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University of Northern Colorado
School of Theatre Arts and Dance
Student Handbook
2016-2017
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Table of Contents
Introduction
• Letter from the School Director ........................................................................................................ 6
• Inclusion and Mission Statements ..................................................................................................... 7
• Faculty .............................................................................................................................................. 8
• Staff .................................................................................................................................................. 15
School Policies and Procedures
• Code of Ethics ................................................................................................................................... 16
• Faculty and Student Relations .......................................................................................................... 16
• Class Obligation and Attendance Policy .......................................................................................... 17
• Performance Eligibility/Ineligibility ................................................................................................. 17
• Probation and Expulsion Policies ...................................................................................................... 18
• Advisors and Advising ...................................................................................................................... 18
o Appeals .................................................................................................................................. 19
o Graduation ............................................................................................................................. 19
• General Assessment Policy ............................................................................................................... 19
Financial Aid and Work Study Information
• School Scholarships, Awards, and Procedures .................................................................................. 20
o UNC General Scholarships/Awards ...................................................................................... 20
o UNC Universal Scholarship .................................................................................................. 20
o Resident/Nonresident Upperclassmen Scholarships ............................................................. 22
o Nonresident Freshman Scholarships ..................................................................................... 22
o Nonresident Transfer Scholarships ........................................................................................ 23
o CPVA Scholarships/Awards ................................................................................................. 23
• Student Employment Opportunities .................................................................................................. 25
o General Areas ........................................................................................................................ 25
o Technical Areas ..................................................................................................................... 25
Production Information
• Production Guidelines and Policies ................................................................................................... 26
o Mainstage Productions, Schedules and Meetings ................................................................. 26
o Design Meetings .................................................................................................................... 26
o Production Meetings .............................................................................................................. 27
o Rehearsal Policies and Hours ................................................................................................ 27
o Rehearsal Schedule ................................................................................................................ 28
o Nudity in Rehearsals and Productions ................................................................................... 28
o Smoking in Classrooms, Rehearsal Spaces, and Theatres .................................................... 28
• Performance and Ticketing Policy .................................................................................................... 29
• Season Selection – Academic Year ................................................................................................... 29
o Play Selection Team .............................................................................................................. 30
o How to Submit Plays for Consideration ................................................................................ 31
o Registered Student Organizations (RSO) .............................................................................. 31
• Production Work Policies .................................................................................................................. 31
• THEA 100 and 110 Performance Policies (IP) ................................................................................. 32
o Theatre 100 (IP) ..................................................................................................................... 32
o Theatre 110 (Performing) ...................................................................................................... 33
o Actor Work Ethic Guidelines ................................................................................................ 33
o THEA 110 Syllabus ............................................................................................................... 37
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• Rehearsal Schedules and Guidelines ................................................................................................. 38
• Rehearsal Spaces, Reservations, and Priorities ................................................................................. 38
o Gray Gym Usage……………………………………………………………………………39
• Audition Policy .................................................................................................................................. 40
o Students Required to Audition .............................................................................................. 40
o Students Not Required to Audition ....................................................................................... 40
• Off Campus Production Opportunities .............................................................................................. 40
o Off Campus Production permission form .............................................................................. 41
• Student Eligibility for Performance Opportunities ............................................................................ 42
• Theatre Audition Dates ...................................................................................................................... 42
• Mainstage Dance Concerts ................................................................................................................ 43
• One Acts ............................................................................................................................................ 43
• Policy on Nudity ............................................................................................................................... 45
• Audition Tips ..................................................................................................................................... 47
• Audition Form ................................................................................................................................... 49
• Casting ............................................................................................................................................... 50
o General Policies ..................................................................................................................... 50
o Guest Artists .......................................................................................................................... 51
o Faculty Performers ................................................................................................................ 51
o Call-backs .............................................................................................................................. 52
o Casting Process ...................................................................................................................... 52
o Mainstage Dance Concert ..................................................................................................... 52
o RSO Procedures ..................................................................................................................... 53
o Posting of Cast Lists .............................................................................................................. 53
o General Understudies ............................................................................................................ 53
• Replacing Cast Members ................................................................................................................... 54
• Guidelines for Professional Decorum ............................................................................................... 55
• Violations of Professional Decorum Guidelines ............................................................................... 57
• Production Positions and Responsibilities ......................................................................................... 58
o Director .................................................................................................................................. 58
o Stage Manager ....................................................................................................................... 58
o Assistant Stage Manager ....................................................................................................... 63
o Scenic Designer ..................................................................................................................... 63
o Assistant Scenic Designer ..................................................................................................... 65
o Assistant to Set Designer ....................................................................................................... 66
o Charge Scenic Artist .............................................................................................................. 67
o Properties Master ................................................................................................................... 67
o Lighting Designer .................................................................................................................. 69
o Assistant Lighting Designer .................................................................................................. 71
o Master Electrician .................................................................................................................. 72
o Costume Designer ................................................................................................................. 73
o Assistant Costume Designer .................................................................................................. 75
o Assistant to Costume Designer .............................................................................................. 76
o Wardrobe Master ................................................................................................................... 76
o Makeup Supervisor ................................................................................................................ 77
o Sound Designer ..................................................................................................................... 78
o Technical Director ................................................................................................................. 79
o Assistant Technical Director ................................................................................................. 81
o Master Carpenter ................................................................................................................... 82
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o Run Crew ............................................................................................................................... 84
o Wardrobe and Costume Crews .............................................................................................. 87
o Actors’ Costume Responsibilities ......................................................................................... 75
o Publicity ................................................................................................................................. 87
• Technical Rehearsal Process ............................................................................................................. 88
o Cue-to-Cue ............................................................................................................................ 88
o Technical Rehearsals ............................................................................................................. 88
o Dress Rehearsals .................................................................................................................... 88
o Final Dress ............................................................................................................................. 88
• Strike Policy ...................................................................................................................................... 89
• Production Analysis Form ................................................................................................................. 90
• LTR – Little Theatre of the Rockies .................................................................................................. 91
o Summer Opportunities Here and Elsewhere ......................................................................... 93
o LTR Policies and Procedures ................................................................................................ 94
• Practicum Information ....................................................................................................................... 95
o Guidelines .............................................................................................................................. 95
o Application Form ................................................................................................................... 96
o Technical Guidelines ............................................................................................................. 97
• Showcase Opportunities .................................................................................................................... 98
o New York Musical Theatre Showcase .................................................................................. 98
o LA Showcase ......................................................................................................................... 98
o Showcase FAQs ..................................................................................................................... 99
• STAD Distinguished Alumni List ..................................................................................................... 100
Programs of Study
• Degree Requirements ........................................................................................................................ 108
o All Concentration .................................................................................................................. 108
o Acting .................................................................................................................................... 109
o Design Technology ................................................................................................................ 111
o Theatre Studies ...................................................................................................................... 114
o Secondary Teaching Emphasis .............................................................................................. 117
o Musical Theatre ..................................................................................................................... 120
o Dance (Minor) ....................................................................................................................... 124
o Theatre Arts (Minor) ............................................................................................................. 125
o Theatre Education M.A ......................................................................................................... 125
o Dance Education M.A ........................................................................................................... 127
• Program Descriptions and Assessments ............................................................................................ 127
• Acting ................................................................................................................................................ 128
o Assessment Information (First – Fourth Year) ...................................................................... 128
o Narrative Questions ............................................................................................................... 134
o Sample Resume ..................................................................................................................... 135
• Design and Technology ..................................................................................................................... 136
o Assessment and Portfolio Materials ...................................................................................... 136
o Design and Technology Narrative ......................................................................................... 140
o Sample Resume ..................................................................................................................... 140
o Interview Process and information ........................................................................................ 140
• Non-Mainstage Production Opportunities ......................................................................................... 141
o Design/Technology Perimeters ............................................................................................. 141
o Non-Mainstage Production Permission Form ....................................................................... 142
• Theatre Studies .................................................................................................................................. 143
o Freshman Assessments ......................................................................................................... 143
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• Secondary Teaching Emphasis .......................................................................................................... 144
o Assessment Information (First - Fourth Year) ...................................................................... 144
o THEA 225, 240, and 340 ....................................................................................................... 145
o Lesson Plan Format ............................................................................................................... 146
o Sample Resume ..................................................................................................................... 152
o Narrative ................................................................................................................................ 153
• Musical Theatre ................................................................................................................................. 153
o Additional Program Information ........................................................................................... 153
o Audition Policy ...................................................................................................................... 154
o Performance Credits .............................................................................................................. 154
o Individual Performance in Voice ........................................................................................... 155
o Individual Performance in Theatre (THEA 100) or IP .......................................................... 156
o Assessment Information and Rubrics .................................................................................... 158
• Dance ................................................................................................................................................. 166
o Program Standards and Policies ............................................................................................ 166
o Ballet Assessment .................................................................................................................. 167
o Intermediate Jazz Dance Assessments .................................................................................. 169
o Modern Skill Test .................................................................................................................. 170
o Student Assessment Form ..................................................................................................... 171
o Performance Evaluation ........................................................................................................ 172
o Teaching Experiences Evaluation ......................................................................................... 173
Safety
• Theatre and UNC Safety ................................................................................................................... 174
o Scene Shop/Stage General Safety Regulations ..................................................................... 174
o Weapon/Prop Safety .............................................................................................................. 174
o Fire Rules and Regulations .................................................................................................... 174
o General Directions for all Emergencies ................................................................................ 175
o Bomb Threat .......................................................................................................................... 176
o Equipment Explosion/Chemical Spill ................................................................................... 176
o Blizzard/Heavy Snow Warning ............................................................................................. 176
o Tornado and Severe Weather ................................................................................................ 176
o Health and Personal Injury .................................................................................................... 176
o Power Failure ......................................................................................................................... 177
o Emergency Telephone Numbers ........................................................................................... 177
Student Safety .......................................................................................................................................... 178
o Personal Safety ...................................................................................................................... 178
§ Alcohol ...................................................................................................................... 178
§ Stalking ...................................................................................................................... 179
§ Attacks ....................................................................................................................... 179
o UNC Drug and Alcohol Policy .............................................................................................. 179
o Personal Property Security and Assaults ............................................................................... 179
o Sexual Misconduct ................................................................................................................ 180
§ UNC Resources ......................................................................................................... 180
§ Greeley, CO Resources ............................................................................................. 181
§ Bystander Intervention .............................................................................................. 182
The Internet and Social Media
Forms ................................................................................................................................................. 183
Social Media ...................................................................................................................................... 183
Online Reputation .............................................................................................................................. 183
Life After UNC ............................................................................................................................................ 184
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INTRODUCTION
Letter from the School Director
Dear Theatre Arts and Dance Major,
Welcome to the UNC School of Theatre Arts and Dance – designated as “the top undergraduate theatre arts
program in the state of Colorado” in an independent poll conducted by The Denver Post.
Currently one of the largest undergraduate theatre arts programs in the United States (300 majors and 100
minors), the School of Theatre Arts and Dance produces over 30 productions each year in multiple venues on
campus and in the community. Our theatre degree programs, dance minor, and five concentration areas are
led by 24 talented faculty and staff members - all of whom have strong professional credits in addition to
their outstanding academic credentials.
And although we may be a large program, all of us on the faculty are committed to the concept of
“professional mentorship and pre-professional training.” As a student at UNC, you will not only be exposed
to rigorous academics in the classroom but also enjoy a wide variety of performance opportunities, get to
work along side nationally recognized guest artists, and have the opportunity to explore every facet of the
theatrical arts. Combine all of these strengths with our close proximity to Denver and the recreational
opportunities afforded by the Rocky Mountains and you truly have something special.
We offer selected students the opportunity to work with the Little Theatre of the Rockies, our professional
summer stock company; perform in the annual New York City and Los Angeles Senior Showcases;
participate in ACTF/ADTF and URTA; travel and study abroad, and explore a host of additional professional
and educational opportunities.
Our graduates have enjoyed enormous success as actors, singers, dancers, designers, Directors,
choreographers, craftspeople, technicians, stage managers, and playwrights on Broadway and in nearly every
major regional theatre in the country. Our reputation for training high school drama teachers is legendary and
our placement record in this area is second to none. In fact, you will find our graduates working in the
performing arts, education, or related careers all over the world.
Welcome!
David Grapes
Director of the School of Theatre Arts and Dance
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The School of Theatre Arts and Dance Inclusion Statement
The School of Theatre Arts and Dance embraces the diversity of students, faculty, and staff, honors the
inherent dignity of each individual, and embraces their unique perspectives, behaviors, and worldviews. To
this end, people of all races, religions, national origins, sexual orientations, ethnicities, genders and gender
identities, cognitive, physical, and behavioral abilities, socioeconomic backgrounds, regions, immigrant
statuses, military or veteran statuses, size and/or shapes are welcome in the School of Theatre Arts and
Dance.
The School of Theatre Arts and Dance’s Mission, Goals and Objectives Statements
The central mission of the School of Theatre Arts and Dance (STAD) is to prepare practitioners and
educators for careers in the arts through an integrated professional training program with a strong liberal arts
component.
The School of Theatre Arts and Dance programs combine classroom instruction with practical laboratory
experiences in Theatre, Musical Theatre, and Dance. Opportunities include assuming leadership roles in the
academic production season, professional guest artists, workshops and master classes with industry
professionals, a New York City and Los Angeles Showcase for graduating seniors, and opportunities with
our 82 year-old professional summer stock theatre company – The Little Theatre of the Rockies (LTR).
The School of Theatre Arts and Dance is an artistic and educational community of artists, scholars and
craftspeople that values diversity, inclusion, cross-cultural perspectives, imagination, creativity, passion,
excellence in performance and scholarship, mentorship, discipline, dedication, craftsmanship, team work,
communication, humor, and collaboration.
In addition to the professional degrees, the school cultivates an appreciation and an understanding of theatre
arts and dance as a part of global culture, social issues, and personal enrichment for life. STAD also provides
a cultural center for the university, community, state, and region.
We are committed to providing a multi-faceted educational experience within the framework of a nurturing
student focused environment.
The School of Theatre Arts and Dance offers degree programs in Theatre Education, Theatre, and Musical
Theatre with minors in Theatre Arts and Dance. These programs provide rigorous undergraduate training
with a strong academic base ideally suited for students who have Theatre Education, Theatre, Musical
Theatre, or Dance employment as their career goal. The program cultivates an appreciation and
understanding of theatre arts and dance as a part of global culture, social issues, and personal enrichment for
life. The School trains future leaders in the fields of theatre, dance and education and provides a cultural
center for the university, community, state, and region. The program offers the following academic areas in
order to achieve the mission:
B.A. in Theatre Arts (with Secondary Teaching Emphasis)
B.A. in Theatre Arts with Concentration Areas in:
Acting
Design and Technology
Theatre Studies
B.A. in Musical Theatre
M.A in Theatre Education
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M.A. in Dance Education
All programs and curricula follow specific benchmarks and provide strong advising to ensure our students
progress on track during their enrollment at UNC.
The School of Theatre Arts and Dance is committed to maintaining its position as the top undergraduate
theatre training program in the region and to continue to enhance its national reputation through the
continued recruitment and education of the nation’s most talented high school graduates.
Rooted in the finest traditions of a comprehensive liberal arts education, the School of Theatre Arts and
Dance also offers many opportunities only found in the best conservatory training programs. We offer our
undergraduate students exceptional opportunities to: design, direct, stage manage, assume major production
assignments, work as student support staff in the School, be employed in the Little Theatre of the Rockies,
our 82 year-old professional summer stock company, work and interact alongside leading industry
professional guest artists and scholars, attend master classes and workshops, perform in professionally
produced showcases in New York City and Los Angeles and to grow as artists and individuals in a
supportive and nurturing theatrical environment.
Above all, the School of Theatre Arts and Dance believes in the power of theatre and the theatrical
artist/craftsperson/teacher/educator to be a positive force for change and betterment in our society and
changing world.
Faculty
DAVID GRAPES II (School Director) – An award-winning director, actor and playwright, David has provided
administrative, financial, and artistic leadership for a wide variety of theatrical institutions including two
professional regional theatres, 3D productions - a commercial bus and truck touring company, two nationally
recognized university theatre departments, a variety of summer stock companies, and a number of large
professional not-for-profit regional and civic theatres. Prior to his arrival at UNC, he served for six years as
the Producing Artistic Director of Tennessee Repertory Theatre (LORT C). While in Nashville, he produced
36 productions including three world premieres, established an "off- Broadway season" of contemporary
plays, expanded the Rep's education/outreach department, and was the recipient of eight "Tennie Awards"
for Best Direction by the Nashville Tennessean.
During his 40 -year career in the theatre, David has produced over 800 major productions that span nearly
every genre of dramatic literature. His work as a director (250+ productions) has been seen from coast to
coast in such theatres as the Denver Center for the Performing Arts, Tennessee Repertory Theatre, Asolo
Theatre, Laguna Playhouse, Pittsburgh Civic Light Opera, Theatre by the Sea, ArtPark, Madison Repertory
Theatre, Arkansas Repertory Theatre, Barter Theatre, Flat Rock Playhouse, Blowing Rock Stage Company,
Tuacahn Amphitheatre, Seven Angels Theatre, Little Theatre on the Square, Muhlenberg Summer Theatre,
Western Michigan’s Cherry County Playhouse, Straw Hat Players, American Stage, El Portal Theatre,
Nashville’s Ryman Auditorium and Dollywood.
Professional acting credits include leading roles in August Osage County, Cyrano de Bergerac, Amadeus,
The Miser, The School For Wives, The Merchant of Venice, A Christmas Carol, ART, The Cherry Orchard,
Talley's Folly, The Importance of Being Ernest, A Man For All Seasons, and The Drawer Boy. Born and
raised in Parkersburg, West Virginia, David is a member of Actors' Equity Association, the Society of Stage
Directors & Choreographers, the Dramatist Guild of America, and is a graduate of Glenville State College
and the MFA Acting/Directing Program at the University of North Carolina at Greensboro. In 2010, David
was honored by Glenville State College as its Distinguished Alumni of the Year.
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He is the creator/co-author (with Todd Olson) of four musical revues; My Way - A Musical Tribute to Frank
Sinatra, Christmas My Way - A Sinatra Holiday Bash, Moon River - Johnny Mercer's American Songbook,
and I Left My Heart - A Salute to the Music of Tony Bennett, which have been performed at over 400 theatres
world wide. He is also creator/co-author (with Robert Neblett) of Simply Simone – The Music of Nina
Simone and the plays Dracula: The Case of the Silver Scream, a film noir adaptation of Bram Stocker’s
famous novel Dracula and a musical adaptation of Twelfth Night: or Gun Fight at the Illyria Corral. David
has premiered a number of other original works at UNC including Babes in Hollywood – The Music of
Garland and Rooney (2007), which opened the 73rd LTR Season, One More For My Baby (2011), which
opened the 77th LTR Season and Queen Lear (2012). David is also a published theatre photographer.
At UNC, David is a full tenured professor, Founding Director of the School of Theatre Arts and Dance and
serves as the Producing Artistic Director for UNC's 82-year-old professional summer stock company - The
Little Theatre of the Rockies. His UNC/Little Theatre of the Rockies directorial credits include: LA Senior
Showcase (2007 - 2016), Candida, Rounding Third, Bleacher Bums, Dracula: The Case of the Silver
Scream, The Tempest (guest artist Kevin Haggard), Babes in Hollywood, Tuesday’s With Morrie, The
Drawer Boy, Titanic – The Musical!, Bad Dates, God’s Man in Texas (guest artist Dan McNally),
Heartbreak House and Twelfth Night: or Gun Fight at the Illyria Corral (both featuring guest artist Jim
Mezon), Doubt (guest artist Anna Stone), Quilters, The Taffetas, Hay Fever and The Elephant Man (guest
artist Bill Bowers), Tintypes and the Colorado premiere of The Lady With All The Answers (guest artist Kerri
Jill Garbis), Nixon’s Nixon (guest artist Dan McNally) and One More For My Baby (guest artist John Fredo)
and You Can’t Take It With You (guest artist Noel Johnston), Harvey (guest artist Peter Krantz), Ragtime
(guest artist Terron Brooks, Escanaba in da Moonlight, Private Lives (guest artist Michelle Shupe), Sonia
Vanya, Masha and Spike, Aida, Outside Mullingar, The Addams Family Musical, Queen Lear (Lucy
Peacock), Sweeney Todd, Once in a Lifetime, Marathon 33, and The Who’s Tommy. This spring David will
direct a steampunk production of Shaw’s Major Barbara.
Each summer since 1978, David has written reviews, features and BLOGS about the Stratford Shakespeare
Festival and the Shaw Festival, the two largest theatre festivals in North America. His online work can be
viewed at http://canadiantheatrefestivals.blogspot.com/ or
https://www.facebook.com/TheatreNewsandReviews/?fref=nf
For more information on David’s work as a playwright visit: www.summerwindproductions.com
MONTE BLACK holds a Bachelor of Science in Theatre and Dance from the University of Wyoming with
emphasis in choreography and performance and received a Masters' of Fine Arts from the University of
Illinois at Urbana-Champaign with emphasis in choreography and teaching. Specializing in modern and jazz
dance he has studied with jazz dance master teachers Joe Tremaine, Gus Giordano, and Frank Hatchett. His
modern influences include Renee Wadleigh, Stephen Petronio, Jan Erkert, Linda Davis, Cleo Parker
Robinson, Douglas Nielson, Stephen Koester, and Loretta Livingston. He toured nationally with the 15th
anniversary revival of the Best Little Whorehouse in Texas and has performed in many outstanding regional
theatres nationwide sharing the stage with such luminaries as Roy Clark in Paint your Wagon, Joanne
Worley in Hello Dolly, and Eddie Bracken in Babes in Toyland.
Mr. Black carries with him an array of choreographic and directing credits ranging from the musical theatre
stage to the concert dance arena. While at UNC, he has choreographed 42nd Street, West Side Story,
Brigadoon and Carousel for the Musical Theatre Department and directed and choreographed Footloose: The
Musical. He has also choreographed The Music Man, Chicago, Joseph…Dreamcoat, Fiddler on the Roof,
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Damn Yankees, Annie, and AIDA for the Little Theatre of the Rockies; as well as Directed and
Choreographed The Full Monty and SWING! for their summer season. Mr. Black also is the
director/choreographer of an annual fall dance/theatre production based on the holidays of Dia de los
Muertos and Halloween entitled Miranda’s Nightmare. He has also choreographed numerous pieces for the
annual CPVA Gala and for main stage dance concerts. His latest works include a full-length modern ballet
entitled Dierdre of the Sorrows, based off of Irish mythology, and a one act Dance Theatre project set to the
music of the Airborne Toxic Event entitled Punks: A Love Story. His interests in jazz, modern, dance
technology, collaborations with other artists and his vast performance history make him a vital and inspiring
artist and teacher.
