
colleges and conservatories in which you are interested to determine their requirements and credit transfer
policies. Theatre students are advised to investigate rigorous coursework in English and social studies
(particularly those interested in performance). Math and science courses will also be useful to students
interested in technical theatre.
We advise our students against Senior Privilege because most colleges/conservatories wish to see a complete
and rigorous schedule. You will be a better college/conservatory candidate if you do not take Senior Privilege.
Junior theatre students interested in pursuing college study in musical theatre may be required to audition for
the senior-level Musical Theatre track. The audition will occur in the spring semester. All other students may
elect to take the senior-level Acting or Design/Production track without audition.
Course Selection Guidelines for 2015-16
Students must take at least two required theatre courses each year. Required courses vary depending upon a
students selected track. The Stagecraft I requirement must be fulfilled prior to the senior year.
Underclass Performance Track Required Courses: Theatre History and Literature I; Stagecraft I; Intro to
Drama; Theatre I; Acting II & III; Music Theatre I & II
Underclass Design/Production Track Required Courses: Theatre History and Literature I; Stagecraft I; Intro to
Drama; Theatre I; Stagecraft II & III; Theatre Technologies I; Drama III (Costume Design/Technology)
Senior Acting Track Required Courses: Acting IV; Theatrical Direction; Stagecraft I
Senior Music Theatre Track Required Courses: Music Theatre III; Dance Career Prep; Stagecraft I
Senior Design/Production Track Required Courses: Stagecraft II-IV; Theatre Technologies I; Drama III-IV;
(varies depending upon completed pre-requisites); Each student must complete at least one year of
performance (Acting II-IV), and one year of stagecraft (beyond Unified Arts) before graduation.
Elective theatre courses may be taken only in addition to at least two required theatre courses. Elective
courses include:
Drama II, III, IV (Costume Construction/Design)
Dance I or II (movement for actors; covers .5 credit graduation requirement of Team Sports)
Theatre Technologies I
Theatrical Direction (seniors only)
- 28 -
Students may crossover from Design/Production to Performance (and vice versa) as their individual schedule
permits and dependent upon individual college/career goals.
Students may enroll in crossover courses in other departments only during the junior and senior years, only if
they are enrolled in two required theatre courses, and only if the student has already taken full advantage of
Theatre Department offerings. Crossover students require prior permission from the Deans of each
department.
Senior Privilege may only be taken if the student is enrolled in two required theatre courses during the senior
year and all departmental graduation requirements have been completed.
Performance Students:
o Performance students must take both Acting and Musical Theatre every year except for the senior year.
Design/Technical Theatre Students:
o Design/Technical Theatre students may not take two Drama II/III/IV (Costume) classes in the same
year, unless they are enrolled in three theatre courses.
o Design/Technical Theatre students must take both Stagecraft and Drama (Costume) classes each year
beginning with the sophomore year.
9th Grade
Required:
Required:
Optional:
Theatre History and Literature I

Stagecraft I
Intro to Drama (Acting / Music Theatre / Costume)
10th Grade Approved Pairings

Acting II & Music Theatre I, or
Acting II & Stagecraft I/II, or
Acting II & Theatre Technologies I, or
Stagecraft I/II & Theatre Technologies I
Required:
Required:
12th Grade Acting Track

Acting IV
Theatrical Direction
11th Grade Approved Pairings

Acting III & Music Theatre II, or
Acting III & Stagecraft I/II/III, or
Acting III & Theatre Technologies I, or
Stagecraft I/II & Theatre Technologies I, or
Stagecraft II/III & Drama III
12th Grade Music Theatre Track
Music Theatre III
Dance Career Prep
12th Grade D/P Track

Stagecraft II/III/IV, &
Theatre Technologies
Or, Drama III/IV
Senior Repertoire
Every senior will prepare an individual, professional, wide-ranging, quality repertoire that will be presented to
the full Theatre Department student body and faculty at the end of the first semester. Theatre Department
faculty may not provide assistance in the preparation of the material for final performance; all preparation for
the senior repertoire presentations must occur outside of class. The repertoire should demonstrate a high level
of artistic preparation and ability as well as the creative process that you have developed over the course of
four years which you can readily apply to your work beyond our program.
- 29 -
All repertoire material must be appropriate for general audiences including people from various racial, cultural,
and socio-economic backgrounds. No prop weapons may be used. Please refrain from using any material that
may offend. Appropriate introductions must be given to include a Material may offend warning if there is even
a slight chance that someone could be offended. Failure to include this warning will be cause for grade
lowering/disciplinary action.
Students must declare their Senior Rep material by Monday, November 9, 2015. Senior Reps will take place
November 30-December 4, 2015 during theatre class periods and all theatre classes observe Senior Rep
performances. Seniors will be scheduled in a particular class period on a particular date. This schedule will be
posted by November 23, 2015. If a students name does not appear on the schedule, or if a name appears
during a period in which that student does not have a theatre class, it is the students responsibility to inform
the Dean so that the error may be corrected.
Failure to be present in the black box when called to perform will result in the grade of F for the senior
repertoire, and thus a failure of the semester exam. Students may only make-up a senior repertoire if they
provide documentation of a communicable illness, an injury that would prohibit their performance, or death of
an immediate family member. Routine or previously scheduled appointments (e.g. eye doctor, orthodontist) are
not acceptable excuses. The Theatre Department faculty will confer on a case-by-case basis should there be
an absence due to extenuating circumstances. The faculty will participate in a secret vote to determine whether
the student will be allowed to perform, with or without grade penalization, or not allowed to perform.
Please refer to the following format for you specific Senior Rep requirements:
PERFORMANCE
Format: Please prepare an integrated, one-person-showcase performance consisting of six different

