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Department of Theatre Mission Statement
The study of theatre arts is an integral part of any liberal arts
educational experience which prepares students through a
breadth of knowledge and experience in order that they may
make informed choices and compete successfully in life and
Department of Theatre in their chosen professions. In the spirit of the liberal arts
tradition, Northern Arizona University Department of
Theatre seeks to give the undergraduate theatre student the
broadest possible understanding of the art and craft of theatre
through the creative, critical and applied practice of the
theatre art, and provide opportunity through performance and
production for the theatre student to learn their art by doing
their art in a learner centered environment. In doing so, we
provide the university with low cost, high quality theatrical
entertainment that enriches and enhances the ―undergraduate
residential learning community.‖ We seek to maintain
nationally respected curriculum in Theatre Studies, Theatre
Education, Performance and Design and Technology.
Through these programs, we provide the theatre student with
a solid foundation in theatre so they can express themselves
logically and artistically as well as being able to pursue
further professional development in graduate school; teach in
the secondary school environment; seek employment
opportunities in professional theatre or in the general
Student workplace.
Handbook
Revised August 2010
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How Should I Best Prepare To Enter the University as a Take responsibility for your own development.
Theatre Major
Each individual committed to the field of theatre brings a
The following information is from the National Association unique set of talents, aspirations, and abilities to the
of Schools of Theatre (NAST) website: http://nast.arts- profession. Although you are in school and probably studying
accredit.org/index.jsp?page=FAQ%2015 or participating in theatre, it is important to take increasing
responsibility for developing your particular abilities toward
Acceptance to a professional studio school or an your specific goals. Begin by obtaining the admission
undergraduate program in theatre is based on many requirements of schools you may wish to attend--the earlier,
considerations. These vary widely among institutions. For the better. Ultimately, you are responsible for choices about
example, some have stringent audition or portfolio how you use your time to prepare for your future.
requirements prior to admission while others have open
admission policies followed by thorough examinations at Become a fluent, effective English speaker and writer.
some point in the program to determine whether the student
may continue. For specific application requirements, contact As a theatre professional, you will rely heavily on your
the institution directly. The suggestions below indicate how ability to communicate in words. Everything from rehearsals
you can best prepare during the high school years, not what to teaching, to writing grant proposals, to negotiating, to
you must achieve to apply or be accepted. The advice promoting your professional interests relies on fluent English
provided describes two things: first, an ideal set of skills. Focus attention on learning to speak and write
knowledge and skills goals for college-level applicants; effectively.
second, competencies needed by theatre professionals as they
practice the various aspects of the profession. In brief, you Get a comprehensive high school education.
should learn as much as you can as early as you can.
The theatre profession is big, but it is also part of a larger
Balance your efforts. whole. Theatre both influences and is influenced by the
humanities, mathematics, the sciences, the social sciences,
Intellectual and artistic curiosity is essential to successful and the other arts--architecture, dance, film, literature, music,
work in the theatrical professions. A breadth of knowledge and the visual arts. For entrance into college-level study, you
and skills is critical. If you show achievement and promise in are encouraged to gain a basic overview of ancient and
academics as well as theatre, institutions will want to admit modern history, the basic thought processes and procedures
you and you will be better prepared for theatre study and of math and science, and familiarity with works in as many
work. of the other arts disciplines as possible. Most professionals
who work with theatre comprehensively develop a particular
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sensibility about the connections among theatre, history, your vision of what the theatre is by seeing as much
psychology, and the other arts. Work on understanding the professional theatre as possible, if not in your region, then in
basics of math and the sciences support future work in theatre other parts of the country while you may be traveling for
technologies. Social studies are related to understanding the vacations, field trips, etc. Being familiar with the writing in
context for various theatre endeavors. national publications, such as the Sunday New York Times,
will also help you extend your knowledge of the theatre. Ask
Learn how theatre works. your teacher to suggest publications that are suitable to your
interests.
Take opportunities to learn the basics of dramatic structure,
including how the various elements of theatre work together. Develop your understanding of the arts.
Like so many other things in theatre, this knowledge is
developed throughout a lifetime. Those who are able to get Take every opportunity to learn about dance, film/video,
started early have an advantage. Work with your drama music, and the visual arts. Some fields of theatre require
teachers, take classes at your local college or professional knowledge and skills in music, dance, computing, or art and
studio school, or otherwise explore opportunities to gain design.
initial acquaintance with this material.
Practice, practice, practice.
Master the basics.
Whatever you do or intend to do in theatre; try to practice it
Be sure that you know the basic terminology, the major types as much as possible. This applies not only to performance
of theatrical work, and have read a number of important areas such as acting and design/tech, but also to other types
plays. of work in theatre. For example, if you are interested in
teaching or directing, you should try to observe and gain
See as much theatre as you can. experiences under appropriate supervision. If you are
interested in playwriting, theatre scholarship, or criticism,
You need to be familiar with far more theatre than that in you should practice writing and speaking on theatre topics.
which you participate. Try to see as much theatre from as No level of knowledge or skill that you can attain will be too
many historical periods, cultural sources, and media as high.
possible. Ask your teachers to recommend a list for you that
cover the various repertories. Try to make sure that you have Learn to care for yourself.
seen major works of all types in the particular area of theatre
that interests you. Seek more to learn the breadth and depth Your body and mind are your instruments. It is critical to
of the repertory than to enjoy what is already familiar. Extend take extremely good care of both. Learn about nutrition and
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exercise, how to manage stress, how to prevent injury, and you are here – to learn all there is to learn about the art and
how to maintain healthy habits that will promote long-term craft of theatre. If you are cast in a production, you can
health and fitness. Work closely with your physician, your expect to spend 16-20 hours a week in rehearsal: regular
parents, and your theatre teachers. preparation outside of rehearsal is also expected. Shop and
technical work can often reach or exceed 20 hours a week
during rehearsal periods. This work is on top of your
Think of everything you study as helping you become academic studies: in no way does it excuse you from
better in theatre. attendance and assignments in any of your classes, inside and
outside of the department. You should plan your outside
As we have already said, the best theatre professionals work and social life accordingly. Be mindful of this while
continue to learn throughout their lives. They are always considering joining fraternities, sororities and other groups
studying and thinking, always connecting what they know with demanding time commitments. Your faculty is working
about theatre with their knowledge of other fields. Since you the same loads and more, and they assume an equal
never know the direction your career will take, it is wise to dedication from the students—the success of our mission, our
spend your high school years gaining the basic ability to program and thus the quality of your training depends on it.
understand and work in a variety of fields beyond theatre.
Keep theatre at the center of your efforts, but accept and While the regime is strenuous, the rewards are great, and it is
enjoy the challenge of gaining the kind of knowledge and often the case that those who work the hardest find more
skills in other areas that will support both formal studies at opportunities for success. First year students will receive
the advanced level and your theatre career beyond. encouragement and assistance from the more experienced
students and everyone who takes the work seriously will
What is Academic Life receive enthusiastic support and guidance from the faculty.
An Academic Regime: As a Theatre student you are Code of Conduct: The NAU Student Handbook which may
expected to excel much earlier than many of your fellow be found on the university website
students in other disciplines. In addition, your workload will http://www4.nau.edu/stulife/handbook.htm
be much heavier than almost any other discipline. lists expectations of NAU students. In addition to the NAU
Undergraduates should expect to work two hours outside of Code of Conduct and Ethics, NAU Theatre Faculty, staff
class for each hour of class time, meaning that a course load expects you to achieve and maintain high ideals founded on
of 15 hours should be considered a 45 hour week. In the sound principles of utilizing REASON before acting or
addition, as a Theatre student you are expected to take an reacting; employing RESPECT for others, for ideas, for the
active role in department productions, whether on stage, in law, for property; and recognize their RESPONSIBILITY as
production, or in front-of-house work. This is, after all, why citizens and members of the campus community.