JERALD DAVID BLATT has taught for the last twenty years at a variety of schools, including Tulsa
University, Wichita State University, Idaho State University and most recently Viterbo University. He holds
the rank of Associate Professor and was tenured at Wichita State University. David has designed sets and
lights for over eighty productions but has also served as director, technical director, production stage
manager, property master and scenic charge artist for many more. He most recently designed his third season
with the Virginia Shakespeare Festival including “Much Ado About Nothing”, “The Winter’s Tale”, and
“Art”. Past Seasons included “The Tempest”, “MacBeth” and “Illyria” , an eclectic rock musical telling of
“Twelfth Night” by John Briggs. He has also enjoyed many years with the William Inge Festival, designing
tributes for and meeting playwrights, Arthur Miller, Neil Simon, Stephen Sondheim, Arthur Laurents, Tina
Howe, Tom Jones and Harvey Schmidt, as well as the invitation to design the 25th year Anniversary. Other
notable professional work includes “Peter Pan”, “A Midsummer Night’s Dream” and “A Christmas Carol”
with Off Square Theatre in Jackson, Wyoming, several seasons with Creede Repertory Theatre, Promised
Valley Playhouse, and the Wayside Theatre. He has been honored several times with Design Excellence
Awards from ACTF, sending two designs to the Kennedy Center, received the Creative Design Excellence
Award from Wichita State, and worked with USITT on several conferences, both presenting information and
organizing design exhibits. He holds an Associate Degree in Theatre from Casper College and received his
Bachelor of Fine Arts in Theatre Education and his Masters of Fine Arts from the University of Utah.
TREVOR FREDRICKSON is the Properties Shop Supervisor and a Design/Technology adjunct professor.
BRIAN HAPCIC has been working in theatre and the entertainment industry since 1989. Before arriving at
UNC, he was employed as a Professor of Lighting and Sound Design at the University of Southern Maine, as
well as the University of Southern Mississippi. He is a member of USITT and I.A.T.S.E. local 339, and has
completed designs for theatre, opera, dance, television, video, and media installations. Some credits from
over 100 designs include work with such companies as the Maine State Music Theatre, The Southern Arena
Theatre, The Montana Repertory Theatre, Bigfork Summer Playhouse, and The University of Southern
Mississippi Repertory Dance Company. He earned his MFA in Lighting Design and Technology from The
University of Montana, and a BA in English from Ohio University. In 2004 he was awarded the KCACTF
Faculty Fellowship for meritorious achievement as a professor of Lighting Design.
SHELLY GAZA is an Assistant Professor of Theatre, specializing in Voice & Speech and Acting Styles. She
has an MFA in Acting from Wayne State University, a BFA in Acting from Millikin University, and a
Certificate in Acting from the Moscow Art Theatre School in Russia. Shelly is a member of Voice and
Speech Trainers Association, Actors’ Equity Association and is Co-founder and Director of Statera
Foundation for Women in Theatre (www.staterafoundation.org)
As an actor, Shelly has worked with theatre companies across the country including the Tony Award-
winning Utah Shakespeare Festival, appearing in Twelfth Night, King Lear, The Merry Wives of Windsor, A
Midsummer Night’s Dream, Love’s Labour’s Lost, and The Taming of the Shrew. Other theatres include
Alabama Shakespeare Festival, Colorado Shakespeare Festival, Paragon Theatre (Denver), Talisman Theatre
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(Chicago), and The JET and Hilberry Repertory Theatres in Detroit. She received the 2003 Oscar Wilde
Award for Best Actress for her work in A Streetcar Named Desire at Hilberry Repertory, and the 2006
Finlayson Acting Award at the Utah Shakespeare Festival. Most recently, she has performed with The Little
Theatre of the Rockies in Colorado in Collected Stories, Vanya Sonia Masha and Spike, God of Carnage,
Private Lives, On Golden Pond, The 39 Steps, and Master Class, for which she was named Best Actress in a
Drama by the Greeley Tribune in 2012. Shelly has also performed with the Colorado Symphony and Greeley
Philharmonic Orchestras, and done film, television and radio work including national commercials for
HGTV and Red Roof Inn Hotels. She and her family can also be seen in an episode of the reality television
program My First Sale on the HGTV network.
As a director, Shelly has received accommodations from the Kennedy Center American College Theatre
Festival (KCACTF) for her productions of Compleat Female Stage Beauty at Minnesota State University
Moorhead, and Intimate Apparel at the University of Northern Colorado. Other UNC directing credits
include As You Like It and Pride and Prejudice. She has also directed for the Utah Shakespeare Festival
(2014 Shakespeare in Schools tour of The Taming of the Shrew), Backstage Theatre in Breckenridge,
Colorado, and Paragon Theatre in Denver.
Shelly has taught theatre at Minnesota State University Moorhead, Wayne State University, the Actor
Training Program at Utah Shakespeare Festival/Southern Utah University, and currently lives in Greeley, CO
with her husnband and two children.
MATTHEW HERRICK is a multi-faceted theatre artist and educator, recently transplanted from NYC to
beautiful Greeley, CO, as an Assistant Professor of Musical Theatre at the University of Northern
Colorado. Matthew has taught singing, acting, and voice/speech throughout NYC and beyond. He has
maintained a private voice studio in NYC , Texas, and Utah for 10 years. His students can be seen in leading
roles on Broadway, Off-Broadway, national tours, Disney parks, and major regional theatres throughout the
country. He has been an instructor of singing, acting, and speech at NYU Tisch School of the Arts at
CAP21, The University of Texas at Austin, and various private studios throughout NYC and Utah. He also
served as the resident voice/speech coach for Theatre East and Handcart Ensemble in NYC. With his equal
understanding of singing, acting, speech, and dancing, Matthew believes in developing musical theatre actors
through continual inter-disciplinary correlative training - where the actor, singer, and dancer are 'one.' In
addition to his teaching, Matthew has musical directed and directed for many professional and community
theatres and studios in NYC, Texas, and Utah.
As a performer, he has worked throughout the industry, from musical theatre to Greek drama, to soap operas,
commercials, concerts, cruise ships and beyond. He is a company member of two New York-based theatre
companies, Handcart Ensemble and Theatre East, where he serves as an actor, speech/dialect coach, and
musical director. Select NYC acting credits include: As The World Turns, National commercials for Verizon
Wireless and the Olive Garden, the pre-Broadway readings of Children of Eden with Stephen & Scott
Schwartz; Apollo/Prometheus in the NY premiere of Euripides' Alcestis, adapted by Ted Hughes, Haemon in
Seamus Heaney’s The Burial at Thebes: A Version of Antigone; and readings for BMI Musical Theatre
Workshop, Theatre East, Museum of Jewish Heritage, and others. Select Regional/University theatre credits
include: Holland America Cruise Lines, Jamie in The Last 5 Years, Moliere/Harpagon in Suzan Zeder’s
adaptation of The Miser, Marius in Les Miserables, Adam in Children of Eden, Demetrius in A Midsummer
Night’s Dream, Jed in The Fifth of July, Frederic in The Pirates of Penzance, Kulygin in The Three Sisters,
Richard III, Joseph in Joseph…Dreamcoat, and many more. As President of the BYU Young Ambassadors,
Matthew toured to South Africa, Botswana, and Swaziland.
As a singer, Matthew made his Carnegie Hall solo debut in The Gift of Music, and premiered his solo-cabaret
act, Only Heaven Knows, at Don't Tell Mama in midtown Manhattan. He also appeared as a soloist alongside
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Tommy Tune and Linda Eder in the 20th Anniversary Celebration of the U.T. Performing Arts Center in
Austin, TX. He received his Master of Fine Arts in Acting from The University of Texas at Austin and his
BFA in Musical Dance Theatre from Brigham Young University. Matthew is a proud member of Actor’s
Equity Association, Voice and Speech Trainers Association, and the National Association for Teachers of
Singing. He is happily married with 5 beautiful and rambunctious children, slowly adjusting to suburban life.
JOHN LEONARD is the Head of the Musical Theatre Program at the University of Northern Colorado. A
native of St. Louis, John was the recipient of the 1984 Regional Director's Award. John received his MFA
from the University of California, Davis, and went on to direct/choreograph many musical productions in the
San Francisco and Bay area including, The Fantasticks, The Sound of Music, A Chorus Line, Side by Side by
Sondheim, Little Shop of Horrors, Cabaret, Anything Goes, and A Grand Night for Singing (for which he
received two 1997 Bay area "Arty Awards" for 'Best Director' and 'Best Musical'). While at UNC and Little
Theatre of the Rockies, John has directed/choreographed Blood Brothers, Into the Woods, Guys and Dolls,
Falsettos, Always...Patsy Cline, The Secret Garden, My Fair Lady, No No Nanette, The Sound of Music, My
Way… A Musical Tribute to Frank Sinatra, 42nd Street, A Grand Night for Singing, Grease, Cabaret, Side
Show, Grand Hotel, 1940's Radio Hour, The Boyfriend, and directed Chicago, Joseph and the Amazing
Technicolor Dreamcoat, Fiddler on the Roof, West Side Story, Annie, and Damn Yankees. John also
directed/choreographed My Way for the Bucks County Playhouse in Pennsylvania, Godspell for GCTT, and
choreographed My Way at the Denver Center for the Performing Arts.
GILLIAN MCNALLY specializes in the connection between the arts, youth, and community. She served as a
teaching artist for professional theatres for 10 years prior to her time at UNC. Additionally, McNally worked
with TRIO, a National Program that helps low-income and first generation students gain access to college.
She served as the Resident Teaching Artist for People’s Light and Theatre near Philadelphia, where she
created the Professional Development Program for Teachers and worked with New Voices, the nationally
recognized program that created original works with diverse urban and suburban high school students.
At the University level, McNally taught at The University of Texas at Austin, Temple, West Chester and
Arcadia Universities. At UNC, she teaches courses for both undergraduate and graduate students in theatre
education. She directed ¡Bocòn! and Holes and served as the producer for the touring productions of Tomato
Plant Girl, El Viaje de Beatriz, and A Year with Frog and Toad.
McNally is the recipient of the Alliance for Colorado Theatre’s 2011 Higher Education Theatre Educator of
the Year Award. Her writing has been published in Youth Theatre Journal, Stage of the Art, Incite/Insight,
and Theatre for Young Audiences Today. She has essays published in the books Signs of Change: New
Directions in Theatre Education and The Reflexive Teaching Artist: Collected Wisdom from the
Drama/Theatre Field. McNally presented papers at the International Theatre for Young Audiences Research
Network (ITYARN) in Australia, Sweden, Mexico and Poland. She currently serves as Vice President of
Membership for TYA (Theatre for Young Audiences) USA. She was conference chair for the 2014
American Alliance for Theatre and Education national conference.
A proud Longhorn, she holds an M.F.A. in Drama and Theatre for Youth from The University of Texas at
Austin and a B.F.A. in Acting from Webster Conservatory of Theatre Arts.
TOM MCNALLY is a Professor of Theatre Arts at the University of Northern Colorado. In 1994, Professor
McNally was named national Theatre Arts teacher of the Year by the Educational Theatre Association. The
following year he was named Higher Education Educator of the Year by the Alliance of Colorado Theatre.
He serves on the board of the Higher Education Council of the Denver Center and Alliance of Colorado.
He has directed and acted in more than 120 productions, including off-Broadway, repertory, and university
theatre. His direction of The Odd Couple at the Arvada center for Arts and Humanities earned the show “one
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of the ten best productions of the year” by Rocky Mountain News. He received a Denver drama Critics
Award nomination for his direction of Oleanna. He has appeared as a guest artist for the Little Theatre of the
Rockies productions, playing Herbie in Gypsy opposite Mary Jo Catlett, and Willy Loman in Death of a
Salesman opposite Ann Ducati.
Tom McNally has been a workshop presenter or keynote speaker for more than 50 conferences in 16 states.
He was the only four-time thespian presenter at the National Theatre Education Association Conference in
Cincinnati. He has been a four-time Muncie presenter. He is the author of the textbook Acting: The Active
Process. His articles – “Getting Ready: College Scholarships” and “Audition Techniques” – have appeared
in Dramatics magazine. The latter is used as part of the suggested audition preparations for applicants to the
Juilliard School in New York.
Tom McNally came to UNC from Pennsylvania State University where he was director of undergraduate
studies and co-coordinator of the professional acting program. From 1973 to 1982, Professor McNally served
as chairman of the Department of Theatre and Music Theatre at Loretto Heights College. He received his BA
from Regis College and his MFA from the University of Denver.
SANDRA MINTON – Co-coordinator of the MA in Dance Education program.
DR. ANDREA MOON is a playwright, performer, poet and teacher. Her theatrical work has been produced at
small theatres and Universities across the country as well as in Italy and China. Most recently her
performance work has been seen at the Aerial Dance Festival, Unseen Hand Theatre Co. at the Nomad
Theatre, and the Boulder International Fringe Festival. Andrea’s written work has been published by Salvage
Vanguard Press, eclectica online literary journal, Applause Books, The Cleveland Playhouse and New York
Theatrical Experience. Here at UNC Andrea teaches Stage Movement, Playscript Analysis, Playwriting,
Theatre Management and Dramatic Literature. In the past ten years she has taught physical performance,
playwriting, ensemble theatre creation, script analysis, introduction to theatre, dramatic literature and
performance studies at Universities in Texas and Colorado. She has taught writing from the body and writing
the solo show in the communities of Seattle, WA and Portland, OR. In addition Andrea has taught low-flying
trapeze, mixed apparatus, beginning aerial fabric and Kids Who Fly classes for Frequent Flyers Productions
Aerial Dance Theatre in Boulder, CO.
Andrea holds a BA in Acting from the University of Washington Seattle, an MFA in playwriting from the
University of Texas Austin and a PhD in theatre history/criticism from the University of Colorado, Boulder.
She spent over fourteen years studying approaches to physical acting, ensemble performance creation and
circus techniques with Pacific Performance Project. In addition she has trained in modern dance, contact
improvisation, Alexander technique and aerial dance. She is a two-time recipient of a Michener Center for
Writers Fellowship for playwriting, was a winner of the 2000 Harvest Festival of New American Plays and
was the recipient of the University of Colorado Center for Arts and the Humanities Devaney Dissertation
Fellowship.
MATTHEW MOTT – Design Technology Adjunct Faculty.
CHRISTY O’CONNELL-BLACK began her dance training with traditional Irish Step Dancing in Plymouth, MI
where she traveled the country competing, taking second place nationally at age 7. At 15 she joined
Michigan Classic Ballet Company for 4 seasons before attending the University of Northern Colorado on
scholarship. Christy received her B.A. in Dance Performance and Choreography in 2002 and her M.A. in
Theatre Education at UNC in 2010. She continues to choreograph for a variety of musicals, dance
companies, and University dance concerts. Christy is currently Greeley Central High School’s Arts Magnet
coordinator and dance instructor, the adjunct ballet professor for UNC’s School of Performing and Visual
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Arts, and the co-coordinator for the Dance Education M.A program. Christy continues to advocate for dance
education in public schools by working with the CO Dept. of Ed. on state assessments and curriculum.
DR. MARY SCHUTTLER, Professor of Theatre Arts, is director of the undergraduate Theatre Education and
Master's in Theatre Education programs at UNC. She chaired the Colorado Department of Education (CDE)
Academic Theatre Standards committee, co-chaired the National Coalition for Core Arts Standards
(NCCAS) Theatre Standards committee, co-wrote curriculum and assessment guides for CDE, NCCAS and
the Educational Theatre Association (EdTA), and has been a board member of the Colorado Thespian
Society for twenty years. She has also served as both President and Vice President of EdTA.
Before her UNC appointment, Dr. Schuttler taught high school drama and math for ten years in Grosse
Pointe, Michigan. She earned her BA from the University of Michigan, her MA from Wayne State
University, and her PhD in Theatre from the University of Colorado at Boulder.
Dr. Schuttler received the 2001 Higher Education Theatre Educator of the Year from the Alliance for
Colorado Theatre, and was inducted into the EdTA's Hall of Fame in 2005. Additionally, she has led many
workshops and published several articles on theatre education initiatives, and has directed numerous
productions in her tenure as a theatre educator.
DR. ANNE TOEWE is the head of Design and Technology for the School of Theatre Arts and Dance and
serves as the production manager for LTR. Since her arrival at UNC, Anne has enjoyed the opportunity to
design costumes for a broad variety of theatrical offerings, including Jekyll and Hyde, Bat Boy, Titanic, My
Fair Lady, and The Elephant Man. Additionally, she is pursuing her doctorate in theatre at the University of
Colorado at Boulder, a degree she hopes to have completed by the spring of 2012. Prior to her arrival, Anne
designed and taught on the east coast, including south Florida and Roanoke, Virginia. While in south
Florida, Anne received a Carbonelle Nomination for Best Costume Design for GableStage’s production of
The Dead. In addition to her design opportunities, Anne taught make-up and costuming at New World
School of the Arts (Miami), Broward Community College (Davie), Florida Atlantic University (Boca Raton),
and Palm Beach Atlantic College (West Palm Beach). Additionally, Anne worked as a project manager at
the notable Broadway costume build house Parson-Mears, prior to relocation to Florida. Anne holds her
bachelor’s degree in biology from The College of William and Mary in Virginia, and her MFA in costume
design from Tulane University in New Orleans.
KEN WOMBLE is an Associate Professor of Theatre at the University of Northern Colorado specializing in
acting and auditioning. He holds an MFA in Acting from Southern Methodist University and studied with
master teachers Michael Howard and Warren Robertson in New York.
As an actor Ken has appeared in three Off Broadway premieres, most recently in voiceover, in Mark St.
Germain’s Freud’s Last Session. He played the title role in the indy film Bartleby and has had recurring parts
on Guiding Light, General Hospital and All My Children.
At Colorado’s Little Theatre of the Rockies Ken has appeared in four plays, including Picnic (best actor
2008, Greeley Tribune), and recently directed the female version of The Odd Couple. He has directed over
50 plays, including Welcome to the Moon at the American Renegade Theatre in Los Angeles, The Three
Sisters (best director, Greeley Tribune, 2010), and The Intelligent Design of Jenny Chow at the University of
Northern Colorado.
Ken has conducted numerous audition and film workshops, most recently at the Western Australia Academy
of Performing Arts in Perth, Australia. He taught film acting at the famed Lee Strasberg Theatre and Film
Institute in Los Angeles.
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He is currently writing an acting industry book for which he has conducted interviews with Tony and Emmy
award winning actors, as well as agents, managers and acting teachers.
Ken wrote and directed the first ever documentary on bestselling novelist James Michener, James A.
Michener, An Epic Life. Commissioned by the University of Northern Colorado, Ken researched the project
for two years, and was named as the College of Performing and Visual Arts 2008 College Scholar for his
work.
His most recent article, Support for Actors, published in The Western States Theatre Review, was hailed as
“an innovative and thought provoking approach to directing,” and his adaptations of A Midsummer Night’s
Dream and two other classic plays have received over eighty productions around the country.
Ken is a member of Actors’ Equity, SAG and AFTRA, and is listed in Who’s Who in America. He lives in
the foothills of the Rocky Mountains with his wife Sandy and their two cats, Bob and Maggie.
Staff
CHIRSTINA ANTHONY joined the College of Performing and Visual Arts at UNC as the Student Services
Coordinator in December 2014. Christina’s primary responsibilities are related to undergraduate advising
and retention, and she is the advisor for the PVA College Student Council. Christina earned her master’s
degree in Higher Education and Student Affairs at UNC and also holds a bachelor’s degree from Ohio
Wesleyan University, where she graduated summa cum laude with majors in Psychology and Economics
with a Management concentration. Christina enjoys working with students and exploring the incredible
student talent in the arts at UNC.
DIANE CAYS - Box Office Manager.
PATTY CLEARY has been the costume shop manager for over twenty years. In that time she has worked on
nearly every show that the University of Northern Colorado has produced, a number exceeding 300. She has
designed several productions for UNC, including Little Women for UNC Opera Theatre, Nunsense, The
Fiddler on the Roof, Faust, Susanna, Corpse, Baby and The Tenderland for Little Theatre of the Rockies.
BRANDON INGOLD – Techinical Director.
TERRY KATTNER is the Scene Shop Coordinator. Terry graduated from the University of Wisconsin-
Oshkosh with a BS in Theatre Arts. He worked at Holsten Sr. High in Holsten, Wisconsin doing scenery and
lighting design. Terry has done work touring with the Ice Capades as well as with many concert venues.
Some of Terry’s past designs include Little Women, Say Goodnight Gracie, and Joseph and the Amazing
Technicolor Dreamcoat. Terry met his wife Cindy during a show and they have been together for 21 years.
They have two kids, Sage and Sam, who are Dobermans. Terry is very excited to be a part of our UNC
family.
SHELLY MUNHOLLAND is the School of Theatre Arts and Dance Administrative Assistant. She lives in
Greeley with her husband and son. Although never trained in theatre, Shelly has always been an active
theatre-goer and has always had a love of the arts. She is delighted to have the opportunity to work with so
many extremely talented people.
KAYA PEDERSON is the School of Theatre Arts and Dance Costume Shop Stitcher/Seamster.
MELANIE POSTON is the Recruitment Coordinator for the College of Performing and Visual Arts, which
includes managing auditions and assisting art, music, and theatre students through the admission process.
Melanie holds bachelor’s degrees in Graphic Design and Spanish from UNC and is currently pursuing a
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master’s degree in Higher Education and Student Affairs Leadership. As a PVA alumna, Melanie loves
having the opportunity to work with students who want to pursue a career in the arts, and she is constantly
impressed by the amazing accomplishments of our students, faculty, and staff.
RANAE SELMEYER Ranae loves being part of the School of Theatre and Dance as Resident Scenic Artist. A
native of Nebraska she received her BA in Theatre from Chadron State College in Chadron Nebraska. Ranae
received a teaching assistantship and spent three years in beautiful Missoula Montana where she earned an
MFA in Theatre Design. She worked for several years as a Scenic Designer and Scenic Artist in the greater
Montana area. Ranae spent seven years painting and designing in the Phoenix Metro area. She worked
for several years as the Resident Scenic Designer and Charge Scenic Artist for the Arizona Broadway
Theatre. Ranae also free-lanced for Phoenix Theatre, Actors Theatre of Phoenix, Arizona Jewish Theatre,
Southwest Shakespeare Company among others. Ranae loves living in beautiful Colorado with her husband
DJ and her daughters Madeline and Hannah.
ANGELA STEINER is a native of Wichita, Kansas. She holds two bachelor degrees in piano (performance and
accompanying) from Wichita State University and a masters degree in collaborative piano with an emphasis
in vocal performance from the University of Northern Colorado. Currently she is on staff at the University of
Northern Colorado. There she teaches voice and piano and is the full time music director and accompanist
for the musical theater department. Before becoming a full time faculty member of UNC, Angela could have
been seen most recently music directing for the Candlelight Dinner Playhouse in Johnstown, Colorado.
