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The Production Handbook revised 7/06
2
To the student:
Welcome to the School of Theatre at Illinois State University. The
faculty of the School looks forward to your artistic and intellectual
growth in our classrooms and productions. We strive to make your
experiences both enjoyable and challenging.

The Production Handbook provides you with a detailed account of your
rights and responsibilities in the production process. It should familiarize
you with the professional decorum expected from students in productions,
but it should also help you understand what is fair and reasonable to
expect from your colleagues and your faculty.


THE PRODUCTION COMMITTTEE
The Production Committee formulates, clarifies, and oversees policies concerning the
production aspects of the School of Theatre at Illinois State University. The
Committee's responsibilities include recommending productions for the MainStage
and SecondStage seasons, determining performance dates for those theatres, and
overseeing all theatre and dance performances sanctioned and supported by the
School. The committee also solves problems arising from production-related issues
that occur during the school year. The Production Committee does not have
jurisdiction over scenes and performances assigned in class under the direct or
indirect guidance of the teacher of that class.
According to the School of Theatre Faculty By-Laws: The Committee shall consist
of: two members each of the acting, directing, and design faculty; one member from
dance; one member from another School area; the School Director who serves as a
voting ex-officio member; and two students: one graduate, one undergraduate. The
Director of the School shall appoint the faculty members, whose term of office shall
be one year and who may be reappointed. The students shall elect their
representatives according to the procedures provided in the by-laws.
The Production Committee will present recommendations that have significant
impact on School procedures to the theatre faculty for approval.
The following pages outline the rules governing season selection, auditions, casting,
production schedules, rehearsals, and professional decorum. The Production
Committee must approve any exceptions or changes.


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3
I) SEASON SELECTION

The objectives of the School of Theatre at Illinois State University are two-fold: 1) to
provide for its students a high-quality education that focuses on developing artistic
and critical skills and exploring human values; and 2) to contribute to the cultural and
political-social life of the University and the Bloomington-Normal community as a
whole.
In pursuing these objectives, the faculty has established a production season of
theatre and dance events that involve School of Theatre students and resources.
The School of Theatre seeks to produce works of high artistic quality in a wide
variety of styles and forms to foster the artistic development of as many theatre
students as possible and to present an excellent and varied theatrical season for the
community at large.
In keeping with the Schools goal of strengthening the connection between the
production season and the academic needs of theatre students, the Production
Committee seeks to develop seasons that reflect the variety and multi-cultural focus
of the curriculum, that is, to include works from different countries, periods, and
theatrical styles and to select a diverse range of authors in regard to race/ethnicity,
nationality, creed, gender, sexual orientation, and age. In the season selection
process, the Production Committee will address as many of these variables as is
feasible within a four-year cycle.
A) Procedure
1. In the spring, the Production Committee will determine the play
categories that will be given primary focus in the selection process for
the next academic year. The Production Committee will submit this
list of categories to faculty and students before the end of the spring
semester.
2. Faculty and students are encouraged to read widely from plays in these
categories and to submit proposals to the Production Committee in the
fall.
3. Faculty, staff, and students may submit up to three titles, with
accompanying scripts, no later than the end of the third week of classes
in the fall semester. These proposals are not tied to directing
assignments, although individuals may include a production rationale
for a submission if they wish. Proposals for unusual productions, new
scripts, or guest artists should also be submitted at this time.
4. Graduate directing students who submit proposals for final MFA
productions are advised to include no less than three titles of varying
styles, genres, and periods. The Production Committee will work with


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4
the students MFA Portfolio Committee to ensure that the season
contains at least one play appropriate to the students academic needs,
but the Production Committee is not obliged to choose plays from the
students list of proposals.
5. The proposals will be considered and evaluated by the Production
Committee using the following unranked criteria:
(a) Literary/artistic quality
(b) Balance and variety in genre, style, and period
(c) Acting opportunities/challenges (including male/female ratio and
opportunities for non-traditional casting)
(d) Design opportunities/challenges
(e) Production scope/cost considerations
(f) Educational value/audience development
(g) Box office potential
(h) University calendar schedule
(i) Special production requirements, i.e. additional rehearsal time,
double casting, participation in special events.
6. If the Production Committee feels it cannot produce a balanced season
from the proposals submitted, it will solicit more proposals or
determine what is needed to bring the season into balance.
7. The School of Theatre includes dance concerts in the production season
each year. The overall philosophy of season selection detailed in this
document applies to dance concerts. The ISDT Rules and
Regulations document details selection criteria for individual dance
works within a concert, the use of guest artists, and certain audition,
casting, and rehearsal policies specific to dance pieces.
8. The School produces a musical or opera each year. The Production
Committee will consult with the School of Music regarding specific
musical needs prior to a vote on the season. Representative(s) from the
School of Music will be consulted regarding the musical or opera and
will be invited to attend the Production Committee meetings when the
musical/opera title for the season proposal is being considered.
9. The School includes one Crossroads Theatre production each year, in
either the MainStage or SecondStage season.