pieces. All pieces must be clearly connected by a specific through-line of your own choosing (e.g., The
history of womens fight to gain equality, or My journey of discovering myself as an artist and a gay
man, etc.) that unites them from a beginning introduction, through a developing middle, to a consistent
and satisfying conclusion. In other words, how does the story of each individual piece connect with and
serve to communicate the larger journey of your own, personal narrative? (Note: I like them or I relate
to them is not a sufficient through-line!) Transition material may be original (spoken or sung word,
movement, and/or technology-based). The best performance reps are fluid and seamless, so plan and
work your transitions as much as your pieces!
Timing: You will have a total of twenty minutes including all pieces and transitions. Your rep will be
timed. You are not required to use the full twenty minutes as long as you include all pieces or
components in the allotted time (see requirements below).
Pieces:
o
Actors must present four contrasting monologues (current/modern, 20th century contemporary,
classical, and Shakespearean) in a variety of comic and dramatic styles. You may then choose
two other contrasting pieces (may be songs, dances, non-musical in nature, or technical theatre
- 30 -
projects scenic design, costume, portfolio, etc. see Technical Format). Performances will be
assessed by the following criteria:
Volume/Diction
Vocal Production (support/vocal variety)
Energy/Commitment (stakes)
Presence/Truthfulness/Connection
Storytelling Arc (objective/obstacle/tactics)
Blocking/Staging/Physicality
Clear Through-line
Creativity of Presentation
Correct Styles/Execution of Pieces
Time Limit
Musical Theatre performers must present three complete musical theatre songs (current pop
style, 20th century contemporary, and legit/traditional) in a variety of ballad and up-tempo styles,
and two monologues (contemporary & Shakespeare - one comic, one dramatic). You may then
choose one other contrasting piece (may be song, dance, or non-musical in nature), or you may
present a technical theatre project (scenic design, costume, portfolio, etc. see Technical
Format). Performances will be assessed by the following criteria:
Volume/Diction
Vocal Production (support/tone/pitch/musical line)
Energy/Commitment (stakes)
Presence/Truthfulness/Connection
Storytelling Arc (objective/obstacle/tactics)
Blocking/Staging/Physicality
Clear Through-line
Creativity of Presentation
Correct Styles/Execution of Pieces
Time Limit
Tech: Everyone must use a standard "lights up, lights down" lighting plot, and you may use MINIMAL
furniture, props, and/or costume pieces that take no longer than a minute or two to set up and strike
between reps. If you're connecting truthfully and honestly to your material, you shouldnt need a lot of
extravagance to set your scene. All technical components must support your storytelling arc. You may
not use other actors in your pieces.
Schedule: All reps will be performed in the first semester (November 30 December 4, 2015) as your
semester exam grade.
Reminder: all pieces should be blocked with strong acting choices and tied together by a cohesive, actorgenerated through-line that shows us what you've learned and how you've grown as an artist in your four years
at Dreyfoos. In other words, how does each individual story connect with and serve the larger journey of your
own, personal experience? Transitions may be original narrative text, music, and/or movement. All musical
accompaniments must be pre-recorded (CD or iPod only).
- 31 -
TECHNICAL
Format: The technical senior rep consists of an oral presentation of at least two projects chosen from
the following options:
o Scenic Design
o Scenic Construction
o Lighting Plot
o Sound Plot
o Prop Design & Construction
o Publicity Design
o Costume Design
o Costume Construction
o Make-up Design
o Stage Management Prompt Book
o Professional Portfolio
Timing: You will have a total of twenty minutes to present both projects including any oral defense of
your process as presented by the adjudicators. Your rep will be timed. You are not required to use the
full twenty minutes as long as you sufficiently cover all aspects of each project during your allotted time
(see requirements below).

o
As a guide, plan roughly fifteen minutes to present both projects and five minutes for
critique/defense.
Plan and rehearse your presentation! Dont ramble, forget, or repeat information. Be efficient.
You need not explain every detail of your work. If your projects are neat and wellorganized/executed and your research is evident and complete, a focused and succinct
explanation of the salient points is sufficient. Choose ones that highlight you as an artist and
make your understanding of the piece and your creativity in the implementation and/or design of
it stand out.
Design/Production Senior Repertoire Project Suggestions:

o
It is highly recommended that you design the show as written and in the time period as written.
Designing a change in time period or concept without full justification that propels the story as written
and intended by the playwright will be grounds for a lower grade.
Never use a design from another production of the play as research or inspiration; this is plagiarism.
Scenic Design Project

Students who are currently enrolled in, or who have completed, Theatre Technologies I or Stagecraft III/IV may
prepare and present the Scenic Design project. The Scenic Design Senior Repertoire Project requires students
to complete a scenic design package for a play listed on the Florida State Thespians 2015-16 Tech Titles list.
- 32 -
All scenic design projects must be accompanied by the following:

o
o
o
o
o
o
o
o
Play/design analysis
Comprehensive research book with MLA bibliography
Progression of sketches used in the formation and creation of the design
Detailed ground plan on vellum including entrance, exit, and run storage of all pieces
Detailed elevation plates on vellum
Color palette
Detailed, all-inclusive properties listing
1/2 scale model of scenic design
Costume Design Project

Students who are currently enrolled in, or who have completed, Theatre Technologies I or Drama III/IV may
prepare and present the Costume Design project. The Costume Design Senior Repertoire Project requires
students to complete a costume design package for a play listed on the Florida State Thespians 2015-16 Tech
Titles list.
All costume design projects must be accompanied by the following:
o
o
o
o
o
Play analysis and comprehensive costume plot

Comprehensive research book with an MLA bibliography
Color palette
Five color renderings of a costume design with fabric swatches and embellishments attached
Costume Construction Project

Students who are currently enrolled in, or who have completed, Theatre Technologies I or Drama III/IV may
prepare and present the Costume Construction project. The Costume Construction Senior Repertoire Project
requires students to complete a costume construction for a play listed on the Florida State Thespians 2015-16
Tech Titles list.
All costume construction projects must be accompanied by the following:
o
o
o
o
o
Play analysis and comprehensive costume plot

Comprehensive research book with MLA bibliography
Color palette
One fully-realized costume piece and accompanying color rendering with fabric swatches and
embellishments attached
Portfolio Project
It is highly recommended that you seek the advice of your design/production faculty before you begin to
compile materials for your portfolio and again before you finalize it. Students who lack proper documentation
- 33 -
(i.e. do not have design/production materials to create a substantial portfolio) should NOT choose to complete
this component of the Senior Repertoire.
All portfolio projects should include, but not be limited to:
o
o
o
o
o
o
o
o
o
Written artistic philosophy statement

Theatrical resume
Renderings
Photos of theatrical/artistic work
Documentation of design/production work (scenic, costume, lighting, sound designs; stage
management materials; technical direction work)
News articles and press releases
Playbills (with name highlighted)
Letters of recommendation
Awards, evaluations, report cards, and certificates of achievement
Portfolio Recommendations:
o
o
o
o
o
o
Do not include grade school or middle school documents (unless highly impressive) or private photos
(such as you at your birthday party or prom).
Highlight a body of design/production work from the last four years. Focus on Dreyfoos, but include
impressive work done outside of school.
Present your portfolio and design as you would for a professional interview. Take it seriously.
Ask your teachers to review your work in advance and take their advice. You may ask multiple teachers
for help.
Rehearse your presentation so that it covers all the required criteria.
Please consider your time; you have twenty minutes for all three components of your Senior Rep.
Showcases
Every Dreyfoos Theatre performing facility and production is a mainstage. Showcases provide expanded
opportunities for students to present their creative work.
Attendance at every rehearsal and performance is mandatory. Failure to adhere to the rehearsal and
performance etiquette and policies outlined in this Handbook will result in dismissal from the showcase.
Theatrical designs will be on display in the lobby with designers standing by to discuss their work with
audience members during pre/post show and intermission. Technicians may be able to assist on the technical
crews, as well.
Showcases for the 2015-16 school year include:
Semester Showcases:
Short-Attention-Span:
These performance opportunities are granted to those students who do

