Chapel Hill-Chauncy Hall School 

Drama Director’s Handbook 

 

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Revised May 2014 

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 Table of Contents 
 
I. PROGRAM INTRODUCTION, PHILOSOPHY, AND OBJECTIVES 

II. THEATER CODE OF ETHICS 

III. PRE-PRODUCTION PROTOCOLS 

IV. REHEARSAL SCHEDULING 

V. REHEARSAL PROTOCOLS 

VI. STUDENT BEHAVIORAL STANDARDS 

VII. THE GREEN ROOM AND BACKSTAGE AREA 

VIII. PRODUCTION STAFF AND DIVISION OF RESPONSIBILITY 

IX. DRAMA TECH PHILOSOPHY AND OBJECTIVES 

X. THEATRE AND REHEARSAL SPACE POLICIES 

XI. BOX OFFICE POLICIES 

XII. PROPERTIES POLICIES AND PROCEDURES 

XIII. COMMUNITY OUTREACH INITIATIVE 

Appendix: 

A. Operating the Lighting Board 

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B. Operating the Sound Board 

C. Barn Theater seating chart 

D. CHCH Drama Program Advertisement rubric 

E.    

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PROGRAM INTRODUCTION, PHILOSOPHY, AND OBJECTIVES 
 
The purpose of this handbook is to inform directors about Chapel Hill-Chauncy Hall’s philosophy and procedures in the Drama Department. Directors have many 
responsibilities above and beyond their actual rehearsing and directing, and time is not always available to cover all details as they arise. This handbook should be 
helpful to all directors in providing information on how to deal with many aspects of this important work we do with students outside the classroom.  
 
The theatre program intends to give each member of the community an appreciation for and enjoyment in the dramatic arts. Through performance each student is 
encouraged to build pride in the individual, team, and school. The program intends to teach each student the value of achievement through a group effort, and the 
value of respect for the entire cast, crew, and staff. The theatre program welcomes student/actors of varying abilities and experience. We believe in maintaining an 
atmosphere of community. While emphasizing skills, teamwork, dedication to achievement and excellence, and encouraging respect, friendship, and enjoyment, the 
drama program must allow its actors to develop competitive maturity. Learning how to handle stress and maintain a positive attitude is part of that development.  
 
 
PURPOSE OF THE DRAMATIC ARTS AT CHAPEL HILL-CHAUNCY HALL 
Education in the dramatic arts exists primarily as an essential part of a student’s full education. The Performing Arts program is a direct reflection of the approach 
to education at CH-CH. We provide numerous opportunities for students to be center-stage. Whether in mainstage productions, music concerts, or semi-annual 
Coffee Houses, CH-CH offers a wonderful opportunity for those who have an interest in music and drama to develop their talents in a creative and supportive 
environment.  
 
   

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THEATRE CODE OF ETHICS 
 
"Part of the great tradition of the theatre is a code of ethics which belongs to every worker -- amateur and professional -- on the legitimate stage.   This code, while tacit, has been observed 
throughout the centuries and will continue long after us.  It is neither superstition, nor dogma, nor a statute enforced by law.  It is an attitude toward craftsmanship, a respect for associates and a 
dedication toward the audience.  This code outlines a self-discipline which, far from robbing one of individuality, increases personal esteem and dignity through cooperation and common purpose.  
The result is perfection which encompasses all that is meant by Good Theatre." 
● The show must go on!  I will never miss a performance. 
● I shall play every performance to the best of my ability, regardless of how small my role or large my personal problems. 
● I will respect my audience regardless of size or station. 
● I shall never miss an entrance or cause a curtain to be late by my failure to be ready. 
● I shall forego all social activities which interfere with rehearsals and will always be on time. 
● I shall never leave the theatre building or stage area until I have completed my performance. 
● I shall remember that my aim is to create illusion, therefore, I will not destroy that illusion by appearing in costume and /or make-up off stage or outside the 
theatre. 
● I will not allow the comments of friends, relatives or critics to change any phase of my work without proper authorization from the director or stage 
manager.  I will not alter lines, business, lights, properties, settings, costumes or any phase of the production without consultation with and permission from 
the director and/or stage manager. 
● I shall accept the director's advice in the spirit in which it is given for s/he sees the production as a whole and my role as a portion thereof. 
● I shall look upon the production as a collective effort demanding my utmost cooperation, hence I will forego the gratification of ego for the demands of the 
play. 
● I will be patient and avoid temperamental outbursts, for they create tension and serve no useful purpose. 
● I shall respect the play and the playwright, remembering that "a work of art is not a work of art until it is finished." 
● I shall never blame my co-workers for my own failure. 
● I will never engage in caustic criticism of another artist's work from jealousy or an urge to increase my own prestige. 
● I shall inspire the public to respect me and my craft through graciousness in accepting both praise and constructive criticism. 
● I will use stage properties and costumes with care, knowing they are tools of my craft and a vital part of the production. 
● I will observe backstage courtesy and shall comport myself in strict compliance with rules of the theatre in which I work. 
● I shall never lose my enthusiasm for the theatre because of disappointment or failure, for they are the lessons by which I learn. 
● I shall direct my efforts in such a manner that when I leave the theatre it will stand as a greater institution for my having labored there. 
 
   
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PRE-PRODUCTION PROTOCOLS 
 
Season Selection:​ The Chapel Hill-Chauncy hall drama department presents three productions annually. As a general rule the fall and spring productions are plays, 
while the winter production is a musical. The theatre faculty is responsible for the selection of productions produced by Chapel Hill-Chauncy Hall. The artistic 
director will work in conjunction with tech director and any other drama staff in choosing a play or musical. The selection should be made taking into consideration 
the needs and abilities of the greater community and the students enrolled in drama. Once a play or musical has been chosen by the drama staff, they are then 
responsible for filling out the appropriate paperwork necessary to obtain the rights and royalties of the production. These documents can typically be found on the 
website of the company that sells the rights and royalties.   
 