Previous theater’s that she’s worked for include: Midtown Arts Center (Fort Collins, CO), Candlelight
Dinner Playhouse (Johnstown, CO), Colorado Springs Fine Arts Center, Wichita Children’s Theater
(Wichita, KS), Opera Fayetteville (AK), Emerald City Opera (Steamboat Springs, CO), The Producers Club
(NYC), Theatre West (Scottsbluff, NE), Wichita Center for the Arts, Crown Uptown Dinner Theatre,
(Wichita), Music Theater for Young People (Wichita), and Music Theater of Wichita.
HEIDI SWANSON is the School of Theatre Arts and Dance Costume Shop Stitcher/Seamster.
SCHOOL POLICIES AND PROCEDURES
Code of Ethics (see CPVA website for Code of Ethics document-www.arts.unco.edu)
The observance of certain theatre and dance traditions and policies is essential in a school of our size, which
offers such a complete and intensive training in theatre arts and dance.
As members of the UNC Theatre Arts faculty and student body, we recognize the importance of moral,
ethical, and professional integrity in our conduct within the School, University, community, and profession.
Acting with integrity, we accept the responsibilities inherent in our status: competency, objectivity,
consistency, and concern for the best interests of our faculty and students, the School, and the profession.
Therefore, we, the members of the theatre faculty and student body at UNC affirm the following statements
of professional conduct:
Faculty and Student Relations
• Faculty and students should maintain a professional relationship, which is based on mutual respect
and courtesy.
• Members shall be honest in their professional dealings with others, and shall avoid exaggerating or
giving misleading information about themselves or others.
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• Members shall show respect for the opinion of others.
• Members shall not damage the professional reputation of others and shall avoid negatively criticizing
the work or attributes of colleagues or peers to community members and professionals outside of the
School.
• Members of the faculty shall be aware of and be sensitive to the educational needs of the students
within the school.
• Faculty members shall be encouraging but honest with students when reviewing their potential and
their career goals.
• Members of the faculty and student body shall use respectful language in discussing a student’s work,
progress, and aptitude.
Class Obligations and Attendance Policy
The most important factor in theatre training is your work in the classroom. Theoretical and practical
classroom experiences will serve as a basis for later professional engagements, specialized training, or
graduate studies; therefore your classroom studies must take the highest priority.
In order for specialized concentration area training to be effective, theatre students must be well versed in
basic theatre knowledge. Course work in Playscript Analysis, Orientation to Technical Theatre, Beginning
Acting, Beginning Stage Directing, Masterpieces and two semesters of Theatre History are absolute
necessities to students in all concentration areas. Without this background, students would not have the
knowledge necessary to succeed in each concentration area. For the same reason, our school strongly
supports the university’s liberal arts core and elective requirements.
It is, therefore, the student’s obligation to treat all courses, in or out of the major, with the highest level of
preparation and care. Remember, along with pursuing a theatre arts major, you are completing a university
degree. Your first obligation is the School. Students with anticipated conflicts should consult with the
appropriate program director to work out the scheduling conflicts.
Attendance policies within the School of Theatre Arts and Dance are strict for a reason. It is our duty to
prepare you for the professional world where absences and tardiness are not permitted. Each Theatre
instructor will clearly state their attendance policy in the course syllabi. It is the student’s responsibility to
thoroughly understand and adhere to these attendance policies, and discuss any questions with said policies
directly with the instructor.
Performance Eligibility/Ineligibility
The primary goal of all students in all concentration areas is the successful completion of an academic degree
program. A significant part of that experience is involvement in Mainstage productions, student practicum
projects, one act plays, student group productions, and/or other campus based performance opportunities. All
UNC Theatre Arts, and Musical Theatre majors participate in THEA 100, Individual Performance (IP)/or
THEA 110 Performance in a Theatrical Production, or MT 285 Individual Performance in a Musical. These
are required courses that give academic credit for STAD Mainstage productions and/or casting assignments.
In addition to IP, performers are encouraged to audition for LTR shows and some students may be assigned
to major production responsibilities such as stage managers or design appointments. Casting and production
roles are open to all students who are in good standing and are successfully completing an academic degree
program. In this regard, the school adheres to university wide policies of academic probation and school
credit requirement.
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In order to be cast or assigned to a production leadership role in UNC theatre or dance productions, non-
classroom cast practicum, one acts, student group productions and projects, or other departmentally based
productions, students must:
• Have a cumulative GPA of 2.0 or above
• Have no “D+” or lower grades in the semester prior to casting or production assignment in the
required classes of a student’s concentration area.
Probation and Expulsion Policies
Falling below a GPA level of 2.0 will result in the student being placed on probation (UNC policy:
http://www.unco.edu/regrec/Current%20Students/Grades/Academicstanding.html)
A student will be placed on probation for any one of the following reasons as well:
• Failing assessment in any given year.
• Failing to audition without prior consent from the director of the production.
• Cheating
• Violating of any university student code. (see Dean of Students website at www.unco.edu/dos for
Student Code of Conduct)
• Refusing a role without prior permission from the director.
• Earning a “D+” or lower in any class in a student’s concentration area.
• Behaving in an unprofessional manner – i.e. behavior that inhibits the learning process of others.
(This is up to the discretion of the individual professor/director and will be preceded by a warning
letter. On the second offense, the student will be on probation.)
Two probations in back-to-back semesters are grounds for expulsion from the School and three probations
during your tenure as a student in the School will be cause for expulsion as well. Expulsion is immediate
upon completion of grading. An appeal may be made to the appeals board within two weeks. An appeals
board will be formed with a faculty representative from each concentration area: acting, technical, musical
theatre, dance, theatre education, and theatre studies.
The expulsion stands unless the faculty is unanimous in deciding to overturn it. Both the student and their
advisor will receive a copy of the expulsion letter. Incompletes (I) given in a semester, following the
university’s policies for that grade, will not count against the student unless that grade turns into a failing
grade later.
If applicable, students on probation may also lose any school scholarship until the student has returned to
regular status. GPA minimum requirements for scholarships still apply. See your academic advisor for
clarification if needed.
Advisors and Advising
All students in the School will be advised by the Student Services Coordinator or another School
representative the summer prior to your first UNC entrance.
You will be appointed an advisor who understands and can guide you through your concentration area.
Students are responsible for making sure that they complete all required courses in their concentration area
(major), required liberal arts core, electives, and acquiring the required total academic credits necessary for
graduation.
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All students should see their advisor once per semester to receive advisement. Students are encouraged to see
their advisor any time during the semester to discuss any academic concerns.
Students have the right to change advisors. You may do this at any time whether or not you change
concentration areas. You must contact Christina Anthony, Student Services Coordinator, to report this
advisor change so your academic records can be transferred from one advisor to another.
History confirms that students who stay in steady contact with their academic advisor tend to stay in school,
graduate on time, are able to add or change concentration areas without stress, and feel better about their
academic and career decisions.
Advising is a confidential process. Students should see it as an opportunity to get help with academic and
career decisions. Academic advisors are not trained therapists, but they can help lead you to these resources
if necessary.
Appeals
Students may appeal any academic decision that they consider arbitrary or capricious, or contrary to
University policy. These appeals procedures are published in the Student’s Rights and Responsibilities
statement on the Dean of Students’ website at www.unco.edu/dos.
Graduation
Undergraduate students must apply for graduation upon completion of 90 semester hours of credit applicable
to the degree program. Prior to proceeding to the Grad Check Office (Registrar’s Office) in Carter Hall 3002
to apply for graduation, students should do a degree audit through Degree Works and meet with their advisor
and/or the Student Services Coordinator.
General Assessment Policy
Assessments are required by the State of Colorado to ensure that students are making appropriate progress in
their college education.
Once a year all majors within the School of Theatre Arts and Dance must complete an assessment to:
• Satisfactorily complete the state mandate assessment process as required by the Colorado
Commission on Higher Education (CCHE).
• Give students an opportunity to annually evaluate:
o Their goals and activities (narrative)
o Update resumes
o Evaluate department strengths
o Evaluate department weaknesses
• Give faculty an opportunity to evaluate the continued appropriateness of the students’ participation in
a concentration area.
To see more information, go to the “Program Descriptions and Assessments” section of the Student
Handbook.
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Financial Aid and Work Study
Financial Aid is awarded to assist students and parents with meeting college costs such as tuition, fees,
books, food, housing, and transportation. The Office of Student Financial Resources administers several
types of state and federal aid programs including grants, loans, employment, scholarships, and Veteran’s
benefits.
To apply for any of these need or non-need based forms of financial aid contact the Office of Student
Financial Resources before residency at UNC, or as soon as possible when in attendance. For more
information or current forms of financial support available, please consult your current University of
Northern Colorado Bulletin and the Office of Financial Resources publications. You may also visit the
website at www.unco.edu/ofa.scholarships/undergrad.
School Scholarships, Awards, and Procedures
Universal Scholarship
It is important that each student complete a UNC Universal Scholarship application EVERY year. This will
ensure that students are eligible for scholarships that are provided through the UNC Foundation. The
application is available through URSA on the “Financial” tab. You must have a Bear number in order to
apply.
Application Opens: January 1
Application Deadlines: March 1 for New Freshman and Continuing students, June 1 for New Transfer,
Graduate, and International students
UNC General Scholarships
• COLORADO RESIDENT FRESHMAN SCHOLARSHIPS
Unless otherwise noted, you must use the UNC Universal Scholarship Application to apply for the
following scholarships. PLEASE NOTE: Criteria for UNC Scholarship programs have been changed.
Students must be enrolled in 12 or more credits each semester. Students are eligible to receive only one
of the following Colorado Resident Freshman Scholarships listed here.
• UNC TRUSTEES SCHOLARSHIP
Competitive. 3 Awards given annually. Colorado resident admitted to UNC and meet criteria by March
1. Scholarship Eligibility Index of 140 or above for consideration. Credentials verifying eligibility must
be on file at UNC by March 1. Complete UNC Universal Scholarship Application. Renewable with
cumulative UNC GPA of 3.5 or above in 24 semester hours earned each academic year. Maximum of 8
semesters of undergraduate eligibility.
Amount: $5,000/year ($2,500 Fall/$2,500 Spring)
To Apply - UNC Universal Scholarship Application
• UNC PRESIDENTIAL SCHOLARSHIP
Competitive. Colorado resident admitted to UNC and meet criteria by March 1. Scholarship Eligibility
Index of 129 to 139 for consideration. Credentials verifying eligibility must be on file at UNC by March
1. Renewable with cumulative UNC GPA of 3.0 or above in 24 semester hours earned each academic
year. Maximum of 8 semesters of undergraduate eligibility.
Amount: $2,000/year ($1,000 Fall/$1,000 Spring)
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• UNC PROVOST FRESHMAN SCHOLARSHIP FOR COLORADO RESIDENTS
Automatically offered to students with Scholarship Eligibility Index of 112 to 128. Must be admitted by
March 1 if enrolling for the first time in Fall semester or November 1 if enrolling for the first time in
Spring semester. Credentials verifying eligibility must be on file at UNC by March 1 if enrolling Fall or
November 1 if enrolling Spring. Freshman year only. Nonrenewable.
Amount: $1,250/year ($625 Fall/$625 Spring)
• UNC GREELEY PROMISE SCHOLARSHIP
Must graduate from a District 6 Greeley high school or Dayspring Academy; Colorado resident. Must be
a new freshman admitted for upcoming Fall semester following high school graduation. Renewable as
long as student maintains satisfactory academic progress. A $2000 award will be offered.
To Apply – No Application Necessary. All eligible applicants will be considered.
• UNC FIRST GENERATION SCHOLARSHIP
New freshman. Colorado resident: neither parent has obtained a Bachelor’s Degree. Competitive (limited
funds available); based on financial need. Must complete FAFSA. Must complete the UNC Universal
Scholarship Application by March 1 deadline. Must maintain satisfactory academic progress.
Amount: $4,000/year ($2,000 Fall/$2,000 Spring)
To Apply – UNC Universal Scholarship Application & FAFSA
• UNC BEAR TRACKS SCHOLARSHIP
Automatically offered to Colorado resident with Scholarship Eligibility Index of 100 to 111. Must be
admitted and meet criteria by March 1. Freshman year only. Nonrenewable
Amount: $1,000/year ($500 Fall/$500 Spring
• UNC VALEDICTORIAN SCHOLARSHIP
Automatically offered to Colorado resident ranked first in their high school graduating class (sorry –
home schooled students are not eligible). Ranking must be documented by High School counselor on
transcript submitted by March 1. Renewable if student maintains satisfactory academic progress as
defined by The Office of Financial Aid. Students may receive this scholarship in addition to any of the
scholarships listed above.
Amount: $1,000/year ($500 Fall/$500 Spring)
• COLORADO RESIDENT TRANSFER AWARDS
Unless otherwise noted, you must use the UNC Universal Scholarship Application to apply for the
following scholarships. PLEASE NOTE: Criteria for UNC Scholarship programs have been changed.
Students must be enrolled in 12 or more credits each semester. Students are eligible to receive only one
of the following Colorado Resident Transfer Scholarships listed here.
• UNC BEAR TRACKS SCHOLARSHIP
Awarded to new Colorado resident transfer students who transfer in at least 24 credits earned after high
school graduation with a 2.5-3.1 GPA (AP/CLEP/IB/and military credit are not counted in the 24 transfer
credits). Nonrenewable.
Amount: $1,000/year ($500/Fall, $500/Spring)
• UNC PHI THETA KAPPA SCHOLARSHIP
Automatically offered to Colorado resident who transfers from a Colorado community college and
qualifies for one of the scholarships above. Must have been a member of Phi Theta Kappa at the
community college. Requires completion of the UNC Universal Scholarship Application before March 1
to be considered or documentation of Phi Theta Kappa membership if admitted after the March 1
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scholarship application deadline. Renewable if student maintains satisfactory academic progress as
defined by The Office of Financial Aid.
Amount: $1,000/year ($500 Fall/$500 Spring)
To Apply – UNC Universal Scholarship Application
• UNC PROVOST TRANSFER AWARD
Offered to students who transfer with 30 or more semester hours (hours earned beginning with fall
semester following high school graduation) and a cumulative GPA of 3.2 or above. Must be admitted to
UNC by June 15 if enrolling for the first time in Fall Semester or November 1 if enrolling for the first
time in Spring Semester. Transcripts verifying eligibility must be on file at UNC by June 15 if enrolling
Fall or November 1 if enrolling Spring. First year of UNC enrollment only. Nonrenewable.
Amount: $1,250/year ($625 Fall/$625 Spring)
• UNC PRESIDENTIAL TRANSFER SCHOLARSHIP
Offered to students who transfer with a completed Associate (AA or AS) Degree at a community college
and a cumulative GPA of 3.2 or above. Must be admitted to UNC by June 15 if enrolling for the first
time in Fall semester or November 1 if enrolling for the first time in Spring semester. Transcripts
verifying eligibility must be on file at UNC by June 15 if enrolling Fall or November 1 if enrolling
Spring. Renewable with cumulative UNC GPA of 3.0 or above in 24 semester hours earned each
academic year. Maximum of 6 semesters of undergraduate eligibility.
Amount: $2,000/year ($1,000 Fall/$1,000 Spring)
Resident & Non-Resident Upperclassmen Scholarships
Unless otherwise noted, you must use the UNC Universal Scholarship Application to apply for the
following scholarships. PLEASE NOTE: Criteria for UNC Scholarship programs has been changed.
Students must be enrolled in 12 or more credits each semester.
• ACADEMIC ACHIEVEMENT SCHOLARSHIP
Competitive, Sophomore, Junior, or Senior students who have attained at least a 3.5 cumulative GPA at
UNC in at least 30 cumulative semester hours may compete for this award. Based on available funds.
To Apply - UNC Universal Scholarship Application
• UNC LEGACY SCHOLARSHIP
Student whose Mother or Father graduated from UNC.
Amount: $500/year ($250 Fall/$250 Spring)
To Apply – UNC Universal Scholarship application
Non-Resident Freshman Scholarships
Unless otherwise noted, you must use the UNC Universal Scholarship Application to apply for the
following scholarships. PLEASE NOTE: Criteria for UNC Scholarship programs has been changed.
Students must be enrolled in 12 or more credits each semester. Students are eligible to receive only one
of the following Non-Resident Freshman Scholarships listed here. The program is open only to students
enrolling for the first time at UNC and enrollment must begin with fall semester.
• UNC NATIONAL UNDERGRADUATE SCHOLARSHIP
Scholarship Eligibility Index of 106 or above for consideration. Credentials verifying eligibility must be
on file at UNC by March 1. Student maintains satisfactory academic progress as defined by The Office of
Financial Aid. Maximum of 8 semesters of undergraduate eligibility.
Amount: $6,000/year ($3,000 Fall/$3,000 Spring)
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• UNC NATIONAL BEAR TRACKS SCHOLARSHIP
Awarded to new non-resident, first-time freshmen in non-WUE states with 96-105 index. Student
maintains satisfactory academic progress as defined by The Office of Financial Aid.
Amount: $4,500/year ($2,250 Fall/$2,250 Spring)
• UNC WESTERN UNDERGRADUATE EXCHANGE SCHOLARSHIP
Awarded to new non-resident, first-time freshman students from the following states (Alaska, Arizona,
California, Hawaii, Idaho, Montana, Nevada, New Mexico, North Dakota, Oregon, South Dakota, Utah,
Washington, and Wyoming) with 96 and above index. Student maintains satisfactory academic progress
as defined by The Office of Financial Aid.
Amount: Varies – Reduces tuition to 150% of In-State Tuition (This was a savings of over $6,000 per
year for new students who entered in Fall 2010.)
Non-Resident Transfer Scholarships
Unless otherwise noted, you must use the UNC Universal Scholarship Application to apply for the
following scholarships. PLEASE NOTE: Criteria for UNC Scholarship programs has been changed.
Students must be enrolled in 12 or more credits each semester. Students are eligible to receive only one
of the following Non-Resident Transfer Scholarships listed here. The program is open only to students
enrolling for the first time at UNC.
• UNC BEAR TRACKS TRANSFER SCHOLARSHIP
Students who transfer with 24 or more semester hours earned after high school graduation and a
cumulative GPA of 2.5 or above. Renewable if student maintains satisfactory academic progress as
defined by The Office of Financial Aid.
Amount: $4,500/year ($2,250 Fall/$2,250 Spring)
• UNC NATIONAL UNDERGRADUATE TRANSFER SCHOLARSHIP
Students who transfer with 30 or more semester hours earned after high school graduation and a
cumulative GPA of 3.2 or above. Renewable if student maintains satisfactory academic progress as
defined by The Office of Financial Aid.
Amount: $6,000/year ($3,000 Fall/$3,000 Spring)
• UNC WESTERN UNDERGRADUATE EXCHANGE TRANSFER SCHOLARSHIP
Students who transfer with 24 or more semester hours earned after high school graduation and a
cumulative GPA of 2.5 or above. Awarded to new non-resident, first-time transfer students from the
following states (Alaska, Arizona, California, Hawaii, Idaho, Montana, Nevada, New Mexico, North
Dakota, Oregon, South Dakota, Utah, Washington, & Wyoming). Renewable if student maintains
satisfactory academic progress as defined by The Office of Financial Aid.
Amount: Varies – Reduces Tuition to 150% of In-State Tuition (This was a savings of over $6,000 per
year for new students who entered in fall 2010.)
College of Performing and Visual Arts
The following scholarships are awarded based on the demonstrated talent of the applicant.
• ANKENY FAMILY SCHOLARSHIP
Students enrolled in The College of Business, College of Performing & Visual Arts, or a student athlete.
To Apply – UNC Universal Scholarship Application
• FLORENCE M. BARNES FUND IN PERFORMING AND VISUAL ARTS
To Apply - Contact the UNC College of Performing and Visual Arts.
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• KATHRYN A. CHRISTMAN/ISAAC P. SIMMONS MUSICAL THEATRE SCHOLARSHIP
Talent based, deserving male full time student; senior in musical theatre program.
To Apply – Contact the UNC School of Theatre Arts and Dance, Frasier Hall.
• BECKY GILBERT LITTLE THEATRE OF THE ROCKIES SCHOLARSHIP
Theatre Arts major; demonstrate talent.
To Apply - Contact the UNC School of Theater Arts and Dance.
• TOM AND NONA GORDON THEATRE SCHOLARSHIP
Enrolled in or accepted to the School of Theatre; priority shall be given based on the student’s scholastic
ability, talent, and the ability to demonstrate financial need.
To Apply – Contact the UNC School of Theatre Arts and Dance.
• DAVID AND DAWN GRAPES SCHOOL OF THEATRE ARTS AND DANCE DIRECTOR’S AWARD
Annual award to recognize graduating seniors in at least one or multiple categories: Excellence in
Performance, Excellence in Design, Excellence in Theatre Technology, Excellence in Stage
Management, Excellence in Student Teaching, Excellence in Theatre or Dance Scholarship Research;
selections may be made from student work on main stage theatre, Little Theatre of the Rockies, Opera
Theatre, dance concerts, one-act plays, Alpha Psi Omega productions or other appropriate production
projects sponsored by the School of Theatre Arts and Dance.
To Apply – No application necessary. All eligible applicants will be considered.
• PATRICK HEALEY MUSICAL THEATRE SCHOLARSHIP
Male, Musical Theatre/Theatre major accepted into the Musical Theatre Program; sophomore, junior or
senior with a 3.0 GPA.
To Apply – Contact the UNC School of Theatre Arts and Dance, Frasier Hall.
• PRICE AND GLADYS HOPKINS SCHOLARSHIP
Theater arts major; demonstrate talent; promise for the future, good moral character and potential; two
letters of recommendation from the sponsoring programs must accompany application
To Apply - Contact the UNC College of Performing and Visual Arts.
• DR. HELEN LANGWORTHY AWARD
Student who participates in the Little Theater of the Rockies; demonstrates ability, promise, and need.
To Apply - Contact the UNC School of Theatre Arts and Dance & FAFSA.
• LYNN JOHNSTONE OSBORN SCHOLARSHIP
Junior or senior theater arts major with emphasis in acting, directing, design, teacher education or music
theater; 2.8 GPA.
To Apply - Contact the UNC College of Performing and Visual Arts.
• FRANK G. AND BETTY OTTESEN PERFORMING & VISUAL ARTS SCHOLARSHIP
Majoring in any of the College of Performing & Visual Arts three schools (Music, Theatre Arts & Dance,
or Art & Design); full-time sophomore, junior, or senior; 3.0 GPA.
To Apply – UNC Universal Scholarship Application
• BETH V. RICHARDS MUSICAL THEATRE SCHOLARSHIP
Students in the Musical Theatre program; must demonstrate talent.
To Apply – Contact the UNC College of Performing and Visual Arts.
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• ROBERT T. STACH PERFORMING ARTS SCHOLARSHIP
Theatre or vocal music majors; completed a minimum of 60 credit hours; preference given to students
from the Hawaiian Islands; 3.0GPA.
To Apply - Contact the UNC College of Performing and Visual Arts.
