Holliday’s Spooktacular Shakespeare Horror Experience
Contract Rider
Prometheus Guild
Management will contact sponsors and the Prometheus Guild for the beginning of load in and hospitality concerns.
Run of Performance October 26th, 2009 through October 31st, 2009.
Two (2) hour run time each night.
Company: cast of ten (10) performers, two (2) costumers/makeup technicians, one (1) manager/runner.
Load-in:
• Company requires four (4) members of theatre personnel to assist with load-in, including personal effects for green room area. Two (2) technicians, one (1) lights and one (1) sound.
• Company requires stage, theatre area, and green room cleared and prepared for load-in before arrival.
• Sponsor agrees to provide clean working space, included stage and backstage areas swept and free of debris.
• Set Up: three(3) to five (5) hours primarily, one (1) hour before each performance (including 30 minutes house)
• Strike/Load-out: Up to three (3) hours.
Stage Requirements:
• 30’ x 30’ x 14’ (unimpeded by light fixtures or ducts)
• Black painted floor, and black surroundings.
• A darkened auditorium is necessary.
• A black or deep red backdrop.
Hospitality:
Sponsor agrees to have all dressing/makeup/green rooms available before company arrival, and at least two (2) hours prior to performance, and up to one (1) hour post performance.
• At least 3 dressing rooms, with accessible or nearby restroom.
• Green room for actors not on stage, and for temporary technical repairs.
• Green room and other cast designated areas should be well lighted, and space enough for makeup and hair needs. Rooms should contain tables and chairs.
• Sponsor agrees to provide cold, bottled water for each performance.
• On days of multiple performances, the sponsor agrees to provide a light lunch (ex: sandwiches, veggie/fruit platter, cookies) for all company members.
• Accommodations: sponsor agrees to provide 4 double rooms in local hotel not more than 15 minutes (driving) from venue.
Lighting:
• Professional technician available during load-in, and technical rehearsal time.
• Experienced technician during run of show to execute light cues.
• Ambient red lighting for backstage area (glow may be seen from stage)
• Lighting technician able to provide necessary changes for company during load-in.
• One white spotlight needed, downstage center.
Sound:
• All sound systems prepared and ready for use prior to company arrival.
• Company agrees to use available in-house sound system.
• Professional technician available on site during load-in, and technical rehearsal.
• Experienced technician during run of show to execute sound cues.
• Surround speakers necessary.
Recording:
• Sponsor agrees to allow one recording of performance by the company (performance chosen at company discretion)
• Audience cameras, flash photography, and sound recording devices are prohibited.
Important:
• Sponsor agrees to contact Elizabeth Frances (1-500-5555) or franceseq@hotmail.com if technical guidelines set out in this contract are not met by the venue.
• In mind of safety, the company requests that only authorized people touch the set or are allowed into theatre areas. Audience is not allowed on stage.
This contract rider is set out to insure the audience, sponsor, and company the best performance possible.
Contract Rider accepted
____________________________________ ___________________
(Signature of Sponsor) (Date)
__________________________________ _________________
(Signature of Company Representative) (Date)
Wednesday, April 29, 2009
Terms List
Manager: someone who manages aspects of a business. In the theatre realm there are many different types of managers: general, business, marketing, programming, house, company, and many more.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Tuesday, April 28, 2009
Scholarship evaluation example
Scholarship/Volunteer Evaluation
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
No Exit Work Report - Fiebig Approved
As stage manager for “No Exit” I performed many duties.
• Attended auditions, coordinated the audition forms and handing out of scripts. I notified people when it was their turn to audition, and I kept of record of the cast selections for both “No Exit” and “Doubt.”
• Once the director had set the rehearsal times, I notified the cast and made sure questions were answered either by me or by the director. During rehearsals, I took notes of the blocking and details that needed to be remembered. I assisted some with the choreography by contributing ideas and noting sightline issues.
• If a rehearsal was cancelled, or the time was changed, I would notify the cast.
• I kept in contact with the crew to make sure that progress was being made on the door and speaker covers, lights were being fine-tuned, sounds were being collected, and costumes were being finished.
• I found set pieces (lamp, table) among the props and brought them to the rehearsal/performance spaces.
• When the cast was finally off book, I prompted and took line notes. I did a lot of prompting as there were many line issues up until two nights before the performance. I also completed Rehearsal Report forms and posted them to the Moodle forum. On these rehearsal reports, I noted sound, light, set, props, costume, and makeup/hair notes.
• I researched the 50s era, and found hair and makeup designs/ideas. Andrew and I worked together on this. Information was found here: http://www.fiftiesweb.com/fashion/fashion-wh.htm. The idea for the Estelle character was to be very youthful and innocent. Inez was a little bit harsher. The Valet was given shadows and a gaunt look. Garcin had little change – beard and eyebrow darkening, and hair combed over. (See Pictures) I focused mainly on Estelle and Inez, and Andrew took care of Garcin and the Valet. I also helped Andrew become more familiar and comfortable with makeup application.
