New Hampshire Educational Theatre Guild

t is our hope that the hosting of the Festival will be a joint venture of the staff, students, parents of students and the community. Our collective task is to make our guests feel as welcome as we possibly can. We should be helpful and courteous at all times, answer their questions, allay their fears and treat them as honored guests. These rather obvious statements are made because there have been festivals where this positive attitude was not present, where the hosts (both students and adults) acted as though they were doing everyone a favor by hosting the festival and where we felt as though we were some sort of bother or annoyance to them. We sincerely hope that this festival will be one that participants will long remember for the friendly and helpful atmosphere that all the hosts demonstrated.

It is impossible to anticipate every situation that could arise during the festival and accordingly, these guideline pages should be seen as an overview and a guide to Festival operations. Staff, adults and students should be aware that if a situation arises which is outside the confines of your information, it is best to refer the problem to the festival staff or board.

Some students will have time periods during which they will not be assigned to specific duties. If this occurs during a play session, you should simply become part of the audience and enjoy the performances. If you are not assigned during technical rehearsals or at other times, you should "mingle" with our guests inside, outside or anyplace students are gathering. Remember: even if you are not "on duty", our hosting responsibilities do not go away; you should try to help in any way you can. No one is to leave the school grounds, even if unassigned, without specific permission from the host.

HOW TO USE THESE GUIDELINES

now that the NHETG considers this document to be a guideline only. The methods suggested here are not absolute. In some cases more than one approach is presented. Each festival will and should be unique due to theme, physical plant and the various expertise of the individuals staffing it. Though signs and posters are listed here under Publicity, you may find it better to let someone from the Art Department handle these while some one from English, Journalism or a parent handles the press releases. That is fine and to be expected.

Make copies of this complete document to share with the key people on your staff. Have them read the whole thing so that they will better understand how everything comes together. Copy sections or individual pages to give to others. A school host may only need the page that pertains to School Hosts but a technical crew member should probably be aware of the responsibilities of everyone else on the technical crew.

This document was created in Microsoft Word and is available in electronic form from the board of the NHETG. It may be helpful to extract some of the tables or charts and modify them for your festival rather than starting from scratch. Maintaining this document in electronic form also means that it is dynamic. Please feel free to mark up a copy with red ink to show suggested changes, corrections, additions or deletions. Return it to the board for the benefit of future hosts.

HOST FESTIVAL COORDINATOR

he Host Festival Coordinator oversees all the preparations for the festival and its actual operation. The number one goal is to delegate the various responsibilities outlined in this document. The second priority is to make sure your delegates are accomplishing their tasks whether they are students or adults. If you recruit people from outside the world of the theater, they may not fully comprehend the true meaning of a deadline or that the show must go on. The Festival Coordinator can wear some of the other hats listed below but should be careful not to take on so much as to lose sight of the overall festival. Some of your delegates may abdicate their responsibilities, forcing the Festival Coordinator to step in and take up the slack. If all goes well, at festival time, the Festival Coordinator should be able to sit back and enjoy the well oiled machine in action. Don't hold your breath. Read these guidelines and then sit down with NHETG Council members and ask lots of questions.

Good luck.

REGIONAL PRE FESTIVAL TIMELINE

Post this timeline in a central location where the festival staff can track their progress and see how it all fits together. This is meant to be a guide. Write in actual dates. Modify it as needed.

1 year before festival

Meet with the NHETG Board members

Meet with your administration for permission & heads-up

Enlist the Production Staff

Distribute Hosting Guidelines to the Production Staff

Hold brainstorming sessions with the Production Staff

April - 1 year before festival

Attend a Regional Drama Festival with some of your Production Staff.

Schedule a summer meeting with the NHETG board at the state festival host site.

May - 11 months before festival

Hold additional brainstorming sessions with the Production Staff (monthly).

Establish preliminary building use.

Attend the Summer NHETG Festival Planning Meeting (at the state festival host site) __/__/__

Ask questions at this meeting regarding this document.

Meet with your administration to keep them up to date.

October - 6 months before festival

Hold Regular Production Staff meetings at least monthly.

Cast the festival - Production Staff appoints its assistants & staff members (students & adults)

January - 3 months before festival

Determine preliminary schedule proof by NHETG Board.

Attend the January NHETG Board meeting __/__/__(at the state festival host site)

Board distributes registered shows to Regionals.

Board & Hosts assemble packets.

Workshops for adjudicators & consultants.

Lunch.

Distribute packets to attending Directors & mail to others.

Building tours for Directors, Board & Hosts.

Meet with your administration to keep them up to date

February - 2 months before festival

Send a Festival Alert Memo to your office staff .

Include a tentative schedule & building use.

Give them any other information that might help them handle phones, faxes, mail & email.

Send a Festival Alert Memo to your faculty.

Inform them of the wide spread use of the building.

Friday - 29 days before Festival __/__/__

Program Layout complete except for school/show pages.

Make Name Tags for NHETG Board & Life Members and others you know of in advance.

Monday - 19 days before Festival __/__/__

Call directors who have not yet submitted program pages.

Lay out Show Tickets & Meal Tickets.

Monday - 12 days before Festival __/__/__

Finalize festival schedule proofed by President & TD.

Finish program layout of all schools.

Initial Program Proofing round.

Customize school/show specific decorations & posters (opt).

Tuesday - 11 days before Festival __/__/__

Assign schools to Home Rooms (opt).

Make name tags.

Finish all signs/

Wednesday - 10 days before Festival __/__/__

Final Program Proofing round.

Send a memo to the office staff including the final schedule.

Friday - 8 days before Festival __/__/__

Program goes to press or photocopier.

Monday - 5 days before Festival __/__/__

Registration packets printed 4 days before festival.

Name tags complete.

School/show decorations, poster & banners complete (opt).

Hang & focus lights.

Tuesday - 4 days before Festival __/__/__

Send a memo to all Faculty reminding them of festival.

Tell them to secure their rooms.

Catch up.

Wednesday - 3 day before Festival __/__/__

Registration packets assembled.

Rehearse Host MC speeches to the audience.

Thursday - 2 day before Festival __/__/__

Rehearse tours of the building.

Friday – 1 day before Festival __/__/__

Prepare the green room.

Prepare the set storage areas.

Empty wings & backstage areas of non festival essentials.

Rehearse the tech crew.

Tech shows of nearby school if possible.

Put signs up throughout building.

Decorate Home Base Rooms (opt).

STATE PRE FESTIVAL TIMELINE

Post this timeline in a central location where the festival staff can track their progress and see how it all fits together. This is meant to be a guide. Write in actual dates. Modify it as needed.

1 year before festival

Meet with the NHETG Board members

Meet with your administration for permission & heads-up

Enlist the Production Staff

Distribute Hosting Guidelines to the Production Staff

Hold brainstorming sessions with the Production Staff

April - 1 year before festival

Attend State Drama Festival with some of your Prod Staff.

Schedule a summer meeting with NHETG and other hosts usually held at your school.

May - 11 months before festival

Hold additional brainstorming sessions with the Production Staff (monthly).

Determine Festival Theme.

Establish preliminary building use.

Hold the Summer NHETG Festival Planning Meeting (at the state festival host site) __/__/__

Be prepared to ask questions regarding this document.

Meet with your administration to keep them up to date.

October - 6 months before festival

Hold Regular Production Staff meetings at least monthly

Cast the festival - Production Staff appoints its assistants & staff members (students & adults)

January - 3 months before festival

Hold the January NHETG Board meeting __/__/__

Board distributes registered shows to Regionals.

Board & Hosts assemble packets.

Workshops for adjudicators & consultants.

Lunch.

Building tours for Directors, Board & Hosts,

Meet with your administration to keep them up to date.

Determine preliminary schedule proof by NHETG Board.

February - 2 months before festival

Send a Festival Alert Memo to your office staff.

Include a tentative schedule & building use.

Give them any other information that might help them handle phones, faxes, mail & email.

Send a Festival Alert Memo to your faculty.

Inform them of the wide spread use of the building.

Pre-registration Packets mailed 2 weeks prior to earliest regional festival.

Friday - 27 days before Festival __/__/__

Program Layout complete except for school/show pages.

Make Name Tags for NHETG Board & Life Members and others you know of in advance.

Monday - 17 days before Festival __/__/__

Program pages gathered from Regional Festival finalists the day after each festival.

Finish program layout of all schools to date.

Get complete program from remaining regional festivals.

Lay out Show Tickets & Meal Tickets.

Tuesday - 16 days before Festival __/__/__

Initial Program Proofing round.

Saturday - 12 days before Festival __/__/__

The last day for regional festivals.

Sunday - 11 days before Festival __/__/__

Program pages gathered from the last regional finalists.

Monday - 10 days before Festival __/__/__

Finalize festival schedule proofed by President & TD.

Assign schools to Home Rooms.

Assign students to forum groups randomly.

Make name tags.

Customize school/show specific decorations & posters.

Add the last individual show pages to the program layout.

Finish all signs.

Tuesday - 9 days before Festival __/__/__

Send a memo to the office staff including the final schedule.

Final Program Proofing round.

Wednesday - 8 days before Festival __/__/__

Send a memo to all Faculty reminding them of festival.

Tell them to secure their rooms.

Thursday - 7 days before Festival __/__/__

Program goes to press or photocopier.

Monday - 3 days before Festival __/__/__

Registration packets printed 4 days before festival.

Name tags complete.

School/show decorations, poster & banners complete.

Hang & focus lights.