• S.T.A.R. (SHAPING THE ARTS REALITY) EXCELLENCE IN THEATRE SCHOLARSHIP
Full-time students majoring in theater with a emphasis in design and technology; 3.0 GPA; selected on
the basis of ongoing contributions to the production program in the School of Theatre Arts and Dance
and potential for success in the professional workplace.
To Apply - Contact the UNC School of Theatre Arts and Dance.
• STILLWELL THEATRE ARTS SCHOLARSHIP
Graduate of a Colorado high school, preferably from Greeley, Colorado; major in Theater Arts.
To Apply - Contact the UNC College of Performing and Visual Arts.
• JOE TENNESSEN FAMILY SCHOLARSHIP IN THE COLLEGE OF PERFORMING AND VISUAL ARTS
Selection of recipients to be determined by a committee appointed by the Dean.
To Apply - Contact the UNC College of Performing and Visual Arts.
• THEATRE ARTS/DANCE FACULTY & STAFF AWARD FUND
Full-time (12 or more credit hours); not receiving any other departmental scholarships; demonstrate
creative activities in theatre or dance; 3.0 GPA.
To Apply - Contact the UNC College of Performing and Visual Arts.
• B. WILLIAM VAN LOO MEMORIAL AWARD IN THEATER DESIGN
Junior or senior theater design-technology major demonstrating technical excellence; financial need;
preference to students who have an emphasis in lighting and/or set design.
To Apply - Contact the UNC School of Theatre Arts and Dance, Frasier Hall & FAFSA.
• AMY BENNETT MEMORIAL SCHOLARSHIP
The Amy Bennett Memorial Scholarship in Musical Theatre is awarded to students in the Musical
Theatre Program. To qualify for this opportunity, the applicant must be a student in the Musical Theatre
program, with preference given to a student who is also a Dance Minor. Preference will be given to
sophomores, juniors or seniors, who demonstrate an intention to pursue a career in drama and/or music
and demonstrate financial need. Recipients are selected by the Head of the Musical Theatre Program and
the Director of the School of Theatre Arts and Dance.
Student Employment Opportunities
Those wishing to work for the theatre program have a variety of options. In each case, the applicant needs to
fill out an application in the area of choice and have an interview. Also the applicant needs to apply for
work-study (though it is not necessary to be granted in order to be employed). In the application, include a
resume and a schedule showing availability.
General Areas
• STAD Office: See Shelly Munholland in Frasier 105
• Box Office: See Box Office Personnel
Technical Areas
• Costumes: See Costume Shop
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The Costume Shop employs qualified students in the shop as general service employees. Potential
employees are expected to have good basic sewing and garment construction skills. Special skills
including cutting and draping, and costume crafts are desirable but not specifically necessary. More
important is a good positive attitude, respect for the program, and dependability. Costume Shop
employees are reminded that their positions in the shop are formal jobs where responsibility, consistently
maintaining a work schedule, and accepting the assignments of the supervisor are requirements.
For these areas, see either Head of Design, Shop Supervisor, or Lighting Director:
• Carpentry
• Electrics
• Paints
• Properties
• Production Assistant
Employees (especially in the shop areas) are encouraged to have their own hand tools.
Some professors have work/study or scholarship/work positions available as well, please see them
individually.
• Job awards are given on the basis of:
• Work/Study
• Technical Concentration
• Experience inside of UNC
• Experience outside of UNC
• Production needs
• Budgetary considerations
• Student Availability
Production Information
Production Guidelines and Policies
Mainstage Production Schedules and Meetings
A master schedule of production deadlines will be developed by the head of Design/Technology in
consultation with the design faculty and the Director of the School. The production staff must adhere to all
deadlines. Permission to deviate from deadlines can only be granted by the Head of Design/Technology.
Designers must notify the production director of changes in deadlines as soon as permission is granted.
Design Meetings
Design meetings will be held on a weekly basis (more often if production requirements dictate) beginning
twelve weeks prior to opening, not including vacation weeks. The design faculty will be responsible for
scheduling design meetings. Whenever possible, the stage manager will chair design meetings and will work
with the production director to set agendas. The director and all designers assigned to the production are
expected to attend these meetings. The technical director and all faculty advisors for the production should
make every effort to attend these meetings on a regular basis.
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Formal design meetings will end six weeks prior to opening or when designs are approved. It is expected that
all designs (including finished renderings, models, sketches, construction drawings, and preliminary light
and sound plots) will be complete at this point. Though revisions and adjustments are to be expected as
rehearsals and construction proceed, the goal should be to keep these to a minimum.
Production Meetings
Production meetings will be held on a weekly basis beginning six weeks prior to opening, not including
vacation weeks. Calendar problems may result in a slightly shorter production-meeting schedule for the
opening show of each semester.
The design faculty will be responsible for scheduling production meetings. The stage manager will work
with the production director to set agendas. The stage manager will chair all production meetings.
The director and all designers assigned to the production are expected to attend these meetings. The technical
director and all faculty advisors for the production should make every effort to attend these meetings on a
regular basis.
The purpose of production meetings will be to monitor the development of the production through the
rehearsal, construction, and technical rehearsal periods and to identify and solve problems that may arise
between areas of production responsibility.
Rehearsal Policies
The maximum rehearsal period for all STAD productions is 40 rehearsal days. Directors may petition the
School Director for additional rehearsal time if a production has special needs and requirements.
Rehearsals for Dance Concert pieces may be spread out over a longer period of time.
Directors may schedule rehearsals for a maximum of six days a week, with the maximum of four hours of
rehearsal daily. The only exception to this will be during the week in which the show opens. (See IV.B.2.e
through IV.B.2.g. below.)
With the exception of the week in which the show opens, actors and technicians will be given at least one
day off per week.
With the exception of the week in which the show opens, rehearsal should be scheduled on weekdays
between 5:00 and 11:00 pm, and on the weekends between the hours of 10:00 am and 11:00 pm (with the
maximum of four hours per day). However, production directors should consult with the Dance Faculty and
Shop Managers before scheduling rehearsals earlier than 7:00pm on weekdays to ensure that any cast
members called for rehearsal are not needed in Dance Concert rehearsal or shop calls during this time.
Rehearsals in a performance space may not interfere with tech calls scheduled by the technical director for
any show.
The technical director, in conjunction with the artistic team, may schedule longer workdays for the
integration of technical elements for each production. On this day, actors are expected to work no more than
ten hours with the total length of day extending to no more than twelve hours. Technicians are expected to
work no more than eleven hours out of thirteen on this day.
The director, in conjunction with the technical director and the artistic team, may schedule additional hours
during the week in which the show opens. With the exception of any longer workday, no day will extend
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beyond six hours of rehearsal (including costume calls) and no student will be asked to stay beyond
midnight. Directors, technical directors, and artistic teams are expected to plan efficiently and to use these
additional hours only when absolutely necessary.
The production director and musical director, in conjunction with the technical director, may schedule a late
afternoon sitzprobe, so long as the actors who have classes during this time are not required to attend. The
sitzprobe should not last more than three hours. A full evening rehearsal may be held on the same day as the
sitzprobe.
When stage combat and/or dangerous physical business is involved in a production, the stage manager will
schedule a fight call at the beginning of all technical rehearsals and performances. All actors directly
involved in the fight scene must be present at the fight call. The fight call should be held on-stage under
appropriate stage lighting, with all available fight-specific costume, set, and prop pieces. The fight
choreographer will be present or will appoint a qualified representative to be present at all fight calls. The
fight choreographer or his/her representative will make all decisions regarding safety in these fights.
The stage manager will be responsible for having the rehearsal room(s) or theatre open and prepared for the
actors ½ hour before the time of the call.
Actors are encouraged to arrive at least 20 minutes prior to their call so that they may warm-up and be
prepared to begin rehearsals on time. Actors who will be unavoidably absent or late must contact the stage
manager before the rehearsal and as soon as possible after they become aware of the problem.
Rehearsal Schedule
The directors, in consultation with their production staff, are responsible for planning the rehearsal schedule.
Directors should make every attempt to call actors only when they are needed. Directors who plan early
evening rehearsals (prior to 7 p.m.) must take into consideration students with classes that run past 5 p.m.
Every student should be given a dinner break between classes and rehearsal.
Mainstage directors must check the master schedule of production deadlines for dress and technical rehearsal
dates.
Stage managers are encouraged to call appropriate breaks during rehearsals. Except during run-throughs of
acts, each individual actor should be given a five-minute break after no more than fifty-five minutes or a ten-
minute break after no more than eighty minutes.
Nudity in Rehearsal and Productions (also see page 45)
Nudity will not be permitted in any rehearsal or performance without the prior consent of the Director of the
School of Theatre Arts and Dance and/or The CPVA Dean.
Refer to the School’s “Policy on Nudity in Auditions, Rehearsals, and Performances” for further information
and instructions. Failure to follow the terms and conditions set forth in this document may result in the
withdrawal of permission to use nudity in the production or the cancellation of the production.
Smoking in Classrooms, Rehearsal Spaces, and Theatres
Smoking in university classrooms and theatres is a violation of local and state ordinances. It is a director’s
responsibility to enforce the no smoking policy. Smoking is allowed outside the buildings only.
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Directors who wish to have actors smoke in a production must submit a written request to the Director of the
School of Theatre Arts and Dance, who will respond in writing. All approvals will be kept on file in the
theatre main office. Smoking will be allowed in productions only when it is absolutely necessary to the basic
needs of the play, and then only to that extent.
Rehearsals for department productions are open to School of Theatre Arts and Dance faculty, staff, and
students unless otherwise posted by the director, provided that the visitors have notified the director of their
wish to attend rehearsals.
Rehearsal and Class Attendance Students and faculty participating in School of Theatre productions are
expected to attend their scheduled classes. It is contrary to the School’s philosophy and policy to attend an
evening rehearsal after missing scheduled classes. Significant violations of this attendance policy may result
in production probation, as determined by the Director of the School of Theatre Arts and Dance.
Performance and Ticketing Policy
2016-2017 ACADEMIC YEAR TICKET PRICES
SINGLES
Non-Musicals*
Musicals*
Operas
Adult
$20
$22
$25
Senior (60+)
$18
$20
$23
UNC Staff
$18
$20
$23
Student (With ID)
$15
$17
$15
UNC Students
$11
$12
$5 (GPO)
Majors
$9
$10
$5
Child (<12)
$9
$10
$5
West Side Story
A Seating
$30
B Seating
$24
C Seating
$18
Student (With ID)
$12
UNC Students
$12
NO QOLA FOR THIS EVENT
HIGH SCHOOL DAY PRICE $12
*There will be 50 - 225 no charge tickets (QOLA) available for students for each production on a first-come,
first-served basis.
Season Selection – Academic Year
The Director of the School of Theatre Arts and Dance in consultation with the CPVA Dean and appropriate
members of the school faculty is responsible for the selection and administration of the academic year
production season, the creation and supervision of the production budgets and the assignment of all
production directors and designers to that season. This may from time to time include the contracting of
outside professional actors, directors, choreographers, designers, musical directors, and/or other creative
and/or technical personnel.
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A Play Selection Team will be constituted each year to advise the School Director on play selection for the
academic year Mainstage production season.
Play Selection Team
The Play Selection Committee serves as a conduit for play submission from faculty, staff, students and
community stakeholders. The committee meets, reads and discusses plays to ensure that the objectives for
the production season are realized. Finally, it makes recommendations to the School Director (who also
serves as the Artistic Director of the School’s academic season) regarding the selection of the academic year
season.
• Membership
The Play Selection Team will consist of those persons scheduled to direct during the following
academic year season, the current head of Design/Technology, and the Artistic Director of Little
Theatre of the Rockies. The Director of the STAD may also appoint additional members as he/she
deems necessary. The Executive Committee of the Play Selection Team will consist of the current
Head of Design, the current Artistic Director of The Little Theatre of the Rockies, any additional
appointees, and the Director of the School of Theatre Arts and Dance.
The Executive Committee of the Play Selection Team will meet as appropriate during the fall
semester. The full team will meet monthly during the fall semester. A recording secretary shall be
designated by the School Director to take minutes of each meeting of the full Play Selection Team.
These minutes will be posted via e-mail to School faculty and staff.
The Play Selection Team will submit a season slate by February of each year to the CPVA Dean for
his or her approval.
• Objectives
• The objectives of the production program in the UNC School of Theatre Arts and Dance are
as follows:
• To provide students with pre-professional training in audition and performance techniques
that will serve them as creative artists upon graduation.
• To provide its students a high quality production experience that focuses on developing
artistic, technical, and critical thinking skills.
• To explore the human condition through a wide variety of genres, styles, and historical
periods during a four-year cycle. (Greek, restoration, Shakespeare and his contemporaries,
Moliere/Commedia dell’Arte, American psychological realism, American musical theatre,
musical revue/cabaret, male and female contemporary playwrights, playwrights of color,
Shaw, Chekhov, Ibsen, Coward, Pinter, Stoppard, Shaffer, and other European masters,
Miller, Albee, Williams, O’Neill, Simon and other American masters, non-western theatre,
American classics, British farce, movement pieces, new works, etc.)
• To provide professional preparation for careers in the theatrical and performing arts.
• To contribute to the cultural and political-social life of the University and the residents of
Northern Colorado.
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• To provide its audiences with theatrical experiences that are emotional and intellectually
engaging, thought provoking, passionate, immediate, and entertaining.
• To explore performances from a diverse range of authors in regard to race/ethnicity,
nationality, creed, gender, sexual orientation, and age.
• The Play Selection Team will address as many of these objectives as is feasible within a four-
year cycle.
• Selection Criteria
• Literary/artistic quality
• Balance and variety in genre, style, period acting opportunities/challenges Casting
Opportunities (male/female ratio) (non-traditional casting)
• Design opportunities/challenges
• Production costs (financial/human resources)
• Theatre for Young Audiences – touring and on-campus opportunities
• Educational value/audience development
• CPVA calendar schedule
• Special requirements (guest artists, additional rehearsal time, double casting, touring, unusual
technical elements, etc.)
• Selections that are in line with Theatre in Film
• Audience development potential
How to Submit Plays for Consideration:
The Play Selection Team encourages the submission of plays by all students, faculty, staff, donors, and other
interested patrons. To be considered for the current season under consideration, all play submissions must be
made by October 15 of each year. Any submissions received after that date will be held and included in the
deliberations for the following year. All submissions must be completed on the authorized digital form.
Incomplete forms will not be considered. All forms must be typewritten. Digital forms are available online at
the STAD Forms web page. Completed forms should be submitted to the School of Theatre Arts and Dance
office.
Registered Student Organizations (RSO)
The Director of the School of Theatre Arts and Dance, in consultation with the program area heads, may
grant support to any RSO that serves the needs of the School and its students. Such support may include
faculty advisement of individual productions, use of rehearsal space, use of props, and in some cases use of
performance space. This support will be contingent on adherence to all of the policies stated in this
handbook. RSOs should send a written request detailing their needs to the School Director at the beginning
of each semester.
Production Work Policies
The following guidelines are to be used by all students with production assignments or students doing a
section in any of the shops:
• Watch the Callboard daily
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• Know your crew, and set aside the necessary times and dates
• When working in the shop, keep track of your hours with the time clock
• Adhere to your schedule and be on time
• Always adhere to safe working practices
• Always dress appropriately including suitable shoes, and clothes which can get dirty or painted
• Do not use power tools without a staff member or a student supervisor present
• Do not use power tools unless you have been checked out on that tool
• Do not attempt any rigging without being checked out by the Lab Coordinator
• Know the location of exits, lights, fire extinguishers, first aid, and phones
• In case of injury:
o Apply First Aid or go to the Health Center or Emergency Room
o When able, go to Student Personnel in Carter Hall for forms
o If serious, call 911 for trained assistance
• If ill or unable to come, please the shop supervisor right away
• Always bring a pencil
• Do not rely on rumor or your fellow students regarding any policies. When in doubt, refer to this
handbook, a class syllabi, the faculty or the staff
• Do not report to work or to IP if ill, overtired, or mentally altered (drugs, prescription, or otherwise
intoxicated)
• Food or drinks are NOT allowed onstage or in the house except at the tech table during rehearsals
Thea-100 (IP) and 110 Performance Policies
Thea-100 Individual Performance (IP)
• THEA 100, “IP”, is a graded class. It is as important as any other class in the program and as such
takes priority over rehearsals for classes, outside jobs, and extracurricular activities. Assignments in
Theatre 100 are either in the production shops (such as the costume shop, electrics shop, scene shop,
props shop or the paint shop, these are typically weekday crew positions), run crew on productions
(mostly evenings and weekends); or in publicity or ushering/house management (schedules are
variable based on the nature of the assignment). Publicity and ushering are positions which are very
limited in availability and are awarded on seniority and/or flexibility of schedule along with the
ability to be a “self-starter”. The number of credits in IP you are required to take depends on your
concentration area/major. Please see your catalog for the specific number you need and talk to your
advisor.
The following policy and guidelines apply to ALL students enrolled in Theatre 100:
• Mandatory attendance at one of the IP informational meetings that will be held the first week of each
semester. At this meeting, student will receive important information and be given the opportunity to
request which crew(s) and/or shop(s) they will be assigned to for the semester.
• Make sure your assignments work with your schedule IMMEDIATELY so that you can make any
changes to your assignments at the beginning of the semester. Requests for change to assignments
may or may not be granted, and reassignments are at the discretion of the IP Course Administrators.
Changes after the drop period are highly restricted and unlikely to be accommodated.
• Make note of the beginning dates of your assignment and attend all the calls. This includes a strike
call for all run crew positions for the show to which you have been a member of the run crew. The
strikes immediately following the final performance of each production. (See also the STAD strike
policy in this handbook for more information regarding strike responsibilities.) If you are on a run
crew, make sure that you watch the callboard and your Bearmail at least 2 weeks before the show you
are working on starts TECHNICAL REHEARSALS. A stage manager will try to contact you to
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confirm, but may not be able to so it is YOUR responsibility to make sure you are there when you are
needed.
• Show up to all IP sections and calls, whether you are on a run crew, a production shop, publicity
crew, or ushering staff. Attendance is taken. Unless a documented medical excuse is provided, each
absence in each section will lower the final grade by one letter grade. Missed work will only be
allowed at the discretion of your specific shop supervisor- be sure to ask.
• RUN CREW – If you miss a technical rehearsal, dress rehearsal, or performance for any reason, you
will be given an “F” for Theatre 100 and placed on STAD probation.
• Failure to pass IP with a “C-” or better or you will not be eligible to audition for the following
semester’s productions or receive any design/tech assignments. For more information on probation,
see the probation policy.
• It is possible to take IP in the summer. All summer positions are run crew and follow a different
schedule than those of the academic year. Speak with the Head of Design/Technology if you are
interested in doing so.
• THEA 100 credit is not given for assistant director or choreographer positions- these fall into the
category of THEA 110. All assistant positions on the production side provide THEA 100 credit-
please ask the Head of Design if you are unclear as to the nature of your assistant position and for
which class you may receive credit.
• IP is given only for Mainstage Productions. Unless you are listed on the IP master list, you will not
get IP credit for any other work. If you are unclear as to your assignment and if it is credit eligible-
speak to the Head of Design.
Thea-110 Performance in a Theatrical Production
Theatre 110 is similar to Theatre 100, but is given when you are cast in a Mainstage production. It is as
important as any other class in the program and as such takes priority over rehearsals for classes, outside
jobs, and extracurricular activities. To take Theatre 110 you must audition and be cast in a UNC production.
If you were an Assistant Director or Dramaturge for a production, you would sign up for THEA 110 credit as
well. The number of credits in Theatre 110 that you are required to take depends on your concentration area
within the department. Please see your catalog for the specific number you need and talk to your advisor.
The following policy and guidelines apply to ALL students enrolled in Theatre 110:
• Be responsible for reading the callboard at the beginning of the semester to see if you have been cast
for a production. If you have been cast, you need to enroll in the section of Thea-110 assigned to that
director. DO NOT SIGN-UP IF YOU HAVE NOT BEEN CAST or IN A DIFFERENT
DIRECTOR’S SECTION. The director will grade this section the same way you are graded in any
other performance class.
• Make note of the beginning dates of your rehearsals. You are responsible for letting the director and
the stage manager know of any potential conflicts and getting them approved. If you do not get them
approved before the first day of rehearsal, the director may remove you from the cast in the event you
miss rehearsals.
• It is YOUR responsibility to check the callboard daily for notes on your production. These notes may
include changes in the rehearsal schedule, fitting schedules, photo calls, or other important
information the director or stage manager need you to see.
• You are to conduct yourself in a professional manner when you are at rehearsal. This includes
coming prepared and on time for ALL calls.
The Actor Work Ethic
What Directors and Choreographers Look for in the Rehearsal Room
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• Are you a complainer?
• When do you arrive for rehearsal?
• Do you really warm up and vocally prepare each day?
• Did you prepare outside of rehearsal and make alterations based on notes?
• Do you learn your lines and vocal parts as written and assigned?
• Do you meet deadlines?
• What is your focus and concentration like during stop and starts?
• Do you really listen to everything that is being said in the room?
• Can you take direction and deliver changes?
• Do you understand the concept and style that is being developed?
• Are you more interested in the work, or entertaining yourself or others in the room?
• Do you give every moment 110% or are you lazy with choreography, vocals or scene work? Are you
marking or rehearsing?
• Are you ready and prepared for every entrance?
• Do you talk or make noise while other work is being done?
• Are you distracted by technology?
• Do you observe and learn from others at work and the direction being given?
• Are you willing to take risks in the room? To try and fail, and try again?
• Are you adding your input and creative energy to the work?
• Are you writing down notes and asking questions?
• Do you want to be in the room? Is this just a job or is it your passion?
• Do you truly love the process of rehearsal work or just the high of being on stage in front of an
audience?
• Do you give as much to your fellow actors as you take?
• How do you use your breaks?
• How do you work when you are not feeling your best or you have an injury?
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• How do you treat others? Example: The creative team and the stage management team
• Do you volunteer for assignments of do you just do enough to get by?
• Do you make me watch you in a positive way that serves the work?
• Are you a positive or negative force in the ensemble?
• Do you help others learn the work?
• Do you bring total commitment for the entire rehearsal?
• Do you take care of yourself (physically, mentally and spiritually) outside of rehearsal?
• Do you make excuses in the rehearsal room?
• Do you make me want to work with you again as soon as possible?
• After any note given the best response is always a simple “Thank You”
During any Music Rehearsals
• Be on book during music rehearsals
• Always have a pencil in hand
• Maintain proper posture when singing
• When the MD stops talking, don't you start talking. Wait for a break
• Come to the vocal rehearsal having already listened to the music and aware of what part you're
singing
• Take copious notes and follow them
• Do not talk among yourselves, if you have a question ask the MD, not your neighbor
Always work as if the most important producer or director you can think of is in that
rehearsal room auditioning you for that Broadway lead
Why Directors, Choreographers Observe Your Behavior in the Rehearsal Room
• We see 100 hours of rehearsal process and maybe only one or two actual performances. Freelance
directors usually leave after the first or second performance.