Auditions and Callbacks: ​All students enrolled in Drama Performance are required to audition for each show and will be cast in roles baring the results of their 
audition. During the group’s first meeting (typically on the first day of the new trimester) the parameters for the audition process will be laid out by the director(s). 
Students will then sign up for audition times for the following day(s). All students are required to prepare a 1-minute monologue, and for the winter productions 
16-bars of a song from the show to be sung with piano accompaniment.   
 
On the day of the audition all students should arrive 10 minutes early in the Barn Theater foyer to fill out their personal information/scheduling conflicts sheet. This 
sheet should be brought into the directors at the time of the audition. Once all students have auditioned, the directors will post a list of names for “callbacks”. The 
students whose names are on this list should report to the Barn Theatre the following day for callbacks.   
 
Different students will be called back for a broad variety of reasons. It is often the case that the directors have a role in mind for the student and want to see them 
perform excerpts of dialogue or music in that role. It is also often the case that directors want to see the onstage chemistry between actors. Not being asked to do a 
callback audition is no indication that a student is not being considered for a role.   
 
Casting Policies​ :​Chapel Hill-Chauncy Hall has established the following casting policy for productions presented by the department during the regular academic 
year.  
1. Chapel Hill-Chauncy Hall endorses the policy of non-traditional casting. Except in cases where race, ethnicity, or sex is an issue, casting is decided on the 
basis of ability alone. 
2. All CHCH students enrolled in Drama performance will be given first priority in casting, but there may be situations when individuals from the broader 
community (i.e. faculty, staff, administration) will be cast alongside students 
3. Final casting decisions will be made by the Artistic Director of the production, in consultation with additional staff.   

 
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REHEARSAL SCHEDULING 
 
Calendar and General Scheduling​:​ All Drama department staff members are responsible for collaborating to produce a Trimester Master Calendar. This calendar 
serves to aid in the scheduling of events in the broader CHCH community, assist parents in making arrangements to drop off and pick up their children, and to 
provide a concrete rubric with which students can plan their own independent work. This calendar also helps directors in the planning of rehearsals. Common 
items included on the Drama Calendar are: 
● Daily rehearsal start and end times 
● Indication of Mandatory Rehearsal Period 
● Notice of any weekend rehearsals  
● Memorization deadlines 
This master calendar should be emailed to students, parents/guardians, and all CHCH faculty and staff no later than the read through after auditions.   
 
Rehearsal Scheduling:​ As a general rule, rehearsals begin 30 minutes after the end of the academic day and thus afford students time between class and the start of 
rehearsal to store their belongings and prepare to begin rehearsal. Unless otherwise noted, rehearsals will last 90 minutes.  
The typical weekly schedule follows this format: 

Monday  3:30-5pm 

Tuesday  3:30-5pm 

Wednesday 2:45-4:15pm 

Thursday 3:30-5pm 

Friday 2:45-5pm 

Because we value the time of our staff, crew, and actors we both begin and end rehearsals on-time. Thus it is incredibly important that all members of the 
production are ready to begin at the scheduled start time.   

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Mandatory Rehearsal Period:​ Mandatory Rehearsal Period generally begins two weeks prior to the production. During this period of time all students are 
required to attend all rehearsal. There are no exceptions to this policy. Any medical appointments, meetings, or other commitments need to be rescheduled during 
this time. Violation of this policy is grounds for failing the activity for the trimester.   

Weekend Rehearsals:​ There will be one scheduled weekend day of rehearsing in the weeks leading up to the performance. This rehearsal is mandatory for all cast, 
crew, and directors.   
 
Production Meetings 
Production meetings will be scheduled for the production staff for each production. Production meetings should be attended by all production staff members 
including but not limited to artistic director, musical director, tech director, and stage manager. Meetings generally deal with discussions of scheduling, theatre space 
design/enhancements, and student-related concerns. These meetings are scheduled as needed and are usually facilitated by the Artistic Director.  

Conflicts: ​Students must attend all rehearsals, performances, meetings, strikes and feedback sessions as scheduled by the Artistic Director and production staff. Any 
conflicts must be stated in writing at the time of audition on the audition sheet. Students are excused from scheduled activities at the discretion of the 
director/choreographer and faculty advisor.  
“Rule of 10”:​ All students enrolled in Drama Performance and Drama Tech are subject to the CHCH policy of the “Rule of 10”: In order to receive a passing grade 
for the trimester, students may not be absent from Drama any more than ten times for any reason. In the event that a student’s number of absences exceeds ten per 
trimester, he or she will not pass that trimester and will need to make up the 45 hours required for this activity. Three unexcused absences in a trimester will result in 
the student failing the activity, triggering a requirement to make up the 45 hours of activity. Students must attend the academic class day in order to be able to 
practice after school. Students with unexcused absences or a parental withdrawal for the day may not practice.  
 

REHEARSAL PROTOCOLS 
 
Timing: ​Rehearsals begin promptly and according to the schedule. Cast and crew members will be dismissed from dram no later than is indicated on the master 
schedule. Students should arrive at least 10 minutes early to collect their things, change clothes, and prepare to begin. At the scheduled start time all students 
should be sitting in their seats ready to begin.   
 
Preparedness: ​It is essential to the success of the production that all cast and crew member come to rehearsals prepared. Preparedness in this case includes 
bringing a pencil, script, any necessary costume or prop pieces, and character shoes. All actors are expected to take time outside of rehearsal to memorize their lines, 

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blocking, and songs, and to arrive at rehearsal having worked on their role. Depending on the production there are many resources available to students to aid in 
this process.   
 
Costumes and Clothing:​ All cast and crew members should wear clothing that is comfortable and appropriate.   
 
