IPI Backstage

Theater Manager Requirements for Directors, Cast, Crew and Persons While in

The Philadelphia Street Playhouse 
 
 

      The purpose of this document is to provide all persons involved in a Production, Rehearsal, WorkDay or any other Function in the Philadelphia Street Playhouse with an enjoyable experience while maintaining a safe and clean environment.  Being that The Philadelphia Street Playhouse is an older building, not designed as a Live Theater Space, and that it is continually going through some type of renovation, certain situations need to be addressed.  This Document will address those situations. 
 

Directors:

      All Directors or people taking the responsibility of Pseudo-Director should discuss with their Production Staff, Cast and Crew the following.  It would be preferred that the Director discuss this with ALL of the above at one time, but it should be reasonably discussed with each group at the earliest rehearsal and before vices become habits. 
 

Refreshments:

1. Only ‘group’ eating and drinking is permitted on the stage and the stage apron.  This would occur when the totality of the cast or crew, etc. is having a ‘called’ stoppage and the group eats as a group.
2. Eating is not permitted in the Audience Area at any time.  Drinking is permitted, but the individual is responsible for their container.
3. Eating is only permitted (not as a ‘group’) in the Lobby area.
4. All eating containers, wrappers, etc. are to be place in the appropriate garbage container.  Large boxes (Pizza, cazones, etc.) are to be either torn down into smaller pieces and disposed of in the correct garbage containers in the theater, OR disposed of in the Philly Street Garbage Container in front of China King. ALL eating containers, bags, wrappers, etc. are be crushed as much as possible. The intent is to provide as much space in the garbage container as possible.
5. Glass products (food or drink) are NOT permitted in The Playhouse, other than of course set pieces for a production. Please transfer any content from a glass container into another container prior to arriving at the Playhouse. If you have a glass product, it is to be disposed of in the Philly Street Garbage Container in front of China King.
6. Large Plastic containers are to be disposed of in the Philly Street Garbage Container in front of China King.
7. Large Styrofoam containers are to be disposed of in the Philly Street Garbage Container in front of China King.
8. ALL plastic bottles are to be emptied prior to be getting ready for disposal.  Please dispose of the contents by drinking them, emptying them out in a sink or by pouring them outside at the base of the tree. Save the lid, crush the plastic bottle, and then replace the lid and tighten.  Then dispose of the plastic bottle in the appropriate garbage container.
9. DO NOT leave your garbage (food, wrappers, containers, plastic bottles, whatever) lying around the stage, in the Lobby area, in the Audience area, between or under the seats, back-stage, anywhere.  They are your responsibility, and you must dispose of them properly OR take them with you.

Behavior:

1. You are asked to act (behave) your age.  We as a group will provide you with every opportunity to grow as an actor (or in your field) and as a person. Please take advantage of this.
2. You will be required to respect your contemporary.  And they are required to respect you.  Normal signs of affection are encouraged, and are a wonderful way of expressing appreciation and caring for your fellow actor, etc. Excessive, continual and unwelcome signs of affection are not acceptable. Should the latter occur, please inform your Director and steps will be taken. More Excessive signs of affection should be cautionary, and should there be children under the age of sixteen (16) in the cast, crew, or the theater space, are not acceptable and you should refrain from expressing them.
3. You are never to punch, hit, strike or have any aggressive physical contact with another person that would be harmful to them. This of course does not apply to those actors on stage or receiving instructions from the Production Staff (i.e.: Director, Assistant Director). Should this type of unwarranted behavior occur to you, please inform the Director and the Theater Manager.
4. You are asked to respect the people on stage during auditions and rehearsals and during the production.  Please limit your conversations while in the Audience area or Back-stage.  If the conversation is warranted, remove yourself from the area and go outside to continue it. Please respect your fellow actor, crewmember and Director when giving and receiving notes following a rehearsal. Should friends ‘stop in’ to the Playhouse to visit you, please take it upon yourself to remove yourself and your friend(s) and have your conversation outside.  Please inform them of the rules so that they may also follow them.  Otherwise, they will no longer be welcome to ‘visit’.
5. During the rehearsal process, CELL – PHONE conversations are to be conducted away from the rehearsal area.