• Observing helps us decide whom we might further showcase in the work.
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• We are often looking to cast future productions or tours of this particular work. We want to see who
can step up into other roles.
• We are looking to cast replacement for current productions.
• We are looking to cast for future productions.
• We are looking for talented hard working performers to recommend to our colleagues.
• We want to find the cream of the crop. Actors who enrich our work, and make it better. Actors that
we want to work with over and over again.
Always be the most prepared and hardest working person in every rehearsal situation!
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Course Syllabus:
Performance in a Theatrical Production
THEA 110 / 2 Credits
Course Description:
This course is for Theatre majors only, or by consent of instructor/production Director. Students will receive
practical experience as a performer, dramaturge, assistant director, or other capacity as determined by the
production’s Director in a Mainstage production.
Course Requirements:
Students must complete all required duties to the satisfaction of the production’s Director including, but not
limited to:
• Attendance and promptness at every rehearsal for which the student is called.
• Attendance and promptness at every performance.
• Attendance at entirety of technical rehearsals as called, spacing rehearsals, and dress rehearsals.
• Maintenance of hair style and costumes as designed throughout entirety of run.
• Maintenance of integrity of performance throughout entirety of run. (In other words, performing all
shows as intended by the Director and as set during the rehearsal process.)
• Attendance and participation in Stike (immediately following the final performance).
• Professional preparedness for every rehearsal including, but not limited to: appropriate rehearsal
clothing and footwear, off-book deadlines met, other assignments and deadlines as deemed necessary
by the Director.
• Daily check-in of Call Board for notes on your production. These notes may
include changes in the rehearsal schedule, fitting schedules, photo calls, or other important
information the director or stage manager need you to see.
• Professional and courteous behavior with all members of the production team including, but not
limited to: cast, stage management, and technical crew.
Academic Integrity
From the University of Northern Colorado’s Student Code of Conduct: In order to encourage and foster academic
excellence, the University expects students to conduct themselves in accordance with certain generally accepted norms
of scholarship and professional behaviors. Because of this expectation, the University does not tolerate any form of
academic misconduct. Academic misconduct includes but is not limited to plagiarism, cheating, fabrication, and
knowingly or recklessly encouraging or making possible any act of plagiarism, cheating, or fabrication. Academic
misconduct is an unacceptable activity in scholarship and is in conflict with academic and professional ethics and
morals.
Consequently, students who are judged to have engaged in some form of academic misconduct may be subject to (1) a
zero or an “F” on the work in question, (2) an “F” in the course, (3) other academic penalties as outlined in the
professor’s course requirements and expectations, (4) disciplinary action as specified in the Sanctions for Misconduct
section below, or (5) any combination thereof. Procedural due process, including the right to appeal, is to be followed
in making a determination of whether academic misconduct has occurred.
Students with disabilities
Any student requesting disability accommodation for this class must inform the instructor giving appropriate notice.
Students are encouraged to contact Disability Support Services at 970-351-2289 to certify documentation of disability
and to ensure appropriate accommodations are implemented in a timely manner.
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Rehearsal Schedules and Guidelines
Little Theatre of the Rockies (LTR)/UNC productions are the labs for our classroom training. We hope our
productions will be a positive reflection of the collaborative process of teachers, procedures, performers,
directors, choreographers, designers, artisans, publicity, and box office.
To that end, the productive use of rehearsal time is crucial. Quality productions simply cannot occur without
quality rehearsal time. Different productions will need different rehearsal time commitments. Additionally,
students should know that all directors approach the rehearsal process differently. All UNC directors have
made a commitment to respect and use student time to the best of their ability. Preliminary rehearsal
schedules will be distributed at the first read-through, but students should check the callboard daily as
rehearsal schedules are subject to change.
Rehearsal Spaces, Reservations and Priorities
If you wish to use a school space for a rehearsal, you must schedule it in room Frasier 105 (with Shelly
Munholland) by completing a room request form.
Scheduling Priorities are as follows:
• Classes
• CPVA events
• Scheduled rentals
• CPVA event rehearsals (Mainstage shows)
• CPVA technical work
• Class related rehearsals (one-acts)
• Practicums
• Outside projects (student groups)
If you wish to reserve either of the theatres for an event, you must schedule it with the Scheduling
Coordinator. As times are limited, the following priorities will be used:
• CPVA productions
• CPVA technical work
• School meetings
• Auditions
• Campus groups
• Off-campus community groups
• Special events
After any use, you must clean up and restore the space to its standard configuration. Any problems will result
in either extra charges or in revocation of use privileges. If you are not familiar with the rules of the space
you are using, please see the Technical Director for a list appropriate to that space.
Policies for Gray Gym Usage
Scheduling: All Scheduling done through Shelly Munholland/Frasier 105
Priority scheduling as follows:
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1. Classes
2. Main stage Rehearsals
3. Evening Special Events/Performances
4. One Act Rehearsals w/ Faculty Presence Only
5. Student Group/Other Rehearsals w/ Faculty Presence Only
• Lock up: Gray Hall should remain locked at all times, similar to smart classrooms.
• Access is through card swipe at the West side of the building.
• The door between the gym and Norton Lobby should remain closed and locked after each class and
rehearsal period. Doors may not be propped open at any time other than during scenic load-in or
load-out.
• Footwear: No “outside” shoes on the Dance Floors. i.e. Shoes that have been worn through the
parking lot, on sidewalks, etc. Rehearsal shoes and clean street shoes (carried in for indoor use) only.
• Audio: Audio systems should be powered down after each use.
• Instructions on the operation of the audio system will be posted on the racks.
• No external items should be placed on the racks or equipment.
• Lighting: General overhead lighting should be used for all classes and rehearsals.
• Theatrical lighting system should be reserved for presentations only.
• Furniture: Rehearsal Blocks can be placed on the dance floor. They should be removed and
stacked at the end of each class/rehearsal. No other furniture should be brought into the gym for
classes or rehearsal purposes. Furniture for main stage productions may be used by special request in
production meetings, and only after felt floor pads have been attached to legs or bottom surfaces.
• Sweep and Mop: Dance Floor should be swept with dust broom after each use.
• Dance floor should be damp mopped after every rehearsal.
• Storage: Main stage rehearsals and performances current in Norton Theatre are the only productions
permitted to store props and set dressing. Any items found in Gray Gym that cannot be identified as
such will be removed to the trash nightly.
• Food and drink: Food and drink policies should mirror current STAD policies for classrooms and
rehearsals.
• Safety: Exits may not be blocked by anything, including curtains. Exit signs must be visible at all
times.
• Piano: The Piano should be covered at all times. Only the musical director or approved accompanist
is permitted to play the piano
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Audition Policy
UNC Theatre Mainstage Productions are an integral part of the theatre education program at UNC. It is our
belief that the principles, theories, and practices taught in the classroom have a very real application in our
productions. Our concept is these Mainstage related activities are an ongoing "lab" for the entire department.
All students are also STRONGLY ENCOURAGED to audition for student-directed one-act productions that
are held each semester.
Students Required to Audition
• Theatre Arts: Acting Concentration - Required to audition for the plays, and strongly encouraged but
not required to audition for the musicals
• Musical Theatre - Required to audition for the plays and the musicals
Students Not Required to Audition
(Please note: a student may audition if they wish and are strongly encouraged to do so)
• Theatre Arts: Education concentration
• Theatre Arts: Theatre Studies concentration
• Theatre Arts: Design Technology concentration
Note: If you fail to audition without prior consent from the director of the production, or if you refuse a role
without prior permission from the director, or you are replaced in a role due to disciplinary action or un-
professionalism, you will be placed on departmental probation or may be terminated from the program. (See
casting policy #5 and/or "Ineligibility/Probation/Expulsion Policy” in the Student Handbook.)
Head Shots and 25 Word Bio are required at the time of the audition for all performance majors and must be
submitted in addition to an audition form that will be provided at the time of the audition. This audition form
must be submitted to each director.
Off-Campus Production Opportunities
All UNC students that are required to audition for Mainstage productions need to do so first. After
Mainstage, students may accept off-campus production opportunities if they do not conflict with IP or
production assignments. It is required that students who intend to seek off-campus roles or technical
opportunities receive written permission from their academic advisors and School Director regarding the
appropriateness of the off campus opportunity PRIOR to making a commitment to the off campus
opportunity. If this written permission is not received, then the student will be placed on probation for the
following semester. Permission forms are available in the main office, Frasier 105.
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School of Theatre Arts and Dance
Permission Form for Off Campus Production Opportunities
Student Name_______________________________ Phone______________________
Degree Program_____________________________ Year in School_______________
I am hereby requesting permission for the following:
[ ] Permission to seek an off campus role or technical opportunity
[ ] Permission to be exempted from auditions/assignments
For which semester and year? (Circle one)
Fall Spring Summer
Name of Outside Employer/Agency___________________________________________
Dates and Times of Outside Assignment_______________________________________
________________________________________________________________________
________________________________________________________________________
Please explain your request for permission for an audition or production opportunity off campus (include any
information or documentation which would support your request). [Students may be required to submit a
taped audition if necessary if they are unable to attend UNC auditions.]
Will this commitment conflict with any IP or production assignment?
____________________________________________ ________________________
Student Date of Request
____________________________________________
Advisor/Program Head
____________________________________________
School Director
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Student Eligibility for Performance Opportunities
• Any UNC student enrolled in 6 or more hours may audition for School of Theatre Arts and Dance
productions.
• In order to audition, a student must be in good academic standing as stipulated in the University
catalogue.
• All students who are cast in productions must maintain eligibility requirements.
• Students seeking exceptions to the audition process due to unusual circumstances must obtain
permission in writing from the appropriate program head (performance or musical theatre) at least 8
hours prior to the general audition.
• Any unexcused absence from a required audition or callback will result in disciplinary action by the
performance faculty. This disciplinary action may include a one-semester probation from performing
in any work outside of the classroom and may also include removal from the performance
concentration area.
• Summer professional work in the field is actively encouraged for all School majors and minors.
Therefore, there may be times when actors working professionally will have a conflict with the fall
semester auditions. In such cases, the actor may submit a video audition. This audition must be
submitted one week prior to the required audition.
Theatre Audition Dates
• The Director of the School of Theatre Arts and Dance in consultation with the production directors
will arrange each semester’s audition dates and times for Mainstage productions.
• The auditions for each semester’s productions may be conducted jointly or separately according to
what best suits the needs of the directors.
• The directors will post on the callboard all of the audition requirements.
• Mainstage auditions will generally be held:
Fall Semester* – the first week of classes
Spring Semester – November
Summer/LTR – March/April
* On occasion, auditions for the first Mainstage of the Fall semester will be held at the end of
the preceding Spring semester.
• Auditions and/or callbacks will not be held from 8:00 am to 4:00 pm on a weekday when classes are
in session.
• Directors are required to make accommodations for students who have classes during callbacks.
• Productions with special skill requirements, such as stage combat, singing, dancing, acrobatics,
musical instruments, etc., may require additional callbacks.
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Mainstage Dance Concerts
Separate auditions and callbacks will be held for dance concerts with a schedule to be determined by the
dance faculty.
One-Acts
Separate auditions and callbacks will be held for one-acts with a schedule to be determined by the faculty
instructor. These auditions will take place after the Mainstage productions have been cast. The faculty
instructor will have the final casting authority if one or more directors each wants to cast the same actor and
no compromise can be found.
• One Act Play Course Casting Policy
o At the beginning of everything semester, all Mainstage directors will give the One Act course
instructor a list of students who are ineligible for One-Act casting. This list should consist of
students in lead roles only.
o Students cast in a show that rehearses in the same time slot as the one acts are not eligible for
casting in one acts.
One Act Plays
It is the official position of The School of Theatre and Dance that the One Act Play program will possess the
same level of artistic and academic dedication and respect as our main stage season. Although the One Acts
feature “student” directors, the faculty recognizes and supports the unique educational benefits of this long-
standing tradition.
For the directors of the One Acts, this experience affords students an opportunity to direct a longer project
which tests their skills in integrating their use of research, analysis, staging, coaching and organization
abilities into a performance viewed by the public, under faculty supervision.
For UNC performers the One Acts offer additional casting opportunities beyond the School’s main stage
season. The One Acts continue to be a source for students to display their craft early in their training or hone
their skills. Faculty directors often see the One Acts and take note of student talent as they consider future
castings.
The One Act Play program is an extraordinary positive opportunity for future teachers, directors and
performers.
I. General Procedures and Policies
a. Auditions for One Acts will be after main stage auditions and castings—main stage castings
always take precedent.
b. All UNC students, regardless of major, may audition for the One Acts.
c. Although Acting and Musical Theatre majors are not required to audition for One Acts, if
they are not cast in a Mainstage production in the given semester, they are highly encouraged
to audition.
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d. Students should prepare whatever monologue is required and be ready to participate in all
callbacks.
e. Students should audition for all the One Acts, not just one project, and should be prepared to
accept any role offered to them.
f. One Acts will be monitored by the instructor of the course, and all professors will be made
aware of any problems or successes during the experience.
g. Students should not audition, unless they are willing to make a positive and serious
commitment.
h. Performers are required to communicate any schedule conflicts at auditions!!
i. One Acts will be no more than 35 minutes in length. In order to create a smooth production
process, students must adhere to this time limit, unless they are given special permission to
exceed it by the course instructor. The instructor will deduct points from final grade if the
student goes beyond the time limit without permission.
II. Duties and Responsibilities of One Act Directors
a. Carefully follow all instructions from your faculty instructor/supervisor.
b. Make a detailed rehearsal schedule, including dates, times, locations, and when and where
actors are called.
c. Come fully prepared to each rehearsal (present, on time, and with a detailed rehearsal plan).
d. Reserve rehearsal space for each rehearsal in advance.
e. Notify cast, crew, and if needed, instructor/supervisor of any changes to rehearsal times or
locations in a timely fashion.
f. Show respect and trust to your cast and stage manager.
g. Quickly replace cast members that are missing, coming late or refuse to come prepared or
behave unprofessionally.
h. Distribute an “instructor approved expectation statement” to the performers.
i. Distribute and have all performers sign a contract stating that they will abide by all the rules
and regulations of the One Act Play class.
j. Distribute the actors’ feedback form at the end of the project.
k. Have an open, helpful, positive, receptive, respectful, collaborative attitude.
l. Use of drugs or alcohol is strictly forbidden and will be the basis for recasting and possible
dismissal from the school.
m. Attend all scheduled, required technical rehearsals.
III. Consequences of failure to successfully live up to the said expectations (for directors)
a. Low or failing grade in the class.
b. Possible removal from the Teacher Education Program (if applicable).
c. Loss of opportunity to direct future practicum projects.
IV. Duties and Responsibilities of Performers
a. Carefully read director/instructor expectation statement.
b. Sign and return contract agreeing to abide by the One Act rules and regulations.
c. Never miss rehearsals! If there is an emergency, you must inform the director before
rehearsal.
d. Be at all rehearsals on time; (rule of thumb, arrive 15 minutes early).
e. Be prepared: off book when told, acting, voice and character preparation outside of rehearsal
time.
f. Have an open, helpful, positive, receptive, respectful, and collaborative attitude.
g. Fill out the actors’ feedback form at the end of the project.
h. Use of drugs or alcohol is strictly forbidden and will be the basis for recasting and possible
dismissal from the school.
V. Consequences of failure to successfully live up to the said expectations (for performers)
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a. Possible removal from the student’s concentration area.
b. No castings in main stage or One Acts for the following semester.
Final note: The advantages of learning collaborative, healthy work habits will keep you in good stead for
your entire career. Honest disagreement is fine, but that’s very different from being unprepared, impossible
to work with or destroying the morale of the project. Learn to be a gracious, caring, and hard working
professional now—it will enhance your career and your life.
Registered Student Organizations (RSO)
Auditions may not be held until after Mainstage and One Acts have been cast. All auditions for RSO
productions must follow the procedures stated in this handbook.
Nudity
• While the School of Theatre Arts and Dance recognizes that nudity on stage is necessary and
appropriate under certain, specific circumstances, the School has an obligation to protect performers
from the use of nudity that is not intrinsic to the effectiveness of the script and the production.
• Any production that is to contain nudity must state that fact clearly in ALL audition announcements
and postings prior to the audition.
• For audition purposes, nudity is only permitted in the final callback and only with the permission of
the School Director, and/or the Dean of CPVA. An additional faculty member of the opposite gender
from the director (same gender as the auditionee) shall also be present at the callback.
• No student performer shall be pressured to audition or accept a role in a production involving nudity.
Students may decline a callback if the production in question involves nudity.
• Refer to the School’s “Policy on Nudity in Auditions, Rehearsals, and Performances” for instructions
and further details.
UNC’S Policy
• Permission
While the School of Theatre Arts and Dance recognizes that nudity on stage is necessary and appropriate
under certain, specific conditions, the School has an obligation to protect performers from the use of
nudity that is not intrinsic to the effectiveness of the script and the production.
Any director/choreographer wanting to use nudity in a School of Theatre production must obtain consent
from the Director of the School of Theatre and/or the CPVA Dean prior to the audition process:
o A copy of the script or a description of the choreographed work that clearly identifies when
nudity would be utilized; and
o A written justification for each incident of nudity.
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Policy of Nudity in Auditions
For audition purposes, nudity is permitted only in the final callback with the prior written consent of
the Director of the School of Theatre Arts and Dance, and/or the CPVA Dean, and only under the
following terms and conditions:
• Sex acts will not be permitted.
• Any director who intends to use nudity in a production must post notice of these intentions during
General Auditions.
• No student performer will be pressured to audition or to accept a role in a production involving
nudity. Students may decline a callback if the production in question involves nudity.
• Students who choose to accept a callback may still decline a role, but must notify the director before
the final casting meeting of his/her intentions.
• Any performer auditioning for a role involving nudity must give written consent prior to any
disrobing, in whole or in part.
• Performers will be given notice at the time the callback is posted of any disrobing, in whole or in
part, in the callback process.
• No actor will be asked to disrobe, in whole or in part, until s/he has been auditioned and is under
consideration for a major, supporting, or chorus role.
• The director of the production is required to meet with the Director of the School of Theatre Arts and
Dance to develop security measures to protect the performer(s) from unnecessary individuals being
present at any callback involving nudity.
• No photographs, videos, or other forms of visual recordings of a nude actor are permitted.
• The actor will not, while nude, leave the callback area.
• The Director of the School of Theatre Arts and Dance or his/her designee will be present at any
callback in which actors are asked to disrobe, in whole or in part. In all cases, an appropriate faculty
member of the same gender as the auditionee shall be present at the audition. This faculty member
shall be appointed by the Director of the School of Theatre Arts and Dance.
• In the case of a student one-act director, the student’s instructor and faculty advisor will also be
present at the audition.
• Failure to follow any of the above terms and conditions may result in the withdrawal of permission to
use nudity in the production or the cancellation of the production.
Nudity in Rehearsals and Productions
Nudity shall not be permitted in any rehearsal or performance without the prior written consent of the
Director of the School of Theatre Arts and Dance and/or the CPVA Dean. (See I.B. above.) If approved
by the Director of the School of Theatre Arts and Dance and/or the CPVA Dean, nudity will be permitted
in rehearsal and performances only under the following terms and conditions:
• Sex acts will not be permitted.
• The director of the production is required to meet with the Director of the School of Theatre Arts and
Dance to develop security measures to protect the performer(s) from unnecessary individuals being
present at any rehearsals involving nudity.
• The performer will be given at least 24 hours advance notice of any disrobing in whole or in part in
the rehearsal process.
• No photographs, videos, or other forms of visual recordings of a nude actor are permitted.
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• The performer will not, while nude, mix with the audience or leave the stage, backstage, or
performance area. The production director or Dance Concert Artistic Director is responsible for
taking all necessary measures to insure that no member of the audience is permitted to enter the stage,
backstage, or performance area while any actor is nude.
• Failure to follow any of the above terms and conditions may result in the withdrawal of permission to
use nudity in the production or the cancellation of the production.
Audition Tips and Forms
Selecting the Material:
• Find material that you could be cast in today.
• Use material that is within your age range, your vocal range (if you are singing), your emotional
range, and within the scope of your movement skills.
• Avoid material that requires dialect, unless such a dialect is specifically called for in the play/musical.
• See that the material moves to a conclusion. Begin somewhere and go somewhere through the
material.
• Avoid material that you have performed in a UNC production.
• Discuss your choice of material with your director or acting teacher to ascertain that it is suitable for
presentation at the regional and national festivals.
• Choose material in which you have faith, and as you rehearse it allow it to give you confidence.
• Make mature judgments about the necessity for the use of profanity in the selection.
• Make sure that your material meets any requirements that the director has requested for the auditions.
Rehearsing the Material:
• Make strong, positive choices aimed at putting your character in charge of the scene.
• Locate and exploit counterpoints – tension between yourself and the character, tensions within the
character, tensions between the character and the dramatic situation.
• Allow time for reaction when the character has to make a choice.
• Share choices with the audience.
• Give movement specificity, dramatic validity, and theatrical finish. Simple but completely realized
movements and gestures are the most effective.
• Avoid literal interpretations of the text in movement and gesture.
• Keep body and face forward. Avoid too much profile.
• Maintain vocal control throughout the scene. Don’t let emotions drive you beyond vocal expression
you can control.
• Imagine the physical space appropriate for your scene. Set the boundaries and maintain control of
that space during the performance.
• Movement should develop organically from the material.
• Connection between the physical action and its emotional source should be strong and clear.
• Specify the ending of the first piece and the beginning of the next.
• Time the performance carefully so that it is always within the stated limit.
• The confidence, poise, and polish characteristic of outstanding audition presentation is the result of
dedicated, concentrated rehearsal and astute coaching.
At the Audition:
• Wear simple, attractive clothes, suited to your age, coloring, and your movement choices.
• Women – avoid heels that are too high.
• Be sure that your hairstyle does not hide your face.
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• Warm up your voice.
• Assess the acoustic qualities of the performance space and make choices as to the amount of vocal
energy that is required in order to be heard.
• At the beginning of the audition, state your name, your character’s name, and the title of the play.
• It is usually a good choice to end your audition with a “Thank you.”
The following Audition Form may be used by directors, however, directors
are free to crate their own form if they choose.
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Audition Form
School of Theatre Arts and Dance
Name:__________________________________ Email Address:________________________________
Address________________________________________________________________________________
Primary Phone:___________________________ Cell Phone:___________________________________
Major/Concentration:__________________________ Year in School:___________________________
Height:________________Weight:___________ Hair Color:____________ Eye Color:______________
Last three roles played ay UNC: Name of Production:
1._____________________________________________________________________________________
2._____________________________________________________________________________________
3._____________________________________________________________________________________
Last three roles outside of UNC Name of Production:
1._____________________________________________________________________________________
2._____________________________________________________________________________________
3._____________________________________________________________________________________
Role (s) most interested in:_______________________________________________________________
Please list on the back of this form ANY and ALL conflicts between now and our closing night. List any
other projects that you are currently committed to (one acts, Mainstage, off campus, etc)
Anything else you would like the director to know?