Respect for the Theatre Space: ​Participants in all productions are responsible for the spaces they rehearse and perform in, including restoring them daily for 
classroom use, returning any equipment or materials to the student production stock or other sources, and striking the set after the final performance. Except for 
water, no food or drink should be brought into the Barn Theatre space, the Tech Booth, the Dance Studio, or the backstage area and Green Room under any 
circumstances.   
At the end of daily rehearsals the directors and cast and crew members are responsible for removing any clutter or debris that may have accumulated in the space 
during rehearsal. Prior to dismissal students should double-check to make sure they haven’t left anything. Any personal belongings left behind will be disposed of 
by cleaning personnel. 
 
Downtime: ​It is inevitable that during rehearsals there will be considerable amounts of time when cast members are not actively engaged onstage. During these 
times it is essential that cast members behave with professionalism, remaining quiet and respectful from their seats. Students are encouraged to use these blocks of 
time to independently practice their lines alone or in groups, work on character development, or find ways of contributing to the production in other ways. Never at 
any time is sleeping or the use of cell phones permitted.   
 
Cell Phone Use: ​Never at any time is cellphone use permitted during rehearsals. At the beginning of rehearsal each day, students should make sure their phones are 
silenced or off so that they are not a distraction to others. This policy extends to the Green Room and backstage area during productions. In the weeks leading up 
to performance it is not uncommon for the director to collect all cell phones at the beginning of rehearsal and then re-distribute them at the end.   
 

STUDENT PROFESSIONAL BEHAVIOR 

 
The following list outlines Chapel Hill-Chauncy Hall’s expectation for the behavior of all students involved in the Drama Department.   
1. Meet all deadlines and responsibilities as assigned. Be on time for all work calls, rehearsals, performance calls and classes. If, for any reason, you are not able 
to come to a scheduled class or production session, e-mail and call your instructor, supervisor or stage manager to let them know in advance that you will be 
late or absent. Work to keep ahead of schedule. Communicate daily with your advisor, as well as faculty and student collaborators to keep them apprised of 
your work progress.  
2. Come to all class, rehearsal and performance sessions fully prepared and ready to participate.  

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 3. Be generous in your participation, support the efforts of others and be polite and courteous to your fellow collaborators. When one succeeds, you all 
succeed.  
4. Accept artistic responsibility and do not blame other cast members, co-workers or inanimate objects for your failures. Accept that you will not always 
succeed the first time but will learn so that you will succeed the next.  
5. Because theatre is created in a public forum, understand that public criticism of your work is part of your education as an artist and a professional. 
Accordingly, understand that a note from a director (or faculty member) is not a personal criticism.  
6. Be patient and avoid temperamental outbursts and defensive or argumentative behavior. Give and take criticism in a positive manner. Do not engage in 
caustic criticism of another's work in order to increase your own prestige. You will earn respect for your craft, and yourself, through my gracious acceptance 
of both praise and constructive criticism.  
7. Observe backstage courtesy and adhere to and support the rules of the theatre in which you work. Observe all safety rules onstage and backstage. When you 
don’t understand something, ask for guidance or direction.  
8. Understand that the most respectful way to deal with problems is by direct communication with your faculty and student colleagues. Accordingly, keep your 
advisor and your faculty and student colleagues apprised of the progress of your work, and notify your advisor as soon as your encounter problems 
completing assigned tasks.  
9. Avoid behavior that is detrimental to the well-being and reputation of yourself and others, and forego social activities that interfere with or compromise 
your ability to participate in rehearsals and work calls. Use “Social Media” (Facebook/MySpace/Twitter) for sharing positive experiences and refrain from 
negative comments about a production, the faculty or classmates.  
10. Accept the director's vision of the production as a whole, and understand that hey are responsible for creating a cohesive production. Understand your role 
is as a portion of that whole and that your vision is subordinate to the director's. Look upon the production as a collective effort that demands your utmost 
cooperation and support it with your artistry. Forego the gratification of your ego for the demands of the play. 
11. Seize the opportunity to learn everything you can. Observe when you are not “doing.” Volunteer to learn extra skills. Look for additional challenges.  
 

THE GREEN ROOM AND BACKSTAGE AREA 

 
PHYSICAL SPACE 
Overview: ​The Green Room is a designated area backstage that serves multiple purposes: 
1. Pre-production changing area and makeup room 
2. Waiting area for characters during production when they are not onstage. 
3. Storage area for props and smaller set pieces 
4. Costume storage area 
While waiting in the Green Room it is essential that all actors and crew members uphold the standards of respect and courtesy that are essential in maintaining a 
positive and nurturing theatre environment.   
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Personal Hygiene: ​With this in mind all cast and crew members should uphold high levels of personal hygiene. Because there are generally large groups of people 
waiting in confined quarters during productions it is essential that all personnel  
● Don’t use perfume or cologne  
● Don’t use hairspray  
● Shower daily 
● Use deodorant  
 
COSTUMING 
Overview and Storage:​ The CHCH Drama Department is fortunate to have amassed a considerable costume collection over the years. During the academic year 
these costumes are stored in room #___ in Worcester Hall. As costumes are chosen for an upcoming production, select costumes will be moved from Worcester 
Hall to the Barn Theatre Green Room to make them more easily accessible to directors and cast members. There they will be hung on racks or stacked on shelves.   
 
CHCH Costumes: ​Students may be lent costumes from the Theatre Department to use for rehearsals and performances. During the rehearsal period, students are 
required to take responsibility for the care and maintenance of their costume pieces, ensuring that each day the costumes are properly stored after rehearsal. 
Post-performance, students are expected to arrange for the cleaning of their costume pieces. Families will be billed for damaged or misused costume pieces, and a 
standard charge will be applied for costumes that are not cleaned. 
 