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―Young people who learn the arts do better in every phase of
their lives.‖ -Meryl Streep, Academy-Award winning actor
The Department
Theatre Production
The Department of Theatre offers degrees in:
Typically, NAU Theatre produces four to five theatre events
Bachelor of Arts with a focus in: each academic year (September to May). These productions
Theatre Studies are divided into these categories:
Performance
Design/Technology Main Stage Productions - faculty directed and
designed theatre in the Clifford E. White Theatre or
Bachelor of Science with a focus in: the Studio Theatre as part of the Department of
Theatre Studies Theatre’s production season.
Performance
Second Stage Productions –student driven
Design/Technology
productions designed to offer opportunities for
undergraduate students in acting, directing, design,
The Department of Theatre in the College of Arts and Letters
production and management. Some productions are a
at Northern Arizona University is housed in the Performing
part of the Department of Theatre’s production
and Fine Arts Building (Bldg 37) on North Campus. The
season.
facilities include classrooms, an acting studio, costume shop,
Studio 151 – student driven activities such as new
makeup rooms, scene and properties shops, storage, and
play readings, freshman showcase performance, and
faculty offices. Theatre facilities include the 300-seat
other student produced productions.
proscenium Clifford E. White Theatre and the flexible black
box, Studio Theatre, with a maximum seating of 140. Both
The Curriculum
facilities possess excellent lighting and sound systems, a
spacious lobby and seating.
Students will take a common core of courses of 35 units.
These courses are designed to offer each major a foundation
which they augment with their chosen field of study: Theatre
Studies, a general, more selective plan designed for the
student pursuing graduate studies or simply wishing not to
focus in one of the more specific areas of emphasis;
Performance, primarily for students emphasizing acting
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and/or directing; Design/Technology, for students seeking The Core Curriculum
career paths in design, production, stage management and
technical direction; and Theatre Education, for students All Theatre majors will take the following courses:
interested in secondary school teaching. Majors vary from
45 to 50 total units. Minors in a second field of study are TH 130 Script Analysis
required for all majors. TH 135 Acting I
TH 113 Beginning Production 1/1/1
Although Freshmen are generally advised through the (3 semesters in freshmen
Gateway Success Center, it is very important that the new & sophomore yrs)
NAU Theatre student consult with the Department of Theatre TH 113 (2 credit hours) Extended Production
to make certain that he/she will accumulate the correct TH 331 Theatre History I
courses required for admission to their chosen focus. All TH 341W Theatre History II
Theatre Students enter as a Theatre Major. Students will (Junior Level Proficiency)
have an opportunity each spring to audition/interview for a TH 352 Directing I
particular focus (Performance or Design/ Technical). TH 490C Senior Capstone Experience
In the first two semesters, it is recommended that a student 6 UNITS FROM:
complete the following courses:
TH 122 Lighting & Sound Design (3)
TH 123 Stagecraft (3)
THE113 Beginning Production Workshop
TH 124 Costume Construction (3)
(each semester)
Two of the following:
PLUS, 3 UNITS FROM:
TH122 Lighting and Sound
Technology TH 202 Basic Costume Design (3)
TH 204 Basic Scene Design (3)
TH123 Stagecraft
TH 263 Basic Stage Lighting (3)
TH124 Costume Construction
TH130 Script Analysis
PLUS, 3 UNITS OF
TH135 Acting I DRAMATIC LITERATURE
TH 451 Modern Drama (3)
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Transfer Students Ben Alexander, MFA Southern Illinois University,
Carbondale
Northern Arizona University Theatre articulates with all Light & Sound, Technical Director
community colleges in Arizona. In-state transfers can expect
little difficulty in transferring hours in liberal studies or in Patrick Battles, MFA Wayne State University
their major, especially if they enter with the Associate of Arts Scene & Prop Design
degree. Transferring without the AA degree may mean
additional hours in liberal studies, however, all Theatre hours Cathryn ―Kate‖ Ellis, MFA University of Texas
statewide do transfer in some equivalent category. Out-of- Costume Design
State transfer hours are dealt with on a case-by-case basis.
Benjamin Grohs, BFA, Anderson University
Advisors Assistant Technical Director, Shop Foreman and
Facilities Manager
Every NAU Theatre student must have an academic advisor
from the Department of Theatre. Freshmen begin their Mac Groves, Ph.D. University of Colorado
advising in the Gateway Center but, they are encouraged to History & Acting
meet with Theatre Faculty as well. In the sophomore year
students will transition to the department for advising. Nancy Parr, MFA Illinois State University
Students transitioning from Gateway or transfer students will Costume Shop Manager
be assigned an advisor until they are admitted into their
emphasis; they may then select an advisor within their Bob Yowell, Ph.D. Bowling Green State University
emphasis. Acting & Directing
Darby Winterhalter-Lofstrand, MFA, Arizona State
The Faculty/Staff University
Part time Instructor Acting & Voice
Kathleen M. McGeever, Chair,
MFA, Humboldt State University Student Organizations
Directing The four student organization elect a representative to the
faculty meetings for the purpose of sharing ideas, presenting
De Laine Brannen, Administrative Assistant proposals for events for approval, and discussion of issues or
challenges. All ideas and events MUST be vetted through
the faculty. The representatives rotate their attendance so
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that only two representatives are at any given meeting. performing talent, to encourage excellence in the training of
Student representatives meet during the first fifteen minutes performing artists and to encourage the creation of
only due to the sensitive and FERPA related issues that the production facilities and audiences.
faculty deals with on a regular basis. All student clubs must
adhere to the departmental rental policies for the spaces. If NAUghty Bits is an improvisation group which mainly
the groups wish to use room 151, it is available and free to practices the craft of improvisation but is occasionally asked
use but, classes take precedence. to perform for outside groups.
Alpha Psi Omega is a national honorary dramatic fraternity Educational Theatre Company (ETC) is open to anyone
that offers membership after a student achieves a certain level interested in creating theatre with and for youth. ETC’s
of experience and academic performance. APO is also a mission is to cultivate the love of theatre through service and
service organization occasionally producing a full-length performance, to enrich imaginations and to mentor future
play as a portion of the Second Stage and hosting the NAU leaders. Members of ETC present workshops and adjudicate
Theatre annual Drama Days, a weekend event for Arizona at the annual Arizona State Thespian Conference.
High School Students. Membership is by application and
invitation. Regional and National Affiliations
Arizona Playmakers is the student guild of NAU Theatre. Northern Arizona University Theatre has long been a
Membership is open to all students, regardless of major, and participating member of the Kennedy Center/American
the organization sponsors playwriting contests and the College Theatre Festival and, whenever possible, participates
production of original one-act plays. In addition, Playmakers actively on both the state and regional levels. Productions
sponsors an improvisational troupe, NAUghty Bits that receive adjudication through ACTF, nominees for Irene Ryan
performs throughout the area and on campus. award, the design/production awards, and other interested
students are often given the opportunity to attend regional
Northern Arizona chapter of the United States Institute for conferences for the purpose of competition, adjudication of
Theatre Technology (USITT) is an organization for students their work, and regional auditions and interviews for
that fosters excellence in technical theatre and theatre design. internships and graduate schools.
USITT attends annual conferences and conducts production
workshops at regional high schools in production and design. USITT is a national organization dedicated to promoting
Membership in USITT is open to all NAU students who excellence in theatre design and technology. NAU has one of
share in the mission of the organization. Which is to the oldest student chapters in the country. USITT students
encourage the performing arts as a right rather than a regularly attend national conferences for the purpose of
privilege, to encourage and stimulate the finding of
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professional development, adjudication of their work, and
regional audition/interviews. A word of advice – it is better to go through channels than
around them. See your advisor or instructor (this includes
Additional opportunities for student travel for audition, your director or supervisor) first with problems. In addition,
interview, professional development, graduate work and the Chair of the Department and the Dean of the College of
employment through other regional and national Arts and Letters may be consulted if your problems continue.
organizations such as the Arizona Theatre Alliance, the The university has a host of resources available for other
Southwest Theatre Association, and the Association for problems and difficulties often encountered by the student
Theatre in Higher Education may also be available. including tutoring, counseling, grievances and appeals, and
medical problems. To find out what resources are available
The Callboard to you see your advisor or the Office of Student Life.
