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Contact Information

Box Office:
(920) 424-4417
boxoffice@uwosh.edu

Theatre Office: (920) 424-7042
Costume Shop: (920) 424-0286
Scene Shop: (920) 424-7051
____________________________________
Jane Purse-Wiedenhoeft, Chair
(920) 424-4425
pursewij@uwosh.edu

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Theatre Production Handbook

Handbook for student directors, designers, stage managers, playwrights and front of house personnel.

Production Personnel

Designer
More information coming soon!
Scenic Designer
Expectation of the Student Scenic Designer

  1. The scenic designer will meet with the director and the design team to discuss concept and requirements of specific concerns regarding scenery and properties. It is expected that the designer has thoroughly read the play and has made notes regarding questions or ideas pertaining to the script prior to the first meeting.
  2. Rough sketches and a ground plan with suggestion for color should be communication to the director and meet with the approval of the director and faculty scene designer/technical director according to the schedule.
  3. Color indications or renderings along with a scale ground plan and detailed elevations each piece of scenery should be delivered to the technical director before the show is scheduled to enter the shop.
  4. The Scenic Designer is responsible for:
    • Pulling scenic pieces/props and dressing from stock as needed.
    • Purchasing any needed scenic pieces or dressing (see purchasing process)
    • Purchasing any speciality paints or effects as needed by the production (see purchasing process)
  5. It is expected that the scenic design will make contact with the technical director daily:
    • to answer any questions or address any concerns which have developed
    • mix paint colors and develop textures related to the design
    • aid in the construction of scenery and properties
    • paint and dress scenery when constructed
  6. The design must meet the scheduling requirements of the technical director with regards to the securing of materials and addressing questions which come up.
  7. The design must work within the budget assigned to the scenery for the show.
  8. The scenic designer must see a run through of the play prior to the first technical rehearsal.
  9. The scenic designer must be present in all technical and dress rehearsals and is encouraged to attend opening night.
  10. All designers are expected to participate in strike.
Costume Designer
Expectation of the Student Costume Designer

  1. The costume designer will meet with the director and design team to discuss concept and requirements or specific concerns regarding costumes. It is expected that the designer has thoroughly read the play and has made notes regarding questions or ideas pertaining to the script prior to the first meeting.
  2. Rough sketches with suggestions for color should be communicated to the director and meet with the approval of the director and faculty costume designer/technology supervisor according to schedule.
  3. Color drawings/renderings with fabric swatches for each character and costume changes should be delivered to the costume shop according to schedule.
  4. The costume designer is responsible for:
    • pulling costume pieces that are need from stock
    • purchasing any clothing or accessory items needed
    • purchasing fabric and notions that are needed to construct the costumes
    • purchasing speciality hair and makeup items that are needed
    • *All purchasing must be made in consultation with the faculty costume designer and follow guidelines for purchasing according to the University.
  5. The designer will work in the shop daily to:
    • answer questions
    • solve design problems
    • schedule and attend fittings
    • assist in construction and alterations as needed
  6. The designer must meet the scheduling requirements of the Costume Technology Supervisor with regard to delivery of purchased items needed for construction, fittings and alterations.
  7. The designer should attend all costume fittings.
  8. The designer must consult with the director and faculty costume designer with regards to proposed changes before any changes are made.
  9. The designer must be present at all dress rehearsals and is encouraged to attend opening night.
  10. All designers are expected to participate in the strike of the show.
Lighting Designer
Expectations of the Student Lighting Designer

  1. The lighting designer will discuss the play with the director concerning conceptual and technical requirements of lighting for the play. It is expected that the designer will thoroughly read the play and make notes about questions or ideas pertaining to the script before this meeting.
  2. Design ideas and color suggestions should be communicated to the director using some combination of storyboards, sketches, painted renderings, computer simulations, collages or photographs. These must meet with the approval of the directory and faculty lighting designer/technical supervisor according to schedule.
  3. The lighting designer is expected to be at every production meeting to discuss any changes that may develop in the production. The lighting designer must stay abreast of all changes in scenery and costumes and color or textures which may change any of the lighting aspects.
  4. A ground plan and center line section will be delivered to the lighting designer by the scenic designer as soon as it is available.
  5. The lighting designer will produce a light plot and instrument schedule complete with instrument type, location, color, circuits and dimmer information.
  6. The lighting designer will direct in the hanging and focusing of all instruments. It is expected that the lighting designer will make all possible efforts to meet hanging and focusing schedules. Hanging and focusing schedules will be decided by the technical director.
  7. The lighting designer will meet with the board operator, director and stage manager at a “dry tech” to set cues. When possible, the lighting designer should schedule time prior to the “dry tech”  and technical rehearsals to set pictures.
  8. The lighting designer will be present at all technical and dress rehearsals. The lighting designer should be on headset and work to perfect the look and function of the design to the abilities of the crews and equipment involved.
  9. The lighting designer will work with the master electrician to make any changes required in the plot to suit the design.
  10. The lighting designer is encouraged to attend opening night.
  11. All designers are expected to participate in strike night.
Sound Designer
Expectations of the Student Sound Designer

  1. The sound designer will discuss the play with the director concerning conceptual and technical requirements for sound of the play. It is expected that the designer will thoroughly read the play and make notes about questions or ideas pertaining to the script before this meeting.
  2. Design ideas for music and effects should be communicated to the director using some combination of samples and sound clips. These must meet with the approval of the director and faculty technical supervisor according to schedule.
  3. The sound designer is expected to be at every production meeting to discuss any changes that may develop in the production. The sound designer must stay abreast of all changes action and blocking which may change any of the sound aspects.
  4. A ground plan should be obtained from the scenery designer as soon as it is available to play speaker placement, etc.
  5. The sound designer will produce a sound plot and equipment schedule complete with source type, speaker location and annotated sound cue sheets.
  6. The sound designer will assemble, record and edit all required sound effects, internal music and incidental music cues. The sound designer will direct in setting up all sound equipment, including microphone and sources, playback and control equipment, amplifiers and speakers. It is expected that the sound designer will make all possible efforts to meet setup schedules. Setup schedules will be decided by the technical director.
  7. The sound designer will meet with the control board operator, director and stage manager at a “dry tech” to set cues. When possible, the sound designer should schedule time prior to the “dry tech” and technical rehearsals to set preliminary levels.
  8. The sound designer will be present at all technical and dress rehearsals. The sound designer should be on headset to work to perfect the function of the design according to the abilities of the crews and equipment involved.
  9. The sound designer will work with the master sound technician to make any changes required in the plot to suit the design.
  10. The sound designer is encourage to attend opening night.
  11. All designers are expected to participate in strike night.
Playwright
A Guide for the Student Playwright

  1. The playwright should meet with the assigned director before casting–whether for reading or a full production. Playwright and director should discuss how to cast the reading/production BEFORE auditions.
  2. The playwright should plan to attend all phases of auditions–from the first through callbacks. The playwright should clearly indicate her preferences to the assigned director.
  3. The playwright should attempt to attend all rehearsals, be willing to listen to the cast and director and be engaged in a process of improving his/her play. An effort should be made to accommodate the playwright’s schedule so that he/she may attend rehearsals.
  4. The playwright should attend as many performances of the produced play as possible.