• Not only did I do the makeup and hair designs, I also did the makeup and hair applications for Inez and Estelle, and assisted Andrew with his applications of Garcin and the Valet. (See Pictures) I also worked at covering Sam’s tattoo so it wouldn’t show under her dress.
• During tech days, I cleaned the theatre, and put the chairs back where they belong. I helped set the chairs on the stage for the in-the-round effect.
• During the run of the show, I ran the booth. I took care of lights and sound.
• I helped with strike at the end of the run of the show, putting away furniture and props, and sweeping the floor.
Thursday, April 23, 2009
South Pacific PR Info
Information about the cast and crew of Waldorf's production of South Pacific I collected and organized for the Press Release.
Cast List for South Pacific:
Katie Austin – Owatonna, MN, Senior, Humanities Major
Elizabeth Breen - Mingo, IA, Freshman, Psychology/Theatre Arts Major
Professor Blair Buffington - Director of Choral Activities/Chair, Department of Music, Waldorf College, Forest City IA
Alexandra J. Collins – Mission Hills, CA, Junior, Theatre Arts Major
Jetta Cox, Forest City, IA, 5th Grade
Tena Cox, Forest City, IA, 3rd Grade
Alicia Danielson – Story City, IA, Sophomore, History Major
Braden Falline – Everly, IA, Freshman, History Major
Andrew C. Gross – Rockford, IA, Senior, CIS/History Major
Sara Harper – Cambridge, IA, Sophomore, Vocal Performance Major
Jason Homard – Des Moines, IA, Sophomore, Music Education Major
Marissa Hopper – Keystone, IA, Sophomore, Theatre Arts Major
Andrea Markey – Colo, IA, Sophomore, Business/Language/Math and History Education Major
Rebecca Marty – Elmwood, WI, 2008 Waldorf Alum, K-12 Music Education Major
Steven Pals – Belmond, IA, Sophomore, History Major
Noel Priester – Harvard, IL, Junior, Creative Writing Major
Jake Sharar – Sumner, IA, Freshman, Communications Major
Casey Simmons – Clarion, IA, 2008 Waldorf Alum, Elementary Education Major
Whitney MF Tait – Owatonna, MN, Junior, Humanities Major
Peter Teigen – Fort Worth, TX, Junior, Business/Marketing/Finance Major
Dana Uhrig-Fox – Excelsior, MN, Freshman, Undecided Major
Steven Van Overbeke – Forest City, IA, Senior, Business/Theatre Arts Major
Laura Verbrugge – Britt, IA, Senior, Communications Major
Tanner Zirbel – Armstrong, IA, Junior, Business Management/Banking and Finance Major
South Pacific Crew List:
Director – Dr. Robert AuFrance
Technical Director – Jeremy Fiebig
Music Director – Blair Buffington
Orchestra Director – Dr. Marc Reed
Stage Manager – Whitney Tait
PR – Laura Verbrugge, Kylea Dieken, Heather Jordon, Joy Newcom
Set/Scene Designers – Kirk Reisetter, Andrew Gross, Scott Thompson, Jeremy Fiebig
Scene painters – Samantha Kohner, Marissa Hopper, Sara Harper, Dana Uhrig-Fox
Light Design – Jeremy Fiebig
Assistant Light Design – Andrew Harrison
Sound Design – Jeffrey Fiebig
Costume Design – Alexandra Collins and Andrew Harrison
Costumers – Alexandra Collins, Andrew Harrison, Cassandra Snow, Immanuel Elliott
Box Office – Whitney Tait
Running Crew – Jessie Bacon, Elyse Erickson, Sadie Hickman, Elizabeth Breen
Orchestra Ensemble: Andrew Blum (tuba), Maggie Dickman (clarinet), Rebecca Fahrmann (horn), Drew Jackson (bassoon), Sarah Knott (flute), Allen Mannes (percussion), Kristen Nielsen (trombone), Dr. Marc Reed (trumpet)
Additional Crew: Jessie Bacon, Elizabeth Breen, Alexandra Collins, Bailey Dean, Kylea Dieken, John Eliason, Immanuel Elliott, Elyse Erickson, Braden Falline, Jeff Fiebig, Andrew Gross, Sara Harper, Andrew Harrison, Elena Henriksen, Marissa Hopper, Ashley Johnson, Samantha Kohner, Melissa Oswald, Noel Priester, Kirk Reisetter, Caitlyn Rogers, Jessica Schiermeister, Jake Sharar, Cassandra Snow, Whitney Tait, Peter Teigen, Scott Thompson, Dana Uhrig-Fox, Steven Van Overbeke, Laura Verbrugge
Cast List for South Pacific:
Katie Austin – Owatonna, MN, Senior, Humanities Major
Elizabeth Breen - Mingo, IA, Freshman, Psychology/Theatre Arts Major
Professor Blair Buffington - Director of Choral Activities/Chair, Department of Music, Waldorf College, Forest City IA
Alexandra J. Collins – Mission Hills, CA, Junior, Theatre Arts Major
Jetta Cox, Forest City, IA, 5th Grade
Tena Cox, Forest City, IA, 3rd Grade
Alicia Danielson – Story City, IA, Sophomore, History Major
Braden Falline – Everly, IA, Freshman, History Major
Andrew C. Gross – Rockford, IA, Senior, CIS/History Major
Sara Harper – Cambridge, IA, Sophomore, Vocal Performance Major
Jason Homard – Des Moines, IA, Sophomore, Music Education Major
Marissa Hopper – Keystone, IA, Sophomore, Theatre Arts Major