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10. The chair of the Production Committee in coordination with the School
Director will be responsible for ensuring that rights are available for all
proposed season titles before submitting titles to the faculty.
11. In February of each year, the Production Committee will submit a
proposed Mainstage and SecondStage season for the following year to
the Director of the School of Theatre, who will present it to the School
of Theatre faculty for approval.
12. The School of Theatre faculty will vote on the season at a meeting at
which a quorum is present. A majority of the faculty voting in favor of
the season will constitute its acceptance.
13. The School of Theatres goal is to finalize its season selection no later
than the last week of February.
14. Should a change of titles become necessary after the faculty has
approved the season, the Production Committee will meet again to
select a new title. This title will then be submitted to the School
Director who will present it to the School of Theatre faculty for
approval. When time constraints make convening the Production
Committee impossible or there is no time for faculty approval, the
School Director will make a decision regarding the selection of a new
title. The faculty will be informed of the change at the earliest possible
date.
B) Production of New Plays
1. The School of Theatre recognizes that the primary advantage of
producing new plays is to give acting, directing, and design students
the experience of working collaboratively with a playwright in the
development of a new script. Therefore, whenever possible, the
playwright should be invited to work with the company during the
rehearsal period.
2. New plays are defined here as those scripts that have had no
professional productions.
3. Playwrights may submit works directly to the Production Committee.
4. A new play will be produced each year unless:
(a) The Production Committee receives no new play submissions, or
(b) The Production Committee determines that none of the
submissions are appropriate for the proposed season.



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5. ACTF and the new play.
(a) The School of Theatre will submit the new play for all appropriate
ACTF playwriting awards.
(b) If the School of Theatre enters a new play for consideration at the
regional festival, every effort will be made to make that
production a Participating Entry. If unusual production
requirements, scheduling problems, or other considerations
prevent it from being a Participating Entry, it will be entered as an
Associate Production.
C) Director/Designer Assignments
1. The Director for the School of Theatre will make all MainStage
directing assignments.
2. Directors eligible to direct MainStage productions are:
(a) Faculty who have submitted a written request to the Director of
the School of Theatre.
(b) Students in their final year of study in the MFA program in
Directing.
(c) Professional guest artists contracted by the School.
3. Design assignments for both faculty and student designers will be made
by the Design faculty in consultation with the Director of the School of
Theatre. No student will be assigned more than two design
assignments in any semester.
D) Non-MainStage Productions
1. SecondStage productions
(a) Graduate students in the directing program who are to direct
SecondStage productions will consult with their MFA committees
and the head of the directing area to select potential titles for the
SecondStage season.
(b) Each of these graduate students will submit no less than three titles
to the Production Committee by the end of the second week of
classes in the spring semester.
(c) The Production Committee will make the final selection of
SecondStage plays.


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(i) The primary criteria will be the selection of titles that meet
the educational needs of the graduate students involved.
(ii) The Production Committee will also consider the way in
which these graduate productions complement the MainStage
season, particularly in terms of male/female roles and balance
and variety in genre, style, and period.
(iii) The Committee may ask graduate students to consider
specific playwrights, genres, styles, or periods, and may ask
these students to submit additional titles to help balance the
overall season.
(d) When SecondStage slots are not filled by MFA directing
candidates, the Production Committee will determine the
procedure for filling those slots.
2. MFA Projects
(a) First year graduate students in directing will work with their MFA
portfolio committees to select appropriate titles for production.
The primary consideration will be the educational needs of the
graduate student involved.
(b) Prior to auditions for these shows, the performance dates, times,
and locations will be approved by the Director of the School of
Theatre or his/her designee.
3. Registered Student Organizations
The Director of the School of Theatre, in consultation with the
Production Committee, may grant support to any RSO that serves the
needs of the School and its students. Such support may include faculty
advisement of individual productions, use of rehearsal space, use of
props, and in some cases, use of performance space. This support will
be contingent on adherence to all policies stated in this handbook.
RSOs should send a written request detailing their needs to the School
Director at the beginning of each semester.
II) AUDITIONS
Except as otherwise noted, the Director of the School of Theatre or his/her
designee will be responsible for conducting and supervising the audition process.
A) Student Eligibility
1. Any ISU student enrolled for 6 or more hours (with a minimum of 3
non-practicum hours) may audition for School of Theatre productions


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after achieving second semester freshman status (9 or more completed
hours).
2. To audition, a student must be in good academic standing as stipulated
in the University catalogue. The Director of the School of Theatre or
his/her designee will verify student eligibility prior to auditions and
will remove ineligible students from the audition roster.
3. All students who are cast in departmental productions must maintain
eligibility requirements. The Academic Advisor for the School or any
member of the faculty may inform the Production Committee if a
student fails to maintain eligibility. The Production Committee will
then determine the appropriate course of action, which may include
termination from the production.
4. First semester freshmen are not eligible to audition for theatre
productions. All other students in the acting sequence must participate
in general auditions
5. Students seeking exceptions due to unusual circumstances must obtain
permission in writing from the head of the acting area at least 48 hours
in advance of general auditions. Whenever ACTF conflicts with
general auditions, participants and their partners will be exempt from
the general auditions.
6. Any unexcused absence from a required audition or callback will result
in disciplinary action by the acting faculty. This disciplinary action
may include a one-semester prohibition from auditioning for or
performing in any production outside of class work and may also
include removal from the acting sequence.
B) Faculty Eligibility
1. Faculty actors should be given the same opportunities to practice their
craft by participation in productions as are faculty designers, directors,
and choreographers. Such participation allows artists to develop their
craft and provides opportunity to teach by example.
2. Directors of individual productions, in consultation with the Director of
the School of Theatre, will make decisions regarding the casting of
theatre faculty. Faculty may be pre-cast, may participate in the
callback process, or may be auditioned in a process separate from the
regular School of Theatre auditions. (See also III.A.11.)
C) Guest Artists and Special Casting Needs
1. Crossroads Theatre is dedicated to strengthening the connection
between the School of Theatre and the Bloomington/Normal