Student-Purchased Costumes: ​Students may be asked to provide or personally purchase certain costumes items for their character. All female cast members are 
required to have “character shoes” for performances, and all male cast members are required to have black or brown shoes (not sneakers) for performance. Men 
may also be asked to purchase black or khaki pants.   
 
Costume Changes and Personal Hygiene: ​During the rehearsal period students are allowed to use the restrooms in the foyer of the theatre to change into and 
out of their costumes. During dress rehearsals and performances all students are expected to change into costume backstage using the designated changing areas. 
There are two principle areas where students can change costumes: 
1. The Costume Room, accessed through the Green Room can be used when the exterior door is not utilized during the production 
2. The two changing stalls located in the back corner of the Green Room 
There are occasions during productions when a character will need to do a “quick change” backstage. In these situations several other students should be waiting to 
help with the costume change as soon as the character comes backstage.   
 
   

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PRODUCTION STAFF AND DIVISION OF RESPONSIBILITY 
 
ARTISTIC DIRECTOR 
Responsible for the overall artistic conception and execution of a theatrical production.  
● Develop and maintain the philosophy and policies of the theatre program 
● Provide leadership for the program, staff, and students 
● Set a positive example for all actors, crew, and staff 
● Maintain a positive, optimistic, and realistic attitude.   
● Evaluate objectives with the theatre staff 
● Assume financial responsibility for the program 
● Assist the administration with the hiring of theatre personnel and the assignment of directing duties 
● Coordinate with the Head of School, Business Manager, and Director of Buildings & Grounds: 
1. Maintenances and improvement of theatre spaces 
2. Scheduling of school theatre events (performances, outreach initiatives, award ceremonies) 
3. Coordinate an accurate inventory of drama technical supplies 
4. Oversee storage utilization 
● Construct schedules for staff meetings, rehearsals, utilization of facilities, and food services 
● Evaluation of staff and programs 
● Oversee the purchase of equipment, building supplies and construction materials with recommendations from the theatre staff 
● Complete term grade reports (pass/fail) according to the schedule provided by the academic office 
● Convene and chair a staff meeting to determine appropriate awards and grades for each cast member 
● Responsible for casting the show, setting the rehearsal schedule and making artistic choices.  
● With the Production Manager and Stage Manager, the Director presides over the technical and dress rehearsals and will monitor performances through 
closing.  
● Assist with taking daily attendance, opening and closing practice facilities, communicating changes to the schedule. Absences must be reported daily on 
MyCHCH. When an actor has 2 unexcused absences or 9 excused absences, the Artistic Director and advisor to the student must be notified in writing 
 
MUSICAL DIRECTOR 
● Determines orchestration and selects orchestra members  
● Rehearses musicians (band or orchestra) to create the mood, tempo, and rhythm of the musical score.  
● Coaches the singers to realize the mood, tempo, and rhythm of the musical score and of the performance.  

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 ● Collaborates with the other members of the production team to determine placement of the band or orchestra, and technical requirements (i.e. mics, lights, 
stands, etc.)  
● May be responsible for rehearsal accompaniment.  
● May be responsible for conducting the musicians in performance and communicating any note to the Stage Manager.  
 
PRODUCTION MANAGER 
● Maintain communications systems (website, e-mail, paper trail) to keep students, parents, faculty and administration informed of drama events and changes 
to the schedule 
● Front of House manager-- coordinate the assignment, scheduling, and training of student front-of-house crews for the run of the each shows 
● Coordinating costume rentals, pickups and drop-offs 
● Coordinate community outreach initiative  
● Parent/Guardian Association liaison 
● Assume responsibility for closing facilities following rehearsals and performances 
● Post-Performance wrap-up tasks: 
o Complete professional evaluation of Artistic director, complete the self-evaluation form, and facilitate the “Student Evaluation of Director” form 
completion by cast members. 
o Assist with set strike 
 
TECHNICAL DIRECTOR 
● Coordinate with the Artistic Director and Production Manager to confirm a plan and vision for the production 
● Coordinate and supervise drama tech crew activities, including the creation or acquisition of all necessary: 
o Set pieces (construction, painting, décor, coordination of movement) 
o Props and furniture 
o Costumes 
o Lighting arrangements and cues 
o Sound programming and cues 
● Create and disseminate Show-Date roles and responsibilities (scene changes, etc.) 
● Delegate and monitor the responsibilities of the drama tech crew 
o Foster an environment in which students may teach and learn technical skills 
● Ensure that work spaces and backstage areas are clean and orderly at the end of each rehearsal 
● Complete term grade reports (pass/fail) according to the schedule provided by the academic office 
● Coordinate with Artistic Director to create end-of-trimester awards for all student participants 

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 ● Seek approval of the Artistic Director before making any expenditure for which you would seek reimbursement. For reimbursement for unexpected 
out-of-pocket expenses consult Drama Budget Supervisor  
● Post-Performance wrap-up tasks: 
o Complete professional evaluation of Artistic director, complete the self-evaluation form, and facilitate the “Student Evaluation of Director” form 
completion by technical crew members. 
o Coordinate and supervise set strike 
● In the event that the production staff does not include a production manager, the Technical Director is also responsible for creating a playbill and posters 
for the performance 
 
STAGE MANAGER 
Generally a responsible upperclassman, the stage manager is a valuable aid to the Directors and plays a critical role in backstage-front of house communication 
during performances. The stage manager should be a trustworthy student in good standing in the community, and should be able to work independently with 
minimal supervision. Although the Stage Manager is a student, he/she is treated as an equal among the artistic team and as such is expected to comport themselves 
in the professional manner expected of all staff members. Responsibilities included but are not limited to: 
● Participation in the audition, call-back, and casting process 
● Attendance at all rehearsals and performances. Duties will differ for each, and will be assigned by the Artistic Director 
● Maintain close communication with the artistic staff, and bring to the attention of the directors any individual of cast-wide concerns 
● Typical rehearsal responsibilities: 
1. Photocopying materials for auditions 
2. Communicating with cast about schedule changes 
 
PRODUCTION MEETINGS 
Production meetings will be scheduled for the production staff for each production. Production meetings should be attended by all production staff members 
including but not limited to artistic director, musical director, tech director, and stage manager. Meetings generally deal with discussions of scheduling, theatre space 
design/enhancements, and student-related concerns. These meetings are scheduled as needed and are usually facilitated by the Artistic Director.  
   