Tuesday - 2 days before Festival __/__/__

Catch up

Wednesday - 1 day before Festival __/__/__

Registration packets assembled.

Rehearse tours of the building.

Rehearse Host MC speeches to the audience.

Empty wings & backstage areas of non festival essentials.

Rehearse the tech crew.

Thursday Festival Begins __/__/__

Prepare the green room.

Prepare the set storage areas.

Tech shows of nearby school if possible.

Put signs up throughout building.

Decorate Home Base Rooms.

Festival Staff

Position	REGIONAL Staffing	sTATE Staffing	pre festival	During Festival
Host Festival Coordinator	Adult	Adult	X	X
Coordinator of Student Hosts / House Manager	Adult	Adult	X	X
Master of Ceremonies	1-2 Students	1-2 Students		X
School Hosts (1 or 2 per school) 12-24 students	6-8 Students	12-24 Students		X
Green Room Hosts	1-2	1-2		X
Runners	1	1-3		X
Ushers & Door Guards	4-10 (2/door)	4-10 (2/door)		X
Performance Timers	2	2		X
Host to Adjudicators	1	1		X
Student Forum Coordinator	Adult	Adult	X	X
Student Forum Facilitators	6-8	10-12		X
Publishing Coordinator	Adult	Adult	X
Program Publishers	1-2	1-2	X
Pre-Registration Packet Publishers	1-2	1-2	X
Amenities Coordinator	Adult	Adult	X	X
Meals	Adults & students	Adults & students	X	X
Snack Bar	0-4	2-4	X	X
Concessions	0-4	2-4		X
Home Base Decorations	(school hosts)	(school hosts)	X
General Decorations	0-4	2-4	X
Student Entertainment (Dance)	0-2	1-2	X	X
Technical Coordinator	Adult	Adult	X	X
Lighting Designer	1	1	X
Sound Designer	1	1	X
Stage Manager	1	1		X
Lighting Host	1	1		X
Sound Host	1	1		X
Load-In Host	1	1		X
Host Grips	2-4	2-4		X
Timers (Rehearsal & Set/Strike)	1-2	1-2		X
Closed Circuit TV	1	1		X
Registration Coordinator	Adult	Adult	X	X
Registration Desk	2-4 Adult/Student	2-4 Adult/Student		X
Registration Packets	2-4	2-4	X
Tickets, Meal & Show	1	1	X
Inside Signs	2	2	X
Name Tags	1-2	1-2	X
Publicity Coordinator	Adult	Adult	X
Publicity	0-2	1-2	X
Posters	0-2	1-2	X
Billboards	0-4	1-4	X
Inside Signs	1-3	1-3	X
Highway Signs	1-2	1-2	X
Award Writer	1 Adult	1 Adult		X
Coordinator of Consultants & Adjudicators	NHETG V. Pres.	NHETG V. Pres.	X
Consultant	1 Adult / Festival	1 Adult / Festival		X
Adjudicators	2 Adults	3 Adults		X
Nurse or E. M. T.	1 Adult	1 Adult		X

Building Needs

Many spaces will be needed for the festival to run smoothly. Identify these spaces early and show them to the board members

who are working with you for their approval & recommendations. Reserve these spaces with the building supervisor and staff

early to avoid booking conflicts. Some activities may be able to share spaces depending on scheduling

STATE FESTIVAL

Theater

Green Room / Dressing Room

Cafeteria for meals

Snack Bar / Concessions area

Registration Office or Desk in a lobby

Name-Tag computer & printer

1 Judges room *

1 computer with printer per judge

1 consultants office *

Access to photo copier

Close to equipment & person to make awards

computers & for awards

Directors Critique room *

Large enough for round table discussion of 25

Directors Lounge *

Provide for snacks & beverages

12 Home Base rooms (1/school)

10-12 Student Forum Rooms

*These rooms can be combined

REGIONAL FESTIVAL

Theater

Green Room / Dressing Room

Registration Office or Desk in a lobby

Name-Tag computer &- printer

1 Judges room *

1 computer with printer per judge

1 consultants office *

Access to photocopier

Close to equipment & person to make awards

1 or 2 computers & printers for awards

Directors Critique room *

Large enough for round table discussion of 15

Directors Lounge *

Provide for snacks, beverages & meals

6-8 Home Base rooms (1/school, optional)

6-8 Student Forum Rooms

Cafeteria for meals (optional)

Snack Bar Concessions area (optional)

*These rooms can be combined

Scheduling

Scheduling can be a tricky process. Use board members experience, past festival schedules and past hosts experience for guidance. Develop your tentative schedule early and have them review it.

Technical Rehearsal Scheduling

The earlier technical rehearsals should be scheduled for the closest schools.

Some of the closer schools may be willing to tech the night before the festival.

Try not to schedule technical rehearsals during meetings or Forum sessions.

Schedule Technical rehearsals for distant, late arriving schools between show blocks.

Technical rehearsals probably will not be in the same order as performances.

Make sure technical rehearsals come before performances.

Be careful not to tech so many shows up front that there are not enough spike tape colors.

Performance Scheduling

A show should not be scheduled to perform immediately after its technical rehearsal because each company needs its time in the green room to get ready. Occasionally a school may request to perform immediately after its tech. If that is what they want then do it. This is easier for set movement.

Allow time between show blocks for meals, Forums or critique sessions and for adjudicators to write critiques.

Try not to schedule similar shows during the same block.

Ending a block with a comedy can leave the audience with a good feeling or at least keep them awake.

If there are 2 productions of the same show in the festival, place them as far apart in the performance schedule as possible.

Keep Performance blocks to 2 or 3 shows long.

Pay particular attention to the length of each play and how long it will take to get the set in & out of the theater.

NHETG Meetings

(State Festival only)

Yes, in order to continue and evolve the New Hampshire Educational Theater Guild we need to have some meetings. During the State Festival there will need to be a meeting of the membership of the NHETG. This will involve everyone at the festival with the exception of the adjudicators and the consultant. For this reason, a good time for this meeting may be after the last performance of the festival and before awards and any other closing celebrations. At the very least this meeting will need to elect 2 students to the board and 3 adults. There may also be other items to be discussed or voted. The board of the NHETG runs this, meeting. A large space is needed such as the theater or cafeteria.

At a regional festival there is not usually a meeting but check with the board. Anything is possible.

Computer Needs

Computers are not necessary to run a festival but if someone can set things up properly they can be a great asset. Templates

should be set up in advance. Instructions should be printed as to how to use them along with examples. A person knowledgeable in these operations should be available during the festival. Preferably this should be the person who set up the systems.

Name-Tags

Chances are good these days that the festival program was laid out on a computer. By using these files the number of Name-Tag errors can be reduced. These files can be copied and imported into a database or some other system that can be used to produce Name-Tags. A system can be located at or near the registration desk so that Name-Tag corrections and additions can be handled on the spot. Many packages of Name-Tags come designed to go through printers. They even include instructions of how to setup popular word processors for Name-Tag printing.

Participation Awards

Once the program pages have been corrected from the directors proofing sheets, they can be printed out. These corrected program pages can be used by the folks creating individual award certificates. These pages can also be used in framed gifts that may be created. The lists of names in these files can be cut and pasted onto participation awards.

Award Certificates

Create and print award certificates with a high quality printer. A single computer can work here but 2 computers with 2 operators would be better to speed throughput. The Awards are printed on preprinted forms that may not work in a laser printer. An INKJET printer would be best for this purpose using a script font. There are 2 different kinds of blank Award Certificates. A separate template should be created for each form and tested prior to the festival. 2 printers would be nice for speed but 1 will suffice. Print possible awards throughout the festival to avoid a printer bottleneck at the end of the festival. At the end of the festival decide which awards to present and which to tear up. Do not allow a persons name to be split on 2 lines. Please refer to the separate Awards Instruction.

Judges' Comment Sheets

There should be one computer for each judge. One printer will work if it can be networked to or easily switched among these computers. Easy to use templates are an imperative here. Templates do exist for Microsoft Word For Windows and Claris Works for Macintosh. Contact the board for these templates.

Facilitator Guide Lines for Student Forums

(State Festival only)

The purpose of Student Forums at the NHETG State Drama Festival is to give students the opportunity to exchange ideas and to ask questions relating to the productions they have just seen. Each group will be comprised of students from all production companies. A marking on the students name tag will determine Student Forum assignment.

The job of the Forum Facilitator is fairly straight forward:

Enjoy attending a block of performances.

Meet with the group of students assigned to you in the room assigned by the host

Establish a comfortable and easy going atmosphere. Arranging chairs in a circle with the facilitator just another point on the circle can help relax things or perhaps sit outside the circle.

Divide the time spent discussing each show evenly. Hold to that time even if the discussion wants to go longer. If a later show seems to need less discussion, reallocate that time to the show that needed more time.

Be aware that students from the play that is being discussed will be present at the Forum. Without censoring the discussion please remind students of this fact. Encourage them to focus on the positive while still allowing students to disagree. Generally, students are very sensitive to this.

Remind students that at least half of the students at the festival are involved with the technical aspects of their show. Try to balance the Forum to reflect this.

The primary job of the facilitator is simply to let the discussion unfold. Do not enter into the discussion unless it is necessary to offer some guidance. If there is a lull, suggest an aspect of the show that the group might consider.

Please be aware of group dynamics and try not to let one or two students dominate the Forum. Encourage vocal participation from all students. You might even try having each student offer a question or comment round-robin style.

