Download PLAYHOUSE VOLUNTEER HANDBOOK AN INTRODUCTION TO

PLAYHOUSE
VOLUNTEER
HANDBOOK
AN INTRODUCTION TO THE PLAYHOUSE
INTRODUCTION
Welcome to the Erie Playhouse! Thank you for sharing your time and talent on and for our stage. Your
experience and safety are our priority. We want you to feel at home here and want you to come back often. In
this Volunteer Handbook you will find information and general rules that will make your transition into the
Playhouse family a smooth one.
HISTORY
The Erie Playhouse is the 12th oldest community theatre in the nation, the busiest community theatre in PA, and
was voted 2015 Best Community Theatre in PA (Theatre Guide’s Reader’s Choice Award).
Founded by Henry B. Vincent, the Little Theatre, as it was called, had their very first opening night
performance on January 18, 1916, staged in the old Chamber of Commerce rooms in the Reed Hotel on North
Park Row. The Little Theatre operated successfully until May 1918, when World War I brought about the end
of the community theatre after two seasons.
After the war, Mr. Vincent, with the help of local businessmen, remodeled the old Brass Works (current
location of the YMCA) and named it The Community Playhouse. The Theatre opened on March 25, 1919.
There was no admission charge – just a barrel in the lobby inscribed “the future tale of the Playhouse,” where
patrons tossed in coins.
In 1927 the Playhouse was asked to leave the building to make room for the boy’s addition to the YMCA.
From December 25, 1927 to February 14, 1928 nightly performances were held in the Columbia Theatre on
West 8th Street. During this time, Mr. Vincent campaigned throughout the city of Erie to build a permanent
home for the Playhouse. On a snowy January evening, a full house of 300 patrons attended the opening
production, The Queen’s Husband, in the new theatre at 128 West 7th Street. In this new facility they began
presenting full-length plays.
In 1941 Director and visionary Henry B. Vincent died suddenly. Then in December 1942 the Playhouse went
dark due to World War II. The theatre reopened in 1946 with a production of Blithe Spirit. It was later in 1946
that L. Newell Tarrant came to Erie to have a long and successful run as director of the Playhouse until 1962.
In 1965, the Playhouse sold for financial reasons to Gannon University, who used it as a theatre until the 1990’s
when it was razed to make room for improvements to the school. It was also at this time that Newell Tarrant
accepted a position in Hawaii and the Playhouse was once again without a leader and a home. Led by
Marty Ditzel, the board of directors secured a home at the Penn Theatre in Wesleyville and hired Bill Cohen
as director.
In 1972 a new business manager, David Matthews, was hired. Later that same year Matthews assumed the
position of Managing Director. Fire regulations closed the Wesleyville site in January of 1975 and the
Playhouse was without a home once again. For the next seven years the Playhouse traveled from Fairview
High School to Iroquois High School. They would perform one week in one school then dismantle all of the
scenery and take it to the other school and perform one week. The Playhouse then settled into the
McDowell Intermediate School for a time. The Playhouse purchased the Strand Theater in August of 1983
From Cinemet Corp. Finally, on December 31, 1983, Annie opened the newest and current home of the Erie
Playhouse in the old Strand Theatre at 13 West 10th Street.
HISTORY (continued)
After 34 successful years as managing director, David Matthews retired on August 31st, 2006, and Almitra
Clerkin took over the reigns as Executive Director. Under Almi’s leadership, working with a dedicated and
talented staff, multiple facility improvements have been made and community outreach and collaborations have
grown. The Playhouse is one of nine Lead Assets in the Erie Region and is an instrumental partner in Erie Arts
and Culture.
Over the years, many theatrical luminaries and personalities have appeared on the Erie Playhouse stage: Ned
Beatty, Anne B. Davis, Dom Deluise, Henderson Forsythe, Rocky Graziano, David Green, Cris Groenendaal,
Frank Langella, Walter Mattheau, Rue McClanahan, Jerry Stiller, Anne Meara, Sada Thompson, Jessica Walter,
Ann Wedgworth and Michael Patrick King. Playhouse alumni can also currently be found working on
Broadway and regional theatres across the country.
The 2016-17 Season marks the Erie Playhouse 100th Anniversary year! A year of celebrations will take place to
commemorate this milestone. The Playhouse Board and staff look forward to the Playhouse Family
participating in all the events! Check out www.erieplayhouse.org.
PLAYHOUSE MISSION STATEMENT
The Erie Playhouse is dedicated to enriching the greater Erie region by providing life-long opportunities to
participate in quality theatre.