exemplary work in their performance classes throughout the semester.
This showcase will feature scenes, songs, monologues, and mimes receiving a
Superior rating at the District 15 Thespians Individual Events Festival. All
performance work must originate from the Dreyfoos Theatre Department.
- 34 -
Directing Lab:
Chosen from exemplary work produced by the Theatrical Direction class; this
showcase will include the Theatre Collective, a student-created, devised theatre
project.
Senior Showcase
This showcase presents the culmination of four years in the Dreyfoos Theatre Department. Students may
audition any type of piece theyd like to have considered for inclusion in the showcase (solo, duet, small group,
original material, etc.). Please ensure that all material is appropriate or it will not be considered. Theatre faculty
will decide by committee which pieces are to be included in the final showcase performance.
The Senior Showcase may also feature a Senior Slideshow of no longer than 5 minutes. Photos and video
clips in the slideshow must be approved by the Dean prior to the performance. Inappropriate content will be
removed from the slideshow with no questions asked.
A Senior Goodbye program will be distributed at the Senior Showcase. Each senior will be allocated one
page in the program. All written content must be approved by the Dean. Students should bear in mind that
written material, like performances, is viewed by a general audience, not merely family and friends. Goodbye
messages should be positive and free of any inappropriate text or inside jokes. Any messages deemed
inappropriate for a general audience will be removed with no questions asked. Allow your last memories of
high school to be good ones!
Theatre Parents Association (TPA)
The Theatre Parents Association exists to provide essential support for Theatre Department activities and
productions. Examples of support include: Season Playbill publishing, fundraising for department needs, trip
scholarships for students with financial need, hospitality for adjudicators during auditions, and planning and
execution of opening night parties.
The Season Playbill is the TPAs most expansive fundraising effort. Students and families are asked to sell
advertising space in a book produced by the TPA. A portion of revenue from every ad sale (40%) will be held in
the students name for payment of Theatre Department-related activities/fees. Season Playbill Ad Sales
information may be found in the Appendix section of this Handbook.
For more information on the Theatre Parents Association, please contact Romeo Chicco, President at
dreyfoostpa@gmail.com
Thespian Troupe #4990
The International Thespian Honor Society was established for high school students who excel in theatre arts.
Membership in Troupe #4990 is based on volunteer hours served for any DSOA Theatre Department
production or activity starting with the ninth grade school year. Hours are to be recorded on a 5X8 index card
and submitted by the student. Near the end of the school year in which 100 hours are recorded, students must
pay a $35.00 membership fee which entitles them to a Thespian membership card, pin, certificate, and a oneyear subscription to Dramatics Magazine. At graduation, members will receive an honor cord and seal on their
diploma.
- 35 -
Once a member, a student may continue to report hours for membership in Thespian Honoraria, or the Honor
Thespian league:
200 hours honor bar
400 hours two honor bars
300 hours honor bar and star
500 hours two honor bars & 1 star
Thespian members are eligible to audition for scholarships which are awarded at the district and state festivals.
Any student may attend or participate in Thespian meetings; one does NOT have to be in the Theatre
Department to join the International Thespian Society. It is each students responsibility to stay informed of
Thespian activities by reading the callboards and attending meetings.
Thespian Individual Events auditions will be held annually for participation in festivals. Any work presented for
audition to represent Troupe #4990 at the District Individual Event Festival must originate in the Dreyfoos
Theatre Department. Participation in District and State festivals is open to Theatre Department students only.
There are registration fees and drop charges for each festival. The District Festival is held annually in the fall
semester and is estimated to cost around $75. The State Thespian Festival is held annually in March and is
estimated to cost around $650.00. Students may raise the money for these trips through sponsorships and
program ad sales; also, students may apply for scholarships from the Theatre Parents Association & the
School of the Arts Foundation. However, scholarships will not be awarded to students who do not make an
effort to help themselves through the various fundraisers available to them. Any student/parent who deceives
the scholarship committees will not be permitted to participate in such festivals in the future. If proper
paperwork is not received on time, the student may be dismissed from the event.
Only troupe/school approved delegates may attend festivals; no student may attend a festival without first
qualifying. Students and parents may not purchase day passes for attendance at festivals without
troupe/school approval. Any student who violates these policies will receive disciplinary action and will not be
permitted to participate in any future Thespian events.
The Troupe sponsor reserves the right to dismiss any participant who does not fully meet expectations. The
2015-16 sponsor of Thespian Troupe #4990 is Mr. Linser.
Thespian Elections
Elections for the following years Thespian officers will take place during the month of May. Students must
attend the Thespian Candidates meeting on April 15, 2016 and submit their intent to run letter to the Dean no
later than April 29, 2016. Campaigning may begin on May 2, 2016. Students may not post any posters/flyers
on any bulletin board without first receiving approval of the materials from the Dean. Students are reminded
that tours of the facility are regularly scheduled and all campaign materials must be appropriate for a general
audience. Once approved, campaign materials may only be posted in Theatre hallways of Building 7.
Speeches will be given during a lunchtime Thespian meeting on May 5, 2016. Seniors may not vote. All
speeches and supplementary materials must be approved by the Dean prior to being given at this meeting.
Speeches are limited to two minutes in length. Students may not run or campaign on a collective slate (i.e.
President and Vice President as one ticket). Students are again reminded that all campaign speeches and
presentations must be appropriate for a general audience. Any student that fails to abide by campaign
guidelines determined by the faculty will be removed from the ballot.
- 36 -
Election results will be announced during the annual Thespian Banquet.