Publishing

(Regional & State Festivals)

Establish a stationary design and use it for all packets and letters. Try to incorporate the NHETG logo and the host festival logo in the design. These could be placed in corners or shaded in the background Do not use shaded things behind forms they will not fax or photocopy well. In the header or footer, include:

(year) New Hampshire (State / Regional) Drama Festival

At (name of host facility or organization)

Host Festival Coordinator (name)

Technical Director (name)

Home Phone & hours

Work Phone & hours

Fax numbers

Email Address

Regional Pre-registration Packets for Schools

(Regional Festival only)

The Pre-registration Packet is intended to provide information about the festival to attending schools before they arrive. It will also include forms the attending schools will complete and return to the host. Regional hosts should bring sufficient copies of this packet to the January meeting held at the State Festival site. At this meeting these packets will be augmented with sheets from the State Host, the representative to the New England Drama Council and the President of the NHETG. When directors arrive later that day for the tour of the State Festival site the Regional Host can present them with their packets. The forms included in the packet should be completed and returned to the host the day after each regional festival.

Format:

Every Page should contain vital information such as the festival name, the document title, name & phone numbers of the host & technical director and page number. Put forms that need to be returned to the host at the end of the packet or staple separately. The forms should be on white paper for easy faxing but the rest of the packet should be of a different color so the forms will be more noticeable.

State Festival Pre-registration Packets for Regional Finalists

(State Festival only)

The State Festival Host should have these packets delivered to the regional host at least 1 week before the earliest regional festival. The Pre-registration Packet is intended to provide information about the festival to attending schools before they arrive. It will also include forms the attending schools will complete and return to the host.

Format:

Every page should contain vital information such as the festival name, the document title, name & phone numbers of the host director & host technical director and page number. Put forms that need to be returned to the host at the end of the packet or staple separately. The forms should be on white paper for easy faxing but the rest of the packet should be of a different color so the forms will be more noticeable.

Pre-Registration Packets for Others

(State & Regional Festivals)

(NHETG Board, Consultant, Adjudicators, Forum Facilitators & Life Members)

These packets need to be mailed a few weeks in advance of the festival. Many of the items listed below can be identical to those sent to the schools as listed above.

Following is a list of packet contents:

A cover letter specific to each group which includes a list of enclosures (Table of Contents). This way the reader can tell if anything was inadvertently omitted.

An explanation of expectations & responsibilities of the position if applicable.

Directions and map to the festival site

Tentative Schedule

Meal Plan including menu if applicable

Housing Information

Meal Registration Form if applicable

PROGRAM SPECIFICATIONS

The programs need to be completed (printed, collated, folded & stapled) by the end of the day on Tuesday, the week of the festival, so they can be inserted into registration packets Wednesday.

It is recommended to see both the NHETG logo and the host Festival Logo incorporated into the program somehow.

Please double proof everything. People really like to see their names spelled properly in these things. In fact an adult outside of the program layout project should have the final proof. If this is a student project for credit and the proof reader finds errors, maybe it should effect the grade.

An asterisk beside a name means that person is an adult. This indicates to all that this was not student work and does not qualify for an award.

The Schedule will probably not be final until Tuesday, the week (9 days) before festival. Layout the tentative schedule early and edit it when all the information arrives. Schools will be calling with program changes. In fact some will come in through the registration desk the day of performance, long after the programs have been printed. We will want to continue to update the files so they can be used for awards and gifts in the closing ceremony. Please keep these files where they can be found later.

The program should have a formal & professional look to it. All participants should follow the format set forth on the “Sample Program Page” included in the Pre Registration Packet. Use this as your guide to format the program.

There may also be some advertisements at the back of the program.

Following is a typical layout:

Page Content

Cover

Schedule (inside cover)

Dedication or Advertising or ?

Notes on theater rules (no photos, no food, etc) & NHETG Board Members

Adjudicator & Consultant Biographies

Festival Staff

Show 1

Show 2

Show 3

Show 4

Show 5

Show 6 (minimum size of a Regional Festival)

Show 7

Show 8 (maximum size of a Regional Festival)

Show 9

Show 10

Show 11

Show 12 (Maximum size of a State Festival)

Building Campus map (inside back cover)

Back Cover

The actual number of pages will depend on the number of shows in your festival.

Festival Amenities

Nurse / EMT

A nurse or EMT should be in the building from the first rehearsals through the closing awards. This person needs to be easily located by any host at any time. They may have a reserved seat in the theatre near a door. The first aid station should be shown on every tour.

All of the following amenities are optional at the host’s discretion. Be sure to publish what concessions and meals you will or will not be providing.

Theme

A theme can be a nice touch at a festival. It can also help tie together decorations, printed materials and concessions. A theme is not, however required. In fact, most Regional Festivals do not have a theme. Many hosts have found that after choosing a theme everything else just falls into place. Design a logo and T‑shirt based on the festival theme.

Decorations

Decorations are not required but can add a nice welcoming touch to a festival. Most Regional Festivals do not use decorations. Areas to decorate might include the lobby, cafeteria, theater and guest home base rooms. Decorations can become expensive but donations in kind along with a little creativity can go a long way. Also look to the outside of the building for ideas. It sets a good tone to see some thing from the bus as a group arrives.

Host T-Shirts

It is important that festival guests be able to easily identify festival hosts. A special color T-shirt is one way to accomplish this. The T-shirt can be printed with a festival design.

T-Shirts & Other Concessions

Concessions can be handled by your staff or by some other organization. Let your imagination run. Typical items might include T‑shirts, boxer shorts, hats or mugs printed with the festival logo. Find out what is hot this year. The same design used on the host T-shirts can be used on T-shirts for sale to guests but these shirts should be of a different color. T-shirt order forms might be included with the Pre-registration Packet. T-shirt concessions are not required. Get suggestions & information from last year's host. Try to track and summarize your sales for reference by future hosts. There is some question as to the economic feasibility of concessions at a Regional due to the limited number of prospective customers.

Food Concessions

This can be a big money maker at both State & Regional Festivals. The wider your variety the more takers are likely. Ideas may include snack foods, pastries, fruits, sodas, juices, sandwiches, grill items, pasta, pizza. Remember it is not all kids who want to eat “junk food” and you will serve a number of adults too. A parent or other organization can take this over and make money either for that organization or for you. Get suggestions & information from last year's host. Try to track and summarize your sales for reference by future hosts. Look to wholesale grocers as a resource or for donations. These are the folks who supply the restaurant. Perhaps they have a damaged carton that they can't sell but whose contents are fine. Also contact local bottling companies, grocery stores and fast food restaurants for donations in kind.

Meals

Providing meals on site can help your festival (particularly States) run more smoothly. If meals are not provided on site, extra time needs to be built into the schedule to allow folks to get to and from restaurants. In some cases this is the only option. Meals may be provided by the school cafeteria staff, a caterer, a group of parents or some other organization. Regardless of who provides this service, do not assume that they know best how to serve a festival meal. Generally there is not much time for a meal. Therefore the speed with which a meal can be served becomes critical. The number of serving lines can be critical. In a self serve situation try having lines on both sides of each serving table. Place plates at the beginning of the serving table and napkins, utensils, drinks & condiments at the end or at another location entirely. Another option is to have the food distributed ahead of time at the dining tables. This can work at breakfast sometimes or at a meal of pizza. Yet another option would be to preset the tables and have parents or some organization serve the meals to the tables. This can be done family style with large serving bowls & dishes. Keep meals simple and inexpensive. The host should break-even on meals. This is not the place to make your profits. People have to eat. Remember teenagers have big appetites. Try to offer variety at each meal. Include nutritious vegetarian options. This does not mean just leaving out the meat. Substitute bean or dairy products. Include nutritious diabetic options. Consider possible religious restrictions if there is a holy day involved.

ENTERTAINMENT

Opening Ceremony

(optional) The ceremony will set the mood for the festival. A brief introduction by a dignitary or administrator may be in order. It is common practice to introduce each school and production. Please warn outside speakers that this is a festival and not a competition. Be careful to schedule the opening ceremony when all can attend. If it is immediately before the first production it can be difficult for that company to attend.

Student Entertainment (Dance)

(optional) Usually there is some form of student entertainment on Saturday night before the closing ceremony. Provide chaperones so that directors and board members can abandon their charges occasionally. This event is frequently a dance but not always. Be creative. Choose a theme. A dance on stage can be nice considering the sound system and lighting possibilities.

Closing Ceremony & Awards

A bare stage, a table or 2 and perhaps a microphone are usually all that are required to facilitate the awards presentation. Check with the NHETG President or board member present & Festival Consultant on the format of the ceremony. Award presentations are usually handled by the adjudicators, consultant & board members present.

Publicity

Publicity can serve several purposes. It can raise the awareness of your local community, which will help you when trying to find volunteers and donations of goods, services or funds. It can help sell tickets. This is good theater and if you have the space sell tickets to the public. Often the public does not realize they are invited. Publicity can also be a feather in the host's cap and help to bring validity to the hosts own program.

Send press releases and public service announcements to:

Newspapers throughout the state for the state festival

Local area newspapers

Local TV

Cable TV

Local Radio

Try to get onto any bulletin board, calendar, arts hot line, weather channel ticker that the above organizations may offer. Let the world know something big is happening and it is happening in your theater.

INSIDE SIGN SPECIFICATIONS

Inside Signs need to be completed (printed & organized for distribution) by the end of the day on Tuesday, the week of the festival so they can be put up Thursday.

Why Inside Signs? We want folks to know how to get where they need to go. Do you remember your first day in this building? I'll bet it was confusing. Realize that many of your guests have never been to your facility. Frequently there is little time to get from one place to another and not knowing where you are going to begin with, doesn't help.