The Production Handbook revised 7/06
9
community. As a part of this mission, the director of each Crossroads
production will cast at least one member of the community who is not
an ISU student or faculty member.
2. Directors of School of Theatre productions (with the exception of
Crossroads) must obtain permission from the Production Committee
before auditioning or casting members of the community who are not
ISU students or faculty.
3. The Director of the School of Theatre may work in conjunction with
the production director to cast professional guest artists whose
experience and expertise will enhance the program.
4. In productions that require the casting of children, the director of the
production, in consultation with the Production Committee, will
establish procedures for auditioning and casting.
5. When a role cannot be cast through the audition process, the
Production Committee will determine procedures for filling the role.
6. In all instances, the Director of the School of Theatre or his/her
designee will post notice of any pre-casting prior to general auditions.
(See III.A.12.)
D) MainStage Procedures
1. Theatre Audition Dates
(a) The Director of the School of Theatre or his/her designee will
arrange each semester's audition dates and times for MainStage
and SecondStage theatre productions.
(b) In semesters in which musicals or operas will be performed,
singing auditions will be scheduled as part of the general
auditions. These will be held at a time separate from the general
acting auditions.
(c) MainStage auditions will be completed no later than the end of the
first week of classes in each semester.
(d) Auditions will not be held between 8:00 am and 4:00 pm on a
weekday when classes are in session.
(e) Directors are required to make accommodations for students who
have classes during callbacks.
(f) No production may exceed seven hours of callback time, except as
allowed in II.D.1.g.


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(g) Productions with special skill requirements, such as stage combat,
singing, dancing, or acrobatics, may have additional audition time
with the prior consent of the Production Committee. Production
directors should apply for permission before the end of the
previous semester.
2. Policy on Nudity in Auditions
(a) While the School of Theatre recognizes that nudity on stage is
necessary and appropriate under certain, specific conditions, the
School has an obligation to protect performers from the use of
nudity that is not intrinsic to the effectiveness of the script and the
production. The Director of the School also has an obligation to
protect the integrity and reputation of the program.
(b) For audition purposes, nudity is permitted only in the final
callback and only with prior permission from the Production
Committee and the Director of the School.
(c) No student performer will be pressured to audition or to accept a
role in a production involving nudity. Students may decline a
callback if the production in question involves nudity.
(d) Refer to the Schools Policy on Nudity in Auditions, Rehearsals,
and Performances for instructions and further details. Failure to
follow the terms and conditions set forth in this document may
result in the withdrawal of permission to use nudity in the
production or the cancellation of the production. Statements on
nudity in rehearsals and performances can also be found in IV.B.4.
3. Theatre Audition Process
(a) General Auditions
(i) All students auditioning for MainStage theatre productions
must participate in general auditions. Exceptions may be
made for students auditioning for productions that have
special skill requirements.
(ii) The Director of the School or his/her designee will post a
sign-up sheet for the following semesters auditions no later
than the last week of classes. Auditioners must sign up for a
general audition time.
(iii) Auditioners are allowed a maximum of one and one-half
minutes to present a monologue of their choosing, or any two
auditioners may prepare a scene not to exceed three minutes.


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(iv) Auditioners will present a picture and resume for school files
at the General Auditions.
(v) Students who do not participate in general auditions cannot be
cast in MainStage theatre productions without permission of
the Director of the School of Theatre.
(b) Call-backs
(i) Students in the acting sequence may not refuse a callback to
any MainStage or SecondStage theatre production, except in
the circumstances outlined in II.D.2.c. Other theatre majors
and non-majors may refuse a callback.
(ii) Participation in any callback audition indicates the actors
willingness to accept any role in that production.
(iii) Stage Managers for MainStage shows will post callback lists
in the Westhoff Lobby within three hours after the end of
general auditions.
(iv) Directors must make every effort to save actors time by
calling back only those actors who will be given serious
casting consideration.
(v) Actors who have been pre-cast in a role must attend the
callbacks for that production if requested by the director.
(vi) Directors are not required to honor callback requests from
actors. However, if time permits, directors may elect to
audition these actors, so long as these actors are eligible and
have gone through the general audition process.
4. MainStage Dance Concerts
Separate auditions will be held for dance concerts with a schedule
determined by the dance faculty, under the supervision of the Artistic
Director of the dance program.
E) Non-MainStage Audition Procedures
1. SecondStage productions
(a) The Director of the School of Theatre or his/her designee will
schedule callbacks for the SecondStage productions.
(b) SecondStage directors must attend general auditions.