Thespian Banquet
All members of the Dreyfoos Theatre Department and their immediate families are invited to attend the annual
Thespian initiation and awards banquet. You do not need to be an inducted member of Troupe 4990, but only
inducted members will be eligible to receive awards and scholarships. This years banquet is estimated to cost
around $45.00 for each member (family members are invited at an additional cost of $45.00 each) and will be
at the West Palm Beach Embassy Suites on Sunday, May 15, 2016. It is a semi-formal occasion.
Wish List
The Theatre Department requires contributions, both monetary and material, in order to complete our mission.
If you, your business, or someone you know, would like to make a financial contribution, please utilize the
Student Enrichment Contribution form located in Appendix E. All contributions receive acknowledgement in our
production programs. Additionally, financial contributions are tax-deductible. Those interested in more
information or in making a contribution may contact Mr. Linser at bruce.linser@palmbeachschools.org.
The Dreyfoos Theatre Departments most frequently requested items:
Group Sales Marketing: Groups of 20 or more for the same performance receive a group rate. We need help
getting the word out about our shows to local assisted-living facilities, church groups, civic groups, etc. Parties
interested in purchasing tickets at the group rate should contact the Box Office at (561) 802-6052.
Backstage Supervision: One of the joys of Dreyfoos Theatre productions is that students run the performances.
Still, we always need additional eyes backstage to ensure the safety of our students.
Concessions Personnel: Join our Theatre Parents Association as they sell refreshments before our shows and
during intermission.
Box Office Personnel: Be the first contact that Dreyfoos Theatre has with our dedicated patrons!
Scene Shop Supplies: Tools, equipment, lumber, paint, volunteers to help build & paint scenery. If interested,
contact Mr. Blanchette at (561) 802-6047.
Costume Shop Supplies: Scissors, fabric, thread, measuring tapes, pins, needles, vintage clothing (pre-1980),
hypoallergenic laundry detergent. Please contact Mrs. Williams at penny.koleos@palmbeachschools.org.
General Needs: CD/iPod players, scripts, musical scores, photography/typesetting/printing services, photo
framing, copy paper, pens, pencils, bottled water for students during rehearsals and performances, dry
cleaning, blank CDs and sleeves, blank DVDs, tissues, hand sanitizer, band-aids, paper plates, napkins,
plastic ware, plastic cups.
Major Facility Needs: Golf cart, new chairs in the Brandt Black Box Theater, lighting instruments, microphones
and sound system equipment, carpet cleaning services, new keyboards.
- 37 -
Appendix A:
Jury Character Analysis by Bruce Linser
All responses must be detailed, specific, and written in narrative form from your characters point of view (1st
person statements) unless otherwise noted. The specific details should be clearly integrated into your
performance.
1) At the top of the first page type the following information:
a. Your name
b. The semester and class period in which youre working on the piece
c. Show title (and specific song title if from a musical)
d. Playwright/composer/lyricist
e. Character name
2) Given Circumstances (you must read the entire play in order to answer these questions!)
a. Who are you? Include all of the following and the positive and/or negative impact each has on
you and how you behave as you do:
i. Full name
ii. Age
iii. Gender
iv. Relationship status
v. Class and social standing
vi. Political and religious affiliations
vii. Education level
viii. Occupation
ix. The speed and rhythms at which you move and speak
x. If you are head, heart, or pelvis centered; include which body part you lead with
xi. How you view yourself and how others view you
xii. What you say about yourself in the entire play and what others say about you (verbatim!)
xiii. Any other important traits or attributes that define or express who you are
b. Where are you? Include all of the following and how each affects and influences your senses
and emotional life (sight, sound, smell, touch, taste):
i. Geographical location
ii. Time period in history
iii. Date and season of the year
iv. Time of day or night
v. Weather
vi. Physical surroundings (indoors or outdoors; furniture or topography; etc.)
vii. What is happening socially or politically at the time of the piece (events and/or public
figures that might have an impact on how you feel about yourself, your life, and your
world youll need to do some specific research on the era to answer this question!)
- 38 -
c. Who are you talking to? Include all of the following about your other and the positive and/or
negative impact each has on you and your relationship and how you behave as you do toward
them:
i. Full name
ii. Age
iii. Gender
iv. Relationship status
v. Class and social standing
vi. Political and religious affiliations
vii. Education level
viii. Occupation
ix. The speed and rhythms at which they move and speak
x. How they view themselves and how you view them
xi. Your relationship to them, the state of that relationship, and how it affects you both
xii. Any other important traits or attributes that have a direct effect on you and your
relationship in the scene
d. What are you saying?
i. Type a list of words, pronunciations, references (ideas or events) or anything else that
you were unfamiliar with or that you didnt understand in the play. Include an explanation
of the research you did for each to gain that understanding.
ii. Once you understand all of the words, phrases, and ideas in the monologue or song,
paraphrase what you are saying in the piece, line by line, but in your own words.
3) Text This is information specific to your monologue or song. You will discover it in your rehearsals.
These discoveries will not be linear but will overlap and evolve during your rehearsal process;
therefore, you should always use pencil as you work. To do this work, you must provide two copies of
your piece: 1) a copy of the monologue from the original script or a copy of the original sheet music for
your song, and 2) a copy of the monologue or lyrics that you have typed (double-spaced) including all
punctuation as it is written in the original script or sheet music. The next section of your analysis will be
written in pencil on this double-spaced copy of your piece, so make sure you have plenty of room in the
margins and between the lines to write, erase, and rewrite. This may not be a pretty piece of paper in
the end, but it should be legible for you and your instructor.
a.
Why are you saying it?

i. Objective What specifically are you fighting for in the scene? What do you need or
want from your other?
a. First find your mini-objectives by exploring your intentions, and your
others responses to them, moment-by-moment, in rehearsals. Discover
how, when, and why your intentions change throughout the scene. Write
- 39 -
these shifts and changes in pencil on your double-spaced copy during