Basically, there should be signs giving directions to everywhere from everywhere. That is to say, everywhere people are likely to need to go. Each of the following places will need signs identifying them and some giving direction to other places.

Places to be identified

Theater

Green Room

Set Storage

Stage

Cafeteria

Rest Rooms

Registration / Information

Student Forum Rooms

Home Bases

Lighting / Sound Booth

Directors Critique Room

Directors Room / Lounge

First Aid

Snack Bar (optional)

T-Shirts / Concession (optional)

Sign post locations:

Theater lobby

Stairwells

Main Entrances

Cafeteria

Corridor intersections

Other

Other parts of the festival may also request signs. Check to see what they could use.

Snack Bar

Registration

Concessions

There should be signs on every theater door that say "Quiet Show or Rehearsal in progress".

Make a map of the facility and plan what signs should go where. The signs should be large and easy to read. Maybe they should

include the festival logo or some other common decoration in keeping with the festival theme. Keep an inventory of what signs go where so they can be replaced if they disappear. If the signs are made on a computer, save them on a disk.

HIGHWAY SIGN SPECIFICATIONS

Highway Signs need to be completed (printed & organized for distribution) by the end of the day on Tuesday, the week of festival

so they can be put up Wednesday.

Highway signs should help people find the festival. Schools and parents will be coming from all corners of the New Hampshire.

They probably have never been here before. Seeing a sign is very reassuring for the long distance traveler.

Directional signs should be located at all intersections near the host facility and any major highway exits. These signs should at least have the NHETG logo and an arrow. They need to be big enough to be seen from a passing car.

Some sort of sign or decorations outside of the building can help guide folks to the proper door.

At the end of the festival signs will need to be taken down so they do not become litter.

POSTER SPECIFICATIONS

(This is optional for your own advertising.)

Posters need to be completed (Printed & put out in public) by the end of the day on Friday, 2 weeks prior to the festival. If these posters can be done early enough it can be nice to mail them to the performing schools so that they can advertise too.

Posters should include:

(host facility name)

Presents

New Hampshire (State / Regional) Drama Festival

(6-12) Performances

Public Invited

Schedule of all performance titles, schools, times & dates of performance blocks

Ticket Pricing

Where tickets can be purchased

Try to include the NHETG logo and maybe the host Festival Logo. Sometimes these things can be placed in the background.

BILLBOARD SPECIFICATIONS

(This is optional for your own advertising.)

Billboards need to be completed (Painted & put out in public) by the end of the day on Friday, 2 weeks prior to festival

Billboards should include:

(host facility name)

Presents

New Hampshire (State / Regional) Drama Festival

(6-12) Performances

Public Invited

Thursday (date)

Schedule of block start times

Friday (date)

Schedule of block Start times

Saturday (date)

Schedule of block start times

Try to include the NHETG logo and maybe the host Festival Logo. Sometimes these things can be placed in the background. A Regional Festival would only have a Saturday Schedule.

REGISTRATION & INFORMATION

(Students and Adults)

The main task will be to greet school representatives as they arrive and to review with them packet materials and other Information. Some Schools may send student stage managers to registration, but in most cases, the director will register their school.

When the school arrives, the School Guide will be sent to greet them and bring them to the registration desk. It will be up to the guide to acquaint them with the school layout, unloading their set, tech rehearsal procedures, etc. You may well be asked questions about ANY aspect of the festival.

Registration personnel should ask the director if there are any students / adults that do not have name tags; if so, make a list of these names and make the name tags for them.

Registration personnel should also ask the director, at his / her earliest convenience, to check the printed program for any corrections. This is for award preparation. You should receive the corrections and turn them over to the head of registration and the festival consultant.

A table similar to the one below can be very useful at registration:

REGISTRATION STATUS
Tech Time	Show Name School Name	Attnd St+Ad	Meal Count	$pd due	Med Form	Regstrtn Form	Progrm Page	Est Time Of Arrivl	Name Tags
7:00pm th	A Show A school, town	Students Adults	Num of meals	Paid/ (Due)	Date recvd	Date recvd	Proofed by director	Estimated arrival time	Number needed
9:00am fr	Another Show Another School,town	23+2	20	$80	3/28	3/28	Yes	8:00am fr	25
5:00pm th	Some Show Some School, town	15+1	16	(64)				4:30pm th	16

Registration Packets for Schools

This packet is presented to participating schools upon arrival at the festival when they check in at the registration desk.

Attached to the packet:

Name of student host(s) (indicate on cover)

Home Room assignment (indicate on cover)

Amount owed for meal tickets

Medical Forms needed

Any other items or notes pertaining to this school

Contents:

A copy of the program page to be corrected by the director and returned to the registration desk as soon as possible during the first day of the festival. This is so that corrections can be made before awards are printed.

Meal tickets

Name Tags with large first name and large show title. Other information can be small. This usually works as a pass to see the shows.

A Program for each member of the company. By delivering the program in this packet and only giving ticket holding members of the public programs at the door there can be a savings in publishing costs. If the following 2 items are included in the program, participants have fewer things to hold on to. It may also be a good idea to personalize each program with the participants’ name on the back.

A Festival schedule for each member of the company.

A map of the building / campus with relevant areas marked.

Registration Packets for Others

(Board, Consultant, Forum Facilitator, Adjudicators, Life Members)

These packets should be available at the Registration Desk and should contain:

An explanation of expectations & responsibilities of the position

Name-Tag

Meal Ticket

Program

Map of Building

Schedule

NAME-TAG SPECIFICATIONS

The Name-Tags need to be completed (printed, assembled & taped shut) by the end of the day on Tuesday, the week of the festival so they can be inserted into registration packets.

Chances are good these days that the festival program was laid out on a computer. By using these files the number of errors can be reduced. These files can be copied and imported into a database or some other system that can be used to produce Name-Tags. A system can be located at or near the registration desk so that Name-Tag corrections and additions can be handled on the spot. Many packages of Name-Tags (not just labels) come designed to go through printers. They even include instructions of how to setup popular word processors for Name-Tag printing.

Name-Tags at the Festival serve multiple purposes:

The Name-Tag acts as a pass to get someone in to see the shows without a ticket.

The Name-Tag should make it easy to identify a person’s first name for easier introductions. Therefore, the first name should be big and bold.

The Name-Tag makes it easy to recognize a person’s show and ideally position/role. Try to make these items big too.

The Name-Tag will also have a small number, letter or decoration in the corner to indicate a Student Forum. (States only)

Name-Tags may also be used as meal tickets with an indication in another corner. (Optional)

The Name-Tag should contain:

First Name (Biggest)

Last Name

Position / Role

Name of play (Big)

Name of school

Student Forum Identifier (a single character or a room number) (small) (States only)

Meal Plan Identifier (might be a tag color or character or stamp) (small but special, not easy to forge)(Optional)

The Name-Tag might also use the festival logo in a corner or in the background.

At a State Festival, Name-Tags need to be rugged enough to survive 3 days of technical rehearsals, plays, Forums, workshops, fun & games and a couple of nights on the road. Pin-on plastic name tag holders work well. At a Regional Festival, Name-Tags only need to survive 1 day. Self adhesive name tags may be adequate. The name tags need to be large enough to hold all the above listed information. If plastic name tag holders are used with paper inserts, the inserts should be taped in and the holders taped closed.

The total number of Name-Tags will be around 400 at a state festival or 300 at a regional festival(don’t forget hosts). This means we need an efficient means of creating and printing Name-Tags.

The registration desk should have the ability to create Name-Tags on demand at the request of a director during the festival. This is for corrections and additions. If students are allowed to request name-tags without their director things may get a bit out of hand with requests for nick names or jokes.

SHOW TICKET SPECIFICATIONS

The Show Tickets need to be completed (printed, cut & numbered?) by the end of the day on Wednesday, the week of the festival so they can be available for sale at the festival unless you plan to sell tickets in advance.

Tickets are not generally used for festival participants but are sold to members of the public and parents who come to see the shows. Name-Tags act as tickets for participants. Typically one may purchase a ticket for a block of shows, for a day of shows or for the entire festival. The more shows paid for at one time, the better the deal. There are 2 basic approaches to festival tickets. The first is to make a different (color) ticket for each block of shows. The other is to make a universal ticket which can be used for all blocks. How all this is handled is completely at the host’s discretion.

The Block Ticket Approach:

A person can buy a single block ticket for one price or a day’s worth of block tickets for another price or all block tickets for yet another price.

Each Block Ticket is of a different color stock

The block date & start time is printed on the ticket

The show titles & school names are printed on the ticket (optional)

Maybe include the logo (in the background)

The Universal Ticket Approach:

List all 6 show sessions on the ticket.

Include session start times on the ticket

Include festival dates.

Maybe include the logo (in the background).

The box office folks can cross out sessions that the ticket is NOT valid for with a marker.

Ticket art work can be laid out on most word processors, photocopied onto colored paper and cut on a paper cutter.

MEAL TICKET SPECIFICATIONS

The Meal Tickets need to be completed (printed, cut & numbered?) by the end of the day on Tuesday, the week of the festival so they can be inserted into Registration Packets.

There are 2 basic approaches to meal tickets. The first is to make a different ticket for each meal. The other is to make a universal ticket which can be used for all meals. How all this is handled is completely at the host’s discretion.