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(c) SecondStage directors will usually hold callback auditions
beginning two days after the posting of MainStage cast lists.
(d) The callback auditions for SecondStage productions will be
completed no later than one week after the posting of the
MainStage cast lists.
(e) Auditions will not be held between 8:00 am and 4:00 pm on a
weekday when classes are in session.
(f) Directors must make accommodations for students who have
classes during callbacks.
(g) No production may exceed six hours of callback time. Directors
must make every effort to save actors time by calling back only
those actors who will be given serious casting consideration.
(h) SecondStage callbacks must follow the same policies on nudity as
outlined in II.D.2.
2. MFA Projects
(a) Production directors for first-year MFA directing projects, in
consultation with their MFA portfolio committees, will schedule
their own auditions and callbacks.
(b) The Director of the School of Theatre or his/her designee must
approve all audition dates, times, and locations prior to posting.
(c) Auditions may not begin until two days after SecondStage cast
lists are posted.
(d) Auditions will not be held between 8:00 am and 4:00 pm on a
weekday when classes are in session.
(e) Directors must make accommodations for students who have
classes during the auditions.
(f) No production may exceed six hours of audition time.
(g) MFA project callbacks must follow the same policies on nudity as
outlined in II.D.2.
3. Registered Student Organizations
(a) Auditions may not be held before the beginning of the third week
of the semester


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13
(b) Auditions for RSO productions must follow the procedures in this
handbook.
III) CASTING
A) Casting Policies
1. Non-Traditional Casting
(a) Non-traditional casting increases opportunities for ethnic minority,
female, and physically challenged performers.
(b) The School of Theatre recognizes the need for expanding the
participation of ethnic minorities, women, and the physically
challenged in the artistic process and strongly encourages the bold
and imaginative use of non-traditional casting in cases when race,
ethnicity, gender, and/or physical capabilities are not absolutely
essential to the play.
2. The School of Theatre supports decisions made to meet the demands of
the play and to facilitate the growth of students.
3. Students may be cast in only one MainStage or SecondStage
production per semester.
4. Students may not be cast in more than two productions sanctioned and
supported by the School of Theatre per semester. Students may not be
cast in productions where rehearsal or performance dates overlap. In
all cases, MainStage assignments must be honored before SecondStage
assignments. SecondStage assignments must be honored over MFA
production assignments. MFA production assignments must be
honored over RSO production assignments.
5. Students (graduate and undergraduate) in the acting programs may not
be cast is productions outside the School of Theatre that conflict with
assignments in MainStage and SecondStage.
6. Students who do not maintain a 3.0 grade point average in their major
and a 2.5 overall grade point average may not be cast in two
productions per semester even when the rehearsal and performance
schedules of these shows do not overlap.
7. Students may not be cast in SecondStage, MFA, or RSO productions if
the rehearsals or performances would overlap their technical crew
assignments for MainStage or SecondStage shows.
8. First-semester freshmen may not be cast in any scene or production
outside their basic acting classes.


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14
9. All students will play as cast. Non-acceptance of an assigned role will
necessitate an appearance before the Production Committee for review
and possible disciplinary action that may include a recommendation to
the Recruitment Admissions and Scholarship (RAS) Committee to take
appropriate action.
10. The only exception to the play-as-cast policy is in the case of
productions that require nudity. If a student is uncomfortable with
nudity required for a part, he/she may decline the role.
11. At the request of the acting faculty, actors may be pre-cast in a
MainStage, SecondStage, or MFA production, provided the director, in
consultation with the Production Committee, concurs and approves.
12. Faculty actors or guest artist actors may be pre-cast by the director in
accordance with the rules laid down in this handbook. (See II.B.2. and
II.C.)
13. The Director of the School of Theatre or his/her designee will post
notice of any pre-casting prior to general auditions.
14. Except as provided in (10) and (11) above, no role in any MainStage,
SecondStage, MFA, or RSO production will be precast prior to
auditions. This rule will not preclude students or faculty from
performing in their own SecondStage, MFA, or RSO productions.
15. Exceptions to these casting policies may be made on the basis of
extraordinary circumstances by the Director of the School of Theatre in
consultation with the directors (and faculty advisors, if appropriate) of
the projects involved.
B) Casting Process
1. MainStage Theatre
(a) Preliminary Casting Meeting
(i) After the first round of callback auditions, the MainStage
directors will meet with the acting faculty at a preliminary
casting meeting and be prepared to state at least two choices
for each role in their plays.
(ii) The Director of the School of Theatre or his/her designee will
attend this meeting and act as chair.
(iii) The acting faculty is encouraged to attend the preliminary
casting meeting and discuss the appropriateness of the roles