PLAYHOUSE BOARD AND STAFF
The Playhouse is governed by a board of directors. The board is made up of Playhouse family and community
members.
The Playhouse is run by a full-time staff of 11 people and a part-time staff of five:
Executive Director – Almitra Clerkin
Producing Director – Richard Davis
Finance/Box Office Manager – Charles Corritore
Marketing Director – Sue Lechner
Youtheatre and Education Director – Kate Neubert-Lechner
Assistant Finance/Box Office Manager – Carolin Lynn
Scenic Designer – Christine Carmichael
Scenic Shop Manager – Brian Gilmartin
Scenic Assistant – Brendan Daugherty
Costume Designer – Ryan Ingram
Costumer/Stitcher – Crystal Corritore
Part Time Staff:
Season Ticket Manager/ Asst. Development Director- Teri Marshall
Musical Director – Andrew Rainbow
House Manager – Angela Pulling
Part Time Box Office – Karen Etter
Playbill Advertising Manager – Barb Weber
REHEARSALS
Rehearsals are held at 1158 East 12th Street, in Cirino Hall (first floor), or the smaller, second floor rehearsal
hall. Rehearsals are usually held during the evenings Monday through Thursday (with some Fridays), Saturday
mornings or afternoons, and Sunday afternoons or evenings. Rehearsals are one-and-a-half hours to three hours
in length, and can be longer during production week (with earlier call time and notes). Rehearsal schedules are
built after we receive accurate conflicts from volunteers. Since you have chosen to make the commitment to the
Playhouse and show, please try not to add additional conflicts during the rehearsal period. We understand
emergencies can arise, but your help in limiting conflicts is very much appreciated.
Once you are cast, you will be contacted by the director as to when your first rehearsal is; sometimes you will
receive your rehearsal and performance schedule prior to this first rehearsal via email.
The rehearsal schedule lets you know the time of each rehearsal and what material is to be covered at each
rehearsal. If you are in a play, the director lists the scenes or acts to be covered at each rehearsal. If you are
involved in those scenes or acts then you need to be at those rehearsals. If you are in a musical you may also
receive a “who is in what number” breakdown with your schedule. This will list all the musical numbers and
what people are needed for those numbers.
At your very first rehearsal, all volunteers (parents of minors) will complete and hand in three forms:
1. Sexual Harassment Form
2. Disclosure Statement Application for Volunteers over 18
3. Liability Waiver and Emergency Form for Minors
The director will keep these on hand at all rehearsals at 1158 East 12th Street and the Stage Manager will keep
these on hand at all rehearsals and performances at the theatre.
ALWAYS BRING YOUR SCRIPT, MUSIC, AND A PENCIL TO EVERY REHEARSAL.
THE PEOPLE YOU WILL MEET AT THE PLAYHOUSE AND THEIR JOBS
CAST – Those who appear on stage to tell the story.
CREW – Those who help with the running of the show backstage, at the sound board, and in the light booth.
Members of the Production Team:
DIRECTOR – There are many types of directors. Broadly, the role involves being responsible for the overall
artistic vision of a production. The director is in charge at all rehearsals.
ASSISTANT DIRECTOR – Aids the director as needed. At the Playhouse, the assistant director writes down all
blocking, making sure the actors follow the script and movement. They may also share ideas with the director
and actors.
CHOREOGRAPHER – Responsible for setting dances and movement sequences during the production.
MUSICAL DIRECTOR – Often the conductor/leader of a musical, or the person responsible for the musical
content of a production.
VOCAL DIRECTOR – Sometimes also the musical director. This person is in charge of teaching all singing in a
show and maintaining it.
THE PEOPLE YOU WILL MEET AT THE PLAYHOUSE AND THEIR JOBS (continued)
STAGE MANAGER – Oversees each production once it reaches the stage. This person is responsible for seeing
to it that each performance runs smoothly backstage and onstage. The stage manager is in charge of all
technical crew and performers for all performances.
COSTUME DESIGNER – Responsible for measuring of actors and creating the costumes. This person is in
charge of everything actors wear in the show. What they say goes!
THE HOUSE MANGER – Responsible for the Front-of-House staff (ushers and sellers of concession, bar, and
memorabilia), all public spaces in front of the theatre, and the comfort and safety of our patrons. They are the
first to arrive at the theatre, unlocking the stage door 30 minutes before the actor’s call, and are the last to leave
the theatre.