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DRAMA TECH PHILOSOPHY AND OBJECTIVES 

 
Drama Tech provides an opportunity for students to develop technical and interpersonal skills, coordinate and execute plans with fellow students and directors, and 
add their creative voice and efforts to the final production. The program intends to teach each student the value of individual and group effort, responsibility, and 
cooperation. As firm believers in the symbiotic relationship between cast and crew, we teach the importance of respect for members of drama performance and 
drama tech, and the integral role each group plays in putting on a show. While members of drama tech are expected to work under the direction of faculty and 
student directors, they are also expected to develop self-directive skills and a sense of personal responsibility and ownership for their work. 
 
BASIC DRAMA TECH JOBS 
SET CONSTRUCTION 
Set construction is responsible for building the main sets for the production. This includes creating building design plans, determining material needs and costs, 
taking inventory of backstage tools and supplies, building and painting the sets, and keeping all set pieces organized backstage. Set construction members are also 
responsible for returning all tools and materials to their proper locations at the end of every rehearsal. During the show, set construction responsibilities generally 
include, but are not limited to, moving and operating large set pieces between scenes and guiding actors around set pieces backstage. 
 
SET DÉCOR 
It is the responsibility of set décor members to make each set evocative of the mood and setting of the scene. Set décor jobs include researching appropriate art and 
architectural styles for each set, taking inventory of set pieces backstage and in storage, acquiring furniture and set pieces, and painting and decorating sets. Set décor 
members are also responsible for returning all tools and materials to their proper locations at the end of every rehearsal During the show, set décor responsibilities 
generally include, but are not limited to, helping set and strike set pieces between scenes and ensuring that all set pieces backstage are organized and in good 
condition. 
 
PROPS 
The propsmaster and other props members are responsible for creating and maintaining an inventory of all properties required for the show, building and/or 
acquiring all necessary props, and maintaining an organized and labeled props table. The propsmaster is also responsible for checking that all props are returned to 
their designated locations at the start and end of every rehearsal. During the show, propmaster responsibilities generally include, but are not limited to, keeping the 
props table organized, keeping track of all props, refreshing perishable props (i.e., food and drink), and helping set and strike props between scenes. 
 
COSTUME DESIGNER 
Students in charge of costuming are responsible for each student’s attire in each performance. Costuming responsibilities include taking student measurements, 
taking inventory of the costumes backstage and in storage, researching costumes available for purchase or rental, informing actors of which costume pieces they will 
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need to supply themselves, organizing the costume rack, and discussing costuming ideas with the Technical Director and Artistic Director. During the show, 
costumer responsibilities generally include, but are not limited to, helping actors with costume changes and ensuring that the costume rack and costume room stay 
organized. 
 
LIGHTING DESIGNER 
Lighting responsibilities include marking all lighting cues in the script, taking an inventory of lights and gels, creating a light plan and map for the show, arranging the 
lights as necessary, installing gels, programming the lighting board, running lighting cues during rehearsals, and setting up the spotlight if necessary. During the 
show, lighting responsibilities generally include, but are not limited to, running lighting cues from the booth and operating the spotlight. 
 
SOUND DESIGNER 
The sound operator is responsible for marking and listing all sound effects in the script, obtaining digital tracks for each sound effect (from databases, YouTube, 
CDs, or other resources), setting up microphones, and monitoring volume levels and sound balance from the booth. During the show, sound responsibilities 
generally include, but are not limited to, running sound effects from the booth. 
 
OTHER BACKSTAGE ROLES  
Some shows require specific functions from crew members during dress rehearsals and show dates. These responsibilities include, but are not limited to: running the 
main and rear curtains, raising and lowering the scrim, managing backstage lighting effects, managing backstage sound effects, and assisting actors. 
 
 
DRAMA TECH GUIDELINGS: BEFORE, DURING, AND POST-PERFORMANCE DATES 
IN THE WEEKS BEFORE THE SHOW 
General Rehearsal Guidelines: 
● Attire: ​clothes that can get dirty, closed-toed shoes. Wear safety goggles whenever you are using power drills—NO EXCEPTIONS. Anyone not properly 
attired for drama may be asked to change or leave and may receive an Absent Unexcused for the day. 
● Arrive ​early for each rehearsal and be prepared to check in with your Tech Director about specific jobs and responsibilities for the day. 
● Ensure the backstage and green room areas are clear and open. Discard any garbage and remove/relocate clutter to create open work spaces. 
● Maintain an orderly workspace. Ensure all work areas are clean and swept and return all tools to their proper locations at the end of every rehearsal. 
Planning: 
● Coordinate with the Artistic Director to arrive at a design and vision for the show 
● Design and construct all necessary sets for the production.   
● Catalogue and acquire all necessary props for the production. Ensure all props remain in their assigned locations when not actively being used for rehearsal. 
● Catalogue and acquire all necessary furniture and other set pieces for the production.   
● Assemble all necessary costumes for the production: check the costume stockpile, arrange for students to bring in articles, and order anything necessary.   
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 ●Make a lighting plan for the show. Design a comprehensive lighting map, arrange the lights and gels, and program the lighting equipment for transitions and 
effects. 
● Make a sound effect plan for the show. Gather all necessary sound effects and arrange them for quick access and transitions on the booth computer. 
● Catalogue all scene changes during the show. Coordinate set changes, prop changes, and costume changes. 
DRESS REHEARSALS AND SHOW DATES: ​GENERAL GUIDELINES 
● Wear all black​ unless otherwise directed. This means a black shirt (NO lettering or images), black pants, black belt, black shoes (​solid ​black, and black 
laces), black socks. The point is to look professional and not distract the audience during the show (especially during scene changes). If you do not have all 
of these items, you are responsible for purchasing them before dress rehearsals. 
● Don’t sit on anything that is used in the show​—chairs, set pieces, props table, etc. These pieces need to be accessed quickly and cleanly; if someone is 
sitting on them, set changes are suddenly slowed down. 
● Quiet backstage​. The audience can hear you no matter how quietly you speak, and you’re always louder than you think you are.   
o This also applies to movement. If you must move backstage, step as quietly as possible. Don’t stomp or drag your feet. 
● Clear the road. ​Make sure actors and tech have clear walkways and have access to their necessary materials. There must always be a clear designated 
walking space backstage for actors who need to get from one side of the stage to the other in a hurry. The props table should always be easy to access. 
● Listen. ​You should always be aware of what is happening on stage and backstage. Be ready for scheduled scene changes and unexpected surprises that 
need to be addressed.   
● Be part of the solution​. This is a very busy and often stressful time, and everyone’s trying to make it work. Be as helpful and positive as you can with your 
crew members, the cast, and the directors. 
● Practice, practice, practice​. There’s a lot of props and set pieces to be moved during the show, Practice these movements and scene changes as much as 
possible so that they’re second nature by the time of the show. Put everything in its designated location and move everything in the same manner and order. 
In a big show, you have almost no margin for error or uncertainty. Know every transition like the back of your hand. 
 