The Individual Meal Ticket Approach:

Each meal has a different color ticket

The date and name of the meal is on the ticket (Friday Lunch)

Directors can distribute tickets for a meal just prior to that meal so folks have less chance of losing them

Tickets are collected or torn by the host staff at the serving line

The Universal Ticket Approach:

List all Meals on the ticket.

There are fewer little pieces of paper to deal with but a higher potential for loss

Tickets are marked or punched by the host staff at the serving line

Use the festival logo on the tickets or in the background.

Ticket art work can be laid out on most word processors, photocopied onto colored paper and cut on a paper cutter.

Making Meal Tickets a different size from show tickets reduces confusion.

Coordinator of Student Hosts

This person will find and train 1 (or 2) student to host each school for the festival. These students must be friendly, outgoing and helpful for the entire festival. They also need to be with their guests all the time. The students need to become familiar with every aspect of the festival so that they can answer questions. They also need to know where to go for answers they do not know. These students should rehearse giving tours of the facility.

This person will also find Ushers, Door Guards & Runners.

Following are some arguments for and against 2 hosts per school:

The argument for 2 hosts per school:

2 hosts can share the responsibilities. One might be well versed in the technical aspect and the other in the non- technical aspects of festival.

One host can stay with the group while the other goes on an errand to get a question answered.

It’s a better host-to-guest ratio.

More student involvement from the host school.

The argument for 1 host per school:

With one host responsible for everything there is no one to abdicate to. The host can’t say “I thought my co-host was taking care of that”.

The guest group only has one face to remember.

The host is more inclined to interact with the guests because there is no one else.

A smaller festival staff is more manageable.

It may be a good idea to assign 2 hosts only to large groups.

CONCESSIONS

(students)

You will be responsible for selling T-shirts or whatever the host school is selling. Do not leave cash unattended. Track the quantities of things you sell so that future festivals can better determine how much to order.

BOX OFFICE PERSONNEL

(adults)

Box Office and Registration & Information desk functions may be combined depending on physical location and staffing.

Responsibilities:

1. Sell tickets to visitors. There may be different Tickets for different sessions.

2. If a student or adult Festival participant has lost their name tag, have their director go to Registration to get a replacement. If there is not enough time, write down the name & show and issue a ticket for the current show or block.

3. If available, please answer the phone. During a production, no one in the audience can be interrupted, so messages must be taken carefully. Use your discretion, some messages can be folded and tacked to a bulletin board in the lobby. There will be door guards stationed in the lobby who can do this for you or serve as runners if necessary. The host will check in for messages periodically. The House Manager may be wearing a headset in case an emergency message must get backstage.

RUNNERS

(Students/Adults)

It is often a good idea to have 1 or 2 people with no specific job. They should stay close to the registration desk or lobby. They will be useful to run errands or fill in for someone who is missing. It is convenient if these people have cars & licenses.

SCHOOL HOSTS

(Students)

The individual school hosts should plan to remain with their school during the entire festival experience. School hosts should view this as an opportunity to get to know our visitors better than anyone else.

Hosts should be available during the registration period so that you can greet your group as they arrive; if you can meet them outside, so much the better. If they arrive in a bus or large van, know where this vehicle and their truck should park.

After your group arrives and you help them register, give them a tour of the school. (If they arrive just in time for their tech rehearsal, do this afterwards) Bring them to the dressing room area first. If the host to that room is there, they will explain the use of the area, if not, please explain the process yourself. Everything you need to know is listed in the job description for Green Room Personnel. Show them where they’ll load in and out, introduce them to the load-in host, point out the cafeteria, the directors’ / adults’ lounge, Directors’ Critique room, student Student Forum rooms, bathrooms, the gym and any other available facilities, and their home base classroom.

Reminders to tell each group:

1. Where guest students are allowed to congregate and when.

2. The location of the directors’ (and other adults) lounge.

3. Name tags will be used for admission to the theater for play sessions, possibly as a meal ticket and as a pass to Student Forums. Do not lose your name tag. (If plastic tag holders are used, they should be taped closed on the sides.)

4. Where and when play programs will be distributed

5. When and where meals will be served

The snack bar location and hours.

Other

The Festival “headquarters” is usually the Registration/Information table/office.

The host school should determine in advance whether hosts may leave the school with their guests after their tech is over or during free time. If this is the case inform the information office where you will be going. Be prepared to make suggestions to the visiting director of things they can do during free time.

You should get a copy of your group’s program page so that you can begin to learn names before the group arrives. Get a copy of technical requirements so that you will know how much set they are bringing and find out where it will be stored from the Load-In Host. Anything you can do to personalize the festival experience for your school and to anticipate their needs, you should do.

Specific things you should do are:

Be familiar with Festival rules; get a copy and study it.

Know the load-in and storage procedures and areas.

Decorate the classroom that your school will use as a home base.

Remain in the theater with your group during their technical rehearsal.

Point them to the right people with their questions.

Be in the Green room with your group during the preparation before their show.

Watch their performance from the theater.

Know where people and things (like sets) belong at all times.

Check the attendance of the students in your group at the beginning of each play (except theirs & the one prior) and report to the house attendance coordinator. (Find out who this is.)

GREEN ROOM EQUIPMENT

Make-up Mirrors

Clothes Rack

Cleaning Supplies

Paper Towels

Iron & Ironing Board

Sewing Machine

GREEN ROOM PERSONNEL

(adult & student)

You are responsible for keeping the green room, dressing rooms, and bathrooms neat and ready for our guests. If there is a door to the stage in this room you must also guard this door, so that no one enters the stage during a rehearsal or performance.

1. These people must have the access to toilet paper, paper towels and other supplies.

2. Know where cleaning materials are.

3. When the first play of a session begins, another school will be getting ready in the green room. Remind them to be quiet, if they can be heard by the group on stage.

4. If the play being performed finishes early, and there is time before the next show, that cast might think they can come back and change out of costume. They CANNOT, because that would interrupt the school preparing for performance. An adult can come back to get valuables, but the casts must wait until the end of the session to change.

5. Each school will have at least 40 minutes to get ready for their show. At that time, the green room is totally theirs and no one else should be back there, including host school students (except those assigned there and the host to the school). During that 40 minutes, after they’ve gotten into costume and makeup, they must also clear the counters and place their belongings in their assigned storage area (this may be a closet, cabinet or small room nearby).

6. Check your program for the time that their performance starts. Note that their setup will begin 5 minutes or so before their performance time. About 15 minutes before performance time, politely remind the cast or director that they need to clear the counter and put away their belongings before they perform. Let them know you are willing to help if needed.

7. Adult: Let the director and cast know that they may have their valuables locked up if they wish. We do not recommend leaving wallets in the Green Room. The adult assigned to the Green Room will have a lockable place to secure belongings if requested. Only the director or an adult from the guest school will be allowed to retrieve valuables after the school’s performance or after the session.

8. IMPORTANT: If sound may carry to the theater, LET THE DIRECTOR KNOW where they may go if the cast is going to do vocal or physical warm-ups and that you will show them where that is when they are ready.

9. At the end of each play session, you must remain in the Green room. The casts from these plays will come back to change. You MUST check the dressing rooms when they are done, clean sinks, counters, make sure storage areas are empty, etc. Bring leftover items to the lost and found at registration/information.

10. Finally, remove any signs for specific guests and replace with the new signs for the next session. It is our job to see that each school comes into a clean dressing room and has our support and help if needed.

11. Please make sure there is NO food or drink brought into the dressing rooms.

12. As each school leaves the dressing rooms, check to make sure the rooms are clean and ready for the next school.

HOUSE MANAGER

(Adult)

The House Manager is responsible for assigning usher duties and for beginning each play.

1. You will assign ushers to give out programs, to check tickets and name tags, and to guard doors inside and out during performances & public critiques. Door Guards and Ushers can be the same people. They can swap show by show for inside and outside duties so that all get to see half of the shows. Be sure to read and review the following section on Ushers & Door Guards with those students.

2. You will record attendance or assign another adult to be the Attendance Recorder. This person will have a chart listing each school and each performance.

a. The School Hosts will check in before every performance to let the Recorder know that his/her school is present in the house.

b. The Recorder must let the house manager know before each performance that all Schools (except the one performing and the one “on deck”) are present.

Unless you hear from the Host Stage Manager that there is going to be a delay, please signal the lobby two minutes before the scheduled performance time.

The Consultant should personally check in with the House Manager before each performance and each critique session to confirm that the Adjudicators are present & ready.

When the Attendance Recorder & Consultant have informed you that all are present, you will report (via headset/runner) to the Stage Manager that the House is ready.

Close the theater doors when the house goes to half before a performance or when a critique session begins.

DOOR GUARDS

(Students: inside & outside each door to the theater)

1. It is a Festival rule that no one may enter or exit during a performance. The reason for this is that the disturbance of a door opening and closing and people moving about in the theater can cause a distraction which would destroy the “suspension of disbelief” established by the play in progress. This would put that show at a disadvantage. Use common sense. If someone is going to be ill, let them out as QUIETLY as possible if it is truly an emergency. Open and close the door for them. Learn how to do this quietly before festival begins.

Visitors who arrive late may not know this rule. Be polite but firm. Do not let anyone into the theater once a show has begun. It is convenient to rig a TV in the lobby connected to a camera in the house if possible so that late comers may watch. If there is an emergency, the adult in the box office should take care of it.

After a performance, there will be a short break while adjudicators collect their thoughts. The adjudicators will then begin their oral public critique. At this time close the doors and let no one in or out during the critique.

During critiques, the door guards/ushers must remind those in the lobby to remain quiet

Those who are stationed in the lobby during the performances may also need to keep a close watch on concessions and cash box if there are any in the area.