THEATRE TERMS
Here are some theatre terms you need to know to decipher your schedule:
BLOCK OR BLOCKING – this is where the actor walks when they talk or the process of arranging moves by
the actors when speaking their lines. The director will communicate where to move when speaking certain
lines. It is very important that you mark all of your blocking down in your script in pencil when the director
gives it to you because it may change. This will help you to remember when you review your material away
from rehearsals. Here are some helpful shortcuts when writing down your blocking in your script:
Upstage – the back of the stage away from the audience
Downstage – the front of the stage towards the audience
Stage right and stage left are your right and left as an actor facing the audience.
DS = Downstage
US = Upstage
SR = Stage Right
SL = Stage Left
C = Center Stage
RC = Right of Center Stage
LC = Left of Center Stage
DR = Down Right
DL = Down Left
DC = Down Center
UR = Up Right
UL = Up Left
UC = Up Center
X = Cross the stage to a new location
(for example, XSR = Cross Stage Right)
STAGING/CHOREOGRAPHY – The process of arranging movement or dances
to be done during musical numbers. The choreographer will communicate how to move during lyrics and
musical breaks. Most dances are broken down into counts of eight, either two or four counts per one measure of
music. It is important that you write down all of your choreography to review on your own away from
rehearsal.
WORK SCENES OR CHOREOGRAPHY – The process of breaking down scenes or dances and refining them.
RUN OR RUN THRU – A rehearsal of the whole show or a section of it; for example, “This afternoon we will
run Act II.”
LOAD-IN – To meet at the Scenic Shop and load the scenery, props, costumes, etc. on the truck and move them
to the theatre. The director, scenic and costume designers will give instructions at Load-in. They will appear on
your rehearsal schedule or be announced at rehearsal. Parents of minors are encouraged to attend with your
child OR come in lieu of your young actor.
STRIKE – To assemble and disassemble all the scenery, to remove props from backstage, and to clean the
backstage and dressing rooms/hallways. The director, scenic and costume designers will give instructions at
both the Load-in and Strike. This will appear on your rehearsal schedule.
CALL – The time you need to arrive at the theatre before a rehearsal or show. If you will be late for a call, you
must notify the Stage Manager.
THEATRE TERMS (continued)
DRESS REHEARSAL – A full run thru rehearsal with all technical elements added and brought together.
Technical elements include scenery, lights, sound (microphones), props, costumes, wigs, and make-up.
DRY TECH – Run thru with the stage crew, led by the Scenic Designer and/or the Stage Manager, with the help
of the Director, placing all scenery where it goes on the stage and figuring out the places backstage where
scenery ‘lives’ during a show. Stage Crew will receive their Tech Sheet to write down their assigned
responsibilities.
TECH OR TECHNICAL REHEARSAL – A run thru that included the cast and their assignments in setting,
moving, and striking scenery. Actors will receive their Tech Sheet to write down any scene changes their
assigned responsibilities. this process takes time, so please be helpful and patient! HINT: Your Tech Sheet is
also ideal for you to note your costume changes!
WHAT TO WEAR FOR REHEARSALS
You should wear comfortable clothes that are easy to move in and are appropriate in covering your body. There
are restrooms at the Rehearsal halls to change your clothes. Foot wear: For rehearsals, sneakers or dance shoes
are perfect. Proper footwear at the theatre includes: women usually wear character shoes (these can be
purchased at any dancewear store or online); men wear black lace up dress shoes. For safety, NEVER wear
Flip-flops, sandals or bare feet at any rehearsal. The costume designer will let you know if you need any
other additional footwear.
SCRIPTS, MUSIC, AND LIBRETTOS
Each actor will be provided with scripts or libretto (script and music for a musical). The scripts for plays are
usually purchased by the Playhouse and are yours to keep. You can write in them and highlight them as needed.
Published scripts, music and published librettos (script and music in the same, bound book) must be returned to
the royalty company. PLEASE use only pencil and erase after the show closes; NEVER HIGHLIGHT THESE.
If they are not returned, damaged, or are returned un-erased, the Playhouse will pass the replacement cost of the
libretto on to that actor; the fee is anywhere form $25-$50.
If there are additional instructions to the libretto, the director will let you know at your first rehearsal.
COMPLIMENARTY TICKETS
As a way to say thank you to our volunteers, each person dedicating their time to a production receives one
(1) complimentary ticket to premiere weekend performances AND two (2) complimentary tickets for the run of
your show. These are usually handed out at the first rehearsal to the cast; the stage manager will share with the
crew and the music director or conductor with the orchestra at each of their first rehearsals.
