COSTUMES:

Cast members should try to obtain their own costumes. If that’s not possible, the director and all the cast members who need costumes must find a time to meet with the costumes/props head, in the costume storage space at Knowlton, at the same time. Individual cast members cannot set up separate times to meet with the costumes/props head.
At this meeting, the director must pay a $50 deposit on the costumes to be borrowed, whether it’s one costume or fifteen costumes.
In order for the director to get the $50 deposit back, all costumes must be returned after having been properly washed if indicated on the costumes themselves. If the costumes are to be dry-cleaned, Herta will use money from the $50 deposit and take them to be dry-cleaned. The leftover money will be returned to the director once all the costumes have been returned, either washed or dry-cleaned. If the costumes are either not returned or returned in a horrible state, the director will not receive his deposit back. If the director does not pay the $50, he or she will not be allowed to direct anything for Group Art Attack again.

PROPS:

Students involved with the production should provide all needed props. If that’s not possible, the costumes/props head will help the director to find the props needed, out of the Group Art Attack Props Closet, located in Palmer 202. If the Props Closet does not have what is needed, then the costumes/props head can check with the students in charge
of the Props Closet in the basement of Palmer Auditorium (call Herta to get in touch with these students.) If neither of these props closets have the props needed, the costume/props head must buy the needed props, with the permission of Group Art Attack’s Exec. Board.

SET PIECES:

Students involved with the production should provide all needed set pieces. If that’s not possible, the director needs to contact Herta to obtain permission to use the Theater Dept.’s set pieces.

REHEARSAL/PERFORMANCE SPACES:

Before the first week of rehearsal, the director should know where the play will be performed and reserve the space. If the space is Palmer Mainstage or Tansill, it must be reserved through Herta. If the space is Palmer 202, it must be reserved through Donna. If the space is anywhere else on campus, it must be reserved at the Office of Conferences and Special Events.
Rehearsal spaces must also be reserved. (See above for who to contact when reserving rehearsal spaces, depending on where exactly you would like to rehearse.)

ROYALTIES:

Before the first week of rehearsal, the director must contact the publishing company of their play to obtain the play’s royalties and/or scripts. (See Money Matters on the next page for info. about how to pay for the royalties and/or scripts !!)

NOTE: When obtaining the play’s royalties, make sure the publishing company knows that the production will be a workshop production with no admission. Sometimes, publishing companies will give workshop productions
of plays reduced royalty rates. If this is case, then no
matter how many performances of the play there are, there must only be one “performance.” All other performances have to be called “open dress rehearsals” or “previews.”
If the royalties will be the same price whether or not you charge admission, then we will charge admission ($2
for students and $5 for adults) and call all performances, “performances.”

MONEY MATTERS:

Group Art Attack always provides money for the royalties (up to $100), and posters and programs (up to $40) The $50 costume deposit, as well as anything else, such as special costumes or props, scripts [etc.] must be paid for by those students involved with the production.
If you need a check, you must give the President of Group Art Attack a bill or receipt with the exact amount of money needed. Then the President will give this bill or receipt to the Treasurer who will fill out the necessary paperwork to get you the check within 48 hours.
If there is any money left at the end of the semester, the Group Art Attack Exec. Board will accept any receipts for costumes or props, [etc.] that were purchased by the students involved with the production. When all the receipts are collected from all of the semester’s productions, the Group Art Attack Exec. Board will decide how much to give back to the students.

PRODUCTION TIMELINE
FOR STUDENT DIRECTORS

First Week of Rehearsal:

Already have obtained royalties and scripts
Reserve rehearsal/performance space (s)
Give Costumes/Props Head a list of props that cannot be provided by students involved in the production
Call Herta to obtain needed set pieces

Second Week of Rehearsal:

Students involved in the production bring in needed costumes and props
Costumes/Props Head brings in needed props
Set up a meeting with Costumes/Props Head to obtain costumes that cannot be provided by students involved in the production

Week Before Dress Rehearsal:
A dry tech must be completed. A dry tech is when the director, stage manager, lighting designer and/or sound designer discuss which lighting and sound cues happen when during the production. Actors do not and should not attend the dry tech!!
ALL COSTUMES AND PROPS MUST HAVE BEEN FOUND -- THE COSTUMES/PROPS HEAD WILL
NOT PROVIDE YOU WITH ANY MORE COSTUMES AND PROPS!!!

Weekend of Tech:
A cue-to-cue must be completed. The cue-to-cue is when the rehearsal starts with the first light/sound cue and moves to the next light/sound cue until the end of the show.

NOTE: Entire scenes need not be rehearsed yet actors
must attend this rehearsal. Once the cue-to-cue has been completed, rehearsals should include run-throughs with all needed costumes and props

Tech Week:
Every day of tech week should include a complete dress rehearsal, including full costumes, hair and makeup.

One Week After Last Performance:

Costumes must be returned to Costumes/Props Head washed or ready to be dry-cleaned
All props must be returned to Costumes/Props Head
All set pieces must be returned to Herta
A constructive critique will occur via email between those involved in the production and the President of Group Art Attack and the production’s Producer