Andrea Markey – Colo, IA, Sophomore, Business/Language/Math and History Education Major
Rebecca Marty – Elmwood, WI, 2008 Waldorf Alum, K-12 Music Education Major
Steven Pals – Belmond, IA, Sophomore, History Major
Noel Priester – Harvard, IL, Junior, Creative Writing Major
Jake Sharar – Sumner, IA, Freshman, Communications Major
Casey Simmons – Clarion, IA, 2008 Waldorf Alum, Elementary Education Major
Whitney MF Tait – Owatonna, MN, Junior, Humanities Major
Peter Teigen – Fort Worth, TX, Junior, Business/Marketing/Finance Major
Dana Uhrig-Fox – Excelsior, MN, Freshman, Undecided Major
Steven Van Overbeke – Forest City, IA, Senior, Business/Theatre Arts Major
Laura Verbrugge – Britt, IA, Senior, Communications Major
Tanner Zirbel – Armstrong, IA, Junior, Business Management/Banking and Finance Major
South Pacific Crew List:
Director – Dr. Robert AuFrance
Technical Director – Jeremy Fiebig
Music Director – Blair Buffington
Orchestra Director – Dr. Marc Reed
Stage Manager – Whitney Tait
PR – Laura Verbrugge, Kylea Dieken, Heather Jordon, Joy Newcom
Set/Scene Designers – Kirk Reisetter, Andrew Gross, Scott Thompson, Jeremy Fiebig
Scene painters – Samantha Kohner, Marissa Hopper, Sara Harper, Dana Uhrig-Fox
Light Design – Jeremy Fiebig
Assistant Light Design – Andrew Harrison
Sound Design – Jeffrey Fiebig
Costume Design – Alexandra Collins and Andrew Harrison
Costumers – Alexandra Collins, Andrew Harrison, Cassandra Snow, Immanuel Elliott
Box Office – Whitney Tait
Running Crew – Jessie Bacon, Elyse Erickson, Sadie Hickman, Elizabeth Breen
Orchestra Ensemble: Andrew Blum (tuba), Maggie Dickman (clarinet), Rebecca Fahrmann (horn), Drew Jackson (bassoon), Sarah Knott (flute), Allen Mannes (percussion), Kristen Nielsen (trombone), Dr. Marc Reed (trumpet)
Additional Crew: Jessie Bacon, Elizabeth Breen, Alexandra Collins, Bailey Dean, Kylea Dieken, John Eliason, Immanuel Elliott, Elyse Erickson, Braden Falline, Jeff Fiebig, Andrew Gross, Sara Harper, Andrew Harrison, Elena Henriksen, Marissa Hopper, Ashley Johnson, Samantha Kohner, Melissa Oswald, Noel Priester, Kirk Reisetter, Caitlyn Rogers, Jessica Schiermeister, Jake Sharar, Cassandra Snow, Whitney Tait, Peter Teigen, Scott Thompson, Dana Uhrig-Fox, Steven Van Overbeke, Laura Verbrugge
Friday, April 10, 2009
Thursday, April 9, 2009
Friday, February 27, 2009
chapter 10 summary
Budget Planning:
"budgeting entails using the best judgment, based partly on past experience, combined with an investigation of current cost factors"
Any business needs a budget to keep track of the funds they have now, and to plan the use of the funds that will be coming in. An institution must know how much each department will need. There also needs to be a variable account that can be used in case a department uses more than budgeted, or if not enough funds come in.
there are three important "don'ts" when it comes to budgeting:
1. Don't Spend Income Before It's Earned.
a very logical idea - a business doesn't want to have a bill that they can't foot - it could influence the upcoming season, or the status of the building.
2. Don't Spend or Budget the Same Dollar Twice
this is very hazardous - if doubled up, the institution won't have enough money.
3. Don't Get Into the Boat Unless You Can Afford to Sink
a general rule of thumb, don't risk it if you can't afford to lose it.
estimations need to be made of the income, and of the expenses. getting a general idea of what is coming in will help the theatre decide how much to generally budget for the expenses. budget planning is one of the most important issues of the theatre. "variances between estimated and actual figures will directly affect the tenure of employees, which productions will be produced, and ultimately whether or not the organization will succeed or fail. hence, it is important to think long and hard when making budgets and financial plans."
"budgeting entails using the best judgment, based partly on past experience, combined with an investigation of current cost factors"
Any business needs a budget to keep track of the funds they have now, and to plan the use of the funds that will be coming in. An institution must know how much each department will need. There also needs to be a variable account that can be used in case a department uses more than budgeted, or if not enough funds come in.
there are three important "don'ts" when it comes to budgeting:
1. Don't Spend Income Before It's Earned.
a very logical idea - a business doesn't want to have a bill that they can't foot - it could influence the upcoming season, or the status of the building.