PARKING
Rehearsal Hall - 1158 East 12th Street
Parking is available in the east and north lots of the building. Please obey the loading dock and handicapped
reserved parking spaces. Between April and November, after 6:00 pm, please put the Erie Playhouse Parking
Pass, given to you at your first rehearsal, on your driver’s side dashboard; this is to save your car from being
towed when the towing company is called to remove cars not allowed to park in our lots.
Erie Playhouse - 13 West 10th Street
There is no assigned area for Playhouse parking downtown. The following areas are available:
Parking meters on the street: Meters are enforced Monday thru Saturday, 9am to 6pm; 20 minutes for a quarter
($.25). Parking is free after 6pm.
The parking ramp on 10th between State and French: You can park for free when the gate is up.
The parking lot behind the Playhouse: Meters are enforced 24/7. Sometimes, they are not enforced on Sundays,
but this is hit or miss.
The Parking area behind Northwest: This is east of and adjacent to the parking lot behind the Playhouse. You
can park here for free weekdays after 5pm and on weekends. Here are the rules: 1. Do not pull in behind a car
you do not know. You could be blocking a person from Northwest or someone at a local establishment; you
will get towed. 2. If you pull in and pull forward put a Playhouse sign in your back window (a playbill works),
so someone can pull in behind you. Also, if you wait in your car for a few minutes, especially around rehearsal
call time, another Playhouse may come by for a spot.
Toni and Guy parking lot on the north-west corner of 11th and Peach (south of the church): Parking is available
weekdays after 6:00pm and Saturday and Sundays for free.
Musolf’s gas station on the south-west corner of 11th and Peach: Parking is available weekdays after 6:00pm
and Saturday and Sundays for free
Dewey’s Parking Lot on the south-east corner of 10th between Sassafras and Peach: Parking is available
weekdays after 6:00pm and Saturday and Sundays for free.
Please do NOT park in the caged lots to the west of Stage Door near the dumpster, the spaces behind 21 La Rue
Dix, or in the YMCA parking lot on the north-east corner of 11th and Peach YOU WILL BE TOWED.
Finally, do NOT park in the alley way to the east of the Playhouse. YOU WILL BE TOWED.
Always lock your car doors and do not leave anything of value out in the open on dashboards, car seats
or floors.
SAFETY FIRST!
Please be aware of your surroundings as you enter and leave both the rehearsal hall and theatre. Always leave
with another person whenever possible. If you are approached by someone you do not know (panhandlers or
people asking to use your cell phone), do not give them money or your phone. Go into the building and find the
director or house manager immediately and the authorities will be called. also, there is no loitering permitted
outside the theatre. if you notice unfamiliar people sitting on the loading dock or in the alley you, please notify
the director or house manager.
ARRIVING AT THE THEATRE
HOW TO ENTER
All actors, crew and orchestra are asked to enter and exit the Playhouse through the stage door at the south-west
corner of the theatre, located near the dumpster. Actors and crew: proceed immediately to the sign-in sheet and
record that you are here – checkmark, initials, etc. sign in for yourself ONLY. The sign-up sheet is located on a
backstage corkboard. Orchestra: report directly to the music director/conductor in the orchestra pit.
DRESSING ROOMS
Two dressing rooms are located above the backstage area and can be accessed from the main staircase on the
east side of the backstage area. The spiral staircase should only be used for emergencies before, during, and
after performances. There are two dressing rooms – one for females and one for males. You will be instructed
as to which dressing room to use. Restrooms located in each dressing room and a shower is available in the top
floor dressing room. FYI: during rehearsals, you can use the accessible restrooms in the outer lobby next to the
Box Office.
FOOD AND BEVERAGES
Food, like McDonalds, is permitted in the outer lobby area and dressing room stairwell only. Dry snacks and
hard candy are permitted in the backstage area and dressing rooms. Beverages backstage or in the dressing
rooms must be in sipper cup with a sealed lid. Only water is permitted in the wings. In cases of illness, tea is
sometimes permitted in the wings. NO meals or open drinks in costume ever.
SMOKING
There is NO smoking in any Playhouse facility. Rehearsal Hall – Smoking outside the entrance door during
breaks is permitted. Deposit cigarette appropriately. At the theatre - Smoking outside the dumpster door.
Deposit cigarette in sand pail. Please keep all outside areas clean. NO smoking in costumes ever.
BACKSTAGE
The backstage area is any space behind the stage. It is used to store scenery and as a holding and quick-change
areas for actors during the show.