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Casting
General Policies
The School of Theatre Arts and Dance encourages all of its directors and
choreographers to embrace the concept of Non-Traditional Casting. That is to say
race-neutral and gender-neutral casting is encouraged for all productions!
• Non-Traditional Casting
o Non-traditional casting increases opportunities for protected classes,
ethnic minorities, female, and physically challenged performers.
o The School of Theatre Arts and Dance recognizes the need for expanding
participation in our theatrical productions and strongly encourages the
bold and imaginative use of non-traditional casting when race, ethnicity,
gender, and/or physical capabilities are not absolutely essential to the play.
• The School of Theatre Arts and Dance supports decisions made to meet the
demands of the play and to facilitate the growth and development of students.
• First semester freshman (Acting concentration) are not required to audition. First
semester freshman (Musical Theatre) are required to audition for the Mainstage
musical. Musical Theatre majors must audition and play as cast in the spring
musical of their senior year unless they are excused by the production director.
• Students are normally cast in only one Mainstage and/or one-act production per
semester. Exceptions may be made in special circumstances.
• All students are encouraged to audition for The Little Theatre of the Rockies
professional summer stock company each year.
• Auditions, rehearsals, performances, and design work on Mainstage productions
(including the Dance Concert) take precedent over one-acts and/or any outside
production opportunities.
• All students will play as cast unless the student requests permission from the
School Director to be removed from a production. Such permission not to be
unreasonably denied.
• Non-acceptance of an assigned role or design (Without permission) will
necessitate an appearance before the School Director, the director, the program
area head and the student’s advisor for review and possible disciplinary action
that may include probation or dismissal.
• Another exception to the play as cast policy is in the case of productions that
require nudity or deal with controversial subject matter (religion, gender, sex,
drug use, language, violence, etc.) If the student is uncomfortable with being cast
in the production he/she should express those concerns to the production director
prior to auditions. If a suitable compromise cannot be reached, then the student
may decline the role.
• No student actors will be pre-cast in Mainstage productions unless prior
permission has been obtained from the School Director.
• Faculty actors and guest artist actors may be pre-cast by the director in
accordance with rules stated in this handbook.
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• If possible, the Director of the School of Theatre Arts and Dance or his/her
designee will post a notice of any pre-casting prior to general auditions.
• Students who are on probation may audition for the experience if they so choose.
• Exceptions to these casting policies may be made on the basis of extraordinary
circumstances by the Director of the School of Theatre Arts and Dance in
consultation with the director (and program area head or faculty advisor, if
appropriate) of the project involved.
• One Act Play Course Casting Policy
o At the beginning of everything semester, all Mainstage directors will give
the One Act course instructor a list of students who are ineligible for One-
Act casting. This list should consist of students in lead roles only.
o Students cast in a show that rehearses in the same time slot as the one acts
are not eligible for casting in one acts.
Guest Artists
To assist in the realization of our goals, the School of Theatre Arts and Dance utilizes a
professional faculty and staff of teachers/artists and visiting guest professionals who
work with students in production and in the classroom. The utilization of guest artists is
of fundamental importance to the successful attainment of School goals. Among other
things, guest artists:
• Raise the quality and standards of our productions.
• Make it possible for us to produce certain scripts, which because of role demands,
could not otherwise be done effectively or safely.
• Provide the student with realistic role models from the actual world of
professional theatre.
• Provide the student with professional contacts.
• Provide the student with valuable information concerning the latest trends in all
aspects of theatre: agents, resumes, auditions, interview, theatrical unions, etc.
• Provide the student with a realistic understanding of the pros and cons of a life in
professional/commercial theatre.
• Assist the faculty in stressing the importance of theatre process as well as theatre
product. A successful theatre product, though ultimately important, is of little
long-term benefit to students who do not understand how that product was
achieved.
Faculty Performers
Given the professional nature of the program, faculty actors should be given the same
opportunities to practice their craft by participation in productions as faculty designers,
directors, and choreographers. Such participation allows artists to develop their craft and
provide opportunity to teach by example. Performance activity is used to provide support
for tenure and promotion.
Directors of individual productions in consultation with the Director of the School of
Theatre Arts and Dance will make decisions regarding the casting of theatre/dance
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faculty. Faculty may be pre-cast, may participate in the callback process, or may be
auditioned in a process separate from the regular School of Theatre Arts and Dance
auditions.
Call-backs
• Students in the performance sequence may not refuse a callback to any Mainstage
production except as outlined above in casting policy #7, and the policy on Nudity
in Auditions.
• Stage Managers will post callback lists on the callboard as soon after auditions as
possible.
• Directors will make every effort to use the actor’s callback time effectively.
• Actors who have been pre-cast in a role must attend callbacks if requested by the
director.
• Directors must work around an actor who has class during a callback time.
• Separate callbacks may be held for roles requiring special skills.
Casting Process
• Mainstage Casting Meeting
o After the last round of callback auditions, the Mainstage directors will meet at
a preliminary casting meeting and (if possible) be prepared with two or more
choices for each role in their plays.
o The Director of the School of Theatre Arts and Dance or his/her designee will
attend this meeting and act as chair.
o All faculty in the School of Theatre Arts and Dance are encouraged to attend
and discuss the appropriateness of the roles for the student’s development and
to advocate for students not on preliminary cast lists.
o Students are not permitted at casting meetings.
o Mainstage directors are urged to give consideration when a specific student
may have an opportunity to perform in a more challenging role in another
production.
o In the case where one actor is the primary choice for roles in two productions
that have a conflicting rehearsal schedule and the directors cannot reach
agreement, the Director of the School of Theatre Arts and Dance or his/her
designee will act as the final arbitrator. Priority is always given to the program
area concentration production.
o Production Stage Managers will post cast lists on the callboard as soon as
possible.
• Mainstage Dance Concert Casting
o Due to the difference in rehearsal procedures for dance pieces within a
concert, students may be cast in individual works within a Mainstage dance
concert even if the rehearsal or performance period overlaps a role or
technical assignment on the Mainstage theatre season under the following
conditions:
§ A student who anticipates a possible casting conflict between theatre
and dance productions must inform the director, choreographer, and
the dance concert artistic director of the conflict before auditioning.
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§ The production director and the dance concert artistic director (not the
individual choreographer) must agree in writing concerning rehearsal
and performance schedules for the student performer. The
responsibility for obtaining this agreement falls to the director or the
dance concert artistic director of the production/concert, which is cast
last.
§ In cases where the production director and dance concert artistic
director cannot come to agreement, the Director of the School of
Theatre Arts and Dance, in consultation with the student and program
area heads of performance, musical theatre and dance will decide
which role the student will perform.
§ If later changes are made to a rehearsal schedule, the production
director or choreographer making the changes must get approval from
the other show.
§ The Director of the School of Theatre Arts and Dance may determine
that a Mainstage dance concert is structured in a similar manner to a
Mainstage theatre production, in which case Mainstage theatre policies
will apply.
• RSO Casting procedures
o Following auditions for an RSO production, the director will meet with his/her
faculty advisor to finalize the cast list.
o The RSO faculty advisor must approve all cast lists and verify actor eligibility
before casting can be announced.
• Posting of Cast Lists
o Production directors or stage managers will post cast lists for all School
productions on the callboard in Frasier Hall.
o Cast lists will include the names of all characters and the student assigned to
each role. Any exceptions will be cleared through the School Director.
o After cast lists are posted, the production director or stage manager will e-mail
or distribute a hard copy to the main office, the Student Services Coordinator
and each faculty/staff member in the School.
• General Understudies
o Directors of Mainstage productions in consultation with the School Director
may decide to use understudies. Understudies may be used for any of the
following reasons:
§ To provide actors cast in smaller roles the opportunity to learn a larger
role in the same production.
§ To provide opportunities for one or more actors to work on a School of
Theatre Arts and Dance production when they would not otherwise be
cast in a production that semester.
§ To lessen the possibility of an emergency during the run of a
production that would otherwise cause the cancellation of a
performance.
o Auditions and Casting of Understudies
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§ A student may only be used as an understudy if the assignment does
not preclude the opportunity to perform a role in a Mainstage
production.
§ If possible, a director who intends to use understudies must state the
nature and extent of their use, including dates of an understudy
performance (if any) at the first call back auditions.
§ During the audition process, directors of non-musicals will give actors
the opportunity to indicate whether they would accept an understudy
role. Actors may decline an understudy role.
o Understudy Performance
§ If an actor cannot perform during the run of the production, his/her
understudy will perform the role until the actor originally cast can, in
the director’s judgment, resume performing.
§ Excluding emergencies, the director will decide whether or not an
understudy will be given one or more performances of the role. If
possible, the director will announce scheduled performance (if any) for
the understudy at the time of auditions.
o “Special Needs” Understudy
§ The production director, in consultation with the Director of the
School of Theatre Arts and Dance, may decide to add an understudy
during the rehearsal of a production when it seems probable that an
actor may be unable to complete his/her obligations to the production.
§ The production director will give written notice to the School Director.
• The director in consultation with the performance faculty and
School Director will determine whether an understudy can be
cast directly or whether auditions are needed.
• If the understudy role is cast directly, the production director
will offer the role to a student in a non-musical, who may
accept or decline the offer.
• Replacing Cast Members
o Directors may replace an actor whose professional behavior during rehearsals
or performance has a deleterious effect on the production. To replace an actor,
the director needs to consult with the Director of the School of Theatre Arts
and Dance. In some cases, the director may set up a meeting with the actor,
director, Director of School of Theatre Arts and Dance and Coordinator of
Student Services to discuss the matter. The director is required to furnish the
School with a written reason for the request. Directors are urged to work
closely with actors to correct behavior before pursuing removal from a
production.
o If an actor becomes ill or resigns from a production, the understudy will
assume the role immediately.
o If the vacancy occurs during the rehearsal period and if no understudy exists,
the production director will consult with the School Director to determine
whether a replacement is needed and what procedures to follow. If it is
determined that a replacement is needed:
§ The production director will consult with the other members of the
production team whose work may be affected.
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§ The production director, in consultation with the School Director, will
decide whether a replacement can be cast directly or whether auditions
are needed. If auditions are needed:
• The production director will schedule a special audition. The
production stage manager will post notice of this audition at
least 24 hours in advance.
• The special audition must follow all appropriate School
policies pertaining to auditions.
• Actors whose rehearsals, performances, or crew assignments in
another Mainstage production would overlap either rehearsals
or performances of the replacement role are not eligible to
audition.
Guidelines for Professional Decorum
• In addition to attending classes, all participants in the School of Theatre production
program are expected to conduct themselves in a professional manner. The principle
underlying all conduct should be a sense of respect for the time, efforts, and talents of
everyone involved in the creative process. Attention to this simple principle will lead
to a more efficient and satisfying artistic experience.
o All production personnel are expected to arrive at rehearsals, meetings, and
work call on time and to be ready to work. Performers are encouraged to
arrive at least ten minutes early so that they may have enough time to warm
up physically, mentally, and vocally before the rehearsal begins. Once
performers and technicians have arrived at the building for a call, they should
not leave unless they have received permission from the stage manager or
their immediate supervisor.
o All production personnel are expected to take care of themselves mentally and
physically so that they can perform their assigned tasks safely and efficiently.
Knowing your limits and using time wisely are essential.
o All production personnel are expected to perform their assigned tasks with
diligence and enthusiasm. Negative attitudes are counterproductive to the
creative process.
o All production personnel are expected to report problems as soon as they
occur to their appropriate supervisor.
o All production personnel are expected to attend all rehearsals or work calls for
which they are called. Emergency situations that necessitate an absence
should be reported to the appropriate supervisor as promptly as possible.
o All personnel involved with productions should never use alcohol or other
drugs during the rehearsal/performance period. Please notify your Director if
you are on any prescribed medication.
o Performers should not cut their hair or in any other way change their physical
appearance without consulting their director or choreographer and appropriate
designer.
o All personnel involved in specific productions are expected to check the
production callboards after 12:00 noon on a daily basis for announcements,
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schedule changes, and call times. Schedules for weekday rehearsals will be
posted no later than 12:00 noon on the day of the rehearsal. Schedules for
weekend rehearsals will be posted by midnight on Friday. Costume fitting
notices will be posted no later than 12:00 noon on the day prior to the fitting.
Cast members are responsible for checking the callboard and being aware of
rehearsal calls and costume fittings.
o Actors should be attentive to the memorization and execution of lines,
blocking, and business. Deadlines for memorization should be respected.
Dancers are responsible for retaining choreography from rehearsal to
rehearsal.
o Actors are expected to wear appropriate attire for rehearsal. “Appropriate
attire” means clothing that is conducive to movement and aids the actor in
gaining a sense of period and character. Women may need to provide a
rehearsal skirt and character shoes. Men may need to provide dress shoes and
a suit coat.
o All production personnel should be attuned to and respectful of creating an
efficient and effective work environment in the rehearsal space. Talking
should be kept to a minimum and should be at a volume that will not disturb
the work at hand. Crossing in front of or otherwise obstructing the view of
directors, and designers should be avoided.
o Performers are expected to be prompt in their arrival at costume fittings.
Appropriate undergarments should be worn for all fittings and good personal
hygiene is expected.
o Performers should not appear before the audience prior to or after
performances in full or partial costume or make-up, unless otherwise indicated
by the stage manager.
o Members of the running crew are expected to dress entirely in black and
should not appear before the audience prior to the performance, during
intermission, or after the performance in their run crew attire, unless otherwise
indicated by the stage manager. Running crew should not wear jewelry that
would hamper their performance.
o Smoking in or around costumes or wigs is not allowed, except in required in
performance.
o In performance, performers are expected to conform to the language of the
script and to the staging or choreography set in rehearsal. Additions and
subtractions of words, movement, or business are unacceptable.
o Performers are responsible for being aware of upcoming entrances. Missed or
late entrances are not acceptable.
o Performers are expected to pay strict regard to the costume and make-up
decisions of designers. No changes are to be made without consulting the
designer.
o Backstage noise during the rehearsal and performance should be kept to a
minimum and be directly related to the efficient and safe running of the show.
Behavior should at all times show respect for those who are engaged in the
performance and should assist in the creation of a positive and focused
environment.
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o Performers are expected to take good care of all costumes, wigs, props, and
set pieces. All costumes, wigs, and props are to be returned to their proper
place after use. No one should handle, move, or use a prop not specifically
assigned to them.
o All performers cast in Mainstage productions should provide a personal towel
that can be used for post-performance removal of make-up.
o Technicians are expected to take good care of all equipment entrusted to their
use. All equipment should be returned to its proper place after use. Equipment
problems should be reported to the appropriate crew head or shop foreman.
o Injury to individuals and damage to property must be reported immediately to
appropriate supervisors.
• Violations of Professional Decorum Guidelines
o A sense of professional decorum is essential for those who wish to carry the
skills they acquire at the University of Northern Colorado, into the
professional world. Knowing how to behave is the first step toward gaining
the respect of those around you. Talent may get you your first job, but
knowing how to conduct yourself around other professional will keep you
working.
o Because missing or being late to a rehearsal, performance, work call, or
costume fitting shows a disregard for the time of many other people and often
disrupts the productive flow of work for an entire cast or crew, the School of
Theatre Arts and Dance has adopted the following procedure:
§ First violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note to the Director of the
School of Theatre specifying the exact violation of professional
standards. The School Director will send a letter of first warning,
notifying the offender of the specific complaint.
§ Second violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note the Director of the
School of Theatre Arts and Dance, specifying the exact violation of
professional standards. The School Director will send a letter
requesting that the offender meet with the School Director to discuss
the seriousness of the violation and ways in which the offender intends
to correct his/her behavior.
§ Third violation: Production directors, choreographers, designers, or
appropriate supervisors will send a written note to the Director of the
School of Theatre Arts and Dance, specifying the exact violation of
professional standards. The School Director will notify the offender in
writing that he/she will not be allowed to audition for or participate in
any School of Theatre production in the following semester.
§ Other violations will be dealt with at the discretions of the School
Director.
o All students will have recourse for review of their cases by the Production
Committee. Any student who feels he/she has been unjustly censured should
send a letter to the chair of the Production Committee, giving reason why
he/she believes the case should be reviewed. The Production Committee acts
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in an advisory capacity to the Director of the School and can, in cases of
merit, ask the School Director to modify or overturn the initial judgment.
Production Positions and Responsibilities
The following are general descriptions of what is expected for key positions within the
production process. Please note that as a student you can be asked to go beyond the
“bones” which are outlined here. A certain flexibility is always a part of being a
collaborative member of a production team. Your final grade on your assigned task will
be calculated on your successful completion of the assigned task as outlined.
Director
The director is the leader of the production. In addition to researching the text, the
director must stage, orchestrate, lead the actors and all other production people to the
realization of a single, clear production concept. The director is also responsible for the
development of a specific rehearsal schedule. Other directorial duties include, but are not
limited to:
• Meeting with Designers to discuss concept and any changes/adjustments that are
being made to the script - this should occur many months in advance of the actual
design meetings
• Scheduling and executing auditions and callbacks (with the assistance of the
Stage Manger)
• Selection of an Assistant Director and/or Dramaturge, if desired
• Attendance at Design and Production meetings
• The facilitation of a safe and productive rehearsal environment
• Cooperation with the Costume Shop and Publicity on the taking of pre-production
publicity photos
• Cooperation with the UNC Marketing Department on the production posters and
artwork
• Coordination of the KCACTF visit and response, and subsequent announcement
of any recognitions, including the Irene Ryan acting nominations
Stage Manager
The following is an outline of the basic responsibilities of a Stage Manager. A Stage
Manager has the responsibility of insuring that everything is prepared and that everything
happens when it is needed. To be assigned as a Stage Manager on a production you must
have served as Assistant Stage Manager on a production for a PVA Mainstage and have
the approval of the Director and the Head of Design and Technology. You must have also
successfully completed Theatre 149 and demonstrated knowledge of the responsibilities
expected for this position.
General duties:
1. Effectively and openly communicating with the director, the design team, the head of
design, all production shops, and the stage management advisor.
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2. Willingness to take criticism and entertain different ideas and requests as presented by
the director, the production team, or your advisor.
3. Daily checking in with all the production shops at the onset of each day during the
pre-production, rehearsal, and production periods and in person.
4. Distribution rehearsal and production reports at the conclusion of each rehearsal or
production.
5. Conducting all production meetings and rehearsals in a professional manner, adhering
to both rules of business etiquette as well as adhering to time constraints of the scheduled
meeting.
6. Preparing a complete prompt book of all preproduction and production materials that is
to remain in the stage management booth of the theatre during all performances. Your
prompt book should be available to your advisor at the conclusion of the production
period for review and analysis.
7. Maintaining a reasonable workspace while in the theatre.
8. At the time that your rehearsal moved to it's performance space, all rehearsal props
and costumes as well as all floor tape must be removed from the rehearsal hall. All
rehearsal props and costumes are to be struck to their appropriate shops and struck as
requested by the appropriate shop manager.
9. The stage manager must attend strike and is the last one to leave, checking with the
technical director that the performance space is returned to the state necessary for the
standards of the show's strike.
Audition duties:
1. Organize all audition materials and post all notices for the audition. Confirm with the
STAD front office that an audition space has been assigned and reserved.
2. Provide a sign-up sheet for audition times. Indicate on the sheet all of the information
that students will need to have including how much time is allowed for each audition,
type of audition materials to be prepared, and proposed date and time of callbacks.
3. At the time of auditions, arrive early and prepare the space for the auditions. Make sure
that there is a place for the actors to check-in and that a system is in place for a smooth
flow through the auditions.
4. Make sure that you greet each actor as they check-in, make them feel welcome and
thank them for their audition when they leave. As with every step of the production
process, it is important for the Stage Manager to be a main source of stability, and by
putting the actor at ease you can begin that process on a positive note.
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5. As the actors leave, let them know when and where the Call Backs list will be posted
or how they will be informed of callbacks.
6. Check in regularly with the director(s) as to any needs they have during the audition
process.
7. Post the Call Back notice and repeat the previous steps until the show is cast.
Rehearsal duties:
1. At the first meeting with the full cast, it is important to have the preliminary rehearsal
schedule available and a contact sheet for the production that includes all members of the
company and all of the important Theatre phone numbers.
2. The Stage Manager should assist the Director in developing the rehearsal schedule, and
once set, continue to facilitate a smooth flow through the schedule.
3. Prior to rehearsals, the Stage Manager needs to make sure that the rehearsal space is
reserved and arrive at least thirty minutes before rehearsal and make sure that everything
is set up. As the rehearsal process progresses, you may need to arrive even earlier
depending on the complexity of the props and the amount you need to arrange in the
space.
4. Prior to the first blocking rehearsal, the Stage Manager is responsible for taping the
ground plan on the floor of the rehearsal hall. It is best to use spike tape and color code
the floor plan so that it is easy to read.
5. During blocking rehearsal, the Stage Manager must maintain an accurate account of
the blocking in their prompt book. As the blocking grows and develops, the Stage
Manager must maintain these changes in the prompt book.
6. During all rehearsals, the Stage Manager will keep a Rehearsal Report that will log any
notes for the designers and their shops. This report also logs the progress of the rehearsal
and any other pertinent notes and/or announcements of the production.
7. The Stage Manager, in conjunction with the prop master, will arrange with the props
department in order to pull props for rehearsal. Prior to the rehearsal process, the Stage
Manager, in conjunction with the prop master, will secure appropriate onsite storage to
secure all of the rehearsal props.
8. The Stage Manager must schedule all fittings with the actors as dedicated by the
costume designer. The Stage Manager should plan to confirm the schedule of fitting 24
hours in advance of an actor's fitting. At the conclusion of a given fitting day, the stage
manager should confirm that all actors reported in for their fitting and that they arrived on
time. In the event that a fitting must be rescheduled, the Stage Manager must do so with
the schedule set by the costume designer.
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9. If the actor is wearing a specialty costume or a costume that effects their movements,
it is important to arrange with the costume shop for a rehearsal garment appropriate for
the costume in the show.
10. During the rehearsals, it is important that all of the actors know what the schedule is
for that rehearsal period and are prepared. In some cases this may mean posting a
schedule for the actors so that they know where to be and when.
11. The rehearsal process is the time for the Stage Manager to develop checklists,
diagrams of presets and become familiar with the script and blocking.
12. A Stage Manager will normally have one assistant and sometimes two. It is important
to attempt to delegate duties and responsibilities equally to the assistants. There is no way
that a Stage Manager can complete all of the tasks needed on a production, so a good
Stage Manager will delegate jobs to their assistants to help make the production run
smoothly and efficiently. The Stage Manager must always remember that even though a
duty has been delegated to someone else, they are ultimately responsible for the job
getting done.