DRESS REHEARSALS AND SHOW DATES: ​PRE-SHOW CHECKLIST 
● Arrive at the times pre-determined by the Artistic Director and Tech Director. 
● Before the show, ensure that the audience seating area is clean and clear of trash and student belongings. 
● Run a brief check of lights and sound system 
● Seating lights on, fluorescent lights off 
● Check props 
o Perishable props (food and drink) prepared 
● Check costumes 
● Check sets 
● Check set pieces 
● “Doors Open At” sign posted 

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 ● Help PGA set up their snack table if necessary 
● Foyer is clean, no student possessions 
● Use the bathroom long before the show begins 
● Welcome theater patrons and distribute playbills at the door 
 
DRESS REHEARSALS AND SHOW DATES: ​POST-SHOW CHECKLIST 
● Ensure all props are returned to their assigned locations 
o Ensure all perishable props are either wrapped up or discarded. 
● Ensure all costumes are hung up in their assigned spots.  
● Ensure all set pieces and furniture are returned to their assigned locations 
● Turn off the stage lights and seating lights from the booth. Power down the booth equipment (both lighting and sound) and lock the booth window and 
door. 
● Scan the audience seats for trash and clutter. 
● Check the changing areas (boys ONLY for the boys’ section, girls ONLY for the girls’ section) for forgotten student possessions or errant costume pieces. 
 
THE WEEK AFTER THE SHOW: ​SET STRIKE 
● Ensure all props are returned to their proper storage locations or owners. Break down the props table. 
● Ensure all costumes are returned to their proper storage locations or owners. Clean up all hangers, racks, and other materials. 
● Dismantle and store sets as directed. 
● Ensure all set pieces and furniture are returned to their proper storage locations or owners. 
● Return all paint supplies, tools, and other materials to their proper locations. 
● Sweep/mop the entire backstage and Green Room. 
● Remove gels from all lights and return them to the gels folder in the booth. Clean the booth thoroughly—clutter, dust, everything. 
 
 
LOCATIONS AND ITEMS 
THE BOOTH 
The booth is the control center for every show’s lighting and sound. As of March 2014, the following equipment can be found in the booth: 
● Desktop (left-most on counter) with internet access 
● Light board with monitor 
o Manual and instructions for using the light board can be found in the shelves beneath the light board. 
● Sound board 
o Manual and instructions for using the light board can be found in the shelves beneath the light board. 

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 ● Lighting gels are in a black file folder on the rear shelf of the booth 
● The spotlight is kept under the theater seats across from the booth’s entrance (behind a removable wall). 
o The spotlight is heavy and will require more than one person to move safely.   
The booth contains some of the most expensive, sensitive, and important equipment in the Barn. That being the case, the following rules are immutable: 
● Absolutely no food or drink is allowed in the booth. 
● Keep the booth clean and organized. When things get messy, important and expensive equipment gets lost. 
● Lock the booth—both its front window and its door—before you leave for the day. 
 
PROJECTOR 
The Barn has a rear-projector backstage. Its power switch is the rightmost of the two light switches to the right of the backstage exit doors. Make sure to turn off 
the projector after every rehearsal and performance. 
 
SCRIM CURTAIN 
The scrim is very useful as a screen for rear-projected images or as a means of concealment. 
● The scrim is suspended on a crank system mid-stage. The operating crank is in the Green room. 
● Do not touch the scrim. Its material is both expensive and fragile. Advise all actors and tech crew to give it a wide berth when walking around the 
stage. 
● Before raising or lowering the scrim, make sure the stage is clear of actors and obstructions. 
● When raising or lowering the scrim, please be mindful of over-cranking. You don’t want the scrim to smack into the ground or get stuck in the ceiling. 
Watch the stage as you crank. Lock the crank after every use. 
 
RULES CONCERNING SET CONSTRUCTION 
● CHCH insurance liabilities prohibit students from using power tools. If major woodworking jobs need to be done, contact Buildings and Grounds for 
advice and help. The tech director may also consult the Business Office about the possibility of getting certified to use and monitor the wood shop. 
● Ordering supplies: many building materials can be obtained through requests to Buildings and Grounds. Trips to hardware stores are also common, 
though  
● When working with tools, students should always follow the following guidelines: 
o Wear goggles 
o Return tools to their proper location the moment you are done with them. 
o Keep your work space clean and away from the flow of traffic (don’t start a job in the middle of the floor). 
 