each rehearsal session.
b. When you have defined your mini-objectives, consolidate them into a
single Super Objective. This is the main goal, outcome, or effect you are
striving to accomplish during the piece; all of your mini-objectives should
influence or inform this Super Objective. Write this in a single, concise
sentence at the top of your double-spaced copy (e.g., I want her to offer
to leave me amicably.).
ii. Obstacle/Conflict What specifically are you fighting against in the scene? Who or what
is preventing you from achieving your objective?
1. To find the obstacle/conflict, explore the moment-by-moment shifts in the power
struggle with your other during your rehearsals. Discover how, when, and why
that struggle changes throughout the scene. Write these shifts and changes in
pencil on your double-spaced copy during each rehearsal session.
2. When you have defined your moment-by-moment power struggle, consolidate it
into a single Obstacle/Conflict. This is the main struggle in the piece from your
point of view; all moments in your power struggle should influence or inform this
Obstacle/Conflict.
a. As a guide, the four main conflicts in drama are: me against someone
else, me against myself, me against society, and me against god. Which
most fits with your piece? Write this in a single, concise sentence at the
top of your double-spaced copy (e.g., Me against someone else She
wants to control the relationship.).
iii.
Tactics/Actions What methods are you employing in order to evade the obstacle and
achieve your objective? How are you attempting to influence your other in order to get
what you want?
1. To find your tactics/actions, explore the moment-by-moment wins and losses you
experience in your power struggle. When you win a point in the conflict, write a
plus sign (+). When you lose a point in the conflict, write a minus sign (-). For
each shift or change in tactic, write an action verb in pencil that describes that
tactic a word that drives forward or requires engagement (e.g., to shame, to
seduce, to encourage, to destroy, to deflect, etc.).
iv. Truth vs. Fiction (also known as Subtext) What is the real meaning behind the words
that youre saying?
1. Do you actually mean what youre saying or are you saying one thing and
thinking/meaning another? (e.g., I say its good to see her, but is it, really?)
2. Conversely, what arent you saying and why arent you saying it? Are you
consciously withholding? Why? (e.g., Im in love with someone else, but shell
- 40 -
win everything in the settlement if I divorce her, so I cant make waves. Ill just
smile and nod.)
3. Write this subtext in pencil on your double-spaced copy during each rehearsal
session.
v. Journey or Arc On your double-spaced copy, write the following:
1. Moment Before/Pre-Beat/Cry At the top write a description of what just
happened or what was just said that makes it absolutely necessary for you to cry
out your first line or do your first action. Why must this scene happen right now
and not tomorrow or next week or never? This should be descriptive and should
engage you to respond or react to something specific.
2. Discovery/Event Wherever you learn or discover new information about
yourself, your other, or your situation or relationship in the piece, write an
exclamation mark (!).
3. Climax Where is the climax of the piece the point of no return or the moment
where the world will never be the same for you? Mark it with a star (*).
4. Whats Next? At the bottom or on the back write the following:
a. Did you achieve your Super Objective? Why or why not?
b. How has the conflict changed you?
c. What is your new objective, and how do you intend to go about
accomplishing it? What happens next for you?
vi. Stakes Somewhere on your double-spaced copy, write a description in pencil of what
will happen to you and/or your other if you dont achieve your objective. What
energizes or drives this piece and makes it of life or death urgency and importance to
you?
vii. As If On the back of your double-spaced page write the following:
1. How you relate to or connect with this piece on a personal level. Why do you
think this story is an important one to tell?
2. Write a few sentences describing how you, the actor, are similar to your
character. How do you relate to or understand how they feel and behave in the
piece?
3. Write a few sentences about how you, as the actor, are different from your
character. What traits do you not share, and how did you research and explore
those aspects of your character in order to portray him/her truthfully?
- 41 -
Appendix B:
Jury Scenic Design Analysis
By Edward Blanchette
List the Play Title and Playwrights name at the top of your paper. Do not include the question with your
answer. Your analysis must be type written. Staple paper. Do not put it in a notebook or binding. DO NOT
PROCRASTINATE. This analysis is extensive and critical to the development of your design. Do not
underestimate its value!
1. HOW many times did you read the script (cover to cover: be honest)? List each reading, your focus during
each reading, and the discoveries you made during each reading.
2. WHAT is the playwrights intent (plot, mood, theme)?
3. INDICATE your initial scenic ideas as dictated by each of the categories (plot, mood, theme.).
4. WHAT is the geographical location of the play?
5. WHAT is the local setting of the play (city, rural, etc.)? Describe.
6. WHERE does the play take place (private home, apartment, etc.)? Substantiate your conclusion.
7. IN what period (era) does the play take place? Describe.
8. IS the architecture of that period or is it of a different period? Substantiate your conclusions.
9. EITHER describe your initial color palette ideas including wood tones or provide an initial color palette and
attach your analysis.
10. PROVIDE an initial furnishings list (both mandated & devised). Do not simply list 5 chairs, tables, etc. List
type and period of furnishings.
11. DO you envision a floor treatment and/or floor covering? Describe.
12. WHAT are the historic, economic, political, and social influences of the time?
13. HOW are these influences represented in your initial design ideas?
14. DESCRIBE each of the main and important characters and their influences on the plot, mood, and theme
of the play.
15. DESCRIBE which of these characters directly influenced the direction of your design . . . and HOW.
16. LIST all of the scenic elements mandated by the script (stated or not).
17. LIST the scenic elements of your own device that you hope to include in your design.
- 42 -
Appendix C:
Guidelines for Scenic Design, Costume Design & Construction Juries
These requirements are copied directly from Florida State Thespian rules governing these specific individual
events.
Scenic Design:
1. The student must construct an original, three dimensional model OR perspective rendering executed to
the scale of 1/2" = 1'0" showing the set and its relationship to the theatrical space. Renderings and/or
models must be done for at least one set required in the production.
2. Computer assisted design is acceptable.
3. At least one figure must be included in the rendering or model to show proportion and scale.
4. The student must draw a floor plan to the same scale which justifies the storage and shifting for ALL sets
in the show.
5. The set is to be designed for a stage with a proscenium opening of 38' w x 20' h, an apron 6' deep, and
wing space. The stage has a maximum depth of 30' from the proscenium line to the back wall with a
wing measuring 15'x30' on each side. The proscenium arch and wing space must be represented in the
model.
6. The student must present a justification of the design. Note cards may be used.
7. Only one student may be involved in the design. NO COLLABORATION.
8. All artwork used must be the original work of the entrant.
9. The event will not exceed ten (10) minutes. The student presentation is not to exceed five (5) of these
ten (10) minutes.
10. A bibliography is required documenting all resources used including but not limited to written and
electronic sources. The bibliography must be in MLA style.
11. Budgetary consideration will not affect adjudication.
Costume Design:
1. The student must present five (5) character renderings. These may represent five (5) different characters
and/or may follow a single character through several appropriate changes.
2. Computer assisted design is acceptable.
3. Each design must be executed in full color and displayed on a 10" x 15" white display board. The display
board cannot be mounted on any other surface. All figures must be 10" tall. Children and unique
characters may be varied in size but need to be in proportion to the 10 high standard. The base of the
figure should be 3" from the lower edge of the board. A human figure may be traced to use as a template
upon which a costume creation may then be placed. Tracing of a costume outline or silhouette is
unacceptable.
4. The board should be labeled in the following manner: Upper Left hand corner: Name of the show and
author. Upper Right hand corner: Name of the character, act, and scene. Lower Right hand corner:
Student's name and troupe number.
5. The character renderings may or may not have drawn faces.