Design and production meeting duties:
1. The Stage Manager will expedite the arrangement of both the Design and the
Production Meetings to be held at regular times so that the designers, program heads, and
the director can all meet. All Meeting should be arranged to happen on Thursdays.
2. Design meetings require that the following people are in attendance: director, scenic
designer, costume designer, lighting designer, sound designer, and the head of design.
All other production positions are invited to attend, but are not required to be in
attendance.
3. Production meetings should be schedule for a forty-five minute block of time, but
should be planned to be thirty-minute meetings. The following people must be in
attendance: director, stage manager, scenic designer, costume designer, lighting designer,
sound designer, head of design, prop master, charge artist, technical director, music
director (as appropriate), and all advisors. All other production positions are invited to
attend, but are not required to be in attendance.
4. The agenda for these meetings is the Stage Manager’s responsibility, and should be
planned in advance of the meeting. The Stage Manager should always plan to begin with
the director's comments, followed by the comments from the scenic areas (including
paints and props), then the costume area, then lighting, sound, and finally the head of
design. Before concluding the meeting, the stage manger should be sure that there are no
further comments that need to be made by anyone in attendance.
5. In the vent that a member of the production team cannot attend a specific meeting, the
stage manager should pursue the option of having the missing member of the team attend
by telephone. If the director cannot attend either in person or by phone, the meeting
should be cancelled.
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6. The stage manager should take notes throughout the meeting and distribute these notes
within twenty-four hours of the meeting's happening.
Technical rehearsal duties:
1. Prior to the beginning of Technical Rehearsals, the Stage Manager will conduct a paper
tech meet with the designers and the director for the purpose of writing cues in their
prompt book.
2. SPACING REHEARSALS should not be viewed as actual technical rehearsals. These
days are designated for the director, cast, and the stage management team to become
familiar with the set in the performance space. No additional technical support will be
provided during these rehearsals. Close attention should be paid by the stage manager of
any potential issues of blocking in the performance space. These concerns should be
brought to the technical director at the beginning of the business the following day,
unless they are a matter of safety and need to be addressed immediately.
3. CUE-TO-CUE are usually your first technical rehearsal(s) and is primarily for the
placement and timing of all technical cues. If the timing of a cue does not work correctly,
it should be adjusted by the appropriate designer and run until it works, or it can be taken
care of with a note. This rehearsal is for the designers and the Stage Manager to
incorporate the technical elements into the show. The Stage Manager is encouraged not
to let anything distract from this goal.
4. TECHNICAL REHEARSALS are runs of the show with all elements except costumes.
Some costume elements may be needed for certain characters and this should be arranged
with the Costume Designer ahead of time. It is important in these rehearsals to keep the
show moving and only stop for major problems or for safety concerns.
5. DRESS REHEARSALS are full runs of the show. The only reasons for stopping are
for safety reasons or costume problems. At this point in the show, the other technical
elements should be in place and not cause you to stop. If you ever feel that an actor or
technician is a danger in any of these rehearsals, NEVER hesitate to stop and fix the
problem.
6. FINAL DRESS REHEARSAL should be run exactly like a performance in every
detail. It is not uncommon for these rehearsals to have an audience and the House
Manager present. Use them as a rehearsal for dealing with the front of the house
whenever possible. In most cases a photo call will be scheduled to happen prior to this
rehearsal. This is also the responsibility of the stage manager to run in an efficient
manner. See the section of photo calls for the specifics of the call. Additionally, it is not
uncommon for a media reviewer to attend this rehearsal. The stage manager should have
acquired a copy of the program for the reviewer in the event that he is in attendance that
evening.
7. The Stage Manager should produce a checklist for the running of the shows. This
checklist should be done for the first technical rehearsal and used at every one thereafter.
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8. A sign-in sheet should be provided for the actors and technicians at the beginning of
technical rehearsals. The ASM may be the person responsible for checking it, but the
final check must be on the Stage Manager’s checklist.
9. The Stage Manager is responsible for making sure that the stage, backstage, and front
of the house are all ready for each and every rehearsal and performance.
Performance duties:
1. A Performance Report is made for every performance. This report should contain the
following information: length of each act, length of each intermission, curtain time, actor
notes/problems, set notes/problems, costume notes/problems, lighting notes/problems,
sound notes/problems, house notes/problems, and any other general notes. This report is
all members of the production team and the artistic director after every performance.
2. The running of the performance should be exactly like the running of the Final Dress
using the same checklists for EVERY performance.
Assistant Stage Manager
The$Assistant$Stage$Manager$works$closely$with$the$Stage$Manager$to$insure$that$all$
aspects$of$a$production$run$smoothly.$ The first and foremost responsibility of the
ASM is to ASSIST the stage manager in any and all aspects of their job with regards to
production.
Scenic Designers
The following is an outline of the duties and responsibilities for a Scenic Designer with
the Little Theatre of the Rockies and the University of Northern Colorado. To be given
the opportunity to design the scenery for a production at UNC, you must have
successfully completed the Drafting course, Beginning Scenic Design, Theatre 149 and
have assisted on at least one show.
PREPARATION (prior to the commencement of the build)
1. The student designer must read and complete a full analysis of the script PRIOR to the
first meting with the director. A hard copy of the “scenic breakdown” and a full script
analysis must be submitted to the set design advisor 1 week prior to the student
designer’s first meeting with the director.
2. Research for all scenic items must be amassed for all locations and stage dressings as
part of the design process. This “bible” of research should be given to the scene shop as
part of the design build commencing for their use.
3. The student scenic designer should schedule a standing weekly meeting time with the
set design advisor, which should begin prior to the first meeting with the director and
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continue through the final strike of the show. This meeting time should be conveyed to
the technical director so that he can be included in any or all of those meetings.
4. The student designer should attend ALL production meetings, and any additional
planning meetings that involve scenery, such as the initial prop meeting and the prop
thru.
5. The student designer is responsible for making both the technical director and the set
design advisor aware of all meetings with the director and every effort should be made
for those advisors to be able to attend those meetings.
6. The student designer should meet with the Head of Design regarding their budget
allocation prior to any designs being finalized.
7. The student designer should not consider any design complete for the shop prior to
meeting with the set design advisor and the technical director regarding the proposed
sources for all scenic elements including those items that are pulled verses purchased
verses built.
EXECUTION (once the build begins)
1. Daily “checking in“ with the scene, paint and property shops and the technical director
in person.
2. Pulling, building, buying all necessary scenic items and materials as required by your
design or the scenic shop's needs in tandem with the technical director.
3. Communicate all notes clearly to the scenic shop staff and technical director.
4. Preparing all scenic paperwork prior to first dress and aid in the organization of the
scenic shifts associated with the production.
5. Provide paint samples and work directly with the scenic charge artist to achieve the
desired finishes for the production.
6. Provide detailed instruction to the property master and the shop assistants concerning
set dressings and stage props.
7. Maintaining a reasonable workspace while in the shop. Do not leave the shop at any
time with a "mess" to be tidied by someone else.
8. Maintaining the scene shop and theatre spaces; returning all tools and materials to the
appropriate areas and storages.
9. Prior to opening- all pulled items that are not being used for your production must be
struck, this includes, but is not limited to foliage, paint, furniture, décor accessories,
stock scenic pieces, fabric, trims, craft materials, etc.
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10. The student scenic designer should plan to attend all dress rehearsals and any
technical rehearsals as needed.
11. Checking the daily rehearsal and production reports for any set notes and addressing
them immediately with the scene shop and carpentry/paint/property staff as needed.
12. The student set designer must be available throughout the run of the show to make
any decisions concerning repairs and touch-ups that might be beyond the scope of the
carpentry crew.
13. The student designer is responsible for finding out when the ACTF respondent will be
attending the show, and plan to attend that performance.
14. The student designer is responsible for discussing the required rehearsal needs with
the director and providing them by the first day the cast is scheduled to be “on their feet”
POST PRODUCTION (beginning with strike)
1. The designer must oversee strike assuring that all items are broken apart and returned
to stock, or returned to the person/people from which they came. This includes all
rehearsal set pieces.
Assistant Scenic Designer
First and foremost, sit down with your designer and discuss how they want you to
function in this role. Remember, this is actually their show; your job is to make their job
easier.
You duties may include, but not be limited to the following:
PREPARATION (prior to the commencement of the build)
1. Be available le to the designer, check in daily and maintain open lines of
communication.
2. Copy/scan research or designs as requested. Under no circumstance should any of
these materials be given to anyone other than the designer without their permission.
3. Organize the "design package" for the scene shop and for the designer to the
specifications of the Technical Director and the Set Designer respectively.
4. If requested to "design" any aspect of the show, do so in accordance with the designs
of the designer. Consult frequently with the designer and do not have meetings with the
director without the designer present.
EXECUTION (once the build begins)
1. Be available to the designer, check in daily and maintain open lines of communication.
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2. Post all sketches in the scene shop in a safe and professional manner. Neatly
organized, in sleeves, etc.
3. Tag all materials as they are brought into the shop and aid in defining use to the
Technical Director.
4. Acquire all rehearsal set pieces and properties as per the designer’s specifications as
requested by stage management.
5. Take notes clearly and precisely during all rehearsals, which are to be sent to the
Designer at the end of each evening.
6. Assist in the Property Run-through and Design Presentation to the Cast/Crew
7. Assist in the training of the Run crew under supervision of the Stage Management
team.
8. Oversee the run of the show, at all times, maintaining the integrity of the designs.
9. Attend all technical and dress rehearsals with the designer and take clear precise notes
that should be given to the shop and the designer prior to the opening of the shop the
following day.
10. Be available to assist in the finishing of the production and during the run of the
show, in the event the scenic needs are not complete or there is breakage. Consult with
the designer as to your role in acquiring the necessary replacement elements or final
touches with the sets and props.
POST PRODUCTION (beginning with strike)
1. Coordinate strike with the Technical Director.
2. Complete all returns from loan sources as well as purchases not used.
3. Close out all paperwork with the designer.
4. Complete a morgue of the show for the scene shop including the finalized script, a disk
of production photos and design photos (scenic model), copies of sketches, paint
elevations and drafting, and a finalized set dressing list.
Assistant to the Set Designer
Your position is one of facilitation. You should be available at all times to make the job
of the Set Designer easier. It is up to you to make sure that the designer is prepared for
all their required tasks as part of the design process, which includes materials secured,
meeting times confirmed, etc.
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Charge Scenic Artist
This person is the head painter and makes all painting decisions on a production with the
Scenic Designer.
Preproduction:
1. The student Charge Artist must assure there is ample time in his/her schedule to work
on the assigned production on a regular basis.
2. The student Charge Artist must attend all production meetings for the assigned
production. The student may also be required to attend some preliminary design
meetings.
3. The student Charge Artist must consult with the scenic designer of the assigned
production regarding treatments and techniques.
4. The student Charge Artist must mix all colors for the assigned production and work out
samples and techniques for all the scenery.
Scenic build/paint:
1. The student Charge Artist must supervise painting of the scenery with paid student
staff and I.P. students.
2. The student Charge Artist must consult with the Resident Charge Artist on a regular
basis while the production is in the shop regarding scheduling conflicts, the day’s work,
and any questions that might arise.
3. The student Charge Artist must ensure that daily lists are left in the paint shop so that
work o the assigned production continues in a smooth and timely manner.
4. The student Charge Artist must ensure that all work for the assigned production is
completed in accordance with the wishes of the scenic designer.
Tech week/run:
1. The student Charge Artist must attend at least one technical rehearsal of the assigned
production.
2. The student Charge Artist must stay in contact with the scenic designer during
technical rehearsals and complete any notes that are generated during that time.
3. When the assigned production strikes, the student Charge Artist must see to it that all
paints for the production are emptied out and cleaned.
Properties Master
Preparation:
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1. Student must read the production script and begin an initial props list by Act and
Scene.
2. Research props as necessary to provide design assistance.
3. Student must have a joint meeting with the Student Prop Master Advisor and Scenic
4. Designer to establish a properties list in preparation for a meeting with the Director.
5. The meeting with the director will be to establish the initial props list for the
production.
6. Student must attend all production meetings for assigned production.
7. Student must consult with the scenic designer of assigned production regarding set
furniture and stage dressings, keeping the Student Props Master Advisor (in writing) of
information exchanged in said meetings.
8. Student must include the Director of Design Technology in all correspondence.
9. Work within the confines of the budget allowance for the production, keeping a
detailed expenditure spread sheet. The spread sheet must be submitted weekly to the
Student Prop Master Advisor on the day agreed upon.
10. Student must consult with Prop Advisor on a regular basis while the assigned
production is in the shop regarding scheduling conflicts, the day’s work, and any
questions that may arise.
11. Student must keep the Prop Advisor informed of all correspondence with other design
team members during their tenure as Student Prop Master.
Inform the Technical Director of props which are borrowed or on loan for program credit.
12. Provide the Director, Scenic Designer, Prop Advisor (and others as deemed
necessary) with a Prop Through one week prior to first technical rehearsal (or as
requested by the design team).
Execution:
1. Student must provide rehearsal props upon request from the Director, Scenic Designer
or Prop Advisor in a timely manner (usually 24 hours after the request).
2. Student must take responsibility for all props, this includes rehearsal, final, rented,
borrowed, and created props. Animals and plants and care of them also fall under this
area.
3. Attend run through rehearsals to ensure that props are working and to ensure their
proper use.
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4. The student must stay in contact with the Scenic Designer and Director during
technical rehearsals and complete any notes that are generated during that time.
5. Work backstage, if necessary, to help handle all prop needs.
6. Assign duties of props to prop crew, this includes consumable food preparation,
washing of dishes, washing of set pieces that may become stained or soiled.
7. Purchase all food items for use by the first dress rehearsal.
8. Oversee all repairs during the run of the show in a timely (prior to the next
performance) manner.
9.Provide safe and secure storage of props during rehearsals and the production.
Post Production:
1. Student must supervise the strike of all props into the Prop Shop after the final
performance.
2. Oversee the safe return and storage of all props the day following strike.
3. Provide secure areas for safe storage of props, this includes rehearsal props.
4. Student must provide a detailed spread sheet of all props expenditures within a week
after strike.
Lighting Designer
The following is an outline of the duties and responsibilities for a Lighting Designer with
the Little Theatre of the Rockies and the University of Northern Colorado. To be given
the opportunity to design the lighting for a production at UNC, you must have
successfully completed the Lighting Design course, Theatre 149 and have assisted on at
least one show.
Pre Production
1. Meet with advisor to discuss show and set deadlines
2. Attend conceptual meetings as scheduled
3. Complete script analysis and unit analysis prior to first meeting
4. Provide visual information concerning design concept to rest of team
5. Discuss specifics with director/choreographer outside of team meetings
6. Discuss specifics with other members of the design team in a timely fashion
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7. Attend all production meetings/ showings as scheduled
8. Attend rehearsals as necessary; attend all scheduled act runs and run throughs
9. Color test as necessary
Plot/Paperwork
1. Assemble lighting prompt script
2. Provide rough plot, color key, sectional analysis, and photometrics to advisor one week
prior to hang
3. Provide completed plot, specific accessory and pattern information to ME three days
MIN prior to hang
4. Discuss particulars of plot with ME one day MIN prior to hang
5. Oversee/assist ME with hang
6. Prepare focus charts, spike areas, and set layout previous to focus
7. In conjunction with Set Designer and TD, set trims and masking previous to hang.
8. Focus previous to tech weekend
9. Provide completed cue sheets to SM, director MIN one day prior to paper-tech
10. Attend Paper Tech
11. Meet with advisor to look at completed focus prior to cue writing
Tech Week
1. Pre write all cues before first tech
2. Train, provide to do list for light board op in conjunction with ME
3. Attend all technical and dress rehearsals
4. Work diligently during tech process to meet director’s expectations
5. Incorporate suggestions from advisor into design
6. Work to use time efficiently for all involved
7. Continue to hone after rehearsal periods
8. Attend Strike; Restore all equipment to neutral; follow storage protocol
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Assistant Lighting Designer
The following is an outline of the duties and responsibilities of an Assistant Lighting
Designer with the Little Theatre of the Rockies and the University of Northern Colorado.
To be given the opportunity to be the Assistant Designer for a production at UNC, you
must be enrolled or have completed the Lighting Design course and have successfully
completed Theatre 149. Acting as Assistant Lighting Designer on a production is an
important and valuable step on the way to getting a design of your own.
• Pre-Production
1. The Lighting Designer is required to attend production meetings once a week. It is
important that you attend as many of these meetings as possible as the Assistant
Lighting Designer.
2. In working on the show, the Designer will want to break down the show to better
understand the script. The best way an assistant can help the designer in this part
of the process is to complete a break down of their own to help them better
discuss the show with the designer.
3. Attend all design meetings with the other designers on the show. Get an
understanding of how the designer works with the other designers on a
production.
4. Attend as many rehearsals as possible and as many as necessary with the Designer
to get a feel for the show prior to designing the lighting.
5. Attend all meeting with the Director discussing the design. Assist the designer in
setting up the Light Lab to demonstrate ideas for the Director if needed.
6. Assist the Designer in drafting the light plot as needed on that show. Depending
on the Designer and the show, this could mean all the drafting or none at all.
7. Assist the Designer in preparing and updating all paperwork for the Master
Electrician.
• Load-In
1. Attend as much of hang as possible to help assist with any problems that may
arise as the show is hung. When the Lighting Designer is not in the theatre, the
Assistant acts as the Designer to help answer questions. The ALD is not an
electrician during the hand and should not be given such responsibilities.
2. During the Focus, the Assistant should help the Designer by keeping track of the
paper work and letting the Designer know what is next and the focus of each
instrument as they work through the focus. In some cases, the Assistant will keep
focus charts of the show.
3. Work with the Designer while writing cues. Take notes, help keep track of the
Magic Sheet, and any notes that might come along during cueing. This is a very
difficult time for the Assistant to stay in the loop, but it I very important that the
Assistant pay very close attention to understanding the composition of the cues so
that during technical rehearsals the ALD can be more integral to the process.
• Technical Rehearsals
1. During the Technical Rehearsals, the Assistant usually takes notes for the
Designer. A good Assistant will watch closely to what the Designer is doing with
the show and help whenever possible in editing a cue or find what might be a
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problem with a cue by finding the channel number before the Designer has to
look.
2. The Assistant’s duties throughout this process depend on the Designer’s needs for
that particular show. The quality of this part of the assignment depend heavily on
the Assistant’s willingness to commit to the show and watch carefully to get as
much as possible out of this part of the process. This is the hardest part of the
process on the show and cues.
3. As the show nears opening, the ALD should work with the Master Electrician to
make sure that the ME is aware of the focus and can troubleshoot the plot
effectively after opening night.
• Post Opening Night
o After the show opens, the Lighting Designer and the Assistant are done,
usually. In some professional situations, the Lighting Designer or their
Assistant may be called in to check the focus of the show or to check the
cueing in certain sections.
Master Electrician
The following is an outline of the responsibilities of a Master Electrician at UNC. The
position of Master Electrician is awarded to students who have shown an interest in
pursuing a concentration in lighting and who have successfully completed Theatre 149
and has served as an Electrician on at least one or more productions. The Master
Electrician’s primary function is to facilitate the implementation of the Lighting Design
for a production by organizing and overseeing the hanging and focusing of the light plot.
Pre Production
1. Meet with advisor to discuss show and set deadlines
2. Meet with designer to discuss concept and scope of lighting package
3. Complete script synopsis prior to first meeting
4. Provide information concerning lighting package to shop staff
5. Discuss specifics of practicals with LD, TD, SD, and Props master
6. Provide build package for practicals as soon as prop is selected
7. Attend all production meetings as scheduled
8. Schedule weekly progress report with shop staff and advisor
Plot/Paperwork/Programming
1. Print copies of Light Plot for hang and focus
2. Print Hook-Up, Instrument Schedule, and complete Shop Order three days MIN prior
to hang
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3. Complete Plot work up, including Cable Paths, Data Runs two days MIN prior to hang
4. Discuss particulars of plot with shop crew one day MIN prior to hang
5. Prep tech table with shop crew one day MIN prior to hang
6. Prep Masking and Scenery Spikes with shop crew and SM one day MIN prior to hang
7. Oversee/assist shop crew with hang; provide hanging information to crews
8. Complete practicals, FX, etc in timely fashion to be tested one day MIN prior to tech
9. Oversee/assist shop crew with focus
10. Trouble shoot and Prep entire plot MIN one day prior to focus
11. Discuss particulars of built props, FX, etc. with SM MIN one day prior to tech
Tech Week
1. Work with Designer to pre set all levels, fx, etc. before first tech
2. Train, provide to do list for light board op. Demonstrate programming techniques
3. Attend all technical and dress rehearsals
4. Attend to designers notes immediately following rehearsal or during shop hours the
following day
5. Prepare change over information if necessary
6. Complete daily dimmer check; attend to fixtures as necessary
7. Oversee complete restore to neutral, including storage procedures during strike
Costume Designer
The Costume Designer is responsible for planning all costumes worn in the production
and supervises their execution. In general, the Costume Designer also supervises
hairstyles, makeup, jewelry, and costume props for the Actors. In order to do these tasks,
he/she prepares a Scenic Chart, a Costume Chart, Color Renderings, and/or pull lists and
fabric swatches for the costumes to be constructed. In addition, a budget for all expenses
is prepared based on the available funds for costumes. The Costume Designer approves
the completed costumes and views all costumes on the Actors prior to first dress. If a
Dress Parade is called for, the Costume Designer plans and presents the parade.
1. Meeting all deadlines for rough sketches, final sketches, publicity photos, technical
rehearsals, dress parade, dress rehearsals and strike for your assigned production.
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2. Effectively and openly communicating with the director, the design team, the head of
design, the costume shop, and the costume advisor.
3. Willingness to take criticism and entertain different ideas and requests as presented by
the director, costume shop, or your advisor.
4. Daily checking in with the costume shop and the costume shop manager in person.
5. Pulling, building, buying all necessary costume items and materials as required by your
design or the costume shop's needs.
6. Attending all fittings.
7. Preparing all wardrobe crew paperwork prior to first dress including daily laundry and
ironing duties.
8. Maintaining an up-to-date budget spreadsheet at all times.
9. Striking one's own "shopping rack" as you go, so as to not "tie up" a considerable
amount of stock from other's use or consideration.
10. Maintaining a reasonable workspace while in the shop. Do not leave the shop at any
time with a "mess" to be tidied by someone else.
11.Mainating the stock as you found it or better. All boxes returned to their locale after
pulling from them.
12. Prior to opening- all pulled items that are not being used for your production must be
struck, this includes, but is not limited to, shoes, accessories, stock costume pieces,
fabric, trims, craft materials, etc.
13. The designer must oversee strike assuring that all items are laundered and returned to
stock, or returned to the person/people from which they came.
14. 1 week after strike a final "close out budget" must be given to the Head of Design and
must include all items and materials purchased for the production, including those
purchased on your behalf by another member of the costume or production team.
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Assistant Costume Designer
First and foremost, sit down with your designer and discuss how they want you to
function in this role. Remember, this is actually their show; your job is to make their job
easier.