The various bulletin boards located in the hallway by the
Costume Shop and Makeup Rooms, as well as those in the What You Can Expect of Us
greenroom to the CEW backstage entrance, are your most
immediate source of day-to-day information, particularly the 1. Sufficient opportunities for creative self-expression
callboard located on the north side of the hallway between through class activities and department productions.
the Costume Shop and Men’s Makeup Room. Here you will 2. A variety of programs of study, academically competitive
find personal messages, audition information, rehearsal calls, with most universities.
crew assignments and calls, and a variety of other pertinent 3. Access to qualified, dedicated faculty with academic and
information. NAU Theatre students are expected to check professional credentials.
the callboard once a day. Notices to students are considered 4. A rigorous sense of discipline and cooperation in group
―common knowledge‖ by the faculty once posted. work and responsibilities.
5. Opportunities to work under close faculty supervision.
Information Gathering 6. Opportunities to work independently.
7. Exposure to basic and traditional methods of theatre
You are personally responsible for your own career and your training and production technique.
future. No faculty advisor, dean or parent can relieve you of 8. Opportunities to experiment with new forms of drama
your burden of personal responsibility nor your right and and new production techniques.
obligation to decide upon your own goals. There is, 9. Exposure to a variety of dramatic and theatrical styles,
however, help available through your advisor and the techniques and theories.
faculty’s own unstructured policy that encourages direct
access to all faculty.
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faculty member, your advisor and then the Chair.
What We Expect of You Success in dealing with issues can be measured
The NAU Department of Theatre is an academic and artistic significantly with following the chain.
department. This definition means that we are a group of Discretion and maintaining confidentiality
collaborative teaching and learning artists that hold as our top Leave our egos at the door and respect the group
priority the learning environment. We are unique from a mission, vision and goals.
professional company in that student artists work hand-in- Academics come first including productions (which
hand with the teaching professional artists in a collaborative are theatre labs) and classes.
model that includes mentorship. We expect the entire Practice collaborative partnership embracing of the
company of student artists and teaching professional artists to philosophy that individual greatness is grounded in
have at the top of their concern the welfare of the department. group performance
Honesty in academics, our art and, among our peers
Theatre is a collective art, requiring the collaborative work of and the faculty and staff
many people in a situation varied in activity and limited in Embracing criticism as an essential step in the artistic
time who must conduct themselves in a professional manner process and the educational theatre process and
in order for the art form to be successful both in process and practicing constructive evaluation.
in performance and, model professional cooperative behavior
NAU Theatre working and learning in this
to our students. It is therefore essential that all parties
environment is a privilege so therefore you are not
(faculty, staff and students) conduct themselves in a
entitled to specific assignments, grades or
responsible, courteous and professional manner.
opportunities.
To this end we expect commitment to the following: Other specific expectations:
Respect of the process and the people which includes 1. To be punctual and meet deadlines.
responsible, courteous, respectful behavior for and to 2. To know your program requirements as well as university
faculty, staff and students. social and academic requirements.
The chain of command is recognized as the proper 3. To accept and complete responsibilities.
procedural steps in directing business or issues. The 4. High standards and work habits.
chain of command for students is published on the 5. To fairly criticize and accept criticism.
following website: 6. To share with the Department your frustrations, pleasures
http://www4.nau.edu/stulife/handbook.htm and filed and problems.
under the appropriate heading (grades, grievances,
etc.) Keep in mind, the first step is to speak with the
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Tuition Scholarships, Endowed Scholarships, in theatre courses and a 2.5 overall GPA in all university
Work Study courses. Failure to maintain minimum grade point averages
will result in suspension of the waiver and the student will be
The Department has a number of Tuition Scholarships that required to reapply for awards after the grade point
cover full to partial tuition. Application for these deficiency has been corrected. Theatre Donor Scholarships
scholarships as well as the endowed scholarships must be may have other specific requirements that the student will be
made to the Department Chair by a published deadline each expected to meet each semester.
semester (http://www.cal.nau.edu/theatre/scholarships.asp). Tuition
Scholarships carry with them an obligation of ―activity‖ in 2. A theatre scholar may not carry a Theatre Tuition
return for the award, typically enrollment in TH 113 or if you Scholarship after eight (8) total semesters. Likewise this
are a Senior, TH 490C in each awarded semester. Your policy is prorated from the time of award (freshman - 8
advisor can give you more information. semesters; sophomore - 6 semesters, etc.) Endowed or donor
scholarships vary according to donor guidelines.
The program also has a number of donor-type or endowed
scholarships available. Some of them are quite significant. 3. Theatre scholars are required to maintain a high profile of
Application for these scholarships must be made to the leadership within the department of theatre and their area of
Department Chair by a published deadline each semester academic focus through regular auditions and acceptance of
(http://www.cal.nau.edu/theatre/scholarships.asp). roles (if applicable); accepting design and technology
assignments as offered; and participation in department of
Scholarships require an audition or interview. All theatre extra-curricular activities and organizations. This
scholarships must be applied for annually and do not have to policy includes maintaining good work habits, reliable
be based on financial need. attendance in academic classes and rehearsals, and
professional conduct.
In addition to these awards, the department hires work-study
students and offers a small number of theatre assistantships 4. Theatre scholars should understand that scholarships,
each semester. See the Area Coordinator for details. financial awards and stipends are not necessarily need-based
and are granted because of recognition of a student’s
potential to positively affect the overall program.
NAU Department of Theatre Continuing scholarship students must notify the department
Guidelines for Theatre Scholars in writing each year of their intention to continue at NAU.
This notification includes a Letter of Intent, an updated
1. A theatre student awarded a Tuition Scholarship within Theatre Scholarship Application form and a minimum of
the Department of Theatre must maintain a 3.0 GPA overall three references of support from NAU Theatre faculty (a list
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of three). The Department should be notified at this time of accompanied by proper documentation in order to be
any changes in the student’s status. excused. Arriving late to class or leaving class early will be
considered an absence. Students must provide an
5. In the event that a theatre scholar receives a probationary institutional form to the professor for Official University
statement in relationship to an ongoing scholarship, that event absences. Students with ten (10) MWF absences or six
scholarship will remain in effect for one semester only and (6) TTH absences will be administratively dropped with an
the student will be required to reapply at mid year at which “F.”
time the faculty will determine whether or not the stipulations
of probation have been addressed in a satisfactory manner. Theatre Production is a group activity – plays are not created
The faculty can determine to 1) discontinue the scholarship, by individuals working in isolation. Each member of a
2) continue probation for another full semester or, 3) reinstate production company depends upon the other member of the
the scholarship without probation. company in order to fulfill his or her production, artistic, and
educational responsibilities and duties. A most serious
6. Scholarships are awarded at the discretion of the theatre breach of theatre ethics is to fail to perform production
faculty. responsibilities on time. You are, therefore, expected to
accept and complete all production assignments on time and
7. Scholarships and financial awards are not offered to to the best of your abilities. In case of unforeseen
students who have not declared a major in theatre. emergencies, it will be your duty to inform the faculty
member in charge of your production area of the reasons why
8. Tuition Scholarships carry stipulations regarding you find it impossible to meet your schedule. You should be
participation in certain theatre workshops. Students aware that severe penalties—from grade reductions in
receiving such awards should consult with their major production courses, termination of participation and, even,
advisor regarding those responsibilities on a semester-by- refused registration in further theatre courses—will result
semester basis. from consistent failure to fulfill production responsibilities.