2. Don't Spend or Budget the Same Dollar Twice
this is very hazardous - if doubled up, the institution won't have enough money.
3. Don't Get Into the Boat Unless You Can Afford to Sink
a general rule of thumb, don't risk it if you can't afford to lose it.
estimations need to be made of the income, and of the expenses. getting a general idea of what is coming in will help the theatre decide how much to generally budget for the expenses. budget planning is one of the most important issues of the theatre. "variances between estimated and actual figures will directly affect the tenure of employees, which productions will be produced, and ultimately whether or not the organization will succeed or fail. hence, it is important to think long and hard when making budgets and financial plans."
Chapter 9 Summary
Presenters and Presenting Organizations:
While not the producer of the show, the presenter is as important in the theatre realm. They are responsible for presenting the show to the public and making sure that the production is prepared for the audience, the audience is excited about the show, and that the show is doing well (enough tickets are being sold) Other main points of presenting are:
*many theatrical presenters sponsor all types of performing arts events.
*administrators of presenting organizations must be particularly skilled in marketing, finance, personnel supervision in addition to having a broad and current understanding of the various performing arts disciplines. Presenters at not-for-profit organizations must also have a keen understanding of fundraising and managing a board of trustees.
*some of the larger and more ambitious presenting organizations may occasionally commission and produce a production that is included among their presentations
* some of the producers who supply product to various presenters are themselves presenters.
the chapter also gives a background of where the presenter position and its diversity and its expansion. a presenter is the person who organizes and prepares for a production to go on a tour. The presenter must secure venues and contracts between the venue and the cast/crew of the show.
the presenter is the one responsible for the booking of a show, and it is the presenter that it reflects on if the show runs smoothly or not.
"the history of presenting is virtually a history of the road, those theatres, opera houses, and performing arts centers all over the country where attractions take on yet another life, after or even during their initial runs in New York or elsewhere."
A presenter is responsible for getting the show prepared, and transported quickly, safely, and cheaply.
While not the producer of the show, the presenter is as important in the theatre realm. They are responsible for presenting the show to the public and making sure that the production is prepared for the audience, the audience is excited about the show, and that the show is doing well (enough tickets are being sold) Other main points of presenting are:
*many theatrical presenters sponsor all types of performing arts events.
*administrators of presenting organizations must be particularly skilled in marketing, finance, personnel supervision in addition to having a broad and current understanding of the various performing arts disciplines. Presenters at not-for-profit organizations must also have a keen understanding of fundraising and managing a board of trustees.
*some of the larger and more ambitious presenting organizations may occasionally commission and produce a production that is included among their presentations
* some of the producers who supply product to various presenters are themselves presenters.
the chapter also gives a background of where the presenter position and its diversity and its expansion. a presenter is the person who organizes and prepares for a production to go on a tour. The presenter must secure venues and contracts between the venue and the cast/crew of the show.
the presenter is the one responsible for the booking of a show, and it is the presenter that it reflects on if the show runs smoothly or not.
"the history of presenting is virtually a history of the road, those theatres, opera houses, and performing arts centers all over the country where attractions take on yet another life, after or even during their initial runs in New York or elsewhere."
A presenter is responsible for getting the show prepared, and transported quickly, safely, and cheaply.
Chapters 6 & 8 Summary
Community Theatre:
community theatre is a compilation of amateurs who love theatre, and may or may not be gifted in the realm. community theatre is the modern version of the way theatre has been for years. a community theatre will need a supportive community, and a board of directors to keep the theatre running. Because it's a non-profit organization, the community theatre depends on the sponsorship and goodwill of people. sometimes a community theatre is affiliated with a highschool, a college, or a civic organization. sometimes a community theatre will sponsor a professional acting troupe to put on a show at the community theatre. the community theatre is sometimes the first step into the world of theatre, or a young person's first experience. the community theatre is not done growing yet, and has much potential, but due to america's movement and lack of a permanent community, the theatre may never reach it's full potential.
Stock and Dinner Theatre:
these are a nearly dying art. most of them now are nonprofessional, and many are not for profit. they had their hayday right around 1935. dinner theatre consists of a stage, and instead of chairs lined up for the audience, there are tables and chairs. the audience enjoys a meal while the show is preformed. only certain types of shows can really do well in this type of theatre. it's the same with outdoor shows. not every show (such as shows with elaborate costumes or sets) will be able to be preformed outside. mostly the changing of stock caused the demise of the stock theatre, but it served a vital introduction to the art, and the work of a theatre.
community theatre is a compilation of amateurs who love theatre, and may or may not be gifted in the realm. community theatre is the modern version of the way theatre has been for years. a community theatre will need a supportive community, and a board of directors to keep the theatre running. Because it's a non-profit organization, the community theatre depends on the sponsorship and goodwill of people. sometimes a community theatre is affiliated with a highschool, a college, or a civic organization. sometimes a community theatre will sponsor a professional acting troupe to put on a show at the community theatre. the community theatre is sometimes the first step into the world of theatre, or a young person's first experience. the community theatre is not done growing yet, and has much potential, but due to america's movement and lack of a permanent community, the theatre may never reach it's full potential.