6. The student must attach fabric swatches, measuring a minimum of 2"x2", by the top edge of the swatch
only. Mount the swatch on the right side of the presentation board so that the swatch may be lifted and
felt to evaluate appropriate fabric texture, draping ability, weight, grain, etc.
7. The student must present a justification of the designs. Note cards may be used.
8. Only one student may be involved in the set of designs. NO COLLABORATION.
9. All artwork used must be the original work of the entrant.
- 43 -
10. The event will not exceed ten (10) minutes. The student presentation is not to exceed five (5) of these
ten (10) minutes.
11. A bibliography is required documenting all resources used including but not limited to written and
electronic sources. The bibliography must be in MLA style.
12. Other costume embellishments (buttons, trim, etc) can be placed on the presentation board on the right
side with the swatches.
13. Budgetary consideration will not affect adjudication.
Costume Construction:
The student must fully construct one complete costume from neck to ankle. This costume must be for
any main character in the chosen play.
Costumes must be an entirely original construction by the student. Store bought garments or
embellishments made to stock costumes are not acceptable.
Only one student may be involved in the construction. NO COLLABORATION.
Any patterns may be used, but the cost must be considered within the given budget.
The costume must utilize at least three (3) different fabrics or trims. For example, a mens costume may
consist of a white shirt, black pants, and a grey vest. A womens costume may consist of a dress with a
lace collar and an apron or it may be a single gown with several trims.
Proof of acquisition of all materials used in the construction of the garment must be documented. The
student must provide an itemized expense sheet and receipts as proof. This sheet must be mounted on
the display board mentioned below.
In addition to the costume, each student will create a costume research collage. This may include
environmental background pictures of the time period in which the play takes place, costume renderings,
pattern envelopes, fabric swatches, etc.
The collage must be presented on a 20 x 30 black art board.
The board will be labeled in the following manner: Upper Left hand corner: Name of show and author.
Upper Right hand corner: Name of character, act, and scene. Lower Right hand corner Students name
and troupe number.
The costume must be presented on a hanger so the judges may look at the garment both inside and out.
Do not wear the costume to the adjudication.
The event will not exceed ten (10) minutes. The student presentation is not to exceed five (5) of these
ten (10) minutes.
- 44 -
Appendix D: New Dreyfoos Theatre Department Lab Hour & Participation Requirement
The Lab Hour Requirement is being amended for the 2015-16 school year, and we are implementing a new
Participation Requirement for all Theatre Department students. This letter will explain the parameters. Please
read it over carefully.
Theatre is a collaborative art form. As stated in your entrance audition interviews, all Theatre Department
students are expected to be involved, versatile, well-rounded artists and are therefore required to participate in
all aspects of the department technical and performance while at Dreyfoos. This participation, which counts
for 20% of your jury grade each semester, must include the following:
ALL STUDENTS
All students, regardless of track (technical and performance) must interview for at least one crew position each
semester. If offered a crew position, they must accept it and fulfill the minimum crew contract in good standing
for the entire run of the production, including strike. Minimum crew commitment is two consecutive days per
week. Productions may be mainstage or black box shows.
In addition to interviewing and fulfilling a crew position if assigned, all students must attend at least one of the
two productions in the first semester and three of the five productions in the spring semester. Productions can
be mainstage or black box shows. Attending invited dress rehearsals or ushering for performances will gain
students free access to shows while still earning them full jury points only if they stay for the entire
performance.
PERFORMANCE STUDENTS
In addition to interviewing for a crew position AND attending the required productions each semester, all
students on the performance track must also audition for the fall and spring mainstage productions in the fall
semester AND the Theatre for Young Audiences production in the spring semester. If offered a role in any
production, they must accept it and fulfill the contract in good standing for the entire run of the production
(rehearsals and performances), including strike.
NOTE: performance track students who did not fulfill the crew interview requirement during the fall semester
will not be eligible to be cast in either of the mainstage productions that audition in the fall semester. They may
still audition and be cast in the Theatre for Young Audiences production in the spring semester provided that
they have interviewed for crew in the second semester.
FREQUENTLY ASKED QUESTIONS:
What if I interview for a crew position and dont get offered one? Do I still get my full jury points?
Yes. Crew sizes are determined by the technical requirements for each show and will therefore change from
show to show. If you have interviewed for a crew position but we do not have a position available for that
semester, you will still receive your full jury points for that semester provided that you have also attended the
required performances.
- 45 -
What if I audition for a role and dont get cast? Do I still get my full jury points?
Yes. Cast sizes also fluctuate from show to show. If you audition for a show and are not offered a role, you will
still receive your full jury points for that semester provided that you have also interviewed for and fulfilled the
contract for a crew position if offered and attended the required performances.
Im more comfortable acting than singing. Do I still have to audition for the musical or can I only audition for
the non-musical and still receive full jury points?
As long as you present an audition each semester, you will fulfill the audition requirement. If you would like to
be considered for a specific show at any given audition, you must present the requested material for that
production (e.g., 32-bars of a contemporary musical theatre song or 15 lines of a Shakespeare monologue). If
you are not auditioning for a specific show, you may present a general audition for consideration in future
shows (a current monologue and/or song of your choice). In order to receive the full jury points, however, you
must present an audition each semester regardless of your interest in a specific show or role.
What happens if I dont accept a crew position or a role in a show if offered or I cant fulfill the contract in good
standing?
In order to receive full jury points, you must accept the position (crew or role) and fulfill the contract offered in
good standing for the entire run of the production including strike. When you auditioned for our program, you
agreed to be involved in all aspects of it, and we cant do what we do without you. Creating a show is like
putting a puzzle together all of the pieces are important and necessary to complete the picture. We must be
able to depend on everyone involved in a production in order to realize it. Dedication, commitment, and
collaboration are important life skills, and working in the theatre is an excellent and fun way to develop them.
What if I accept a crew position and then get cast in a role or vice versa?
What a great problem to have! Theatre artists never complain about having too many job offers, so lucky you if
youre faced with this choice. If you find yourself in this position, you may choose one of the two positions, and
you will still receive full jury points for the other provided that you have also attended the required
performances.
If I audition at the season auditions in the fall and get cast in the spring show, do I still have to interview for a
crew position in the second semester?
No. If you are offered a role in the spring show, you do not have to interview for a crew position in the spring
semester and you will still receive full jury points provided that you fulfill the show contract in good standing for
the run of the show including strike and attend the required performances. If you do not, you will not receive full
jury points for the second semester.
If Im offered a position on a run crew or a role in a show do I still have to attend other performances for that
semester?
- 46 -
Yes. As theatre artists, we should always see each others work. It is supportive, a good learning experience,
and an important part of your growth as an artist and a theatre lover. However, if you are cast in or are on a run
crew for a production during a semester, it will count as one of the required productions for that semester.
Even so, we encourage you to support your fellow artists in all of our semester productions over and above the
requirement.
A crew position is different than a run crew position?