NAU Theatre Attendance Policy All theatre majors and minors are required to attend all
Theatre Department production. Likewise, theatre majors
Every student enrolled in a Department of Theatre course and minors are required to attend called meetings and any
will be allowed three (3) ―sick days‖ or unexcused absences. other posted meeting stating, ―attendance is mandatory.‖
Beyond this limit of three absences, the student’s final grade Academic advisors are the only ones who can excuse a
will be lowered a one-third-letter grade for every unexcused student from a mandatory meeting.
absence. (an ―A-‖ would become a ―B+‖ for example)
Emergencies, deaths in the family or severe illnesses must be
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Auditions broader experience in theatre that combines courses from all
emphasis areas. Theatre Studies is recommended for
Auditions for all productions each semester are held in the student’s intent on graduate studies, university teaching, or a
first week of classes, unless otherwise notified. Performance more academic/traditional experience beyond the more
emphasis students are REQUIRED to audition - exemptions focused performance and production tracks.
may only be granted by the faculty in writing prior to the
callback auditions. Auditions are open to any student Admission into an Emphasis
enrolled at Northern Arizona University.
All new students will be expected to complete the following
Department of Theatre courses by the end of their second semester of residency.
School of Performing Arts TH 123, Stagecraft
Policy on Admission to the Emphasis Programs TH 124, Costume Construction
TH 130, Script Analysis
Growing enrollments and limited faculty resources dictate TH 135, Acting I
that the Department of Theatre, in an effort to maximize the
educational experience afforded all students, limit the Students wishing to be considered for admission to the
availability of course opportunities and cap admission to the Design/Technology Emphasis must also complete drawing and
emphasis programs in Performance, Design and Technology rendering and any one of the design
and Theatre Education. classes before they interview for the emphasis.
The maximum number of majors allowed in these emphasis By mid-term of the second semester of residency, or the
programs will be maintained at approximately the following week following Spring Break, which ever comes later,
breakdown: freshmen students seeking admission to the Performance or
55-60 students maximum from the sophomore, Junior Design Technical emphasis must formally apply to the
and Senior Class allowed in Performance Faculty for admission to the program. Performance students
20-30 students maximum in the Design/Technology audition for admission into Acting II and the Performance
Emphasis Emphasis at that time. No admission to TH 235, Acting II
10-20 students maximum in Theatre Education will be granted without an audition. The maximum
enrollment in TH 235 will be 20.
Theatre Studies Focus
Admission to Design/Technology occurs in the mid-term of
A Theatre Studies Emphasis maintains a broader, more the fourth semester of residency, or the week following
flexible nature. It exists primarily for those students seeking a Spring Break, which ever comes later. Design/Technology
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students must have a portfolio interview for admission to the
Design/Technology emphasis. Auditions, Casting and Production Assignments
A student not admitted to an emphasis will automatically By virtue of admission to the Theatre Program and any
become a Theatre Studies major for one semester and may program emphasis, students acknowledge that participation in
re-audition for the emphasis following the completion of one production assignments is essential to their educational
full semester’s work (summers are not included) after the experience. Performance emphasis students are required to
interview/audition. If the student is not admitted following a audition for all departmental productions. Moreover,
second audition/interview they may continue as a Theatre students are required to accept and fulfill roles assigned to
Studies major with consent of the faculty or as a Theatre them through the audition process. Design/Technology
minor. (No faculty consent is needed for a minor). students, Theatre Studies students and Theatre Education
students are likewise obligated to complete responsibilities as
Transfer Students assigned. Design Technology students must submit a letter
of intent to apply for production positions. Letters are due
Transfer students must still complete TH 123, 124, 130, 135, April 2 of the preceding year. A student, who reneges on
or their equivalents before any admission to an emphasis. production responsibilities after casting or assignment
Transfer students are admitted to Theatre Studies until the without the express consent of their advisor, or a viable
completion of the application, audition/interview excuse deemed family or personal in nature, is subject to
requirement. The interview/audition may be scheduled with administrative dismissal from the program. The production
the faculty prior to entering NAU or during the regularly program is designed to offer opportunities to as many
scheduled audition/interview period in March. Transfer students as possible. With very few exceptions, students are
students, like freshmen, must formally apply by letter to an typically cast in only one production per semester. Students
emphasis program. must have a GPA of 2.0 or better and cannot be on
Academic Probation in order to participate in productions.
Sophomore/Transfer Review
Non-Department Commitments
All second semester Theatre sophomores and transfer
students must participate in a formal review of their work at While the faculty encourages students to gain theatrical
NAU. The faculty will set aside a length of time and experience outside the Department of Theatre, students must
individual meetings will be set to discuss the student’s obtain consent of the theatre faculty through their advisor.
progress, goals and future steps. The Sophomore/Transfer This policy includes work for remuneration, a vocational
reviews take place in January each year. experience, or work for another producing organization on
campus. Students may only work outside the Department of
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Theatre when they are not currently engaged in NAU Theatre II should be introduced to physical control and movement
production or academic commitments during an academic and learn to view performances requirements from the
year. Students are expected to audition and/or receive overall integration of emotional, physical and vocal demands.
assignments first from the Department before seeking outside Scene work should remain centered in the
opportunities. Failure to receive consent from the faculty of modern/contemporary theatre; however, the individual
such outside work can result in dismissal from the program instructor may wish to introduce specific demands created by
emphasis. style and genre. Prerequisite TH 135 (Acting I).
Performance Emphasis - Course Progression/Philosophy Acting III
Acting III is an admission by audition or consent of the
Acting I instructor. Course content is the choice of the individual
Acting I is a process-oriented course designed more toward instructor but scene work should be related to classical
preparing the student to act than the acquisition of skills. The theatre. Instructor may choose a content of his/her individual
first acting course in the sequence should be designed to offer focus (i.e., Acting Shakespeare, Commedia dell’ Arte, etc.)
the beginning university student a firm foundation and or create a “styles” course that encompasses several periods
dependable process from which to create. Moreover, the of acting. Prerequisites: TH 235 (Acting II) and TH 222
student of Acting I should gain a common vocabulary (Voice and Diction).
necessary to understanding the process. Acting I should
cover beats, intention/motivation/objective, observation, Acting IV
concentration, sense memory, individual energy paths, Acting IV is an admission by audition or consent of the
inhibitions, the need for strong choices, work habits and risk instructor course, designed to offer a small group of
taking. The primary objective of this course should be to advanced students the attention warranted in studio. The
create a dependable way to achieve honesty in performance content of the course may vary according to the level of the
and strong acting values with an applicable system of group or the specific needs of the group. The course will
analysis. Scene work should remain centered in the focus on allowing the group to work intensively in areas in
modern/contemporary theatre. which they are challenged or in areas that require them to
overcome individual performance inhibitors. Advanced
Acting II Acting/Studio reinforces and/or introduces the student to
Acting II should review the concepts studied in Acting I and images, dynamic risk-taking and methods to achieve
stress honest performance values. In addition, once the individual growth. Moreover, it should be designed to
instructor is satisfied that the class is operating on a common challenge the advanced student to find ways to strengthen
level, the course should stress the acquisition of skills and the and energize playing. A unit of Advanced Acting will focus
development of individual technique. The student in Acting on personal marketing and career development/preparation.
15
Prerequisites: TH 235 (Acting II) and TH 222 (Voice and
Diction) Acting (recital) 20-30 minute recital divided equally between
scene work with a partner and in monologue requiring a
With the exception of Acting I, TH 135, admission into acting character analysis for each role and self-evaluation.
courses is by audition.
Design project approved by your advisor, both theoretical
Senior Project and practical. Requires academic support papers and public
defense.