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THEATRE AND REHEARSAL SPACE POLICIES 
 
All rehearsal and performance activities must be scheduled. Theatre spaces must be requested in writing and scheduled through Gwen Pojasek, Chief Financial 
Officer. To request rehearsal spaces please contact Gwen Pojasek, Chief Financial Officer. It is best to submit a request as early as possible in order to ensure 
procuring the desired space and to avoid last-minute "emergencies." Available space at Chapel Hill-Chauncy Hall is limited; consequently, the priority list will be 
observed when assigning rehearsal rooms. 
 
PRIMARY: 
● The Barn Theatre (Key KSP 1) 
● The Dance Studio (Key KM3) 
SECONDARY: 
● The Woodshop (Key needs to be retrieved directly from Gwen Pojasek) 
● The Commons (Key KDA 1) 
 
All areas are not available at all times, however, and use of rehearsal areas must be scheduled in accordance with departmental guidelines. The priority list for all 
rehearsal spaces is:  
1. Mainstage Productions  
2. Approved Showcases  
3. Class-related rehearsals and activities outside of class time  
 
BOX OFFICE POLICIES (WINTER PRODUCTION ONLY) 
 
The CHCH Box Office allows facilitates the reservation and purchase of tickets for the Winter Musical Production ​only​ (for the fall and spring productions, no 
tickets are necessary). The Box Office is open Mondays through Fridays from 9AM – 5 PM. Tickets can be reserved by calling 781-314-0800. All individuals 
interested in attending the musical productions must have a ticket to enter the Barn Theatre. There are two ticketing options available: 
1. General Admission tickets are given at the door free of charge 
2. Reserved seating can be purchased ahead of time through the box office. Reserved seating ticket prices are: 
▪ $10 for Adults 
▪ $6 for Seniors (60+), CHCH Faculty & Staff, and CHCH Alumni 
▪ $6 for all students with any valid school ID.  

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● All college students must present a valid school ID (Driver’s Licenses are not acceptable) in order to receive the student discount.  
● All Complimentary tickets must to be picked up no later than 15 minutes before curtain go time or the comp tickets will be released and re-sold to patrons 
on the waiting list. 
● Purchased tickets are non-refundable. All sales are final, no refunds.  
● Complimentary tickets not picked up fifteen minutes before the show start time will be re-sold to patrons on the waiting list. Please advise your guests when 
using your comp tickets of this policy. 
● Faculty and Staff: if you are requiring that your students have their tickets or program signed to verify their attendance, the house manager will do this at the 
very end of the show.  
 
After tickets have been reserved with the Box Office they will be held at Will-Call on the night of the specified performance. Reserved tickets can also be purchased 
at the door with cash.   
 
   

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PROPERTIES POLICIES AND PROCEDURES 

 
All props are stored on the shelving in the Green Room. In preparation for performances a props table is usually set up backstage in order to allow actors to get to 
their props more quickly. The props construction area is located in the newly renovated lower level of the Theatre Wing in the Music and Speech Building in room 
B046. Props Storage is located in “Freezer 96” of the Administrative Services Building. Normal hours of operation in the Props Shop are from 1pm to 5pm 
Monday through Friday. Practicum students in props schedule hours with the Faculty Scene Designer. Additional hours may be scheduled when special work calls 
are posted on the Production Call Board.  
1. Properties owned by the Chapel Hill-Chauncy Hall Drama Department are available for use in main stage productions. Only Scene Designers, Prop Masters, 
and Stage Managers for those productions may access prop storage from the cene Design Faculty or Scene Shop Supervisor.  
2. The Stage Manager of each production is responsible for obtaining rehearsal props by arrangement with the production’s Prop Master. A rolling storage box 
is provided for rehearsal prop storage. Stage Management is also responsible for returning all rehearsal props by the end of strike.  
3. No prop or furniture may be altered in any way without permission from the Scene Designer Design Faculty.   
4. Food or other perishable props may be prepared and stored in the Scene Shop break area where a sink, refrigerator and microwave may be used. Label all 
production perishables with date of preparation.  
 
 

COMMUNITY OUTREACH INITIATIVE 

 
In the winter of 2013-2014 the Chapel Hill-Chauncy hall drama department began the community outreach initiative with the Nativity School of Worcester, an 
inner-city Catholic middle school for underprivileged boys. The initiative had two components: the first was that all of the earnings from ticket sales for the winter 
musical were donated to the Nativity School to help fund their drama program. The second component involved a group of CHCH students traveling to Worcester 
for one afternoon to hold the drama workshops for the Nativity boys. 
 
 
   

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 APPENDIX A 
Operating the Lighting Board 
General: 
1. Turn on the lighting board by switching the toggle switch on the backside of the board to “ON”. 
2. Turn on the monitor by pressing the power button located on the front of the monitor. 
 
Lighting Cues General: 
1) Make sure you are in stage mode 
2) To start the show, press "cue," then "1," then "go." Then push the A/B faders BOTH UP. From this point, you only need to press go to advance to the next cue. 
3) If sometimes happens, you can always select the cue you need to be on by pressing "cue" and then the number. 
4) To stop the cue progression, press "clear" at the top of the A/B faders 
 
WARNINGS 
1) Never press "clear" at the bottom of the number pad. Ever! 
2) ANY TIME you save a cue under a number, it will replace the original cue. That means that if you save a cue with a number between 1 and 108, that original cue will be gone. 
 