The only exception to the non-entry rule is when the current performance requires the cast to enter through the house.

NOTE: IT WILL BE THE RESPONSIBILITY OF THE HOUSE MANAGER TO GIVE THE WORD TO CLOSE THE DOORS.

USHERS

Give out programs to ticket holding customers (not festival participants who received them in registration packets).

Collect or tear tickets (host option)

Festival Participants may enter if they have their name tag. Visitors must purchase a ticket at the Box Office. Check for name tag or ticket before EACH PLAY.

a. If a Student or Adult Festival participant has lost his/her name tag, send him/her to the Box Office/Registration with their director.

b. Please tell visitors to keep their tickets so that they can get in and out between plays.

c. There are usually different tickets for each play session. Visitors must purchase tickets for each session.

3. No food is allowed in the theater.

4. If you see someone enter with a camera, politely inform them that NO picture taking is allowed. (with or without flash)

PERFORMANCE TIMEKEEPERS

(3 Students)

All 3 timekeepers will time each play. Practice using your stopwatch.

Before Festival, get a program or make a chart of all shows in performance order that you will keep for the entire Festival.

Copy into your program or chart information regarding the starting and ending moment of each play. This information should be provided on the pre-registration forms returned by the participating school be fore the festival begins. It should be updated with the festival stage manager during the technical rehearsal.

When starting your stopwatch, use common sense. Do not begin when the house or stage goes black. Start at the first dramatic moment. This could be with lights, sound, music, a cast member entering the house or speaking in the dark.

At the end of the show, stop your watch, BUT DO NOT RESET IT! Meet with the other timekeepers and the house manager to confirm the time. Each of you should write your time in your program or on your chart.

If any of the timekeepers have a show running over the time limit listed in the festival rules, take your stopwatch to the President of the NHETG or another NHETG Board member, just so the time can be confirmed.

If asked about any times, please respond that you cannot discuss timing with anyone but the show’s director.

Don’t forget to reset your watch before the start of the next play.

HOST TO ADJUDICATORS

This person should see to it that the judges room is comfortable. The adjudicators and consultant have no time to go for refreshments. There should be coffee, snacks & drinks available at all times. You need to make sure they get meals. This may require some coordination with the kitchen staff or a trip to the local eatery. Be available to run errands. For purposes of confidentiality, hover outside the judges room rather than inside. If you do hear or see something, do not repeat it to anyone during or after the festival. Each judge should be provided with the following:

A Program

Note pad or clipboard & paper

Pens & pencils

Small Flashlight

Awards Writer

(Adult)

This person will create award certificates as the Consultant & Adjudicators require. It will be helpful if this person is familiar with the use of a computer or this person should be skilled at calligraphy. A second person to help with awards can be advantageous. Confer with the consultant on these personnel requirements before the festival begins. These people need to be trustworthy.

Technical Coordinator

It is a good idea for the Technical Coordinator to attend this festival in a previous year to see how it all works. The Technical Coordinator is responsible for most everything that happens within the theater except for the audience. This includes:

Lighting design or designer

Sound design or designer

Set storage areas

Assembling & Training the host crew

Make copies of the next several pages of this document and distribute them to everyone on your crew.

Everyone on the crew should be aware of the interdependencies of their jobs.

Review job specifics with each individual.

During the festival this person can be the Host Stage Manager or just a quiet overseer.

The following need to be published with School Pre-Registration Packets. Consult the Festival Timeline and the packet publisher.

Lighting plot

Floor plan of theater with dimensions including door widths & heights

Technical Information sheet which defines the theater to guest schools

STAGE MANAGER

(Adult/Student)

This is a very precarious position. Sometimes there will be a student who can handle it but frequently there will not. In either case, it would be wise to have an adult host available at all technical rehearsals to deal with any tricky situations. The stage manager needs to be well versed in:

The capabilities and operations of the host facility.

The capabilities of the host crew.

The rules of festival.

Communicating with guest crew.

Communicating with the host crew.

Communicating with the guest directors.

The situation to avoid is where the guest holds the host stage manager responsible for some failure in the guest production. Sometimes the host stage manager or crew can be an easy scapegoat. Sometimes it is deserved. It can be reassuring to the guest to see an adult in this position or at least overseeing the student and available to mediate any disputes. A board member can serve well in this role also.

In the weeks prior to the festival the stage manager will:

Assemble the crew.

Hold training sessions to teach the crew their responsibilities and be certain they understand the rules and procedures of the festival.

Develop or secure the necessary paper work to track the requirements of each production.

Determine presets for all curtains, legs, teasers, electrics & anything else back stage that might change from show to show.

Secure an adequate supply & variety of spike tape.

Organize & review Technical Information Forms sent in by participating schools. If there are questions, call that schools technical director or director and get answers.

Learn the festival rules inside and out.

Review the rest of this packet. Pay particular attention to the responsibilities of the rest of the crew, the house manager, timers, master of ceremonies, load-in host & technical director.

Review procedures of calling the festival cues with the lighting host, sound host, house manager, curtain operator, master of ceremonies and the host crew.

Create a table or check list (see next page) to be used during techs and performances to record the preset information for each show. Use a separate page for each show. Start with information gleaned from the Registration Form & Technical Information Form. Leave an area on each page to be filled in quickly (circle or check boxes) during and just after each technical rehearsal. Start with these forms in technical rehearsal order in a loose leaf notebook. As shows complete their technical rehearsal, reorganize their forms into performance sequence. This book is your bible. An example of the table follows:

PRESET CHECK LIST
tECH TIME:		SHOW TIME:		SPIKE TAPE:
sHOW:				SCHOOL:
dIRECTOR:				lIGHTS:
tECHNICAL dIRECTOR:				sOUND:
sTAGE mANAGER:
FLATS:				PLATFORMS:
FURNITURE:				specials:

travler 1	host		guest	open	closed	on spikes
travler 2	host		guest	open	closed	on spikes
travler 3	host		guest	open	closed	on spikes
cyclorama	host		guest	in	out
LEGS	HOST		GUEST	STANDARD	ON SPIKES
Preset with curtain	OPEN		CLOSED
House to ½	HOST		GUEST
House Out	HOST		GUEST
Pit Stairs

Assign spike tape colors to schools. Try to use colors that are easiest to see on your stage for show that depend heavily on spike tape visibility. Consider the number of scene changes to be done in blackout. Consider the number of set pieces. If there are still options, consider their school colors. Finding enough different spike tape colors for a 12 show festival is usually not possible. Carefully plan spike tape assignment so that some colors can be recycled (used again) after a show has performed.

Post the festival schedule in both wings and the load-in area where your crew can easily refer to it.

Each day of festival (this includes the day before if there will be early technical rehearsals):

The crew should be on call at least 30 minutes before the first event, be it rehearsal, show or ceremony. If anyone is late call immediately and arrange to cover the position if necessary.

Have the stage swept.

Peel up spike tape that is no longer needed.

Have the remaining spike tape checked and fixed.

Have everything put in its preset position or set position for the first event.

Make certain a dimmer check is done.

Make certain a sound system check is done.

Organize your paperwork for the day. Shows will probably tech in one sequence and be performed in a different sequence.

Prior to each technical rehearsal:

Greet the incoming guest company 5 to 10 minutes prior to the start of the tech where ever they will be waiting to come back stage or in the wing.

Introduce yourself. Meet the guest Director, Technical Director, Stage Manager, Lighting and Sound Techs.

Explain very briefly how the tech will be timed and where their set must be at the start of their tech time. At some festivals, sets can be preset in the wings but at others they need to start from outside the stage.

Explain the available intercom locations. Offer an intercom in the house to directors if it is available.

Determine when the director wants to be timed for set and strike. This can be done at the beginning & end of the rehearsal or at any other time during the rehearsal. The director may choose to be timed at the performance only. If the set or strike go over the time limit during the rehearsal they can be timed once more at the performance.

Verify that the information on their Technical Information Form is correct.

By now the rest of the host crew should be done sweeping and presetting. They should join you so that you may introduce them as a group. Explain that they will wait quietly in the wings to answer any questions or provide help on request.

Introduce the guest & host lighting & sound techs. The hosts should now take the guests to the lighting and sound areas.

Give the guest stage manager a roll of spike tape.

At each technical rehearsal:

When the set is in its pre-technical rehearsal position. Inform the director that you are going to start the technical rehearsal timer. Be flexible to a degree but do not allow the festival to get too far off schedule. Most directors are very cooperative but occasionally there is one who will take all they can get.

Stay within earshot and sight of the director and/or technical director and/or stage manager so that you can respond quickly to their question or maybe even anticipate them. Do not make them have to find you. Pay attention to what they are doing. Do not engage in idle conversation. This will distract you from your guests needs. Always respond quickly, politely and respectfully to your guests questions and requests.

At some mutually convenient time, discuss the cueing of house lights out and curtain open at the start of the show with the guest stage manager and lighting tech. Establish who will do what and when. You should not turn control (intercom, house lights, stage lights) over to the guest until you, the host, are ready for the show to begin. You need to be certain that the house is ready and it is not earlier than the scheduled time for this show to begin. This is all to avoid a false start where the show needs to be stopped and started again or the situation where the lights go out and the house stays dark for an inordinate time before the show begins.

Be sure that who ever is to run curtain knows how and that it is clear just who that is (host or guest).