Stock and Dinner Theatre:
these are a nearly dying art. most of them now are nonprofessional, and many are not for profit. they had their hayday right around 1935. dinner theatre consists of a stage, and instead of chairs lined up for the audience, there are tables and chairs. the audience enjoys a meal while the show is preformed. only certain types of shows can really do well in this type of theatre. it's the same with outdoor shows. not every show (such as shows with elaborate costumes or sets) will be able to be preformed outside. mostly the changing of stock caused the demise of the stock theatre, but it served a vital introduction to the art, and the work of a theatre.
Chapter 5 Summary
Not-for-profit Professional Theatre:
A branch off from the commercial theatre, a not for profit theatre doesn't seek to make money for itself. it only needs investors to contribute enough to keep the building running and to get the show up and running. A not for profit theatre wouldn't necessarily charge for tickets, and if they do, it's a lower price than regular commercial theatre because they are not seeking a profit. this type of theatre is more prevalent in recent years than it was back during the start and growth of the commercial theatre. a not for profit theatre would desire to bring art to the people, to just be involved rather than have it as a career. some people can have a career in not for profit theatre, but not many. a not for profit theatre is run very similarly to a regular theatre, but sometimes on a much leaner budget, and sometimes with fewer people. the not for profit theatre is very successful and it's growth is astounding even though it still has its share of issues with money and shrinking audiences.
A branch off from the commercial theatre, a not for profit theatre doesn't seek to make money for itself. it only needs investors to contribute enough to keep the building running and to get the show up and running. A not for profit theatre wouldn't necessarily charge for tickets, and if they do, it's a lower price than regular commercial theatre because they are not seeking a profit. this type of theatre is more prevalent in recent years than it was back during the start and growth of the commercial theatre. a not for profit theatre would desire to bring art to the people, to just be involved rather than have it as a career. some people can have a career in not for profit theatre, but not many. a not for profit theatre is run very similarly to a regular theatre, but sometimes on a much leaner budget, and sometimes with fewer people. the not for profit theatre is very successful and it's growth is astounding even though it still has its share of issues with money and shrinking audiences.
chapter 4 Summary
Commercial Theatre:
A chapter of history on the commercial theatre.
Centered in New York (think Broadway and off-Broadway) the commercial theatre is influential to the city, and to nearly all entertainment media. first acting company came to N. America in 1752. It was one of the leading forms of entertainment up until about 1914 when electronic entertainment began to grow in popularity. it was much easier to view a television in your home, than to go out to the theatre. Up until about 1960 theatre declined in popularity and consequently, many theatres closed. but during the 1930s, when the theatre was at its lowest point economically, many of the greatest works were produced (Maxwell Anderson, Elmer Rice, Robert sherwood and others) 1960-1990 is considered the "retrenchment" period of the theatre. The commercial theatre has always had a high failure rate (it wouldn't be stage theatre if it didnt) in current times, one of the most significant happenings was the stage version of Disney's "beauty and the beast" it brought major corporations and the stage together. the late 90s was also a time of closing for a number of long running shows such as "Cats", "Les Miserables", and "Miss Saigon."
An issue theatre can encounter is copyright laws. A stage may not be able to produce a show that it desires to, due to price to purchase royalties for the show. a good description of some federal copyright laws and points to keep in mind are found on page 86. other aspects of the show to be considered are the royalty pools, the actors guild, and putting the show on the road for an off broadway tour. plus many many more things.
A chapter of history on the commercial theatre.
Centered in New York (think Broadway and off-Broadway) the commercial theatre is influential to the city, and to nearly all entertainment media. first acting company came to N. America in 1752. It was one of the leading forms of entertainment up until about 1914 when electronic entertainment began to grow in popularity. it was much easier to view a television in your home, than to go out to the theatre. Up until about 1960 theatre declined in popularity and consequently, many theatres closed. but during the 1930s, when the theatre was at its lowest point economically, many of the greatest works were produced (Maxwell Anderson, Elmer Rice, Robert sherwood and others) 1960-1990 is considered the "retrenchment" period of the theatre. The commercial theatre has always had a high failure rate (it wouldn't be stage theatre if it didnt) in current times, one of the most significant happenings was the stage version of Disney's "beauty and the beast" it brought major corporations and the stage together. the late 90s was also a time of closing for a number of long running shows such as "Cats", "Les Miserables", and "Miss Saigon."
An issue theatre can encounter is copyright laws. A stage may not be able to produce a show that it desires to, due to price to purchase royalties for the show. a good description of some federal copyright laws and points to keep in mind are found on page 86. other aspects of the show to be considered are the royalty pools, the actors guild, and putting the show on the road for an off broadway tour. plus many many more things.
Wednesday, February 25, 2009
Chapter 3 Summary
Personnel for the Theatre:
Humphrey Bogart said: A professional is a guy who does his job well - even when he doesn't feel like it!