ONLY CAST, CREW, ORCHESTRA and OTHER DESIGNATED VOLUNTEERS can be backstage before,
during and after a performance during rehearsals and performances at the theatre. If you believe a stranger to
the production is backstage, immediately report it to the stage manager.
ALL volunteers must sign in at the designated location backstage IMMEDIATELY when they arrive at the
theatre.
At any time when a new volunteer is needed backstage and clearances have not been previously checked, your
driver’s license will be scanned for background checks and clearances.
MAINSTAGE SHOWS: Cell Phones are to be silenced backstage and in the Dressing Rooms. Cast and crew
should refrain from taking photos or videos in areas where and at times when actors are changing. Please be
mindful and respectful of those around you.
YOUTHEATRE SHOWS: Cell phones are to be turned OFF and not used at all backstage. Photos and videos
are prohibited. It is the director’s discretion to hold onto cell phones until the performance is over.
ALL Costume changes are to be made in the privacy of the dressing rooms (and even more privacy in the
bathrooms of the dressing rooms). Cast and crew are to be in the wings ONLY for entrances, exits, scene
changes, and fast costume changes (in designated areas). If you do not need to be in the wings, do not be there.
At times, tours are scheduled before a performance. The Stage Manager will share this with all cast, crew, and
orchestra so you are prepared for visitors.
CONCESSION AREA
If you choose to purchase a cold drink during rehearsals when the concession area is closed, please put your
$2/drink in the cash drawer. We work in the honor system and would hate it if the Erie Playhouse Wing loses
out on sales that go to supporting the theatre. Volunteers are permitted to make coffee during rehearsals as long
as the area is kept clean. Candy and pop are available for purchase when the concession area is open prior to
performances. Please avoid the outer lobby close to the doors opening for the show.
EMERGENCIES
If you are injured during rehearsals, please report it immediately to the director. If you are injured during
performances, please report it immediately to the stage manager. A first aid kit is located back stage.
The Playhouse carries limited accident insurance to supplement your own medical insurance if a volunteer
suffers personal injury at the Erie Playhouse or Rehearsal Hall/Scenic or Costume Shops during rehearsals or
performances. If you need to go to the Emergency Room, insurance forms are available on the bulletin board in
Cirino Hall or backstage.
In case of fire, fire extinguishers are located downstage left and right wing, by both back stage exits, in the
sound and light booths, at the back of the loge and in each dressing room. Please be aware of where these
extinguishers are located. Also, there is a fire curtain at the front of the stage, directly behind the proscenium
arch, which can be cut down in case of a fire. The stage manager will organize as needed.
PRODUCTION ELEMENTS
SCENERY – is furniture, curtains (drops), and flats that help us tell the story on stage. When scenery is stored
backstage in a consistent space, it is never used as an actor’s personal space, Please do not sit or lie down on it.
PROPS – are any item an actor holds in his or her hands. Props are usually stored backstage on the prop table.
Each actor is responsible for getting and returning their props to the prop table. If you are personally unable to
do this, it is your job to talk to the stage manager to make arrangements for another cast member or a crew
member to assist you. NEVER touch or move any prop that is not yours or your assignment.
COSTUMES – Costumes are usually provided for all actors by the Playhouse Costume Shop. The only
exception to this would be a modern dress show or a Youtheatre show where families help with their costumes.
COSTUME MEASUREMENT PROCEDURES – All volunteers needing a costume will be measured by the
costume staff. Measuring involves using a measuring tape to determine the volunteer’s body dimensions
(including head, neck, chest, waist, hips, inseam, etc.). When possible, measurements are taken when others are
present. When measuring youth performers, a “measuring buddy” (such as a parent) will be recruited to
accompany the costume staff when measurements are taken.
COSTUME FITTING PROCEDURES – All volunteers wearing a costume/s in a production will need to have a
costume fitting with the costume staff prior to the first dress rehearsal. Fittings involve the volunteers trying on
each of the costume pieces. Each costume piece is then inspected by the costume staff while being worn by the
volunteer. The fitting is necessary in order to ensure the costume fits the volunteer appropriately.
Fittings typically occur at the costume shop when other cast members, costume assistant, and/or director are
present. Males will be appointed one fitting time and females will be assigned a different fitting time. If cast
members cannot attend the scheduled fittings, they must secure a time that works for themselves and the twomember costume staff or the costumer and an accompanying parent or non-minor. Parents are encouraged to
accompany minors to all of their costume fittings.