Coordinate the timing of set and strike of the set. This can occur at any time during the technical rehearsal including the very beginning and the very end. It is not required that set and strike be timed during the technical rehearsal. Make sure that there are no adults involved in either of these timed events. All adults should remain quietly in the house. It is acceptable to time the setting of the set before spiking it as long as everything is approximately in the correct position. Later, during the technical rehearsal, the positions can be fine tuned and spiked. It is important that everything get set that must be set to start the show including props.

See to it that legs, travelers and flies get spiked with the appropriate spike tape by the host crew or guest crew.

Record all settings so that everything can be restored for the actual production of this show.

Prior to each performance:

Have your crew preset everything according to the information that was recorded during the tech for this show.

Have the stage swept.

Give the incoming company a 5 minute warning to load-in. Also tell them how long it will be till show time.

When you are ready, cue the incoming company to load-in.

Give a 5 minute cue for show time.

At each performance:

If this show still needs to be timed for setting their set, time it now.

Be sensitive to the fact that there may be an oral critique taking place in the theater. If the guest crew cannot set quietly, then stop them and ask them to wait till the end of the critique.

Check with your crew to be sure that all host presets have been taken care of.

Turn control (intercom, house lights, stage lights) over to the guest when you, the host, are ready for the show to begin. The House Manager should tell you when the house is ready, the judges are seated and attendance has been taken. Be certain it is no earlier than the scheduled time for this show to begin. This is all to avoid a false start where the show needs to be stopped and started again or the situation where the lights go out and the house stays dark for an inordinate time before the show begins.

During the show, if you have done your job, there should be nothing to do. Remain available and attentive but stay out of the way. That goes for the rest of your crew too. DO NOT TALK IN THE WINGS.

At the end of the show, regain control of the intercom, lights & sound. You should designate one of your crew to monitor the intercom in each wing for you.

If this show still needs to be timed for strike, time it now.

Have this set loaded out.

Tell the cast & crew where to wait for the cue to go into the house for their oral critique.

Start loading in the next show.

TIMEKEEPERS for TECHNICAL REHEARSAL

(1-2 Students)

All schools at a festival must have the same amount of technical rehearsal time. This time is typically 30, 35 or 40 minutes and is determined for the festival by the host depending on overall festival scheduling. Countdown timers as opposed to standard stopwatches can be helpful here. Most often people want to know how much time is left. If countdown timers are not available, the time keepers should use stop watches and be quick with subtraction. The question of "How much time is left?" may be asked at any moment. A slow response can generate a great deal of tension. Countdown timers might be borrowed from the photography teacher, the NHETG board or another host. They can also be purchased at Radio Shack. Try to get 2. They also ring an alarm when they reach zero which is an indisputable signal to all.

NOTE: THE SCHOOL MAY CHOOSE TO HAVE THE SETUP/STRIKE TIMED DURING TECHNICAL REHEARSAL TIME OR JUST PRIOR TO AND AFTER THEIR SHOW.

Technical Rehearsal Timekeeper

Each school may use the stage for the same allotted time and the stage must be clear at the end of that time. Start your stopwatch when the Stage Manager says the rehearsal has begun. Your job is not to "catch someone going overtime, but simply to help the Festival stay on schedule. You should make your announcements first to the guest director. If the guest director chooses, you might also inform the guest technical director and the guest stage manager. Last, you should inform the host stage manager.

When there are 20 minutes left, please politely announce to the director, "You have 20 minutes left in your rehearsal."

When there are 10 minutes left, if the strike is to be timed at the end of the rehearsal, say, "You have ten minutes left in your rehearsal. Please be prepared to strike your set in 5 minutes so that the stage is free at the end of your allotted time."

When there are 5 minutes left, say "You have 5 minutes left."

When there is no time left, loudly announce, "Time is up. Please leave the theater."

You should also inform the host stage manager when it is time to begin a technical rehearsal according to the festival schedule. This will help to keep the festival on schedule.

Set & Strike Timekeeper

Get a program ahead of time or create a table with all shows listed in the order of the technical rehearsals. Mark this with your name and use it to record times. Each school has a total of five minutes to setup all of their scenery, including props and set decorations. They have 5 minutes to strike everything. You MUST work closely with the Host Stage Manager and the guest director to determine if the director wishes setup and or strike to be timed during the technical rehearsal or at their actual performance. At Technical Rehearsals, it's probably easiest for the timekeeper to be in the pit.

As soon as the stage is clear and ready for a tech to start, join the host stage manager to meet the next director. Find out from that director whether you are to time setup now, later or at the actual performance. Make a choice.

The actual timing of the setup can begin when all the scenery is in the wings and they tell you they are ready to be timed or they can be timed from the moment they enter the stage area. Work this out with the host stage manager.

The director may wish to do some things on stage first and have you time setup in the middle of their tech. That's fine too.

If you are asked to time during the technical rehearsal, and the setup goes over 5 minutes, do not stop them. When they are done, and at a convenient time, let the stage manager and the director know how long they took. There is no penalty at this time. They will be timed again at their actual performance.

When there are 10 minutes left in their rehearsal the other time keeper will inform the director that there are 10 minutes left. If strike is to be timed during rehearsal, get ready. Listen for when the director or stage manager tells the guest crew to strike and time it. Again, if it goes over 5 minutes, you must tell the stage manager and the guest director that they will be timed again after their performance.

IF THE SETUP AND STRIKE AR 5 MNIUTES OR UNDER, THE SCHOOL DOES NOT HAVE TO BE TIMED AGAIN AT THEIR PERFORMANCE. Record setup and strike times in your program or on your chart. Share these numbers with the host stage manager.

If the school does not want to be timed at rehearsal, or if they go over 5 minutes at rehearsal, then YOU must be with them when they are allowed to enter the stage for their performance and you must time them then. You will have to stay backstage and out of the way during the performance, and then time the strike.

IF THE SCHOOL GOES OVER 5 MINUTES, KEEP YOUR WATCH GOING UNTIL THEY ARE DONE. STOP THE WATCH WHEN THEY ARE DONE, BUT DO NOT RESET IT. SHOW THE WATCH TO THE HOST STAGE MANAGER FOR CONFIRMATION AND RECORD THE TIME IN YOUR PROGRAM. Then reset your watch.

LIGHTING GUIDE

The Lighting Guide job is to help the visiting lighting tech learn how to work with the host lighting system. The lighting guide must be intimately familiar with the lighting system and be able to quickly show visiting crew what they need to know to run their shows. Running lights in a foreign theater is one of the most frightening aspects of festival. Try to make it as painless as possible. Avoid at all cost a condescending attitude. Mutual respect is the key to success in this position.

1. The Lighting Guide must be at the lighting control area during ALL technical rehearsals and ALL performances.

Prior to the beginning of the first technical rehearsal:

Design lights, draw a lighting plot and publish it.

Hang, focus and gel lights.

If there is a patch, (soft or hard wired) write it down in case it gets changed.

Create and duplicate cue sheets enough for each show and then some.

Label the lighting board to make it easy for anyone to use. (ex: DL warm, UR cool, Cyc blue, etc.)

Establish a Preset Condition for every control, switch and button on the console. Document this setting and post it near the board.

3. Arrive at least 30 minutes early and do a dimmer check at the beginning of each festival day. This allows time to make repairs as needed.

At each technical rehearsal this guide should:

Before each technical rehearsal and performance set every control, switch and button back to the Preset Condition as established on the preset cue sheet or restore from the default disk on a computer board.

Meet the guest lighting tech on stage at the start of the rehearsal.

Briefly explain the operation of the lighting console. DO NOT be condescending, but don’t assume that anyone else has a board quite like yours.

Explain the queuing that will begin the show. Determine who will take house lights out and when.

Provide cue sheets and offer to keep them on file till performance. Mark them with the name or the play & school.

Explain, demonstrate and make available the intercom system.

Explain (demonstrate) any specials that are available, especially if they were not on the published lighting plot.

Offer to turn off the house and work lights. If they are not ready, offer again later when it appears they are.

Turn the controls and intercom over to the visiting tech.

Step out of the way but stay close at hand to answer questions and provide “hand holding” as needed.

If the visiting tech is struggling with something quietly suggest a solution if you have one.

At the end of the rehearsal. File the cue sheets or save the show to disk if applicable.

During performances:

Before each performance return all controls to Preset as established on the preset cue sheet or restore from the disk for the show.

When the host stage manager gives the cue take the house to ½, & wait for the audience to settle.

Hand the intercom over to the guest tech.

Take the house out.

Step out of the way but stay close at hand to answer questions and provide “hand holding” as needed.

If the visiting tech is struggling with something quietly suggest a solution if you have one.

At the end of the show take the house lights up & retrieve the intercom.

Between performances and techs:

Get ready for the next show or tech.

Stay on intercom between performances and crews.

Be prepared to bring up light or a spot for announcers on stage.

There is generally no need for the host crew to use the intercom during a performance so keep your mike off.

Do not leave during techs or shows. You need to be there in case something goes wrong.

The Lighting Guide should NOT be the person who replaces burned out lamps, hangs specials or runs errands during the festival. This work should be assigned to backstage grips through the stage manager.

The lighting guide should also be prepared to demonstrate and teach the operation of the follow spot(s), unless they are located away from the board, in which case a grip should take on this job.

Occasionally, a school will not have a lighting tech and request the host tech to run their lights. This is permissible but the show will not qualify for lighting awards.

If the lighting board is a computer board, try to provide an easy “2-scene preset” configuration or preprogrammed sub-masters for easier set-up. Avoid pushing fancy features such as recorded cues on those unfamiliar with the technology. 30 minutes is not much time for even an expert to program a computer board.