A professional in regards to this chapter is someone who is paid to work, and their work is of a high quality. A nonprofessional is someone who works without monetary compensation (despite other rewards.)Theatre productions and companies are comprised of three levels of personnel and three divisions of labor:
1) leadership level (producer/board/theatre owner)
2) management level (artistic/managing directors)
3) staff level (artistic, production, administration)
a minimum staff requirement is a healthy idea for all theatres. A theatre should know the minimum people that it needs to run, and in times of hardship job doubling can save money for the theatre. To attract applicants a eye and attention catching ad must be written. It should explicitly describe the job position so an applicant knows what will be required of them. The job should be broadcast in many localities - newspaper, internet, word of mouth, and places specific to theatre. A standard interview and subsequent training should follow. Personnel should be supervised according to their realm of work (a concessions worker over seen by a concessions manager). communication is important to let employees know how they're doing. job reviews should be held on a regular basis. U.S. labor laws should be taken into account and followed for all workers. The book goes into much technical detail about the union and labor laws - not very pertinent to my current theatre experience. Other people who need to managed carefully are the volunteers, interns, apprentices, and students. They are a unique worker, and need to be handled so. Any person who is in charge of others in the theatre dept should be aware of the artistic temperament, and know how to deal with "a diva."
Humphrey Bogart said: A professional is a guy who does his job well - even when he doesn't feel like it!
A professional in regards to this chapter is someone who is paid to work, and their work is of a high quality. A nonprofessional is someone who works without monetary compensation (despite other rewards.)Theatre productions and companies are comprised of three levels of personnel and three divisions of labor:
1) leadership level (producer/board/theatre owner)
2) management level (artistic/managing directors)
3) staff level (artistic, production, administration)
a minimum staff requirement is a healthy idea for all theatres. A theatre should know the minimum people that it needs to run, and in times of hardship job doubling can save money for the theatre. To attract applicants a eye and attention catching ad must be written. It should explicitly describe the job position so an applicant knows what will be required of them. The job should be broadcast in many localities - newspaper, internet, word of mouth, and places specific to theatre. A standard interview and subsequent training should follow. Personnel should be supervised according to their realm of work (a concessions worker over seen by a concessions manager). communication is important to let employees know how they're doing. job reviews should be held on a regular basis. U.S. labor laws should be taken into account and followed for all workers. The book goes into much technical detail about the union and labor laws - not very pertinent to my current theatre experience. Other people who need to managed carefully are the volunteers, interns, apprentices, and students. They are a unique worker, and need to be handled so. Any person who is in charge of others in the theatre dept should be aware of the artistic temperament, and know how to deal with "a diva."
Chapter 2 Summary
Place of Performace:
Every person who wants to open a theatre must consider the place of performance. Where will a theatre do well? There must be a building for remodel, or a plot of land to develop. there must be an audience potential. not many people will go to a theatre out in the middle of no where. it's shown that metropolitan areas provide higher amounts of traffic to a theatre. People must have accessibility to transportation. If there is already a large, successful theatre in the area, it might not be a good idea to open a smaller theatre there, unless the theatre would be offering something completely different than the first theatre. The media must cooperate with the theatre so that appropriate advertisement for the theatre is possible. other factors such as the economy, weather, and the populations attitude will affect the success of a theatre. When buying a building or building a new theatre, there must be designers and architects to make the space beautiful and functional. Another major factor for builders to consider is the acoustics. People won't come to see a show if they can't hear. A budget must be kept, and watched closely when building a new theatre. The size and seating capacity of the theatre will be dependent upon the size of the local population, and the locality of another theatre. A team of designers and board members are important to keep the theatre renovation or construction project on track.
Every person who wants to open a theatre must consider the place of performance. Where will a theatre do well? There must be a building for remodel, or a plot of land to develop. there must be an audience potential. not many people will go to a theatre out in the middle of no where. it's shown that metropolitan areas provide higher amounts of traffic to a theatre. People must have accessibility to transportation. If there is already a large, successful theatre in the area, it might not be a good idea to open a smaller theatre there, unless the theatre would be offering something completely different than the first theatre. The media must cooperate with the theatre so that appropriate advertisement for the theatre is possible. other factors such as the economy, weather, and the populations attitude will affect the success of a theatre. When buying a building or building a new theatre, there must be designers and architects to make the space beautiful and functional. Another major factor for builders to consider is the acoustics. People won't come to see a show if they can't hear. A budget must be kept, and watched closely when building a new theatre. The size and seating capacity of the theatre will be dependent upon the size of the local population, and the locality of another theatre. A team of designers and board members are important to keep the theatre renovation or construction project on track.
Rehearsal Reports
My collection of rehearsal reports from The Importance of Being Earnest. chronological.
