Virginia Tech
THEATRE ARTS DEPARTMENT

WORKSHOP PRODUCTION GUIDELINES

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PURPOSE & INTENT
• Workshop Productions are the arena where an aspiring young playwright may first hear the work read, where directing students may work a play or scene they find exciting, or where a group of students can together create an original ensemble piece. Workshops are intended PRIMARILY to be about the interaction of actor, director and script. Therefore, the "stuff" of sets, lights, and costumes is intentionally limited. While, designers are frequently involved in Workshop productions, the emphasis is on the ESSENTIAL tools of a high concept and low tech formulation and on the development of collaborative relationships between and among members of the design team.

APPROVALS & ENDORSEMENTS
• ALL WORKSHOP PRODUCTIONS MUST BE APPROVED. Approval forms are available in the Theatre Department office.
• DIRECTORS are qualified graduate and undergraduate students and, on occasion, faculty members. The Production Committee endorses the director as part of the Workshop approval process.
• Designers are also qualified graduate and undergraduate students and, on occasion, faculty members. Appropriate design faculty must advise the design/production process. The Design/Tech faculty may suggest, recommend and/or assign an appropriate designer.

TECHNICAL SUPPORT
• Technical support is intentionally LIMITED to insure focus on the primary transactions among director, actors, script, and audience.
• NO SHOP USE ALLOWED - space, facility, nor equipment!
• Set pieces may be pulled from stock, but not modified. Stock scenery, Properties, and Furniture must be cleared for use by the appropriate faculty/staff member.
• Costumes may be pulled from stock and altered minimally. Costume pieces must be cleared for use and alteration by the appropriate faculty/staff member (Jane and/or Necia)
• Lighting equipment is the available 204 inventory.
• Sound equipment is the available 204 inventory.

PUBLICITY/MARKETING
• Workshop productions are supported with LIMITED marketing resources.
• All Marketing and use of resources must be approved by the Division Marketing Director, Patsy Lavender.
• Audition notices, press releases, calendar announcements, fliers, programs or any other publicity tools are the responsibility of the director. The director must take care of posting and distributing publicity materials for his/her workshop.
• The designation "TA-UT Workshop Production" must appear on all printed matter associated with a Workshop Production.

FUNDING
• Financial support is by TAUT funds ONLY!
• Each PAB 204 workshop will have available to it the following funds: $50.00 to be used for expendable props (i.e. food) and materials
and another $50.00 to be used for publicity materials (i.e., photocopying of audition and performance announcements and programs). Scripts MUST NOT be photocopied.
• Receipts must be kept on all monies spent and then reconciled by the director and/or stage manager with the Department Bookkeeper, Pat Aldridge.

ROYALTIES
• Any piece under royalty must be arranged through the Department Head, Patty Raun.
• The director must make sure that Patty knows of the royalty requirements for the proposed piece.
• Don will contact the leasing agent and arrange appropriate royalty payment.
• The director MUST NOT, under any circumstances, contact the leasing agent.

ACCEPTABLE USE OF FACILITIES
• Common sense, thoughtful behavior, organized planning are required attributes of all Workshop participants.
• NO modification of the facility nor of the essential equipment and "systems" in any of the spaces in PAB is permitted.
• Proper and safe use of equipment is expected. DO not attempt to use ANY of the specialized lighting and sound systems unless you FULLY understand how to do so.
• Installations of setting(s) and lighting are expected to be workmanlike and "professional". The safety of actors AND audience is crucial.
• Rehearsal/Performances spaces used in PAB must be kept clean for use by others. This task is the responsibility of the entire production company. Scenery pieces (i.e. platforms, furniture, etc.) should be cleared to one end of the room and covered after rehearsal and/or performance.
• Facility/Equipment used for classes MUST remain accessible. Avoid blocking access to blackboards and projection screens.
• DO NOT interfere with the projection equipment in 204a (booth).
• The Room Reservation Policy and the procedures and expectations outlined in the Student Handbook apply.
• Dispose of trash; turn off lights and air conditioning when leaving.
• Lock all appropriate doors, cabinets when leaving.
• Report any problems with the facility or equipment to the appropriate faculty/staff.
 
LOAD-IN & TECHNICAL REHEARSALS
• Workshops will gain access to the performance space only AFTER the preceding production has completed strike.
• Workshops will be guaranteed access not more than one week before technical rehearsals are to start.
• Use the right tool for the right job.
• DO NOT tamper with, cannibalize, modify or otherwise alter the facility's equipment.

PERFORMANCE RUN
• Spaces used in PAB must be kept clean for use by others. This task is the responsibility of the entire production company.
• Scenery pieces (i.e. platforms, furniture, etc.) should be cleared to one end of the room and covered after performance.
• Costumes and Properties should be stored appropriately.
• Facility/Equipment used for classes MUST remain accessible.
• Audience seating must be stowed away between performances.
• Exit lights and safe methods of egress MUST NOT be compromised.
• Fire extinguishers MUST remain accessible.

STRIKE
• A COMPLETE STRIKE MUST IMMEDIATELY FOLLOW your final performance!
The entire cast, director, and all members of the production team are responsible for strike.
• The performance space MUST be restored for general use.
• STRIKE includes but is NOT necessarily LIMITED to:
Appropriate costume pieces must be returned to the Costume shop or storage.
Lighting Instruments must be hung on battens.
Cable must be coiled and stored neatly on shelves in booth.
Color must be returned to the Studio.
Sound Equipment must be properly stored.
Furniture, props, and stock scenery must be returned to appropriate storage.
Remove trash to the dump-cart outside the building.
Borrowed items must be returned in good order.
Extra masking must be removed, folded neatly, and stored.
Specialized Rigging must be removed and returned to storage.
Chairs must be returned to stacks.
Sweep the floor.
Clean the booth.
 
USE OF THEATRE ARTS TRUCK
• The truck may be used IF it is available and if a responsible driver can be found. If it is NOT available, you MUST make other arrangements. See Bill Barksdale, Kristen Morgan-Johnson and/or David Wedin to schedule truck usage.

BASIC TROUBLESHOOTING
The following list is not meant to be exhaustive. It does not cover all possible problems. However, it does cover the most common problems and is meant to suggest a basic process for dealing with equipment trouble.
• Relax!
• THINK!
• Take time, be methodical.
• Assume operator error. The problem is usually with the HUMAN interface. Read appropriate manual(s).
• Seek assistance from faculty/staff.
• DO NOT, under ANY circumstances, tear into the equipment!!!
NO LIGHT? --
• Turn OFF electricity BEFORE running checks.
• Even if "it was working a second ago", ALWAYS check the obvious:
Be sure all connections/plugs are properly engaged.
Be sure all switches/knobs/pots are in the proper position.
Check ALL wiring/cables for defects. (i.e. breaks, heat, smoke, melting)
Check appropriate lamp(s).
NO SOUND?
• Reduce volume levels.
• Even if "it was working a second ago", ALWAYS check the obvious:
Be sure all connections are properly engaged.
Be sure all switches/knobs/pots are in the proper position.
Check ALL wiring/cables for defects. (i.e. breaks)
Is there a signal at the Source? (i.e. Did the tape run out? Is the mic turned off?)