To create a cue: 
1) Set the lights how you want them. 
2) Press "rec" (it's on the bottom left of the keypad to the left of the numbers) 
3) Enter the number for the cue. 
***If that number cue already exists, this will overwrite it 
 4) Press "enter"  
 
To copy a cue​ (e.g. if you want to reuse the forest cue without having to redo it) 
1) Select the cue you want to copy by pressing "cue" 
2) Then enter the cue number 
3) Then press "go" (this selects the original cue) 
4) Then press "rec" 
5) Then enter the new cue number" 
6) Then press "enter" 
7) Now the original cue is still there, and reproduced in the new cue 
 
To change a cue: 
If it is a slight change: 
1) Select the cue you want to copy by pressing "cue" 
2) Then enter the cue number 
3) Then press "go" (this selects the original cue) 
4) Change whatever you want to change 
5) Then press "rec" 
6) Then reenter the cue number 
7) Then press "enter" 

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If it's completely different: 
Just follow the steps for creating a cue, then save it as the number of the cue you want to change. This will overwrite it. 
 
If you need to add a cue between two preexisting cues: 
(I.e. if you need to add a cue between cues 25 and 26) 
1) Follow all of the usual steps for creating a cue 
2) Make this cue number 25.1, this will save it between 25 and 26 
***This means up to 9 cues can be inserted between preexisting cues 
 
If you would like to make a cue happen instantly: 
1) Select the cue by pressing "cue," then the number, then "go." 
2) Press "time" (panel to the left of the numbers) 
3) Press "0" then enter 
4) Press "0" then enter (yes, do that twice). 
5) Now the cue will happen right away. 
 
If you would like to make a cue happen more gradually: 
1) Select the cue by pressing "cue," then the number, then "go." 
2) Press "time" (panel to the left of the numbers) 
3) Press the amount of time the cue should take (30 seconds is very slow), then enter. 
4) Press the amount of time the cue should take, then enter (yes, do it twice) 
5) Now the cue will happen more slowly 
APPENDIX B 
Operating the Sound Board 
 
   

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 APPENDIX C 
Barn Theatre Seating Chart 

 
 

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 APPENDIX D 

PROGRAM ORDER FORM

 
CHAPEL HILL-CHAUNCY HALL DRAMA 

BEAUTY AND THE BEAST  

 
February 20, 21, 22, 23 
Name   

Company (if applicable)   

Address   

City   

Phone    Email 

Advertiser’s Signature   

May we display a ​Beauty and the Beast​ ​poster at your business location?
Business Owners   
YES No 
Student Name   

 
 

 
AD SIZE ​(​check box below and circle price​)—Please use separate form for each ad submitted: 

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 SIZE/LOCATION  DIMENSIONS  PRICE  INCLUDES 

Outside Back Cover ​(color)​*  4.5 x 7.5 vertical  $300  6 complimentary tickets​** 
 
Inside Front Cover ​(black & white)​*  4.5 x 7.5 vertical  $200  4 complimentary tickets​** 
 
Inside Back Cover ​(black & white)​*  4.5 x 7.5 vertical  $200  4 complimentary tickets​** 
 
Full Page ​(black & white)  4.5 x 7.5 vertical  $100  2 complimentary tickets​** 
 
Half Page ​(black & white)  4.5 x 3.75 horizontal  $60 
 
Quarter Page ​(black & white)  4.5 x 1.875 horizontal  $40 
 
Eighth Page ​(black & white)  2.25 x 1.875 horizontal  $25 
 
Before purchasing outside and inside covers, check with Laurie Friedman ​lfriedman@chch.org​ to determine if they are available. 
*

If ad purchase includes complimentary tickets, please indicate your performance choice. You will be contacted by the CHCH Box Office regarding the 
**
details of your complimentary tickets. 

Thursday, February 20 Friday, February 21 Saturday, February 22 Sunday, February 23 

 
INSTRUCTIONS FOR SELLING and SUBMITTING ADS 
1. Complete Order Form. 
2. Payment: Checks payable to: Chapel Hill-Chauncy Hall Drama 
3. Electronic art work for ads is encouraged (e-mail artwork then hand carry or use U.S. Mail for order form and payment). 
4. Submit order forms, payment, and print​-r​ eady art by 1/31/2014 ​as follows: 
U.S. MAIL – Laurie Friedman, 785 Beaver Street, Waltham MA 02452 

E-mail –​LFRIEDMAN@CHCH.ORG 
 
 

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 Thank You for Your Support!
 
DEADLINE (order form, artwork, payment): FRIDAY, JANUARY 31 
   

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CHAPEL HILL-CHAUNCY HALL 
DRAMA DEPARTMENT 
   

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PROGRAM SPECIFICATIONS
 

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 34

 
 HALF PAGE AD 

4.5” x 3.75” 

Cost: $60.00 

QUARTER PAGE AD 

Horizontal 4.5” x 1.875” 
or Vertical 2.25” x 3.75” 
Cost: $40.00 

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 EIGHTH PAGE AD  EIGHTH PAGE AD 

2.25” x 1.875”  2.25” x 1.875” 

Cost: $25.00  Cost: $25.00 

 
 
 
 
FULL PAGE AD
 
4.5” x 7.5” Cost: 
$100.00 
 
 
PROGRAM AD SPECIFICATIONS 
• The program and all ads (except back outside cover) 
will be printed black and white. 
• Back outside cover ad will be printed in color. 
• Finished, trimmed page size is 5.5" x 8.5" with one- half-inch 
margins around. 
• All ads to be supplied in one of the following formats 
(no handwritten ads; please type your message): 
Electronic-MSWord, jpg, pdf formats accepted. 
Camera-ready artwork (typed with art or photo 
already in place, correctly sized and ready for printing). 
• Photographs: For best quality, submit an actual 

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 photograph or a high-resolution electronic or scanned image. 
Photographs will be returned. 
• All trademarks, logos and artwork must be furnished 
and suitable for reproduction. 
• Please attach all advertisement information to your order form, 
and be specific concerning all information that should be 
contained in your advertisement. 
• Include payment with order form. 
 
 

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