COSTUME FITTING PROCEDURES (continued)
Volunteers must wear the undergarments (bras, bodysuits, underwear, shapewear, etc.) and shoes they plan to
wear during dress rehearsals and performances. Volunteers may opt to change privately in the costume shop
bathroom or laundry room. The costume designer must see the volunteers in each of their costumes to ensure
correct fit or determine adjustments for correct fit. This may include additional measurements as noted above.
COSTUMES AT THE THEATRE - It is the responsibility of each actor to maintain his/her own costumes during
the run to maintain the high-quality care of the costumes during the run. ALWAYS hang your costumes up
neatly before, during, and after performances. Buttons, snaps, small repairs and ironing should be taken care of
by each actor. A sewing kit is provided in the top floor dressing room. Any major tears or damage should be
reported to the stage manager, who will either take care of it or contact the costume department. If it is
determined that the costume department is needed to make the repair, attach the identification tag to the
garment and hang it on the designated pipe by the back stage door. The costume will be returned to this
same location upon completion of the repair.
Directions for laundering of costumes by the actor will be given during dress rehearsal week. Never launder or
dry clean any costume without first consulting the costume shop.
Each actor is suggested to bring a robe or a larger shirt to wear when you preparing for the show, in-between
longer breaks, or sitting in the dressing rooms during intermission.
There is absolutely no eating; drinking (other than water) or smoking in costume. Each costume is to be worn as
instructed by the costume designer; never alter or change your costume without permission form the costume
designer. Each actor is responsible for returning all costumes and accessories at the end of each run.
MAKE-UP – Actors are responsible for their own stage make-up. All actors will wear make-up unless
instructed not to by the costume designer or director. Standard make-up for most plays and musicals for
females and males: base, eyeliner, and blush. Females will also need red lipstick and false eyelashes or heavy
mascara if allergic to eyelash glue.
Specialty make-up and instructions will be provided. Any prosthetics, beards or unusual items will be provided.
Please ask the costume designer or wig mistress if you have questions about make-up. Also, veteran actors will
be a good source for those who have never worn stage make-up before.
WIGS – The Playhouse is fortunate to use wigs for shows set in different time periods. Wigs are provided for
actors and fitted by the wig mistress. You will be trained as to the best way to put on and maintain your wig/s. It
is the responsibility of each actor to put his/her own wig/s on and to store them as instructed for each
performance. NEVER alter, cut, comb, curl, spray or change your wigs in any way. Never draw on or destroy
the Styrofoam wig heads. The wig mistress will touch up the wigs during the production run.
MICROPHONES – Floor microphones are located on floor downstage right, center and left; hanging
microphones are located onstage above the stage and backstage in front of the conductor monitor.
Wireless microphones are worn by principal actors and some chorus. The actor picks up their body microphone
at the sound booth and puts them on before warm-ups, wearing them to warm-ups so they can be tested, and are
returned to the sound booth after each performance in a timely manner.
MICROPHONES (continued)
The sound technician will give you instructions needed when wearing your microphone and pack and returning
your microphone at the end of each performance. Here are some things to think about before you have your
body microphone on:
1.NEVER turn the microphone off unless instructed by the sound technician.
2.The pack should be attached to your underwear, tights or hooked onto your bra strap with the pack located
next to your skin. Never attach the microphone to the outside of your costume or in a pocket. Some actors use
a clip on belt pack, which you can purchase at any sport store. A belt worn around your waist or an ace bandage
will also hold them in place.
3. The long wire should be as straight as you can make it down your back and around your waist area. Never
have knots in the wire or have the wire to tight that you are restricted in your movement.
4.Manipulate the strong wire with the microphone just under your mouth. It doesn’t work or look good if it is
sticking out the side of your head. If you are wearing a wig cap for the entire show, the microphone can lay on
top of your head, bobby pinned for security, and the microphone head sticking out at the top of your forehead.
5.Clear tape (a little goes a long way!) is used to attach the wire to the back of your neck and/or behind or in
front of your ear. Hide the tape as best as you can. Tape is available at the sound booth or in the dressing room.
It is a good idea to invest in your own role of clear adhesive, medical tape to keep in your own make-up kit.
6. Take the body microphone off after you have change out of your costume. This saves pulling excessively on
the cord. You should never remove your mic after a performance at the sound board in front of audience
members.
7. When returning your microphone to the sound booth, never wrap the microphone wire tightly around the
microphone pack.