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15
for the acting students' development and to recommend actors
not listed on the preliminary cast lists.
(iv) The only students permitted at the preliminary casting
meeting are the student directors and primary stage managers
of MainStage and SecondStage productions.
(b) Final Casting Meeting
(i) After the final round of callback auditions, the MainStage
directors will meet and make decisions regarding final
casting.
(ii) SecondStage directors and the Dance Concert Artistic
Director should attend and be prepared to discuss potential
casting opportunities for specific students in their
productions. MainStage directors are urged to give
consideration when a specific student may have an
opportunity to perform a more challenging role in another
production.
(iii) One member of the acting faculty who is not directing that
semester will act as spokesperson for students educational
needs at the final casting meeting. The aim should be to
produce the best production possible while meeting the
students educational needs.
(iv) The Director of the School or his/her designee will attend the
final casting meeting, acting as chair. He/she will decide
which role a student will perform in cases where one actor is
the primary choice for roles in two or more productions and
the directors cannot reach agreement.
(v) The only students permitted at the final casting meeting are
the student directors and primary stage managers of
MainStage and SecondStage productions.
(vi) Stage managers for MainStage shows will post cast lists
simultaneously within an hour after the close of the final
casting meeting. (See also III.C. below.)
2. MainStage Dance Concerts/Projects
(a) Due to the difference in rehearsal procedures for dance pieces
within a concert, students may be cast in individual works within a
MainStage Dance Concert even if the rehearsal or performance
period overlaps a role or technical assignment in a MainStage,


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16
SecondStage, MFA, or RSO production under the following
conditions:
(i) A student who anticipates a possible casting conflict between
theatre and dance productions must inform the production
director, dance piece choreographer, and Dance Concert
Artistic Director of the conflict before auditioning.
(ii) The production director and the Dance Concert Artistic
Director (not the individual choreographer) must agree in
writing concerning rehearsal and performance schedules for
the student performer. The responsibility for obtaining this
agreement falls to the director or the Dance Concert Artistic
Director of the production/concert cast last.
(iii) In cases where the production director and the Dance Concert
Artistic Director cannot come to agreement, the School
Director, in consultation with the student and the heads of the
dance and acting Programs, will decide which role the student
will perform.
(iv) If later changes are made to a rehearsal schedule, the
production director or the choreographer making the changes
must get approval from the other show.
(b) The Production Committee may determine that a MainStage
Dance Concert is structured in a similar manner to a MainStage
Theatre production, in which case the MainStage Theatre policies
will apply.
3. SecondStage Productions
(a) After the first round of callback auditions, the SecondStage
directors will meet with the Director of the School or his/her
designee. The directors will be prepared to state at least two
choices for each role in their plays.
(b) After the second round of callback auditions, the SecondStage
directors will meet and make decisions regarding final casting.
(c) The only students permitted at these casting meetings are the
directors and primary stage managers of SecondStage and first
year MFA productions.
(d) At the final meeting, the Director of the School or his/her designee
will decide which role the student will perform should a situation
arise wherein an actor is the primary choice for roles in two or
more productions and the directors cannot reach agreement.


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17
(e) The aim should be to produce the best production possible while
meeting the students' educational needs.
(f) Stage managers for SecondStage productions will post cast lists
simultaneously within an hour after the close of the final casting
meeting. (See also III.C. below.)
4. MFA projects
(a) Following auditions for an MFA project, the director will meet
with his/her faculty advisor to finalize the cast.
(b) The faculty advisor must approve the cast list and verify actor
eligibility before the list can be announced. If the Faculty Advisor
is unsure of eligibility, he/she should consult with the Academic
Advisor for the School or the Chair of the Production Committee,
as appropriate.
5. RSO Productions
(a) Following auditions for an RSO Production, the director will meet
with his/her faculty advisor to finalize the cast.
(b) The RSO faculty advisor must approve all cast lists and verify
actor eligibility before casting can be announced. If the faculty
advisor is unsure of eligibility, he/she should consult with the
Academic Advisor for the School or the chair of the Production
Committee, as appropriate.
C) Posting of Company and Cast Lists
1. Production directors or stage managers will post cast lists for all School
productions on the School call boards.
2. Cast lists will include the names of all characters and the student
assigned to each role. Any exceptions will be cleared through the
Production Committee.
3. When cast lists are posted, the production director or stage manager
will give copies to the main office, the chair of the Production
Committee, the Director of the School or his/her designee, RSO
advisors and the practicum advisor.
D) General Understudies
1. Directors of MainStage productions, in consultation with the School
Director, may decide whether to use understudies. Understudies may
be used for any of the following reasons:


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18
(a) To provide actors cast in smaller roles the opportunity to learn one
or more larger roles in the same production.
(b) To provide opportunities for one or more actors to work on a
School of Theatre production when they would not otherwise be
cast in a production that semester.
(c) To lessen the possibility of an emergency during the run of a
production that would cause the cancellation of a performance.
2. Auditions and Casting
(a) No student will be used as an understudy when this assignment
would preclude the opportunity to perform a role in a MainStage,
SecondStage, or MFA production.
(b) A director who intends to use understudies must state the nature
and extent of their use, including dates of scheduled understudy
performances (if any) at the first callback auditions.
(c) During the audition process, directors will give actors the
opportunity to indicate whether they would accept an understudy
role. Actors may decline an understudy role.
3. Performing
(a) If an actor cannot perform during the run of the production, his/her
understudy will perform the role until the actor originally cast can,
in the director's judgment, resume performing.
(b) Excluding emergencies, the director will decide whether or not an
understudy will be given one or more performances of the role.
The director will announce scheduled performances (if any) for
the understudy at the time of the auditions.
E) Special Needs Understudies
1. The production director, in consultation with the Director of the School
of Theatre, may decide to add an understudy during the rehearsal of a
production when it seems probable that an actor may be unable to
complete his/her obligations to the production.
2. The production director will give written notification of this decision to
the Production Committee.
3. The production director, in consultation with the Director of the School
of Theatre, will determine whether an understudy can be cast directly
or whether auditions are needed.