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1277
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1285
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1286
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1292
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1333
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1352
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1358
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1377
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1384
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1395
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1406
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1409
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1413
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1414
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1421
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1427
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1433
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1434
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1436
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1277
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1285
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1286
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1292
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1333
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1352
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1358
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1377
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1384
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1395
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1406
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1409
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1413
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1414
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1421
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1427
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1433
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1434
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1436
Tuesday, February 10, 2009
Chapter 12 Summary
I read chapter 12 of the Management book "Box Office, Ticketing Systems, and Other Earned Income." The box office is the prime ticket selling place. it is a classic sign of theatres everywhere. More and more companies are taking ticket selling to the internet. the purchase of tickets through the internet is very convenient for the customer. A box office can end up being more of a "will call" pick up spot, and the selling point of tickets the night of the show. It is important to keep the box office secure as it usually stores some equipment and money. theatre ticket stubs are great memories for personal use, but also great for use in the box office to tally the total amount of patrons who visited. Some tickets are called box tickets and are the "best seats" in the house. they are usually reserved for the producers or season ticket holders. usually on opening night there are press tickets so that members of the media may take record of the opening of the show. regardless of how they are sold (internet, phone, or box office) tickets will be an important part of any event. it takes some skill to be able to run a box office.
Chapter 7 Summary
I read chapter 7 in the Management book. It was about the college theatre. I was glad to see that Iowa was one of the first states to support college theatre. It was very interesting to read about the growth of the theatre arts through time in the collegiate setting. It went from a small sector of not very successful groups, to many many campuses all across the nation and world. The different programs of the college theatre are different levels of involvement mostly. there's extracurricular theatre activities, elective theatre course offerings, liberal arts theatre programs, and both vocationally oriented undergrad and grad programs. Some colleges have committees and boards that run the theatre, others are mostly student and professor driven. despite the obvious need and growth of the theatre departments, many go underfunded and underappreciated.
Wednesday, February 4, 2009
Activity/Work Log – January 25-31.
Total hours: 13
Sunday, Jan 25 – 3 hours (2-5pm) stage managing for The Importance of Being Earnest.
Monday, Jan 26 – 3 hours (7:30 to 10:30pm) stage managing for The Importance of Being Earnest.
Tuesday, Jan 27 – 1.25 (10:30-11:45am) hours class time.
1.50 hours (6-7:30pm) stage managing for The Importance of Being Earnest.
Wednesday, Jan 28 – 1 hour total of production meeting/rehearsal.
Thursday, Jan 29 – 1.25 hours (10:30-11:45am) class time (prepped backstage for the show, moved furniture etc)
3 hours (7-10pm) stage managing for The Importance of Being Earnest.
Sunday, Jan 25 – 3 hours (2-5pm) stage managing for The Importance of Being Earnest.
Monday, Jan 26 – 3 hours (7:30 to 10:30pm) stage managing for The Importance of Being Earnest.
Tuesday, Jan 27 – 1.25 (10:30-11:45am) hours class time.
1.50 hours (6-7:30pm) stage managing for The Importance of Being Earnest.
Wednesday, Jan 28 – 1 hour total of production meeting/rehearsal.
Thursday, Jan 29 – 1.25 hours (10:30-11:45am) class time (prepped backstage for the show, moved furniture etc)
3 hours (7-10pm) stage managing for The Importance of Being Earnest.
Tuesday, January 27, 2009
Press Release "The Importance of Being Earnest"
Press Release for The Importance of Being Earnest.
Forest City, IA - Looking for a romantic show for your Valentine’s Day? Waldorf College Theatre presents Oscar Wilde’s The Importance of Being Earnest. The show will run 7:30pm, Tuesday, February 10 through Saturday, February 14. Director and assistant professor of theatre Jeremy Fiebig says “This is a perfect Valentine’s Day play that holds up even a hundred years later. I think audiences will have a great time laughing out loud at the silliness of love.”
This “trivial comedy for serious people” is set in Victorian England. It is a work of irony that criticizes the British upper-class society and their propriety. What should be a simple tale of falling in love and living happily-ever-after is skewed by identity confusion and meddling relatives. Will our lovers ever be together? And who is this “Ernest” character that everyone is so interested in? Manners and class go out the window as these characters try to discover the true importance of being earnest.
Tickets for The Importance of Being Earnest are $8 for adults, $6 for seniors and students, and $2 for Waldorf students. Tickets can be ordered on Waldorf’s website at www.waldorf.edu/finearts/theatre/ or by e-mailing theatre@waldorf.edu. Reserve tickets by calling 585-8288.
Cast:
John Worthing – Immanuel Elliott
- A senior Theatre Arts Major from Elizabethton, TN.
Algernon Moncrieff – John Crane
- A junior English Literature Major from Ely, MN.
Rev. Canon Chausible – Peter Teigen
- A junior Business Major from Fort Worth, TX.
Merriman, a butler – Sam Kohner
- A sophomore Business, Finance and Banking Major from Winona, MN.
Lane, a manservant – Braden Falline
- A freshman History Major from Everly, IA.
Lady Augusta Bracknell – Andrew Harrison
- A freshman Theatre Arts Major from Waseca, MN.
Gwendolen Fairfax – Elena Henriksen
- A sophomore Psychology/Dramaturgy Double Major from Lake Park, IA.
Cecily Cardew – Jessica Schiermeister
- A sophomore Theatre Arts Major from Van Horne, IA.
Miss Prism, a governess – Marissa Hopper
- A sophomore Theatre Arts Major from Keystone, IA.