All Theatre Majors, with the exception of those in Theatre
Education, will complete a Senior Project as the capstone Directing (either on Second Stage or, if approved, off-
experience in their undergraduate work. The Senior Project campus) requiring academic support papers, complete play
(TH 490C) is a 3-credit-hour course (taught every fall analysis for directing, journal, director’s notebook, and self-
semester only) to be taken in the senior year with the evaluation. Public defense required.
approval of the Department Senior Capstone Committee. In
addition to a team-taught course in career development and Research Project either as a traditional research project
preparation, the Senior Project must culminate in a practicum approved by advisor or a playwriting project culminating in a
which MUST be approved during the spring semester of the public reading of the new work. Defense required.
applicant’s junior year or the year immediately prior to
graduation. The project may be presented in the spring Student Designer and Assistant Designer Policy
semester and if it is the student shall receive an IP (In
Progress) grade until the project is fully realized. Design opportunities in scenery, costumes, lighting, sound
Applications are available on the Theatre Department website and makeup are a privilege that must be earned. Before a
and are due February 1st of each year. Each student will be student can be assigned as a production designer or as an
required to present a primary and a secondary proposal and if assistant designer, they will have to complete all required
the project is not suitable students will be asked to resubmit course work and meet the standards set by the design/tech
their proposal. Students cannot register for the Senior faculty.
Seminar course without prior Senior Project approval. Every 1. Assistant Designers (AD’s) should have completed:
project will require a DEFENSE PRESENTATION TH 123, TH 204, TH 223, TH 263, and TH 323.
completed during the Seminar class meeting. When making 2. Designers should have completed: TH 313 for AD
a proposal keep in mind the following possible project areas: TH 323 or TH 423, TH 213/313 for Stage Manager,
and the area design course TH 443, TH 453 or TH
Acting (Main Stage role) with character analysis, rehearsal 483.
journal, self-evaluation, and a public defense presentation.
16
3. All students must maintain a “B” or better in all each spring semester. The paper is researched and organized
theater design courses and at least 2.7 GPA overall. in Theatre History I (TH 331), the prerequisite course for
4. Student must have achieved at least a junior standing. Theatre History II. Because enrollment is limited it is
imperative that students take the writing requirement within
Student Assistant Stage Manager and Stage Manager their junior year.
Management opportunities are a privilege that must be The Department of Theatre uses the MLA Style sheet in
earned. Before a student can be assigned stage management academic research papers unless otherwise stipulated by the
positions, they will have to complete all required course work instructor.
and meet the standards set by the faculty.
1. Assistant Stage Managers must have completes TH NAU Theatre
xxx Stage Management or be taking the course Student Productions: Guidelines & Policies
concurrently.
2. Management students MUST have completed: two A Student Production is a student-driven theatre event
TH 113’s, TH 135 Acting I, TH 123, TH 122,or TH designed to offer performance, design and production
124 opportunities for NAU Theatre students. The following
3. TH 323 or TH 423, TH 213/313 for Stage Manager, guidelines will govern all Student productions. Exceptions to
4. All students must maintain a ―B‖ or better in all these policies may only be made by the Chair of the
theater design courses and at least 2.7 GPA overall. Department of Theatre in concert with the Technical
Writing Director.
The Theatre Department believes in the traditional, liberal 1. All Student Productions MUST be approved during the
arts concept that a student’s ability to think is indicated spring semester proceeding the season in which the play
significantly by their ability to write. There are a number of is produced. Student Production proposals are to be
academic courses within the program that are considered submitted to the faculty each year and must include a
writing intensive by the university: TH 130, Script Analysis, cover letter, written proposal, cast breakdown, directorial
TH 331, Theatre History I, and TH 341W, Theatre History II, approach and a full copy of the script.
TH 451, Modern Theatre and TH 452, Directing II.
2. Student Production directors must have completed TH
Theatre History II (TH 341W) is designated by the 452, Directing II, or have faculty approval before being
department as the Junior Level writing requirement of all assigned a production slot.
Theatre majors. A 30-page minimum research project will be
developed, edited and completed within this class, offered
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3. Any NAU Theatre student, major or minor, may submit a
Student Production proposal. Faculty may also submit 7. Student productions sponsored solely by the
proposals under the same guidelines as students. organizations or outside groups and not a part of the
regular season MUST be approved by the Faculty.
4. Student Productions MUST complete a contract with The Presentations can be made through the student
Department of Theatre and follow the guidelines outlined representatives to the faculty. NO PLANS MAY BE
in the contract. The budget must be maintained clearly FINALIZED until a contract is presented, signed and
and all paperwork turned in to the office of the Chair in a guidelines agreed on.
timely manner (outlined in the contract).
8. Lighting for Student Productions is according to a pre-
5. Student Productions must be cast at the common audition hung repertory lighting plot. Exceptions to this rule may
held prior to the beginning of each semester but following occur only if the Student Production has gained
the posting of Main Stage productions scheduled in that permission from the Technical director.
semester. Student Productions MUST follow the
departmental casting requirements. The student 9. Scenery available for Student Productions is limited to
production may use only students whom auditioned each the rehearsal furniture provided.
semester. Students not enrolled at Northern Arizona door and window units
University may not be cast. In the event that a director Blocks
needs, for a specific reason, to use a non-student by virtue
of a specific talent or requirement possessed by that non- 10. Technical students will be assigned to the production.
student, written requests must be submitted to the Chair
of the Department of Theatre. Permission to use a non- 11. Properties may be pulled from Props Storage if they have
student may only be granted by the Chair of the been approved by the properties manager, Mr. Patrick
Department of Theatre. If student’s are granted Battles. Purchase of properties (perishables, food, and/or
permission to cast students from other departments OR other items specific to the script and not otherwise
institutions those students MUST follow the grade criteria available) must be approved by the Technical Director.
set for NAU students.
12. Costumes must be provided by the student production.
6. Student Productions are allowed rehearsal time in the
theatre space in which they are being performed however; 13. The ―strike‖ requirements must be approved by the
the department schedule dictates the time allowed for the Technical Director (Mr. Ben Alexander) and signed off
rehearsal and a contract must be completed with Mr. by him before the project is considered complete.
Grohs in a timely manner. (See Mr. Grohs for details)
18
14. The department will designate a stage manager for all While individuals may contact local media on their own,
Student Productions. Assistant Stage Managers (ASM) the Publicity Crew named each semester as a TH
may or may not be designated depending upon the 113/213/313 credit, has no involvement with Student
demands of the production. The department must also Productions beyond that listed here. Student Productions
assign ASM’s. are listed in the Season Brochure and sold as a portion of
the NAU Theatre season and through single ticket sales.
15. Crews for Student Productions will be minimal and will
be appointed by the appropriate faculty member. 21. When students borrow production elements either from
the department or from another source, the student group
16. During the regular season, Student Productions approved is responsible for the maintenance and safe return of all
by the faculty will be appointed a House Manager. If the things borrowed. The items must be returned in their
project is an additional event, the responsible student ORIGINAL state.
organization will have to pay for the House Manager
according to the current rules, regulations and fee 22. When Directing II projects are part of the Student
structure. Production season, all projects are collectively considered
ONE Student Production in matters of production support
17. All student productions may be subject to fees consult and faculty supervision.
Mr. Grohs and the main office to complete the proper
contract and to receive the fee structure. Deposits must ROOM 151 AND THE STUDIO THEATRE
be made in advance. EXPECTATIONS FOR STUDENT GROUPS,
SENIOR PROJECTS AND CLASSWORK
18. All student groups using the facilities MUST be affiliated
with ASNAU in order to contract the use of department Due to the increasing demand of departmental facilities by
facilities. student and outside groups, the department has created an
extensive production and event calendar leaving limited
19. Approved Student productions using room 151 will not availability of our resources for rental. Due to the limited
be charged fees. However, it is important to remember availability and in and effort to maintain fairness for the
that curricular restraints (class work, rehearsal studio, space use for all and, in giving priority to class projects and
etc.) take precedence over additional production work by mainstage productions, the following guidelines and
Student organizations. expectations have been applied to the contractual and club
project use of room 151 and the Studio Theatre.