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4. If the understudy role can be cast directly, the production director will
offer the role to a student, who may decline the offer.
5. The production director will schedule the special audition if it is
needed. The production stage manager will post notice of this audition
at least 24 hours in advance.
6. The special audition must follow all appropriate School policies
pertaining to auditions.
7. Actors whose rehearsals, performances, or crew assignments in another
MainStage, SecondStage, MFA, or RSO production would overlap
either rehearsals or performances of the understudy role are not eligible
to audition.
8. A student who auditions for an understudy role may not decline the
offer of that role.
9. Special needs understudies will assume the role immediately should
the original cast member become unable to complete his/her obligation
to the production.
10. Should an actor become incapacitated during the run of a show and
unable to perform, and there is no understudy for the role, the director
may make whatever arrangements necessary to prevent cancellation of
a performance.
F) Replacing Cast Members
1. Directors may replace an actor whose professional behavior during
rehearsals or performance has a deleterious effect on the production.
To replace an actor, the director must seek written permission from the
Production Committee and the Director of the School of Theatre. The
director is required to furnish the Production Committee and the School
Director with a written reason for the request. The Production
Committee must give the actor written notification with a clear
statement of the reason for the decision. Directors are urged to work
closely with actors to correct behavior before pursuing removal from a
production.
2. If an actor must be replaced and an understudy has been assigned to the
role, the understudy will assume the role immediately.
3. If the vacancy occurs during the rehearsal period and if no understudy
exists, the production director will consult with the School Director to
determine whether a replacement is needed and what procedures to
follow. If it is determined that a replacement is needed:


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20
(a) The production director will consult with other members of the
production team whose work may be affected.
(b) The production director, in consultation with the School Director,
will decide whether a replacement can be cast directly or whether
auditions are needed. If auditions are needed:
(i) The production director will schedule a special audition. The
production stage manager will post notice of this audition at
least 24 hours in advance.
(ii) The special audition must follow all appropriate School
policies pertaining to auditions.
(iii) Actors whose rehearsals, performances, or crew assignments
in another MainStage, SecondStage, MFA, or RSO
production would overlap either rehearsals or performances
of the replacement role are not eligible to audition.
IV) PRODUCTION GUIDELINES AND POLICIES
A) MainStage and SecondStage Production Schedules and Meetings
1. A master schedule of production deadlines will be developed by the
technical director in consultation with the design faculty and the
Director of the School. The production staff must adhere to all
deadlines. Permission to deviate from deadlines can only be granted by
the technical director and costume shop supervisor for the production.
Student designers must contact their faculty advisor prior to asking for
this permission. Designers must notify the production director of
changes in deadlines as soon as permission is granted.
2. Design Meetings
(a) Design meetings will be held on a weekly basis (more often if
production requirements dictate) beginning twelve weeks prior to
opening, not including vacation weeks.
(i) The design faculty will be responsible for scheduling design
meetings.
(ii) Whenever possible, the stage manager will chair design
meetings and will work with the production director to set
agendas.
(iii) The director and all designers assigned to the production are
expected to attend these meetings. The technical director and


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21
all faculty advisors for the production should make every
effort to attend these meetings on a regular basis.
(b) Formal design meetings will end six weeks prior to opening or
when designs are approved. It is expected that all designs
(including finished renderings, models, sketches, construction
drawings, and preliminary light and sound plots) will be complete
at this point. Though revisions and adjustments are to be expected
as rehearsals and construction proceed, the goal should be to keep
these to a minimum.
3. Production Meetings
(a) Production meetings will be held on a weekly basis beginning six
weeks prior to opening, not including vacation weeks. Calendar
problems may result in a slightly shorter production meeting
schedule for the opening show of each semester.
(i) The design faculty will be responsible for scheduling
production meetings.
(ii) The stage manager will work with the production director to
set agendas. The stage manager will chair all production
meetings.
(iii) The director and all designers assigned to the production are
expected to attend these meetings. The technical director and
all faculty advisors for the production should make every
effort to attend these meetings on a regular basis.
(b) The purpose of production meetings is to monitor the development
of the production through the rehearsal, construction, and technical
rehearsal periods and to identify and solve problems that may arise
between areas of production responsibility.
B) Rehearsal Policies (MainStage, SecondStage, MFA, and RSO)
1. Rehearsal Period
(a) The standard rehearsal period for all School of Theatre
productions is thirty-six rehearsal days. Calendar problems may
result in a slightly shorter period.
(b) Directors may petition the Production Committee for additional
rehearsal time if a production has special needs and requirements.
(c) Rehearsals for Dance Concert pieces may be spread out over a
longer period of time.