ORCHESTRA – The orchestra is an important part of all musicals and concerts. The orchestra and its members
are the first group of production volunteers the audience sees and are constantly visible during performances.
Attire – Black dress casual or business casual. No jeans, sweats, t-shirts or sweatshirts are permitted. At times,
the orchestra may be asked to dress up or to wear costumes to fit certain shows.
Conduct – Because the orchestra is in total view the entire performance certain behavior must be adhered to.
Talking, eating, text messaging and moving around the pit are all distracting. You can read and do homework
as long as it is done in a subtle manner.
Orchestra members are asked to adhere to the call time set by the conductor and are encouraged to attend Green
Room at each performance.
STAGE CREW – Stage crew move scenery, pull drops, set and strike props, help dress actors, and keep the
backstage area clean and organized.
Attire – Black pants, shirts, and shoes; gloves as needed. Shorts, sandal, flip flops are not safe or appropriate.
Stage crew should remain in the backstage and wing areas unless directed by the stage manager.
Stage crew is asked to adhere to the same call time as the actors and to attend Green Room at each performance.
GREEN ROOM
Green Room is the meeting of all cast, crew and orchestra held prior to each performance. Announcements and
updates concerning the show are made. Green room is normally held in one of the dressing rooms or backstage.
The tradition of passing the Playhouse charm necklaces are also done at Green Room. During the 1979
production of Fiddler On The Roof, two necklaces, each with a charm representing the show, were started. For
each show, a new charm is added to each necklace. Since 1979, those two necklaces have grown to dozens of
necklaces filled with charms. At each performance, the current holders of the necklaces pass them on to anyone
associated with the production, for any reason. Whoever holds the necklace at the final performance carries it
on to the next Playhouse production. The necklace holders return the necklaces to the Box Office for the next
charm, make reservations with two complimentary tickets to the first performance of the next show, pick up the
necklaces with their tickets the night of the show, and join the current cast backstage for Green Room, where
they will pass on the necklace, starting the wonderful process all over again.
MEMORABILIA
For each production, memorabilia is created with the show logo on it. This is usually a tee-shirt or sweatshirt
and is available for any cast, crew or orchestra member to purchase. In addition, current show posters and other
memorabilia are available for purchase during performances. Pictures of the show or a complete digital picture
CD are available for purchase during the run, taken by a photographer hired by the Playhouse. All information
about memorabilia is shared with the volunteers during rehearsals.
SAFETY AND RESPECT
To ensure the safety of every volunteer, the Playhouse has policies and procedures to follow.
If for any reason you are encountering problems that are not making your experience a positive one, please see:
1. Director (at rehearsals)
2. Stage Manager (at shows)
3. Dressing Room Deputies (at shows)
3. Producing Director
4. Executive Director
DRESSING ROOM DEPUTIES
Each dressing room is assigned a dressing room deputy.
A dressing room deputy will be assigned by the director and stage manager for each dressing room, male and
female. The dressing room deputy may be another actor in the show, a parent, or backstage volunteer. They are
to be respected by all volunteers.
The deputy will act as the contact point if an emergency situation arises, will make sure, with the actors’ help,
that all dressing rooms are followed, and will ensure:
1. talking in the dressing rooms is minimal and very quiet during the show.
2. communication between the cast, stage manager and director is clear and constant.
3. cast members and crew use their appropriate dressing room only. Males stay out of the female dressing
room and females stay out of the male dressing room. PLEASE NOTE: Playhouse staff members may
be required to be in the Dressing Rooms with the opposite sex.
DRESSING ROOM DEPUTIES (continued)
4. non-cast and non-crew members are not in the dressing rooms unless specifically assigned by the
director or stage manager.
5. dressing room doors remain closed when more than two people are in the dressing room.
6. discretion by suggesting actors wear a robe or large shirt and sweatpants as you sit around in the
dressing room.
7. appropriate language and respectful conversation are used for all ages.
8. all behavior in the dressing room is appropriate and will intervene when such behavior is deemed
inappropriate – i.e. roughhousing, language, bullying.
9. cast members use personal hygiene products.
10. everyone is doing their individual part to keep the dressing room and bathrooms neat and clean.
11. cast members treat their costumes with care, for example hanging garments up appropriately.
12. costume issues are recognized and appropriately fixed to maintain the quality of the show’s look. For
example, asking a cast member to press their wrinkled shirt or finding someone to sew on a missing
button, as well as directing a person to the stage manager to have a costume repaired by the costume
staff.