Liability:

1. You will be required to sign a “Liability Waiver”.  Should you be under the age of eighteen (18) you will asked to take this form home and have your parent or guardian also sign it.  This allows IPI to be protected should you wish to be involved in the Production in any capacity.
2. Once signed, this Liability Waiver will be attached to your ‘Audition Sheet’. All Directors are to make sure that every individual involved in their production has a Liability Waiver signed. This includes Production Heads, Cast, Crew and perhaps others. Directors are to keep these forms and then hand them or a copy of both into the Theater Manger for filing once the production is completed. Directors ARE responsible for obtaining ALL of the waivers.
3. Any accident needs to be immediately reported to the Theater Manager.
4. There is a basic first-aid kit on the ledge above the “kitchen unit” in the back room. It is a gray tackle box with a Red Cross on the side.
5. ALL Directors and/or Assistant Directors will be required to have clearances for Act 33 and Act 152. These are clearances from the Pa. State Police and the Department of Child Welfare.  These are only needed should you have a cast member under the age of eighteen (18).  The forms are provided by IPI. Also provided are the two (2) $10.00 Money Orders. It will take up to six (6) weeks prior to receiving the clearances.  Please send these in a timely fashion. Once received, a copy of the clearances must be given to the Theater Manager for file. Please see addendum (B).

Keys:

1. Only certain individuals will be temporarily given keys to the Philadelphia Street Playhouse.  These individuals are: The Director, and the Assistant Director or Stage Manager. All others will need to verify their need for a key.
2. These keys will open the Front Door on Philadelphia Street, the Back door on Nixon Avenue and the Basement Doors.
3. You will be required to sign for your key and will be responsible for it and it’s possession.  Please see addendum ( C ).
4. Should any problem occur with a key or lock, the Theater Manger must be notified immediately.

Lights / Lighting:

1. Unless Setting the Lights for the Production, Tech Week Rehearsals or the Actual Production, the STAGE LIGHTS are not to be used to.
2. Rehearsal Lighting is to be the florescent lights above the stage and any Work Lights or Scoop Lights available.
3. Should any problem occur with a light bar, or a florescent tube is ‘out’, the Theater Manger should be notified.
4. Areas of the Playhouse, which are no longer being used, should have that respective light bar turned off.  This also applies to the Dressing Room Lights, and Back Hallway / Bathroom Area lights.
5. EVERY attempt should be made to minimize our electrical charges.  Please see addendum ( C ).

Tech Issues:

1. Only those individuals trained during a Lighting Workshop or personally trained by the Theater Manager in the use of any of the technical equipment at the Philadelphia Street Playhouse are permitted to ‘run’, set-up, re-work, adapt, use or repair the technical equipment.
2. The Technical Equipment located at the Philadelphia Street Playhouse consists of the following: Light Board, Sound Board, Snake, Dimmer Packs, the Dimmer Pack ROOM, any Lighting Instrument, Lamp, Floor Mics, Overhead Mic, Shotgun Mic, Personal Body Mic, Transmitter, Receiver, Cables, Disc Player, Tape Player or ANY other piece of equipment that is primarily used in the Technical end of Theater and the Production.
3.  

Scheduling:

1. ALL Directors must present to the Theater Manager a schedule for their rehearsals.  This is required so that the theater Manger may enter this information into the GIANT Calendar that will be avialable for ALL Directors and other interested parties.
2. Once presented to the Theater Manager, the Theater Manager will verify the availability of either the ‘stage’ or an area of the Playhouse for the requested rehearsal.  This decision will be based on availability, which show / event is closest to opening and what other events have been scheduled for that time.  These are to include outside groups, spontaneous Fund-Raising Events, and workday activities.

The SET, SET Construction & SET Personnel:

1. The Director and / or Set Designer must present to the Theater Manager and the Hard Tech Director the ‘vision’ of their set within at least four (4) weeks prior to the first date of Production.  This should be in a ‘scale version’ at the least, but preferably in an AutoCAD rendition with varying views.
2. The Director and / or the Set Designer must present to the Theater Manger and the Hard Tech Director a ‘set list’.  This list is to include all potential set pieces that are to form their set.  This would include such things as the following example: 4 4X8 Flats, 1 2X8 flat (double covered), 2 Door Flats, 1 Window Flat, 2 4X8 Risers, etc.
3. Should the pieces required for their set not be in stock, the Director and / or Set Designer must present to the Theater Manager or the Hard Tech Director the plans for building the ‘new’ pieces AND the potential cost for such. These ‘plans’ will be reviewed and the ultimate decision to build these ‘pieces’ will be based on the following: The Benefit to the Production, Cost, Future Use, Difficulty in Construction, Availability of ‘trained’ Personnel for the construction of the ‘pieces and congestion and sight-lines on the stage..
4. The position of a trained ‘Set Construction Head’ is a position that has been largely ignored or has been filled by a ‘name’ to fulfill the requirements of a Director’s Proposal Form.  This has led to the ‘Set Construction Head’ not being a person versed in actual Set Construction, but someone who will either try to build a set, or a person that depends on others that will build the set for them.  This can not and will not continue.  As opposed to any other Department Head, an untrained person in this position will cost IPI unnecessary expenses, waste IPI assets, delay the construction of the SET, not fulfill the Director’s vision, waste everyone’s time and talent, and produce a ‘product’ that is adequate (hopefully), but not an esthetic addition to the Production.
5. A ‘Set Construction Head’ must be versed in Set Construction.  This includes the ability to read plans and blueprints submitted by the Director, the ability to take a two – dimensional drawing and turn that into a functional Set Piece, the ability to think outside of the box and to consider safety in the constructed piece. This also includes the training and or experience to competently and safely ‘run’ the equipment necessary to produce the Set Piece. They also must be able to train, explain and demonstrate to their set construction crew the proper use of the equipment.
6. Thus, any ‘Set Construction Head’ must be knowledgeable of the equipment of which they will be working. Therefore a TEST will be conducted for each ‘Set Construction Head’ to verify their expertise on the equipment.  Once a Directors’ proposal has been accepted, the Director must inform their Set Construction Head that they are to meet (at least One (1) month prior to the performance) with the Theater Manager or the Hard Tech Director to take this test.  This test will be a general test pertaining to tools, the use of tools, safety, set construction and the use of power tools such as all saws (power and otherwise), power drivers, screw use and math.
7. Should the proposed ‘Set Construction Head’ fail this general test, they will be removed from their position, but may be part of the set construction crew. The Director will then need to supply an alternate ‘Set Construction Head’ who will pass this general test. This is not meant as a detriment to the Production, but an attempt to provide the Director with a person that is trained and competent in producing the Director’s Set in a reasonable amount of time within the stated budget. This also provides IPI with the knowledge that the Productions set construction will be within time perimeters and within budget while maintaining a safe environment for all involved.
8. The Set Construction Crew should be similarly knowledgeable with the rudimentary use of all power tools, hand tools and equipment. They should also be willing to expand their knowledge and skill pertaining to instruction in set construction.  The premise is that they do not have to be an expert in Set Construction and / or the use of all tools, BUT they should be willing to listen and learn the proper method and use of all of the equipment to which they will be involved. Most importantly, they must adhere to what they are taught and not revert to the ‘easy’ or ‘I’ll do it my way’ attitude that seems to be so prevalent. Thus, the ‘Set Construction Crew’ should feel free to ask questions, request advice, and be willing to take direction. In all instances, safety is the primary thought, but all members of the ‘Set Construction Crew’ must be comfortable (but not over confident) with working with ALL of the power equipment at IPI.  They must assure themselves that with the proper equipment training and safety training that they are competent to ‘run’ any piece of power equipment.  Should they continue to be afraid of any piece of power equipment, they should remove themselves from the ‘Set Construction Crew’. If they do not remove themselves, and it becomes evident that they are ‘afraid’ of a piece of equipment, the Director, Set Construction Head, the Theater Manager or Hard Tech Director must remove them from the ‘Set Construction Crew’.  This is not intended as a slight to the person, but as a necessity for their own benefit.  It has long been stated and holds true the following: “If you are afraid of a piece of power equipment (particularly a power saw), you will hurt yourself or others”.
9. In addition, there are easy ways to complete a project and there are hard ways to complete a project.  You will be trained in the easy ways. It is far more beneficial to the project and to you that you follow the suggestions of the ‘Set Construction Head’ or the Theater Manager to minimize your efforts and the ‘stress’ on your body.  The current Theater Manager has over thirty (30) years of set construction and has over eighteen (18) years of working in an assembly line manufacturing facility.  Taking an extra half-hour to visualize the best method for producing the result desired will be far better than starting the process with no plan.  Obtaining all of the necessary items prior to starting the project will be far better than beginning without a plan. Take the time to organize your thoughts and your equipment prior to beginning the project.  There is always an easier way to do something. Get organized first and then begin the project. It will make your life easier and the time required to complete the project will be cut in half, at the very least.  Use your brains, save your brawn.

Paint, Painting the SET and Painting Clean-up: 
 

      Paint: 
 