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22

2. Rehearsal Hours
(a) Directors may schedule rehearsals for a maximum of six days a
week, with a maximum of four hours of rehearsal daily. The only
exception to this will be during the week in which the show opens.
(See IV.B.2.e. through IV.B.2.g. below.)
(b) With the exception of the week in which the show opens, actors
and technicians will be given at least one day off per week.
(c) With the exception of the week in which the show opens,
rehearsals should be scheduled on weekdays between 6:30 and
11:00 pm and on weekends between the hours of 10:00 am and
11:00 pm (with a maximum of four hours per day).
(d) Rehearsals in a performance space may not interfere with tech
calls scheduled by the technical director for any show.
(e) The technical director, in conjunction with the production director
and artistic team, will schedule one ten out of twelve day for the
integration of technical elements for each production. On this day,
actors are expected to work no more than ten hours with the total
length of day extending to no more than twelve hours.
Technicians are expected to work no more than eleven hours out
of thirteen on this day.
(f) The director, in conjunction with the technical director and the
artistic team, may schedule additional hours during the week in
which the show opens. With the exception of the ten out of
twelve day, no day will extend beyond six hours of rehearsal
(including costume calls) and no student will be asked to stay
beyond midnight. Directors, technical directors, and artistic teams
are expected to plan efficiently and to use these additional hours
only when absolutely necessary.
(g) The production director and musical director, in conjunction with
the technical director, may schedule a late afternoon sitzprobe, so
long as actors who have classes during this time are not required to
attend. The sitzprobe should not last more than two hours. A full
evening rehearsal may be held on the same day as the sitzprobe.
(h) When stage combat and/or dangerous physical business is
involved in a production, the stage manager will schedule a fight
call at the beginning of all technical rehearsals and performances.
All actors directly involved in the fight scene must be present at


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23
the fight call. The fight call should be held on-stage under
appropriate stage lighting, with all available fight-specific
costume, set, and prop pieces. The fight choreographer will be
present or will appoint a qualified representative to be present at
all fight calls. The fight choreographer or his/her representative
will make all decisions regarding safety in these fights.
(i) The stage manager will be responsible for having the rehearsal
room(s) or theatre open and prepared for the actors 1/2 hour before
the time of the call.
(j) Actors are encouraged to arrive at least 10 minutes prior to their
call so that they may warm-up and be prepared to begin rehearsals
on time. Actors who will be unavoidably absent or late must
contact the stage manager before the rehearsal and as soon as
possible after they become aware of the problem.
3. Rehearsal Schedule
(a) The directors, in consultation with their production staff, are
responsible for planning the rehearsal schedule. Directors should
make every attempt to call actors only when they are needed.
Directors who plan early evening rehearsals (prior to 7 p.m.) must
take into consideration students with classes that run past 5 p.m.
Every student should be given a dinner break between classes and
rehearsal.
(b) MainStage and SecondStage directors must check the master
schedule of production deadlines for dress and technical rehearsal
dates.
(c) Stage managers are encouraged to call appropriate breaks during
rehearsals. Except during run-throughs of acts, each individual
actor should be given a five-minute break after no more than fifty-
five minutes or a ten-minute break after no more than eighty
minutes.
4. Nudity in Rehearsals and Productions
(a) Nudity will not be permitted in any rehearsal or performance
without the prior consent of the Production Committee and the
Director of the School of Theatre.
(b) Refer to the Schools Policy on Nudity in Auditions, Rehearsals,
and Performances for further information and instructions.
Failure to follow the terms and conditions set forth in this
document may result in the withdrawal of permission to use nudity
in the production or the cancellation of the production.


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24

5. Smoking in Classrooms, Rehearsal Spaces, and Theatres
(a) Smoking in university classrooms and theatres is a violation of
local and state ordinances. It is a director's responsibility to
enforce the no smoking policy. Smoking is allowed outside the
buildings only.
(b) Directors who wish to have actors smoke in a production must
submit a written request to the Director of the School of Theatre,
who will respond in writing. All approvals will be kept on file in
the theatre main office. Smoking will be allowed in productions
only when it is absolutely necessary to the basic needs of the play,
and then only to that extent.
6. Rehearsals for department productions are open to School of Theatre
faculty, staff, and students unless otherwise posted by the director,
provided that visitors have notified the director of their wish to attend
rehearsals.
7. Rehearsals and Class Attendance. Students and faculty participating in
School of Theatre productions are expected to attend their scheduled
classes. It is contrary to the School of Theatre's philosophy and policy
to attend an evening rehearsal after missing scheduled classes.
Significant violations of this attendance policy may result in production
program probation, as determined by the Director of the School of
Theatre.
V) GUIDELINES FOR PROFESSIONAL DECORUM
A) In addition to attending classes, all participants in the School of Theatre
production program are expected to conduct themselves in a professional
manner. The principle underlying all conduct should be a sense of respect
for the time, efforts, and talents of everyone involved in the creative
process. Attention to this simple principle will lead to a more efficient and
satisfying artistic experience.
1. All production personnel are expected to arrive at rehearsals, meetings,
and work calls on time and to be ready to work. Performers are
encouraged to arrive at least ten minutes early so that they have enough
time to warm up physically, mentally, and vocally before the rehearsal
begins. Once performers and technicians have arrived at the building
for a call, they should not leave unless they have received permission
from the stage manager or their immediate supervisor.
2. All production personnel are expected to take care of themselves
mentally and physically so that they can perform their assigned tasks