SOUND GUIDE

The Sound Guide job is to help the visiting Sound tech learn how to work with the host sound system. This person must be intimately familiar with the sound system and be able to quickly show visiting crew what they need to know to run their shows. This person should also be prepared to patch in equipment that a visiting show might bring. (CD player, Synthesizer, Computer, etc.) Having some patch cords and adapters on hand is a good idea.

The Sound Guide must be at the sound control area during ALL technical rehearsals and ALL performances.

Arrive 30 minutes early and test all sound components at the start of each festival day. (include every microphone, player and speaker) This allows time to make repairs as needed.

Prior to the beginning of the first technical rehearsal install and test all sound equipment including:

cassette player

CD player

microphone at the sound board

microphone back stage

Label the sound board to make it easy for anyone to use. (ex: Cassette, CD, Stage Mic., etc.)

Make a drawing that shows every control on your mixer board. Make copies to be used as cue sheets by guests.

Establish a preset position for every control in the sound system, mark these settings on a Preset cue sheet & post it near by. This should include any switches or controls on the amplifier, mixer, CD player, cassette player, etc.

At the technical rehearsal the sound guide should:

Before each technical rehearsal set every control, switch and button back to the Preset Condition. See the preset cue sheet.

Meet the visiting sound tech on stage.

Briefly explain the operation of the Sound system components.

Do not condescend but don’t assume that anyone else has a system quite like yours.

Provide cue sheets and offer to keep them on file till performance.

Explain the intercom system.

Turn the controls and intercom over to the visiting tech.

Step out of the way but stay close at hand to answer questions and provide “hand holding” as needed.

If the visiting tech is struggling with something, quietly suggest a solution if you have one.

5. During performances:

Before each performance return all controls to Preset. See the preset cue sheet.

Turn the controls and intercom over to the visiting tech when the host stage manager ques house to ½..

Step out of the way but stay close at hand to answer questions and provide “hand holding” as needed.

If the visiting tech is struggling with something, quietly suggest a solution if you have one.

Between Technical Rehearsals and Performances

Stay on intercom between performances and techs

Be prepared to make a microphone live for announcements from the stage.

Get ready for the next tech or show. Return all settings to the preset.

There is generally no need for the host crew to use the intercom during a performance so keep your mic off.

Do not leave during techs or shows. You need to be there in case something goes wrong.

GRIPS

These are back stage techies. Typically, 2 crew are assigned to each wing. The jobs are:

Traveler operator

R-legs

L-legs

Flies

Patch (if needed)

Grips, 1 or 2 to sweep, run errands, hang & focus, change lamps/gels, etc.

1. In general these crew members must be present at all technical rehearsals and all performances.

2. This crew must have a working knowledge of everything back stage. (curtains, legs, flies etc.)

3. These people need to be attentive to the needs of the visitors and yet stay out of the way.

4. Most of the work of this crew is done between techs and shows but they need to be on call at all times.

5. Each crew member should have a clipboard or notebook to write down any special things that need to be done for each show. This is especially important since shows do not usually tech in the same sequence that they are performed. These notes should include such things as:

Who runs travelers?

Start with travelers open or close?

spike tape color?

location of portable stair units

rigging positions

who sets the legs

Cyclorama in or out

Which travelers are in or out

Any special equipment, furniture or props being borrowed from the host

6. Host crew should not help with visitor sets unless asked to do so.

7. Host crew should sweep the stage & wings between each rehearsal & show. This is part of the job. Do not wait to be told to sweep as the stage manager will be busy orienting the next company.

8. Host crew should check and fix spike tape between rehearsals and shows. This is part of the job. Do not wait to be told to check and fix spike tape.

LOAD-IN HOST

This person coordinates the movements and storage of sets outside of the stage. The primary load-in responsibility is the set storage area.

1. Meet each school as it arrives or while it is on tour to determine when and where they will load there set into the building.

2. Be available in the set storage area to guide sets in and out and assign space for sets.

3. The load-in tech should know as much as possible about the stage, sound and lights to answer all those last minute questions the visitors are bound to have. Have a lighting plot, cue sheets for lights & sound and dimmer cheat sheets on hand.

The load-in tech should also have access to some tools and other materials in case someone needs to repair a set.

Assemble a loose leaf notebook of Registration & Technical Information Forms. Include copies of the Preset Check List from the Stage Manager.

Review with the visiting production staff their requirements and alert the stage manager to any changes or added needs. Act as a liaison and troubleshooter between the guest and the stage manager prior to the technical rehearsal.

Be particularly sensitive to the needs of the first time festival participant.

SET SECURITY

(students)

If sets will be stored in hallways or unsecured areas during school hours then students should be assigned as security guards.

Go to that area a few minutes before the end of the period.

”Patrol” the area, and make sure that students passing DO NOT TOUCH ANYTHING. Be polite but firm. If a student has a name tag, they are probably from that school, and they may touch their own scenery!

If you have any problems, get an adult.

Schedule Samples

State Festival Sample Schedule

Thursday
7:00pm	Tech Rehearsal 1	Show 6
Friday
9:00am	Tech Rehearsal 2	Show 7
9:45am	Tech Rehearsal 3	Show 1
10:30am	Tech Rehearsal 4	Show 3
11:15am	Tech Rehearsal 5	Show 2
12:00pm	Tech Rehearsal 6	Show 8
12:45pm	Tech Rehearsal 7	Show 4
1:30pm	Tech Rehearsal 8	Show 5
2:40pm	Directors Meeting
2:50pm	Session I - Introductions
2:55pm	Show 1
3:50pm	Show 2
4:45pm	Forums & Directors Critiques
5:05pm	Dinner
5:50pm	Session II – Introductions
5:55pm	Show 3
6:50pm	Show 4
7:45pm	Forums & Directors Critiques
8:05pm	Session III - Introductions
8:10pm	Show 5
9:05pm	Show 6
10:00pm	END
Saturday
7:10am	Tech Rehearsal 9	Show 9
7:55am	Tech Rehearsal 10	Show 10
8:40am	Tech Rehearsal 11	Show 11
9:25am	Tech Rehearsal 12	Show 12
10:10am	Forums & Directors Critiques
10:30am	Session IV – Introductions
10:35am	Show 7
11:30am	Show 8
12:25pm	Forums & Directors Critiques
12:45pm	Lunch
1:30pm	Session V – Introductions
1:35pm	Show 9
2:30pm	Show 10
3:25pm	Forums & Directors Critiques
3:45pm	Session VI – Introductions
3:50pm	Show 11
4:45pm	Show 12
5:40pm	Forums & Directors Critiques
6:00pm	Dinner
6:45pm	All Festival Meeting
7:30pm	Dance
8:30pm	Awards (time approximate)

Technical rehearsals are 35 minutes long allowing 10 minutes for cleanup, reset, load-in & load-out between rehearsals. There is a 45 minute buffer built in between Tech 8 and Introductions at 2:50pm on Friday. This allows time to get back on schedule if anything goes wrong during the 7 Friday morning Techs. Similarly there is a 30 minute buffer between the end of Tech 12 and Introductions at 10:30am Saturday. The difficulty with this schedule is that once the performances begin, there is little time for the adjudicators to write critiques.

Regional Festival Sample Schedule

Friday
7:00pm	Tech Rehearsal 1	Show 4
Saturday
7:25am	Tech Rehearsal 2	Show 1
8:05am	Tech Rehearsal 3	Show 3
8:45am	Tech Rehearsal 4	Show 2
9:40am	Directors Meeting
9:50am	Session I - Introductions
9:55am	Show 1
10:45am	Show 2
11:35am	Show 3
12:25pm	Lunch
12:25pm	Directors Critique (30 min)
12:25pm	Tech Rehearsal 5	Show 5
1:05pm	Tech Rehearsal 6	Show 6
1:45pm	Session II - Introductions
1:50pm	Show 4
2:40pm	Show 5
3:30pm	Show 6
4:20pm	Directors Critique (30 min)
4:20pm	Dinner
4:25pm	Tech Rehearsal 7	Show 7
5:05pm	Tech Rehearsal 8	Show 8
5:45pm	Session III - Introductions
5:50pm	Show 7
6:40pm	Show 8
7:30pm	Directors Critique (20 min)
7:30pm	Dance
8:30pm	Awards (time approximate)

Technical rehearsals are 35 minutes long allowing 5 minutes for cleanup, reset, load-in & load-out between rehearsals. There is a 30 minute buffer built in between Tech 4 and Session I Introductions at 9:50am. This allows time to get back on schedule if anything goes wrong during the 3 morning Techs. There is only a 5 minute buffer before Session II and III. This schedule does afford adjudicators time to write critiques.

REVISIONS

Version 1.2 11/30/98

This revision includes many minor changes which make it easier to differentiate between Regional & State Festival requirements. Some of the revisions are more significant and are listed below:

Page 3 & 4 There are now separate Regional & State TIMELINES.

Page 5 The Staff Chart contains separate columns for Regional & State Festivals.

Page 13 A Nurse or EMT should be at all festivals. This was omitted accidentally from previous versions.

Page 24 There is a list here of items to be provided for the adjudicators.

Page 32 This is a sample State Festival schedule.

Page 33 This is a sample Regional Festival schedule.

Page 34 This page of revisions.

Version 1.3 02/02/3002

Page 11 Update to the contents of Regional Pre-registration Packets for Schools

Version 1.4 01/23/2004

Page 8 Updated Awards Certificate information

Page 22 Added Green Room Equipment List