20. Publicity for Student Productions is limited to calendar
notices, one-color, Xerox-quality programs and posters.
19
Each April room 151 and the Studio Theatre will have Technical support for all clubs and Senior Projects
specific days with which the student groups can contract and includes:
schedule use. We are encouraging groups to plan ahead. o A rep lighting plot which may not be changed
Only registered NAU Theatre clubs will be allowed to o A light board operator and stage manager will
contract the space. Outside groups can rent the CEW only. be assigned by Mr. Grohs
Room 151 may be made available for dressing room space o Sound is limited to the organization’s CD
for the large dance projects only if it has availability. player
Departmental and class projects will be scheduled early for o We understand a few Senior Projects and class
specific dates and they will be a part of the central production projects may have special issues or needs.
calendar maintained by Mr. Grohs. However, exceptions to the provided technical
support must be approved by the Design
EXPECTATIONS OF GROUPS BORROWING OR faculty (Mr. Battles and Mr. Alexander), Mr.
RENTING THE SPACES: Grohs and the Department Chair.
To use the spaces all student clubs must be registered o Black blocks (cubes and other shapes) along
through ASNAU, supporting documentation will be with the door and window unit will be
expected at the time of contract. available for student projects in both Room
ALL fund raising events must be approved through 151 and the Studio Theatre
ASNAU (as per university rules) and the department. o Properties and furniture are not available
Any club or group planning a fundraising event must o Costumes are not available
submit approval of the fundraiser at the time of o Design teams will not be assigned
contract. Fund raising events not associated with a o If an audience is present, a House Manager
club event must also be approved by ASNAU and the will be assigned
Department. Groups are allowed one 4 hour block contracted in
Contract is to be completed one month prior to the either space for an event (keep in mind that there are
event 5 student organizations and in fairness each should
Deposit must be made one month prior to the event get an opportunity to use the facility.) If a Senior
Senior Project contracts will be completed through Project or Club performance needs rehearsal time it is
the TH 490C course in the fall semester and students not guaranteed. However, every effort will be made
do not need to complete individual contracts to make some time available. Please remember
Two weeks prior to the event a club officer must meet though that the spaces are in high demand and there is
with Mr. Grohs to go over all tech needs but, please only limited amount of time that may be available.
keep in mind that limited technical support is Please consult with Mr. Grohs at the time of contract.
available. Please remember that this does not include the
20
regularly scheduled meetings in room 151. However, your fitting in the costume shop, keeping in mind that an
to use the space for a regularly scheduled meeting the appointment in the Costume Shop is a regular actor call just
club must be registered with ASNAU and the meeting like a rehearsal. However, if you know you are going to be
must take place after the last class of the day and must late, please call the costume shop (928) 523-2473.
be scheduled with Mr. Grohs at the top of the fall
semester for the entire year. Shoes:
ALL outside rehearsals in room 151 for classes and All women must provide their own black character shoes
club projects must be scheduled 2 weeks in advance upon request. All men must provide their own black hard
with Mr. Grohs. A club or group cannot block off a soled oxfords upon request. Both character shoes and
large time period in room 151 as it is often used as a oxfords must be in good condition.
rehearsal space for class projects and mainstage.
Room 151 has a room capacity of 49 which includes Ideally, women should also have tan character shoes and men
the performers, teacher or group leaders. The event should have brown oxfords. This is not required, but it is
cannot exceed the room capacity – there are no recommended.
exceptions to the rule as it is dictated by the Fire
Marshall for safety concerns. Make up:
All behaviors outlined in the contract must be adhered All actors must provide their own basic makeup kit. (see the
to or the group will face the loss of their deposit. The Costume Design faculty for the appropriate color.
behaviors include issues with food, trash and respect
for property. Make up may be ordered through the following company:
Norcostco.com:
Mr. Grohs is available for scheduling on FRIDAY’S before Ben Nye Crème Personal Kit ($18.00)
noon ONLY. However, you MUST make an appointment Ben Nye Theatrical Crème Kit ($50.00)
with him in advance.
You must also provide your own:
ACTOR GUIDELINES FOR WORKING WITH THE Makeup up Wedges Face towel
COSTUME SHOP (8/31/10) Facial Cleanser
Baby wipes Moisturizer
Appointments: Astringent
Actors are required to arrive for fittings showered, wearing
deodorant or anti-perspirant, and wearing appropriate Actors should not leave the theatre with theatrical makeup on
underwear. Please remember that thongs, sport bras, and their face.
lack of underwear is not permitted. Please arrive on time for
21
OTHER CLUB INFORMATION TO FOLLOW: Backstage Etiquette and Other Department Production
It is important that your constituents understand certain and Shop Expectations
policy and protocol enforced through student life. In
particular some of the language in the documents holds your 1. All actors and crew members must sign in at the call
officers responsible for the group’s behavior. This will be a board when they arrive at the theatre. Once you have
very good exercise to encourage your members and signed in, do not leave the theatre without notifying
yourselves to make sure that you familiarize yourselves with the Stage Manager and/or Assistant Stage Manager.
the websites listed below. The faculty expects you to follow 2. All crew members must provide their own ―blacks‖
these guidelines. for the running of crew assignments (please see the
Scene Shop Foreman for definition).
The student code of conduct: 3. All students working in the shops must be
http://www4.nau.edu/stulife/handbookcode.htm appropriately dressed for the work they are expected
The statement and policy on assembly: to complete (please see the shop foreman or design
http://www4.nau.edu/stulife/handbookassembly.htm faculty for definition).
SWALE which stands for the Safe Working and 4. No smoking backstage, in dressing or makeup rooms,
Learning Environment: or in the green room. If you must smoke, you must
http://home.nau.edu/diversity/swale.asp bring a garment from home that will adequately cover
your costume and secure it from any possible
Supervision of Student Productions damage—however you must see the Costume
Designer in advance to authorize this.
Faculty supervision of Student Productions will be assigned 5. Actors are required to provide their own dance belts
to a faculty supervisor. Usually the department artistic and black dress oxfords, and women to provide their
director or faculty overseeing specific projects in these own black or tan character shoes as necessary for
venues related to academic credit (i.e., Senior Projects, productions and in preparation for the professional
Independent Study projects, specific design assignments, world expectations.
etc.). In the event that a project is not connected to academic 6. Actors are also required to dress properly for
credit or a specific degree program, the Artistic Director is measurements and fittings this includes complete,
charged with faculty oversight of projects either directly or modest underwear (please see the Costume Shop
through the appointment of an appropriate project advisor. Manager for definition).
When a student theatre organization develops a project, the 7. No one is allowed to leave the building in costume.
faculty advisor of that organization is considered the project 8. Put on your make-up before you put on your costume.
advisor.
22
9. No loud music permitted in the dressing areas—this is Production Duties
focus time.
10. Do not eat or drink anything but water when wearing The exact responsibilities of these production positions may
your costume (throat lozenges must be cleared with vary with each production, but generally follow this pattern:
Designer/Costume Crew Lead).
11. Remain in the green room area during performance, Executive Producer: Responsible for overall
until you are ready to go onstage—do not loiter in the budgetary and organizational support. At NAU, the
wings, as this poses a safety hazard. executive producer is the Chair of Theatre, who also
12. The Stage Manager will hold all personal valuables in acts as the producer. In the professional world the
a safety box; however, it is best to leave all jewelry Executive Producer delegates most production
and valuables at home. responsibilities to the Producer.