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25
safely and efficiently. Knowing your limits and using time wisely are
essential.
3. All production personnel are expected to perform their assigned tasks
with diligence and enthusiasm. Negative attitudes are
counterproductive to the creative process.
4. All production personnel are expected to report problems as soon as
they occur to their appropriate supervisor.
5. All production personnel are expected to attend all rehearsals or work
calls for which they are called. Emergency situations that necessitate an
absence should be reported to the appropriate supervisor as promptly as
possible.
6. Performers should not cut their hair or in any other way change their
physical appearance without consulting their director or choreographer
and appropriate designer.
7. All personnel involved in specific productions are expected to check
the production callboards (located on the 2nd floor of Centennial West)
after 12:00 noon on a daily basis for announcements, schedule changes,
and call times. Schedules for weekday rehearsals will be posted no later
than 12:00 noon on the day of the rehearsal. Schedules for weekend
rehearsals will be posted by midnight on Friday. Costume fitting
notices will be posted no later than 12:00 noon on the day prior to the
fitting. Cast members are responsible for checking the callboard and
being aware of rehearsal calls and costume fittings.
8. Actors should be attentive to the memorization and execution of lines,
blocking, and business. Deadlines for memorization should be
respected. Dancers are responsible for retaining choreography from
rehearsal to rehearsal.
9. Actors are expected to wear appropriate attire for rehearsal.
"Appropriate attire" means clothing that is conducive to movement and
aids the actor in gaining a sense of period and character. Women may
need to provide a rehearsal skirt and character shoes. Men may need to
provide dress shoes and a suit coat.
10. All production personnel should be attuned to and respectful of
creating an efficient and effective work environment in the rehearsal
space. Talking should be kept to a minimum and should be at a volume
that will not disturb the work at hand. Crossing in front of or otherwise
obstructing the view of directors, choreographers, and designers should
be avoided.


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11. Performers are expected to be prompt in their arrival at costume
fittings. Appropriate undergarments should be worn for all fittings and
good personal hygiene is expected.
12. Performers should not appear before the audience prior to or after
performance in full or partial costume or make-up, unless otherwise
indicated by the stage manager.
13. Members of the running crew are expected to dress entirely in black
and should not appear before the audience prior to the performance,
during intermission, or after the performance in their run crew attire,
unless otherwise indicated by the stage manager. Running crew should
not wear jewelry that would hamper their performance.
14. Smoking in or around costumes or wigs is not allowed, except as
required in performance.
15. In performance, performers are expected to conform to the language of
the script and to the staging or choreography set in rehearsal. Additions
and subtractions of words, movement, or business are unacceptable.
16. Performers are responsible for being aware of upcoming entrances.
Missed or late entrances are not acceptable.
17. Performers are expected to pay strict regard to the costume and make-
up decisions of designers. No changes are to be made without
consulting the designer.
18. Backstage noise during rehearsal and performance should be kept to a
minimum and be directly related to the efficient and safe running of the
show. Behavior should at all times show respect for those who are
engaged in the performance and should assist in the creation of a
positive and focused environment.
19. Performers are expected to take good care of all costumes, wigs, props
and set pieces. All costumes, wigs and props are to be returned to their
proper place after use. No one should handle, move, or use a prop not
specifically assigned to them.
20. All performers cast in MainStage and SecondStage productions should
provide a personal towel that can be used for post-performance
removal of make-up.
21. Technicians are expected to take good care of all equipment entrusted
to their use. All equipment should be returned to its proper place after
use. Equipment problems should be reported to the appropriate crew
head or shop foreman.


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22. Injury to individuals and damage to property must be reported
immediately to appropriate supervisors.
B) Violations of Professional Decorum Guidelines
A sense of professional decorum is essential for those who wish to carry the
skills they acquire at Illinois State University into the professional world.
Knowing how to behave is the first step toward gaining the respect of those
around you. Talent may get you your first job, but knowing how to conduct
yourself around other professionals will keep you working.

Because missing or being late to a rehearsal, performance, work call, or
costume fitting shows a disregard for the time of many other people and
often disrupts the productive flow of work for an entire cast or crew, the
School of Theatre has adopted the following procedure:
1. First violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note to the Director of the
School of Theatre specifying the exact violation of professional
standards. The School Director will send a letter of first warning,
notifying the offender of the specific complaint.
2. Second violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note to the Director of the
School of Theatre, specifying the exact violation of professional
standards. The School Director will send a letter requesting that the
offender meet with the School Director to discuss the seriousness of the
violation and ways in which the offender intends to correct his/her
behavior.
3. Third violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note to the Director of the
School of Theatre, specifying the exact violation of professional
standards. The School Director will notify the offender in writing that
he/she will not be allowed to audition for or participate in any School
of Theatre production in the following semester.
4. Other violations will be dealt with at the discretion of the School
Director.
5. All students will have recourse for review of their cases by the
Production Committee. Any student who feels he/she has been unjustly
censured should send a letter to the chair of the Production Committee,
giving reason why he/she believes the case should be reviewed. The
Production Committee acts in an advisory capacity to the Director of
the School and can, in cases of merit, ask the School Director to
modify or overturn the initial judgment.


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Illinois State University
School of Theatre
Campus Box 5700
Normal, IL 61790-5700

Department Office: (309) 438-8783
Box Office: (309) 438-2535
Stage Managers Office: (309) 438-2499
Fax: (309) 438-5806



The Production Handbook is also available of the web:
http://www.cfa.ilstu.edu/theatre