Yes. Crew positions help create the show prior to opening building sets and props, hanging lights, sewing
costumes, etc. They are generally done once a show opens, though they are required to attend strike when the
show closes. Run crews must be present backstage during all performances of a show. Run crews are chosen
from the build crew members for example, you must be a member of the props build crew to be a member of
the props run crew.
How will you know if Ive attended a performance or not?

If you attend an invited dress rehearsal or usher for a performance, we will have a sign-in list to verify that you
were there. If you choose to purchase a ticket to a show to fulfill your attendance requirement, you will need to
turn in the ticket stub with your name on it to verify that you attended. Dont lose this ticket stub! It is the only
way to prove that you were there. If you do not turn in a stub, you cannot receive full jury points. No
exceptions.
NOTE: there are a limited number of usher slots available for each performance; sign up is on a first come, first
served basis.
Over the summer I auditioned for an outside theatre company and got cast in a show that runs during the
school year. Now what?
All students committed to making Dreyfoos Theatre their first priority during their entrance auditions. We expect
you to be true to your word another excellent life skill. While we applaud your desire to work on your craft, we
are counting on you to be involved at Dreyfoos as part of your ongoing education with us. Once youve fulfilled
the participation requirements for our department (interviewing/auditioning for, accepting, and fulfilling a crew
position or role if offered AND attending our performances each semester) you are welcome to seek outside
opportunities. However, this work will not count toward participation in our department and you will not receive
jury points for it. The only way to receive full jury points is by fulfilling the participation requirements for our
Department.
What about lab hours? Do we still have to keep track of them?

The Participation Requirement replaces the old lab hour format ONLY for receiving full jury points each
semester. Lab hours are still required to gain induction into Thespian Troupe 4990 and to receive Thespian
Honor Awards and Scholarships at the Thespian Banquet each year. If you wish to be considered for these
recognitions, it is your responsibility to keep track of the hours you spend with us and turn them in at the end of
each semester.
- 47 -
How can I become a member of ITS Troupe 4990? Has anything changed with that?
Yes, but only a little. In order to be inducted into ITS, you must still accrue 100 lab hours. However, a portion of
those hours must be related to Thespian Troupe 4990 activities. These activities include:
Fulfilling the Participation Requirements each semester in your induction year.
Attending at least five of the ten or more Thespian meetings/activities per school year.
Auditioning for an IE at our District Audition Fest in the fall semester of your induction year, accepting a
delegate position if offered, and attending the District and/or State Thespian Festivals in good standing
if invited to do so.
You only take a certain number of students to the District and State Festivals. What if I audition and am not
selected?
We are limited to a specific number of events per category by the International Thespian Society regulations,
so unfortunately we cant take everyone who auditions. However, if you audition an event at Audition Fest and
are not offered a District slot, you may still be inducted into the Troupe provided that you fulfill the other
participation and induction requirements. Likewise, if you are invited to attend District but are not invited to
attend State, you may still be inducted provided that you fulfill the other participation and induction
requirements.
Do I have to accrue the 100 lab hours all in the same year?
No. Lab hours are cumulative. As soon as you have accrued 100 lab hours total you may be inducted provided
you have met the other requirements in your induction year.
How can I receive Thespian Awards and Scholarships?

Awards and scholarships are granted based on your ongoing level of involvement in the Troupe and
Department. If you continue to fulfill the participation and induction requirements each year following your
induction year, you will automatically be considered for Thespian awards and scholarships.
How can I get lab hours?

The same ways you always have by being on a crew or in a show; by attending shows, master classes, and
other department events; by being involved in IEs; by helping out with auditions and ushering and maintaining
the script library and helping theatre teachers with whatever they need done, and selling ads for the playbill,
and... The opportunities for lab hours are many and varied. And we cant get to know you if you dont get
involved!
- 48 -
Appendix E: New Dreyfoos Theatre Department Performance Jury Format
Format: You will be preparing a number of pieces in your performance classes over the course of the
semester. Your jury piece will be chosen from this material. Pieces may be musical or non-musical in
nature (songs, monologues, and/or dance routines) depending on the classes you are taking that
semester and the discretion of theatre faculty. Each piece must be accompanied by a written character
analysis; please follow the format attached. Once a piece has been declared for jury consideration, it
cannot be declared again regardless of whether or not the piece was chosen to be presented. The titles
of all pieces worked on in class that semester must be declared on the following schedule (please note
that once you have declared a piece, it may not be changed):

o
Fall Juries
Spring Juries
Monday, November 9
Monday, May 9
Jury Day: The day of your scheduled jury, be prepared to present all declared pieces. You must have a
copy of each monologue (photocopied from the original script) and a copy of the sheet music for each
song. The adjudicators will choose only one of the pieces that you will present for your jury, so please
make sure that all pieces represent your best quality of work.
Frequently Asked Questions:

o
Wait, so I can use all of the pieces that I work on in class as my jury declarations?
Correct. Juries are designed to show us how much youve learned and grown as a
performer during that semester, and theres no better example of that than the work
youve created, explored, and refined in class. We expect that you are spending a fair
amount of time working on your pieces outside of class as well, but your jury should
represent what youve learned and developed during that semester.
So I could be asked to sing or act or dance for my jury?
It depends on what performance classes you are taking that semester acting, musical
theatre, and/or dance. If you are taking all three, you will have options from all three
classes that may be considered, so please make sure that all pieces have been welldeveloped and are well-presented.
What if Im a better actor than a singer or dancer? Will you still ask me to sing or dance?
Its possible, yes. Your job as a theatre student is to improve all aspects of your
performing talents. This new format is designed to focus the work that youre doing in
class so that you learn and grow and develop as a performer. If you are motivated and
working hard to improve your skills in class, we will certainly take that into account when
choosing your jury piece.
Once a piece has been chosen for final jury performance, may I use the unchosen ones for
subsequent juries?
- 49 -
No. Each semesters jury is chosen from work developed in class during that semester.
Once a piece has been declared you may not submit it again for consideration.
However, you may include any unchosen jury pieces in your final Senior Rep
performance provided that they fit into the specific Senior Rep criteria.
May I use a piece from a show that I was in or a piece that I worked on with another director or
acting coach?
No. All pieces presented for juries must be work generated by you in class while a part
of our department during that semester. Outside work that has been directed or coached
by someone other than Dreyfoos Theatre faculty or fellow Dreyfoos Theatre students
may not be presented as jury pieces.
- 50 -
Appendix F:
Major Production Underwriting Opportunities
Tax-deductible producer contributions cover production costs. These contributions allow our department to
retain more revenues from ticket sales. Ticket sales revenue funds Theatre Department field trips, guest artist
residencies, and classroom and production materials.
Last year, over 5,000 supporters filled the seats of Meyer Hall for Theatre Department productions. Please call
Mr. Linser at (561) 802-6061 or email him at bruce.linser@palmbeachschools.org for more information on
becoming a Dreyfoos Theatre producer.
Season Producer ~ $50,000.00

(Benefits: Above Title/Below Organization Billing for each production on playbills and posters; receive up to 25
tickets to each production; Full Page B/W Back Cover Advertisement in production playbills)
Shrek - $25,000.00
(Benefits: Above Title/Below Organization Billing for production on playbill and poster; receive up to 20 tickets
to production; Full Page B/W Inside Back Cover Advertisement in production playbill)
Romeo & Juliet - $15,000.00

(Benefits: Above Title/Below Organization Billing for production on playbill and poster; receive up to 20 tickets
to production; Full Page B/W Inside Back Cover Advertisement in production playbill)
2015-16 Brandt Black Box Series - $5,000.00