13. NO TALKING backstage during performance.
14. No visitors backstage before or during performance. Producer: Responsible for production budgets,
15. Immediately after performances: return all props to business, and organizational support.
the prop table; take off your costume pieces and hang
them up; and, remove your wig and place it on a wig Director: Responsible for preproduction research
stand. Do all of this before you greet guests. and analysis, helping to create a visual and visceral
16. Guests may meet you after performance at the stage vocabulary for the production team, developing an
door or in the theatre lobby. overall production concept, casting the production,
17. Report any damage to your costume to the costume working with collaborative artists, preparing a
crew before you leave the theatre. rehearsal schedule, conducting the rehearsals, and
18. Report any missing or damaged prop to the Stage overseeing the artistic continuity of the production.
Manager before you leave the theatre. The director is in the ―driver’s seat‖ but the best
19. Do not touch any costume, wig or prop that is not directors are collaborative directors rather than
yours, or that you have not been expressly authorized dictators.
to handle. This is grounds for immediate
termination. Assistant Director: Rehearsal assistant to the
20. You are responsible for pre-setting and checking your director and may share rehearsal responsibilities with
own props and costume changes. This must be done the Stage Manager. Some directors may involve the
before the house opens (1/2 hour before curtain). AD in the preproduction work as well as the
aesthetics of the production. The working
relationship should be defined early in the process. If
the director fails to outline the relationship for the
23
AD; the AD should then start the discussion. The Assistant Designers: Responsible for assisting the
assistant director is usually a theatre student scenic, lighting, costume, or sound designers with
nominated by the production’s director or the Theatre design research, drafting of plans, paperwork, or
faculty. other planning aspects of design.
Dramaturg: The dramaturg works closely with the
director in texts that have a production history and the Technical Director: Responsible for technical
dramaturg works closely with both the director and theatre support for each production, including
the playwright when dealing with new text. A scenery, properties, lighting, and sound.
dramaturg is the gate keeper making sure that text and
research remain true to the production and the Assistant Technical Director: Responsible for
playwright. The dramaturges responsibilities include acting as an assistant to the Technical Director and as
researching historical period in written, musical, construction crew supervisor for a given production.
and/or visual media; assisting in publicity; writing
program and newspaper articles; and other duties as Stage Manager: Responsible for acting as a liaison
defined by the director or playwright. between the director and the cast during a
production, as a company manager during the
Choreographer: Responsible for dance and stage rehearsal period. In addition, the stage manager will
movement in certain productions, particularly open and lock the facilities, check with the crews to
musicals. make certain the set, props, costumes, lighting, and
sound are prepared for the top of the show, clear the
Musical Director/Orchestra Conductor: house and inform the house manager that the house is
Responsible for rehearsing and overseeing the vocal ready to be opened, give calls to the actors, oversee
and orchestral elements of musical production. The the backstage area during the run of the show, and
musical director and the orchestra conductor are perform any other duties the director may assign.
sometimes separate positions.
Assistant Stage Managers: Responsible for
Designers: Responsible for designing the scenery, assisting the Stage Manager during all stages of the
properties, lights, costumes, and sound for each production, including providing daily reports on
production. The designer for all productions is production meetings, rehearsals and performances.
usually the faculty resident designer or a professional During the run of a show the Assistant Stage
guest-artist. Advanced theatre students are Managers are responsible for coordinating all activity
occasionally designers. When a student designs a backstage.
NAU production it is done with the guidance and
support of their faculty.
24
Performers: Responsible for acting, dancing, Electrician sometimes acts as either the Assistant
singing, and any other specialized duties as rehearsed Lighting Designer
by the director. The specific responsibilities of the
performer are outlined under Audition Guidelines Electricians: Responsible for rigging, hanging,
and Rehearsal and Production Guidelines circuiting, and focusing all lighting and electrical
subheadings of this handbook. equipment for a given production.
Production Crew: Responsible for technical support Light Board Operator: Responsible for executing
during the construction period of the production. The light cues as designed by the Lighting Designer.
production crew is made up of TH 113 students, TH
volunteer student workers, theatre scholarship Deck Electricians: Responsible for dealing with all
students, and students enrolled in appropriate electrical needs during a production (re-patching
coursework. Crew work is extremely important to the dimmers, moving instruments during scene shifts,
overall education of theatre students. changing color in instruments, etc.). Deck
Electricians sometimes act as Follow-Spot Operators
Master Carpenter: Responsible for coordinating all when necessary.
scenic construction with the Technical Director and
the scenic carpenters. The positions of Assistant Follow-Spot Operators: Responsible for executing
Technical Director and Master Carpenter are follow-spot cues as designed by the lighting designer.
sometimes combined.
Property Master: Responsible for coordinating all
Scenic Charge: Responsible for coordinating the properties with the designer, as well as keeping track
painting of all scenery with the Designer and Scenic of all appropriate paperwork. The Property Master
Artists. The Designer often serves as the Scenic sometimes serves as the head of the properties crew
Charge. during productions.
Scenic Artists: Responsible for the painting of all Properties Crew: Responsible for the placement,
stage scenery for a given production. maintenance, and security of all props.
Master Electrician: Responsible for coordinating all Running Crew: Responsible for technical support
lighting and electrical needs of a production with the during technical rehearsals, dress rehearsals, and
Lighting Designer and the electricians. The Master performances of a production.
25
Head of the Running Crew: Responsible for With each entry into this section of the handbook please keep
coordinating all backstage operations of a production in mind that the information is basic and is merely meant as a
with the stage manger, Technical Director, and all starting point.
running crew members
SETC—Southeastern Theatre Conference
Shift Crew: Responsible for the shifting of all Each March SETC hosts combined Professional Auditions
scenery during a production. for over 100 professional hiring theatres as part of the annual
convention. SETC requires that all non-professional actors
Wardrobe Manager: Responsible for organizing (students and adults) be screened on the state level before
and maintaining the costumes as well as assisting cast being accepted to the auditions in March. Each state holds
members with their costumes. Quick Changes and preliminary auditions in the fall in order to send the most
Wardrobe issues are delegated to dressers by this qualified actors to participate in the regional auditions.
Crew Head. Arizona may audition through the Mississippi Screening
auditions. Please visit the SETC website at:
Dressers: Responsible for assisting the actors with http://www.setc.org/auditions/MS/ for information on how to
their costumes. They may also assist with make-up audition through Mississippi. For more information on
and hair. Any minor repairs or laundry issues are the specific audition details contact:
responsibility of the Dresser. http://www.setc.org/auditions , setc@setc.org, 1-336-272-
3645
Sound Board Operator: Responsible for executing
sound cues as they are designed by the Sound KCACTF REGION VIII NEXT STEP AUDITIONS
Designer. These happen in conjunction with the Regional Festival
every February. Participants MUST register by late
AUDITION OPPORTUNITIES FOR ACTORS December/early January to audition/interview. Please
consult the Regional website at http://www.kcactf-8.org
There are multiple opportunities for finding professional or
internships in Acting. The following information should MWTA—Midwest Theatre Auditions
serve as a resource or starting point for your research. The auditions are combined (Equity and non-Equity). No
However, remember that you must be proactive in the specific unions sanction the Midwest Theatre Auditions.
process and procrastination will lead you nowhere! Over 600 acting auditionees and 100 design/tech/stage
management interviewees come to MWTA over a three day
period. 50 - 70 theatre representatives attend. The auditions
are located at Webster University in the Loretto Hilton
26
Theatre Center at 130 Edgar Road, St. Louis, MO 63119. Actors must receive an UNDERGRADUATE degree
Auditions are generally held in late February. Auditionees (BA, BFA, etc.) in theatre by September of the following
must fill out and mail an application to receive a slot for year.
auditions. For more information on specific audition details Actors must be available for work year-round (in other
contact: http://www.webster.edu/depts/finearts/theatre/mwta/ words, not going back to school in the fall or spring).
mwta@pop.webster.edu Actors must have registration signed by the department
1-314-968-6937 head of their theatre program.