ANTI-BULLYING POLICY
The Erie Playhouse is committed to making sure that all children who work with us can do so in a safe and
friendly environment. We regard bullying of any kind as unacceptable and will take any such behavior
seriously, dealing with any such incidents promptly and effectively. We want to provide a safe environment
and appropriate framework to enable you to tell us if bullying is happening.
What is bullying?
Bullying is when someone behaves in an offensive, intimidating, malicious or insulting way with the intention
of hurting or upsetting another person. Types of bullying can include:
•
Emotional: being unfriendly, excluding, tormenting, threatening,
•
Physical: intimidating pushing, kicking, hitting, punching or any use of violence.
•
Racist: racial comments, gestures
•
Homophobic: anti-gay comments, gestures
•
Verbal: name-calling, sarcasm, spreading rumors, teasing
•
Cyber: Misuse of the internet or mobile phones to threaten, tease or abuse
What should I do if I feel I am being bullied or think someone else is being bullied?
Report this to the Stage Manager immediately or speak with your parents. We understand that this is a difficult
subject to talk about so if you feel you cannot speak to the Stage Manager, ask your parents to speak on your
behalf. Once the Stage Manager has been told, they will speak with the Director and Producing Director, who
will investigate and decide what action needs to be taken.
If the Director and Producing Director believe that bullying has taken place there are a number of actions they
may take. Parents would always be involved in any decisions involving their children. In the first instance, we
would always hope to mend the relationship between any children who have been involved in bullying.
Depending on the situation, the child believed to have been bullying may be asked to make a genuine apology
and promise not to repeat the behavior.
However, depending on how serious the bullying is, and how long it has been going on we may decide that the
child will no longer be permitted to participate in the production.
CELL PHONES
While cell phones are a way of life for all of us, the use of cellphones during rehearsal and performances must
and should be limited.
During rehearsals, cell phones should be placed on vibrate or turned off. You can check messages during
breaks.
Cell phones should be never be on the person of an actor while onstage.
MAINSTAGE SHOWS: Cell Phones are to be silenced backstage and in the Dressing Rooms. Cast and
crew should refrain from taking photos or videos in areas where and at times when actors are changing. Please
be mindful and respectful of those around you. If cast members are uncomfortable, they should report it to the
dressing room deputy or stage manager immediately.
YOUTHEATRE SHOWS: Cell phones are to be turned OFF and not used at all backstage. Photos and
videos are prohibited. It is the director’s discretion to hold onto cell phones until the performance is over.
CONDUCT
While volunteering at the Playhouse you will have the opportunity to work with people of all ages, races, and
walks of life. Always remember that everyone is expected to treat each other with respect and kindness. Adults
and minors are reminded that all interactions with each other should be of an appropriate nature as defined by
the Erie Playhouse sexual harassment policy. Minors are reminded to be respectful of their elders. Adults and
minors are also asked to be aware of their surroundings at all times and to avoid any situations at the rehearsal
hall, dressing rooms or backstage when they are alone with each other. Adults should never offer to transport
children without the written or verbal consent of the parents. Parents are also cautioned to be sure you know the
adults that you are allowing to transport your children. Also, many times cast or crew members will host a
party during the run of a show to which parents are encouraged to accompany their children and not allow them
to attend such parties unchaperoned.
You will be asked to sign a sexual harassment policy, a volunteer application, an emergency/liability form, and
a photo release form. All forms will be kept by the director during rehearsals and in the box office safe during
performances, except the emergency/liability form that will be kept by the stage manager during performances
and the marketing director will hold on the photo release forms.
Parents are encouraged to go over the sexual harassment form with their children so that they understand what
to do in case of an incident.
BACKGROUND CHECKS AND CLEARANCES
All employees of the Playhouse and volunteers in roles of direct supervision of children obtain all 3 clearances
as per Pennsylvania state law. These clearances are kept on record at the Erie Playhouse box office and
renewed as required by law.
All volunteers of the Erie Playhouse with any contact with minors must submit their driver’s license for
clearance through the Raptor program. This program will provide any past criminal or child abuse record. A
clearance badge will be printed and kept by the director and or stage manager for the duration of the production.
All such information will be kept confidential. Anyone who has a record of child abuse will not be permitted to
participate in any aspect of a production at the Erie Playhouse. Other violations will be dealt with on a case by
case nature.
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The Erie Playhouse has been in the Erie community for 100 years because of volunteers like you who share
your time and talent with us. We would not be here without you. Your positive experience is our priority and
we will do everything to make it so! Thank you for volunteering at the Erie Playhouse!