(Benefits: Above Title/Below Organization Billing on production playbills for TYA, Semester, Directing, and
Senior Showcases; receive up to 10 tickets to each production)
Short-Attention-Span-Theatre - $2,500.00
(Benefits: Above Title/Below Organization Billing on production playbill; receive up to 10 tickets to production)
Individual Showcase - $1,000.00

(TYA, Semester, Directing, or Senior Showcases)
(Benefits: Above Title/Below Organization Billing on production playbill; receive up to 10 tickets to production)
- 51 -
Appendix G:
Alexander W. Dreyfoos School of the Arts Theatre Department
Student Enrichment Contribution Form
Contributor Benefits
Front of House (less than $99)
Recognition in production programs
Actor ($100-$499)
Recognition in production programs
One complimentary ticket to a 2015-16 Meyer Hall production per $75 contributed above $100
Designer ($500-$999)
All previous Benefits PLUS
Cast signed posters of either Romeo & Juliet OR Thoroughly Modern Millie
Invitation to attend a rehearsal and Q&A with the director of either Romeo & Juliet OR Thoroughly Modern
Millie
Playwright ($1,000-$2,499)
All Previous Benefits upgraded to include posters, rehearsals, and director Q&As for BOTH productions
Director ($2,500-$4,999)
All Previous Benefits PLUS
An invitation to a private lunch with one of our guest artists
I am pleased to support the Alexander W. Dreyfoos School of the Arts Theatre with a contribution in the amount of:
$100 $250 $500
$750 $1,000
Other: ______________________
Please acknowledge my contribution as: ___________________________________________________________________

My Student Enrichment Contribution check, made payable to the School of the Arts Foundation, is enclosed.
NAME ____________________________________________________________________________
ADDRESS ________________________________________________________________________
CITY _________________________________________STATE _______ ZIP __________________
PHONE ______________________________________
EMAIL ____________________________________________________________________________
REFERRALS
I am happy to provide the contact information for the following individuals or businesses who would be interested in
learning about the incredible opportunities Dreyfoos Theatre provides:
________________________________________________________________________________________________________
Appendix F:
Playbill Ad Sales Information
________________________________________________________________________________________________________
________________________________________________________________________________________________________
- 52 -
Signature _____________________________________________________________________ Date _____________________
Appendix H:
DSOA THEATRE PLAYBILL Ad Sales Pitch Verification
(Ad Sales Order Form can be found on the Troupe Facebook or Theatre Edline page)
I, ___________________________________ of __________________________________________ (Company Name)
verify that ________________________________ (Name of Student) met with me today, ________________(Date),
at _____________ (Time), to discuss the placement of an ad in the Dreyfoos Theatre Department season
playbill.
Signature of Company Representative: _______________________________________________________________

Position of Company Representative: ________________________________________________________________
Phone/Email Contact Information: ___________________________________________________________________
Approved by Theatre Department Dean: _____________________________________ Date: ___________________
NOTES FOR STUDENTS
Students will receive one lab hour for each verified sales pitch (whether or not an ad is placed).
Form must be dated and signed by Mr. Linser by Friday, September 25, 2015.
For Spring 2015 Lab Hour use, form must be dated and submitted to Mr. Linser no later than Monday,
May 16, 2016.
Theatre department faculty reserves the right to verify each sales pitch.
A copy of this completed form must be attached to the lab hour card to receive lab hour credit.
Family congratulatory ads will not be accepted for lab hour credit.
Please obtain a copy of the Playbill Ad Sales Order Form on the Troupe Facebook or Theatre Edline
page.
- 53 -
Appendix I:
Contact Information & Volunteer Form
Please fill out and return this form to Mr. Linser or any Theatre Parents Association board member as soon as
possible in order to stay informed for the year ahead. Also, please ensure that you have updated your
information on Edline, as well. Thank you!
Student Name:
Grade Level:
Parent/Guardian Name: ____________________________________________________________________________

Address: _________________________________________________________________________________________
Parent Phone: _____________________________
Student Phone: _____________________________________
Parent Email: _____________________________________________________________________________________

Student Email: ____________________________________________________________________________________
Committees or Volunteer Opportunities that interest me are (please circle below):
Playbill
Concessions
Food & Hospitality
Box Office
Media Marketing
Fundraising
Helping in the scene or costume shops
Backstage monitors during productions
Field trip chaperones
Other opportunities or ways youd be interested in supporting the department: _____________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
- 54 -

DSOA Theatre Handbook 2015-16

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

DSOA Theatre Handbook 2015-16

Загружено:

Авторское право:

Доступные форматы

Alexander W.

Dreyfoos School of the Arts

Vision, Mission, Philosophy, Accomplishments

2015-16 Important Dates

Academic and Artistic Honesty

Casting & Awards Policies (including Audition Requirements)

Florida State Thespians

Grading Policies in the Classroom

Juries & Participation Requirements

Rehearsal & Performance Attendance & Participation Policies

Rehearsal/Performance Theatre Etiquette

Scope and Sequence

Senior Repertoire: Performance

Senior Repertoire: Technical

Theatre Parents Association

Thespian Troupe #4990

Appendix A: Jury Character Analysis

Appendix B: Jury Scenic Design Analysis

Appendix D: Participation Requirements & Thespian Lab Hours Requirements

Appendix E: Performance Jury Format

Appendix F: Production Underwriting Opportunities

Appendix G: Student Enrichment Contribution

Appendix H: Playbill Ad Sales Information

Appendix I: Contact Information Form

Dear Parents and Students:

Theatre Parents Association

Dear Theatre Students and Parents,

WELCOME FROM YOUR TROUPE 4990 PRESIDENT

Acting, Directing, Theatre History

Theatre Parents Association Board and Chairs

Thespian Troupe #4990 Officers

Selected Departmental Accomplishments

2015-16 Important Dates

New Student Orientation, Black Box

Thespian Meeting, Black Box

Thespian Meeting, Black Box

R&J, Meyer Hall, $20

World AIDS Day Event

Prospective Student Open House

Thespian Meeting, Black Box

Jan. 13; 7-8pm

Meyer Hall, $20

Thespian Meeting, Black Box

Thespian Meeting, Black Box

State Mainstage performance)

Florida State Thespian Festival,

TYA Theatre Major Preview (free)

Senior Hour Cards Due

Academic and Artistic Honesty

Casting & Awards Policy

Romeo & Juliet

Florida State Thespians

Macbeth by William Shakespeare

Grading Policies in the Classroom

(at least 3 titles for

The Acting Jury

Evaluation Criteria of the Musical Theatre Jury

Lab Hour Card Format

Outside Work / Training

Scope and Sequence

Theatre History and Literature I

10th Grade Approved Pairings

12th Grade Acting Track

Signature _________________________________________________ Date _

Approved by Theatre Department Dean: ___________________ Date: _