Straw Hat Auditions Specific guidelines and forms are posted yearly. For more
Straw Hat is an organization that supports the careers of non- information on specific audition details contact:
equity actors and technical artists looking to start and http://www.upta.org/index.shtml
continue their professional careers in the theatre. Its main upta@upta.org
activity is to produce the Straw Hat Auditions, which are held 1-901-725-0776
in New York every spring. Over three days, over 750 actors,
technicians, and staff from over forty theatres attend. Actors
audition for available positions in the theaters' summer URTA—University/Resident Theatre Association
seasons while technicians have their resumes posted online The University/Resident Theatre Association is the country's
for phone or onsite interviews. Auditionees must register oldest and largest consortium of professional theatre training
online to receive a slot for auditions. For more information graduate programs and associated professional theatre
on specific audition details contact: companies. Every year, URTA holds the NUA/Is or National
http://www.strawhat-auditions.com/ Unified Auditions and Interviews. Participants can audition
info@strawhat-auditions.com for graduate programs in theatre and/or professional theatres.
URTA usually holds three yearly auditions in late January or
UPTA—Unified Professional Theatre Auditions early February in Midwestern, Eastern, and Western
UPTA is a combined audition held every February in locations. Guidelines are detailed and applications change
Memphis, Tennessee providing an opportunity for year-round yearly. For more information on specific audition details
professional actors to audition for quality participating contact: http://www.urta.com/
theatre companies. UPTA has both professional and non- Info@urta.com
professional auditions. The non-professional criteria are as 1-212-221-1130
follows:
National Outdoor Drama Auditions
On a date in mid-March, approximately 15 outdoor historical
dramas from across the country hold auditions for summer
27
jobs as performers and technicians. The auditions, sponsored ArtSearch
by the Institute of Outdoor Drama, are open to anyone 18 or ArtSearch is published in online and traditional print formats.
older with previous theatre experience. Jobs require a nine- to Job postings are divided into 5 main categories:
12-week commitment, including two weeks of rehearsal. Administration, Artistic, Production/Design, Career
Actors auditioning present a one-minute prepared monologue Development and Education. A copy is generally posted
and may offer another at callback interviews. Singers should outside the Theatre Chair's office for your research. Please
prepare a one-minute song. Dancers are led through warm- do not remove the journal from the Theatre Hall and replace
ups, combinations and routines featuring a variety of it immediately after you have completed your research. If
choreography. Interested auditionees must mail an you would like to subscribe to prices vary depending on the
application or complete an online form. For more services selected.
information on specific audition details contact:
http://www.unc.edu/depts/outdoor/auditions/ Contact: http://www.tcg.org/artsearch/index.cfm
outdoor@unc.edu tcg@tcg.org, 1-212-609-5900
1-919-962-1328
SETC BULLETIN
AUDITION RESOURCES SETC operates a free online classifieds bulletin for actors,
directors, designers, and technicians.
Backstage
Backstage has online and traditional print formats. The Contact: http://setc.org/jobcontact/jcb/jcb.asp
Department subscribes to the magazine and the copies are
housed in the Departmental library. The publication includes
articles, career advice, and theatre job postings. The website INTERVIEWING FOR PROFESSIONAL WORK FOR
covers both the east and west cost, while the print format has THE DESIGN/TECH STUDENT
a New York and West Coast edition. If you wish to purchase
your own subscription the prices vary depending on the Production Work
services selected. For Design and Technical theatre students the faculty
encourages you to be pro-active in your career and your
Contact: http://www.backstage.com/bso/index.jsp future. It is vital that you seek out employment, internship or
info@backstage.com assistantship opportunities as often as you are able. Summers
1-800-562-2706 are an excellent time to work with professional and semi-
professional theatres and learn more about your craft as well
as adding credits to your resume. The ―job search‖ aspect of
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your career will be continual process. Here are some Volpone
resources to get you started. Phaedra
Tartuffe
NATIONAL The Rover
The following sites are listed under auditioning in-depth and The Country Wife
listed again in brief for your reference. The Rivals
The Contrast
ARTSEARCH: www.tcg.org Fashion
BACKSTAGE: www.backstage.com Miss Julie
SETC: www.setc.org A Doll’s House
KCACTF Next Step Interviews (see acting section) Arms and the Man
URTA(see acting section) The Cherry Orchard
UPTA(see acting section) Playboy of the Western World
Our Town
USITT: www.usitt.org
Six Characters in Search of an Author
6443 Ridings Road Syracuse, NY 13206-1111
The Importance of Being Earnest
Phone: 800 93USITT (800 938-7488)
The Adding Machine
FAX: 866 FXUSITT (866 398-7488)
Long Day’s Journey into Night
Email: info@office.usitt.org
House of Bernarda Alba
Mother Courage and Her Children
No Exit
Reading List The Glass Menagerie
The following lists are plays and texts that every theatre A Raisin in the Sun
student should read by the time of graduation from NAU. Death of a Salesman
Most of the texts are available in the NAU library but, it is a Who’s Afraid of Virginia Woolf?
good idea to begin building your own personal library. Waiting for Godot
The Bald Soprano and The Lesson
Antigone True West
Oedipus Rex The Birthday Party
Lysistrata Marat/Sade
Everyman Master Harold and the Boys
Dr. Faustus Rosencrantz and Guildenstern are Dead
Hamlet Sticks and Bones
A Midsummer Night’s Dream
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Equus Rosencrantz and Guildenstern are Dead, directed by Ms.
Cloud Nine Kate Ellis
How I Learned to Drive You’re a Good Man Charlie Brown (Student Directed
Angels in America Millennium Approaches Second stage), directed by Shelby Brimhall
Fences The Miser (KCACTF Region VIII Festival Invited Scene
Prides Crossing nominee), directed by Ms. Kathleen M. McGeever
Top Dog/Underdog
Zoot Suit 2008-2009
Twilight Los Angeles The Fantsticks, directed by Ms. Kate Ellis
M. Butterfly 12th Night, directed by Dr. Mac Groves
The Heidi Chronicles The Importance of Being Earnest, directed by Dr. Robert
Oleanna Yowell
The Beauty Queen of Leenane Catholic School Girls (Student Directed Second stage),
Ruined directed by Jonathon Sangster
The Lesson and The Bald Soprano translations by Tina Howe
This is just a start . . . many of these plays you will read in and directed by Ms. Kathleen M. McGeever. Tina Howe was
courses taught in your curriculum but, we encourage you to the Artist in residence.
read, read, and read!
Summer Town and Gown Theatre
NAU Theatre Production History 2006 - Present A Funny Thing Happened on the Way to the Forum, 2008,
directed by Dr. Robert Yowell
2006-2007 The Odd Couple, 2009 directed by Darby Winterhalter
The Diviners, directed by Dr. Mac Groves Lofstrand
The Rivals, guest director Psychopathia Sexualis, 2010 directed by Kathleen M.
Still Life with Iris, directed by Dr. Barbara Joe Maier McGeever
The Grapes of Wrath, directed by Dr. Robert Yowell
2009/2010 Season:
2007-2008 Vanities
Belles, directed by Dr. Mac Groves A Christmas Carol
Rhinoceros (Student Directed Second stage), directed by Macbeth
Missy Gibbs Charles Mee’s Big Love
The Cripple of Inishmaan (KCACTF Region VIII Festival
nominee), directed by Dr. Robert Yowell
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Upcoming 2010/2011 Season:
The 25th Annual Putnum County Spelling Bee
An Evening with Luis Valdez
Equus
The Last Days of Judas Iscariot
A Servant of Two Masters
Icarus Refried
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