Assistant Director/Stage Manager - Kylea Dieken
- A sophomore English Major from Clear Lake, IA.
Assistant Stage Manager – Steven Van Overbeke
- A Senior Theatre Arts/Business Management Double Major from Forest City, IA.
Assistant Stage Manager – Noel Priester
- A Junior Creative Writing Major from Harvard, IL.
Forest City, IA - Looking for a romantic show for your Valentine’s Day? Waldorf College Theatre presents Oscar Wilde’s The Importance of Being Earnest. The show will run 7:30pm, Tuesday, February 10 through Saturday, February 14. Director and assistant professor of theatre Jeremy Fiebig says “This is a perfect Valentine’s Day play that holds up even a hundred years later. I think audiences will have a great time laughing out loud at the silliness of love.”
This “trivial comedy for serious people” is set in Victorian England. It is a work of irony that criticizes the British upper-class society and their propriety. What should be a simple tale of falling in love and living happily-ever-after is skewed by identity confusion and meddling relatives. Will our lovers ever be together? And who is this “Ernest” character that everyone is so interested in? Manners and class go out the window as these characters try to discover the true importance of being earnest.
Tickets for The Importance of Being Earnest are $8 for adults, $6 for seniors and students, and $2 for Waldorf students. Tickets can be ordered on Waldorf’s website at www.waldorf.edu/finearts/theatre/ or by e-mailing theatre@waldorf.edu. Reserve tickets by calling 585-8288.
Cast:
John Worthing – Immanuel Elliott
- A senior Theatre Arts Major from Elizabethton, TN.
Algernon Moncrieff – John Crane
- A junior English Literature Major from Ely, MN.
Rev. Canon Chausible – Peter Teigen
- A junior Business Major from Fort Worth, TX.
Merriman, a butler – Sam Kohner
- A sophomore Business, Finance and Banking Major from Winona, MN.
Lane, a manservant – Braden Falline
- A freshman History Major from Everly, IA.
Lady Augusta Bracknell – Andrew Harrison
- A freshman Theatre Arts Major from Waseca, MN.
Gwendolen Fairfax – Elena Henriksen
- A sophomore Psychology/Dramaturgy Double Major from Lake Park, IA.
Cecily Cardew – Jessica Schiermeister
- A sophomore Theatre Arts Major from Van Horne, IA.
Miss Prism, a governess – Marissa Hopper
- A sophomore Theatre Arts Major from Keystone, IA.
Assistant Director/Stage Manager - Kylea Dieken
- A sophomore English Major from Clear Lake, IA.
Assistant Stage Manager – Steven Van Overbeke
- A Senior Theatre Arts/Business Management Double Major from Forest City, IA.
Assistant Stage Manager – Noel Priester
- A Junior Creative Writing Major from Harvard, IL.
Sunday, January 25, 2009
Activity/Work Journal for the week of 1/11/09 though 1/17/09
Total hours for week: 20
Sunday 1/11/09 – 3 hrs. (2-5pm) stage managing for The Importance of Being Earnest.
Monday 1/12/09 – 3 hours (7:30-10:30pm) stage managing for The Importance of Being Earnest.
Tuesday 1/13/09 – Introduction to class and then a project from Jeremy of cleaning out the room next to the tool room for the use of a student management office. (10:30-11:45am) Located call board near prop room for use in the student management office. Removed from wall and taken to new space. 1 hr. 15 mins.
Went back to the theater department during shop hours and spent more time cleaning said office (vacuuming, dusting, rearranging furniture, discarding trash etc.). 2 hrs.
Email discussion of making current room into the design area, and the back room into the office. Will spend more time moving and cleaning on Thursday.
3 hours (7-10pm) stage managing for The Importance of Being Earnest.
Wednesday 1/14/09 – 2 ½ hrs. (7-9:30pm) stage managing for The Importance of Being Earnest.
Thursday 1/15/09 – 1 hr. 15 mins. (10:30–11:45am)moved garbage and started to clean
out the new office room. Talked over what needs to be done to make the room workable, and what needs to be moved and cleaned. Made another sign for the callboard. Created a blog. http://kyleadieken.blogspot.com
Returned to work on call board (1hr.) added border, and posted some signs.
3 hours (7-10pm) Stage managing for The Importance of Being Earnest.
Friday 1/16/09 – None.
Saturday 1/17/09 – None.
Thursday, January 15, 2009
Summary of Chapter 1
I found a listing of all different sorts of managers involved with the theater arts, and the different areas they may be in charge of. For example, stage managers, financial managers, general managers were all listed and elaborated upon. Also given were types of schooling or other experience that may be needed for a job in this field. Interning is a great foot in the door of the field. Here is the summary from the book of the first chapter.
“Theatre and all the performing arts share the same core values, particularly those arts in the not-for-profit world. And although titles may vary from art form to art form the responsibilities and duties are essentially the same: planning, organizing, staffing, supervising, and controlling. The training and development of managers is similar as well, be it formal training, internships, or on-the-job training. It is a rich world, full of fascinating people and problems.”
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