1. Painting the SET or painting any item is a procedure that although would appear to be ‘easy’ and straightforward, is something that is immensely important to the TOTAL finale vision of the set and the Production.
2. The choice of “Set Color” must be considered when dealing with the play, the tone of the play, the vision of the play, and to an extent, the future lighting of the SET.  Please remember “Lighting Concerns” when choosing the majority color of a SET.  Although many colors will fulfill your total vision of the Play, the use of certain colors will detract from your production and make “lighting’ your set a nightmare.  The use of the majority color “White” (pertaining to the color of your set, or items on your set) will create major concerns for those “lighting’ your set. This due to the fact that the color “white” will bounce light everywhere and illuminate areas of the set or an actor that you may not wish illuminated.  Thus, the use of too many costumes that are also ‘white’ will make your production illuminescent.  This is not something that will produce a pleasing production to the audience or for you.  Thus, any color ‘close’ to the color ‘white’ should be seriously considered prior to making a finale decision on SET color.
3. Obviously, any paint color that is used on the SET or SET PIECES should be seriously considered when putting a production together. Certain colors emote certain reactions from not only the audience, but also from the actors that are working in the space. BE aware of this.
4. If possible, try to use an AutoCAD or other computer program to ‘see’ your paint scheme.  Remember that paint is fairly inexpensive, so if you are not 100% in love with your paint decisions for your SET, change them for the benefit of your production.
5. Try to incorporate all aspects of your “Paint Pallet” in all areas of your production.  This means to take into account the colors of your set, the colors of your set pieces, the colors and textures of your costumes and the colors of your make-up for your actors.  When all of these aspects are in-line, the production will fulfill your vision.
6. Therefore, you as the Director need to determine a ‘Paint Pallet” and make sure that all aspects of the colors in your production fall within that Pallet. It is not as hard as it sounds, it just takes a little bit of thought and experimentation.

Paint the SET (& Set Pieces): 
 

1. Painting the Set is a fairly straightforward procedure: Just paint it.  But, there are things that will make this procedure easier and less time- consuming.
2. Once the set is totally erected, it is now time to paint it. Do not waste your time and effort on painting certain sections of the set as they are assembled. You will waste time, your effort and paint.  Once fully erected, you will need to acquire all of the quantity of paint that you will need. Having an extra gallon is not a bad thing, as this paint can be used for future productions and/or a ‘mix’ for another color. Previously use, empty and cleaned paint-cans are available for ‘mixes’.
3. Following the total erection of the set, you will need to use masking tape or ‘seam’ tape to eliminate the spaces between the erected flats. IF you choose to use a “drywall” compound for texture on your set and for seams, that is another discussion for later in this section. Use the widest tape available (not less than 2”) to ‘seam’ your set. Apply the tape in such a manner that does not result in bubbles, overlaps or creases in the tape. Use one long continuous length of tape, and do not overlap or add ‘little’ pieces of tape to hide your errors. When paint is applied to these ‘errors’, the paint will make them even more visible to you and the audience. Unless that IS the look you want.
4. Be organized for the ‘painting’ of the set: Gather all necessary paint items for the job first. These will consist of the paint, rollers, roller handles, extension rods, masking tape or ‘seam tape’, drop cloths, stirrers, paint tray, paint tray inserts, proper Paint Can opening tool (NOT a screwdriver), large and small cut-in brushes, damp cloths (for minor spills) and perhaps paint edging items.
5. Use the small brushes first to ‘cut-in’ the areas that the rollers cannot reach. These would be any corners, door openings, window openings, where the set meets the stage floor and possibly any ‘seamed’ set piece that could require an ‘extra’ coat. IF you are planning to use “trim” for floorboards, baseboard or at the top of your set, you do not have to paint those areas. BUT, you need to have a general idea of what this trim WILL cover, so that you are not going back over the set because you didn’t go high enough or low enough on the initial painting. Once trim is applied to the set, it will be a pain to touch – up those areas.
6. Once these areas have been painted, the rest of the set can be painted with a roller with the extension rod screwed into the roller holder. This will eliminate excessive back pain, paint-time and give your set a uniform look. Do not paint a 4’ X 8’ flat with a brush.
7. If you are not familiar with painting with a roller, instructions will be available.  There actually is a method to prevent dripping areas, excessive paint applied, waste of paint and dry spots.
8. Depending on your ‘color’, it may be necessary to apply two coats. Latex dries in about an hour, so it may be possible to finish the painting of your set in one afternoon. It is recommended that you wait at least 24 hours before the next coat, particularly if there is a potential ‘bleed – through’ from the previous set color. Oil – based Paints are not recommended as they take forever to dry, and the clean up is very messy. Be aware of what ‘paint can’ you open up.
9. Be aware that you are not painting a room in your house.  No one in the audience will be coming up to the stage to ‘inspect’ your set. They will be usually about 25’ to 60’ away from your set.  They will not be able to see many imperfections with the painting of the set. Unfortunately, this also applies to ‘things’ on your set.  If you are using wallpaper or are considering applying or painting ‘wallpaper type’ graphics on your set, they will need to be large so that they “read” from the seats. Using small graphics that look good to you on the set while on the set will be invisible or ‘washed-out’ to the audience. So, if in doubt, paint the ‘graphic’ on the set, and then go into the audience area about the fourth row and see if your ‘graphic’ is visible. If it is not, it is too small and is a waste of your time.