You duties may include, but not be limited to the following:
1. Be available le to the designer, check in daily and maintain open lines of
communication.
2. Copy/scan research or designs as requested. Under no circumstance should any of
these materials be given to anyone other than the designer without their permission.
3. Post all sketches in the costume shop in a safe and professional manner. Neatly
organized, in sleeves, etc.
4. Organize the "bible" for the costume shop and for the designer to the specifications of
the Costume Shop Supervisor and the Costume Designer respectively.
5. Tag all fabrics as they are brought into the shop and swatch each sketch accordingly.
6. Acquire all rehearsal costumes as per the designer’s specifications as requested by
stage management.
7. If requested to "design" any aspect of the show, do so in accordance with the designs
of the designer. Consult frequently with the designer and do not have meetings with the
director without the designer present.
8. Prepare the fitting room for all fittings prior to the fitting time. Be sure that all
necessary items are available including, pencils, safety pins, sock, shoes, accessories, etc.
9. Take note clearly and precisely during all fittings, which are to be attached to the
costume pieces at the end of each fitting.
10. Label all costume parts
11. Assist in the training of wardrobe staff.
12. Oversee the run of the show, at all times, maintaining the integrity of the designs.
13. Attend all technical and dress rehearsals with the designer and take clear precise notes
that should be given to the shop and the designer prior to the opening of the shop the
following day.
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14. Be available to wardrobe during the run of the show, in the event a costume element
needs replacement. Consult with the designer as to your role in acquiring the necessary
replacement elements.
15. Be sure that any decisions that are made on your part, reflect the designer you are
assisting and not your own ideals.
16. Coordinate strike with the wardrobe head.
18. Complete all returns from loan sources as well as purchases not used.
17. Close out all paperwork with the designer.
18. Complete a morgue of the show for the costume shop including the finalized script, a
disk of production photos, copies of sketches, and finalized dressing lists.
Assistant to the Costume Designer
Your position is one of facilitation. You should be available at all times to make the job
of the Costume Designer easier. It is up to you to make sure that the designer is prepared
for all their required tasks as part of the design process, which includes materials secured,
meeting times confirmed, etc.
Wardrobe Master
The Wardrobe Master is responsible for the costume shop and the construction of
costumes for a production. The costume designer works with the wardrobe head to
communicate what exactly is wanted. The wardrobe master supervises all costume staff,
including dressers during the run of the show.
Pre-Production duties:
1. Responsible for the costume show and meeting the costume designer.
Run of Show duties:
1. Assumes responsibility for costumes during the show’s run.
2. Organize and execute inventories.
3. Organize and supervise costume changes
4. Supervise dressers
5. Launder, clean, and do minor repairs on costumes.
6. Maintain equipment and keep basic supplies stocked in dressing area.
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Post Production duties:
1. Responsible for the proper care of costumes after use and prior to going into storage
2. Launder costumes
3. Store costumes
4. Replenish supplies used
5. Final inventories
Makeup Supervisor
In the professional theatre this person generally gives advice to the actors on how to do
their own hair and make-up. Sometimes this person will be a hair stylist or wig master as
well as coming up with make-up designs and in the case of some productions actually
doing make-up jobs.
In the high school theatre this person is in charge of getting together and training a make-
up crew to do the make up for actors who do not know how to do it themselves. This
person will also find make-up colors and styles that match the production.
Pre Production duties:
1. Gather foundations, colors, powder wigs, etc. for the production.
2. Read the play to know what types of make-up and what styles are appropriate.
3. Create make-up schematics for the characters.
4. Attend design meetings.
Run of the Show duties:
1. Coordinate all make-up application.
2. Coordinate the make-up jobs such as old age, disfigurement, or artificial facial features
or scars.
3. Color and style hair and assign and attach wigs.
4. Instruct actors on how to properly remove any specialty make-up.
5. Make sure all make-up is properly applied as to the designer's specifications.
6. Assist actors in donning their wigs.
7. Wig maintenance.
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Post Production duties:
1. Clean up and tear down the make-up stations.
2. Clean all make-up products from the STAD kit.
3. Assist in the strike of the show.
Sound Designer
The Sound Designer is responsible for all scripted sounds, pre-show, post-show and
intermission music, and any other support sound requested by the Director.
Pre Production
1. Meet with advisor to discuss show and set deadlines
2. Attend conceptual meetings with design team as scheduled
3. Complete script analysis and prior to first meeting
4. Provide information concerning design concept to rest of team
5. Discuss specifics with director/choreographer outside of team meetings
6. Discuss specifics with other members of the design team in a timely fashion (i.e. a
prop that needs a speaker placed in it)
7. Attend all production meetings/ showings as scheduled
8. Attend rehearsals as necessary; attend all scheduled act runs and run throughs
9. Provide rehearsal CDs or files as necessary or requested
10. Schedule listen through with advisor/director as needed
Plot/Paperwork/Programming
1. Assemble sound prompt script
2. Provide preliminary cue sheet to director, advisor previous to first meeting
3. Provide sound plot, routing diagrams, and equipment list to advisor two weeks prior to
install
4. Discuss particulars of plot with shop crew one week MIN prior to install
5. Coordinate comm requirements with SM and shop crew
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6. Oversee/assist shop crew with install
7. Provided sound FX/music bibliography previous to playback install
8. Prepare playback, EQ, levels two days MIN prior to tech
9. In conjunction with A2, prepare microphones, pit set up for musicals MIN two days
prior to sitzprobe
10. Provide completed cue sheets to SM, director MIN one day prior to paper-tech
11. Attend paper tech
12. Meet with advisor to listen to levels and routing prior to tech
Tech Week
1. Pre set all levels before first tech
2. Train, provide to do list for sound board op. Demonstrate playback techniques
3. Attend all technical and dress rehearsals
4. Work diligently during tech process to meet director’s expectations and requests
5. Incorporate suggestions from advisor into design
6. Continue to hone after rehearsal periods
7. Provide redundancy capability and backup plans for SM, board op.
8. Attend Strike; Restore all equipment to neutral; follow storage protocol
Technical Director
Pre Production/ Paperwork
1. Meet$with$advisor$to$discuss$show$and$review$deadlines.$Between$weeks$11$
and$9.$
2. Meet$with$designer$and$review$the$scenic$bid$package$for$the$show,$help$with$
problem$solving.$Scenic$bid$package$is$due$on$Monday$of$week$9.$This$
meeting$should$happen$in$week$9.$$
3. Take$rough$designs$and$create$a$preliminary$line$budget$for$the$scenic$
design.$Due$Friday$of$week$9.$
4. Return$budget$to$designer,$outlining$places$where$the$show$may$have$
exceeded$the$budget$in$both$time$and$possibly$labor.$
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5. Take$final$revised$scenic$designs$and$create$a$final$line$budget$outlining$the$
shows$estimated$costs.$Due$Friday$of$week$7.$
6. Meet$with$charge$artist,$advisor,$and$other$members$of$the$production$team$
to$finalize$rough$calendar.$$
7. Create$working$drawings$for$all$elements$in$the$show.$Working$drawings$are$
due$Friday$of$week$7.$
8. Create$paperwork$such$as:$build$calendar,$purchase$list,$budget,$etc.$(All$to$go$
in$TD$binder)$All$required$build$documents$are$due$Monday$of$week$6.$
9. Attend$all$production$meetings$as$scheduled.$
10. Attend$rehearsals,$all$scheduled$act$runs,$and$full$run-thrus$as$necessary.$
Scenic Build/ Install
1. Create$daily$To-do$lists$for$the$scenic$shop$for$the$period$of$the$build.$
2. Create$and$distribute$daily$reports$from$the$going’s-on$on$in$the$shop.$
3. Supervise$and$assist$the$construction$of$the$show.$
4. Make$sure$the$build$stays$on$schedule$and$troubleshoot$projects.$
5. Assure$the$built$items$make$it$to$the$paint$shop$in$a$timely$manor$in$which$
they$can$be$painted.$
6. Oversee$the$load-in$of$the$show$in$the$space$and$troubleshoot$as$needed.$
7. Assess$designer$notes$as$they$come$up.$
8. Attend$paper$tech$as$needed.$
9. Meet$with$advisor$prior$to$first$tech$to$talk$about$expectations.$
Tech Week/ Run of the show
1. Complete$a$safety$walk$through$of$the$space$with$the$cast$and$crew,$with$
advisor$present.$
2. Attend$all$technical$and$dress$rehearsals.$
3. Work$diligently$during$tech$process$to$meet$director’s$expectations.$
4. Assess$notes$and$problems$during$tech$and$during$the$run$of$the$show.$
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5. Work$to$use$time$efficiently$for$all$involved$
6. Create$strike$lists$and$organize$strike$as$needed$for$the$show.$
7. Clean$and$organize$all$shop$spaces$and$work$areas$used$during$the$show.$
8. Create$a$total$budget$outlining$every$expense$on$this$production.$Due$1$week$
after$show$closes.$
9. Meet$with$advisor$for$a$wrap$up$meeting.$Within$1$week$after$show$closing.$
10. Closing$budget$due$two$weeks$after$show$closing.$
Assistant Technical Director
Pre Production/ Paperwork
1. Meet with Technical Director to discuss show and review deadlines.
2. Help Technical Director with problem solving.
3. Assist with Creating working drawings for all elements in the show. (As needed or
Assigned)
4. Attend all production meetings/ showings as scheduled. (As requested.)
5. Attend rehearsals as necessary; attend all scheduled act runs and run throughs. (As
requested.)
Scenic Build/ Install
1. Assist in Creating Daily To-do lists for the Scenic Shop everyday the build.
2. Assist in Creating and distributing Daily reports from the going’s-on on in the shop.
3. Supervise and assist the construction of the show as needed.
4. Make sure the build stays on schedule and trouble shoot projects.
5. Help over see the load in of the show in the space and trouble shoot as needed.
6. Assess designer notes as they come up.
7. Attend Paper Tech. (As requested)
Tech Week/ Run of the show
1. Assist with a complete a safety walk through of the space with the Cast and Crew.
2. Attend all technical and dress rehearsals. (As requested)
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3. Work diligently during tech process to meet director’s expectations.
4. Assess notes and problems during tech and during the run of the show.
5. Work to use time efficiently for all involved
6. Assist in creating strike lists and organize strike as is needed for the particular show.
7. Help clean and organize all shop spaces and work areas use during the show.
8. Meet with Advisor for a wrap up meeting
Master Carpenter
Pre Production/ Paperwork
1. Meet with Technical Director to discuss show and review deadlines.
2. Help Technical Director with problem solving.
3. Assist with creating working drawings for all elements in the show. (As needed or
Assigned)
4. Attend all production meetings/ showings as scheduled. (As requested.)
5. Know the show drawing inside and out, become and expert.
Scenic Build/ Install
1. Carry out the tasks on the Daily To-do Lists.
2. Report shop progress to TD or ATD for Scenic Daily reports.
3. Supervise construction elements of the show as needed.
4. Make sure the build stays on schedule and help trouble shoot projects.
5. Answer questions about build items on the show as they come up.
6. Build the more complicated items for the show.
7. Head up crews and help over see the load in of the show in the space, trouble shoot as
needed.
8. Assess designer notes as they come up.
Tech Week/ Run of the show
1. Attend all technical and dress rehearsals. (As requested)
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2. Work diligently during tech process to meet director’s expectations.
3. Assess notes and problems during tech and during the run of the show.
4. Work to use time efficiently for all involved
5. Head up and help organize strike as is needed for the particular show.
6. Help clean and organize all shop spaces and work areas use during the show.
7. Meet with Advisor for a wrap up meeting.
Run Crews
Abscesses and tardiness for any crew assignments are not allowed for ANY
rehearsal or performance calls. There are no exceptions to this rule. If you have any
questions or concerns regarding this policy, you must discuss it with the Production
Manager, Technical Director or another member of the D/T Faculty. Discussions on
this matter are not to be conducted with another student, regardless if that student
is acting as a Stage Manager or Student Supervisor.
Duties of Run Crew Members include, but are not limited to:
• Attend all requested rehearsals, techs, dresses, performances and strike of
assigned show.
• Arrive promptly and in suitable dress (black clothing when needed) at the
designated call time.
• Stay until dismissed by the Stage Manager knowing the next call.
• Do assigned position’s duties plus any other duties deemed necessary by
production team.
• Be responsible for cleaning Green Room (including dumping trash) and any other
support spaces used during the production.
• Clean and mop stage before rehearsals and performances including backstage and
paths from dressing rooms to stage.
• Secure stage, props, sets, etc. after each rehearsal or performance.
• Maintain an appropriate and professional attitude while serving on the crew.
• Inform Stage Management of any problems, safety concerns or needed
maintenance noted.
• Perform routine maintenance on sets, props, etc.
• Participate in strike, first in assigned area then in any other areas that are assigned
by supervisor, and stay until strike is deemed complete in all areas. (See also the
STAD strike policy in the handbook for more information.)
• In addition, Run Crew Heads will:
• Be responsible for assigned tasks in crew area.
• Follow-up on maintenance or safety concerns.
• Coordinate all duties with Stage Manager.
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Wardrobe/Costume Crew
Abscesses and tardiness for any crew assignments are not allowed for ANY
rehearsal or performance calls. There are no exceptions to this rule. If you have any
questions or concerns regarding this policy, you must discuss it with the Production
Manager, Technical Director or another member of the D/T Faculty. Discussions on
this matter are not to be conducted with another student, regardless if that student
is acting as a Stage Manager or Student Supervisor.
General Duties:
1. The assignment of the crew is to learn by experience the handling and use of costumes
in an actual production.
2. Crews are called at specific times by their Wardrobe Manager or Stage Manager.
Typically, the crew is called on half hour before the actors, unless otherwise instructed.
3. Before the first dress rehearsal, the costume Crew is required to transport or “load in”
all the costumes into the performance space. At this point the Crew head will organize the
dressing rooms to accommodate all the actors and keep a clean, organized space for the
cast and crew.
4. Costume running crew is required to do final preparation, pressing and maintenance of
the costumes. They a re also expected to identify and mark each costume per actor and
take a regular inventory to avoid losing any costume pieces.
5. All crew members are required to attend the “watch-thru” or one rehearsal of the play
before dress rehearsals begin. Stage manager schedules this “watch-thru” and the SM or
ASM will inform you of the time and location.
6. At the time of the watch-thru or by first dress rehearsal, crew members will be given
their respective duties. If possible, a crew member will be assigned one or more actors to
care for. They will be responsible for their actor’s or actors’ presets, quick changes, and
inventory.
7. During dress rehearsals and performances, the crew must remain on duty in or near the
dressing rooms or in their specifically assigned areas. Dressers must remain off stage
unless performing a backstage quick change.
8. Neither actors nor crew members are permitted to eat, drink, or smoke in or around the
costumes. There is NO EXCEPTION TO THIS RULE. It is the responsibility of the
Crew head to ensure that these rules are followed. If this or any other problem occurs
with an actor or crew member, it must be reported to the stage manager.
9. At the end of a production, it is the responsibility of the wardrobe master to meet with
the stage manager and inform them of their crew’s performance. This is required for the
IP grading process.
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Rehearsal and Performance duties:
1. All crewmembers are required to wear “full blacks.” This means black pants, shirt,
socks, shoes, etc. If you are to perform onstage change, black hats must be worn as well.
There is no exception to this rule!
2. Before the first dress rehearsal, the crew and designer must create an inventory chart
for each actor. Twice, every night, when crew arrives and when they leave, inventory
must be checked off. All pieces must be accounted for and the wardrobe master is
responsible for keeping these charts and making sure inventory is completed.
3. All repairs, alterations, missing items, or questions must be brought to the attention of
the costume shop manager. Any costume in need of repair or alterations must be returned
to the costume shop by 9 o’clock the following morning. Whenever the crew should do
possible, minor repairs or alterations.
4. All clothing must be properly hung each night. Skirts and pants need to be hung by the
waistband and not folded over the hanger. All tops need to be hung to prevent wrinkling.
All Accessories (including, jewelry, belts, handbags, hand props, scarves, hankies,
glasses, etc.) should be organized into individual bags labeled for each actor. There also
must be inventoried twice a night to ensure nothing is lost or misplaced.
5. All wigs, hats, and headdresses must be properly stored on shelves and kept away from
makeup and lights when not in use.
6. Actors should be checked every night for the following things before they go onstage:
No personal Jewelry
No lint or thread hanging on their clothing
All ties properly tied
All assigned pieces are being worn, i.e. belts, hats, purses, etc.
7. When necessary, all pre-set costumes should be placed on or back stage before the
house opens.
8. The wardrobe master and designer will explain any required quick changes. The crew
will be trained to perform these tasks. If necessary, a quick change rehearsal may be
called.
Remember to stay calm during quick changes. If you are panicking, your actor will panic
and your job will be twice as hard.
9. Every costume must be taken off stage at the end of the night and stored in the dressing
rooms. No costume piece should be stored in props and no props should be stored in the
dressing rooms. Proper storage will seriously decrease any lost or misplaced items.
Any special items or valuable pieces must be returned to the costume shop and locked
away every night,
10. The dressing rooms must be tidied up every night. No trash may be left in the
dressing room.
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11. Any costumes, which can not be laundered, must be sprayed with Febreeze or a
disinfectant every night before the crew leaves for the night.
12. Show laundry is done the night of final dress and after each performance. In
conjunction with the costume designer and the costume shop manager, the wardrobe
master will make laundry duty assignments and specify which items can be washed. The
following items must be washed every night.
Socks
Underwear of any kind
Tights
All dance wear
13. The crew is responsible for quality maintenance of the costumes. If costume item
requires extra laundering, ironing or maintenance of any kind, it is the responsibility of
the crew to compete these tasks.
14. All crew members must attend every rehearsal or performance or risk failing
Individual Performance. Any conflicts must be reported to the Individual Performance
faculty administrator before dress rehearsals begin.
15. If you are ever unsure about anything, ASK! Your wardrobe master or stage manager,
they are there to help you!
Strike Night duties:
1. Inventory all costumes
2. Determine with the wardrobe master which items are to be laundered, dry-cleaned or
simply put away in the shop.
3. Strike all jewelry, medals and ornaments from costumes before laundering of dry
cleaning.
4. Strike all ties, belts, suspenders, sashes, and return them to their proper place in the
costume shop.
5. Wigs must be placed on wig stands and left out to be cleaned and dried by the costume
shop staff.
6. Shoes should be sprayed with Lysol, paired together and returned to their proper box in
the shoe storage room.
7. Hats and headdresses are to be treated the same as the shoes.
8. The dressing rooms must be emptied of all trash, swept out, and counters are to be
wiped down. Nothing should be left in the dressing rooms!
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9. You must be released by the wardrobe master and the technical director before leaving
strike!
Actors’ Costume Responsibilities
Each actor has a responsibility to the costume shop as well. Following these procedures
will enhance your chance for having a costume that fits for first dress.
• Report to the costume shop as soon as possible after casting for measurements.
• Actors are expected to have their own black character shoes and black socks or
tights and are encouraged – for their own benefit – to have a rehearsal skirt or
jacket as necessary.
• Calls for costume fittings will be posted on the Costume Callboard: Actors are
responsible for arranging fittings within scheduled times.
• For fittings, Actors should wear appropriate undergarments and shoes.
• Actors are expected to take care of their costumes. Items worn as costumes must
never leave the theatre during dress rehearsals or performances. Appropriate
hygiene is expected during dress rehearsals and performances. Eating, drinking,
and smoking are not allowed in costume.
• No performer is allowed to wear their own clothing as a costume without the
permission and approval of the Costume Designer for that production, the
Director of the costume area, and the Director of the production.
Publicity Crew
Arts Marketing Duties:
• Goals: Audience development and ticket sales, campus awareness of STAD
programs
• Tasks:
o Distribution of Posters, flyers and other marketing materials for shows
o Personal contact with various student groups
o Personal contact with dorms
o Working with local community groups
o Research on shows, playwrights and directors for marketing campaigns
o Assembling table tents
o Running errands for Student PR Coordinator
o Various and assorted other tasks deemed necessary to help the Publicity
Office run smoothly
• Creative
o Developing new ideas for ways to promote performing arts on campus and
in the community.
o Creation of tweets, FB posts and blog posts for social media campaigns
• Responsibility/Accountability –
o Attendance at beginning of the semester to THE 100 meeting
o Introductory meeting with PR Supervisor
o 2 hours per week devoted to accomplishing tasks (sign-in sheets)
o Regular check-ins with PR Supervisor and student PR Coordinator
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*Note: Driving around town sometimes is part of this work. Although we cannot
reimburse you for gas, we will trade hours of responsibility for use of your car.
Technical Rehearsal Process
The following outlines the goals of each of the Technical Rehearsals and what typically
are the procedures.
• Cue-to-Cue
o GOALS: to allow the Stage Manager to be able to work all technical cues
in the show. Parts of the script where cues don’t happen are skipped to
give more time to working the actual cues in the show. In addition, the
Designers are using this rehearsal to get a feel for the timing of the cues,
this is especially important to the Sound and Lighting Designers.
o PROCEDURES: The Stage Manager is responsible for the flow of this
rehearsal. Working with the Designers, the Stage Manager organizes the
crew and actors to run specific parts of the script. Once completed, the
Stage Manager gives the Actors the next place in the script to start from
and as son as everyone is ready they move on.
• Technical Rehearsals
o GOALS: This rehearsal is the smooth running of the technical elements
with the Actors. The only time the show should stop during this rehearsal
is for any major technical problems that cannot be solved without taking a
note or a problem becomes a safety issue that could injure an actor or
technician.
o PROCEDURES: The Stage Manager will run the Technical Rehearsal like
they would run a performance with the exception that they are usually in
the house so that they can get information from the Director and the
Designers. The Designers may need to use the Head Set system during the
rehearsal to fix elements of the show during the run-through. For this
reason, talking on the system must be kept to a minimum. This rehearsal
should only stop for the reasons given previously and for any major
Design fixes. Notes will be given by the Director and the Designers for the
Stage Manager and the Crews after each Technical Rehearsal.
• Dress Rehearsals
o GOALS: This rehearsal adds the costumes into the show. This rehearsal is
still a complete run of the show. The only reason for stopping at this
rehearsal is for any costume changes that don’t work and cause an actor to
miss an entrance. The Stage Manager is responsible for running this
rehearsal as close to performance level as possible.
o PROCEDURES: Stage Management, as mentioned previously, will run
this rehearsal as close to performance level as is possible. Designers are
encouraged to minimize the amount of notes they do over the Head Set
system during these rehearsals. After the show, notes will be given to the
Crews and Stage Manager from the Director and Designers.
• Final Dress
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o GOALS: To run the show at performance level and conditions with
absolutely no stops.
o PROCEDURE: Stage Management is completely responsible for running
this rehearsal as though it is a performance. As with the Dress Rehearsal,
notes will be given following the rehearsal.
STAD Strike Policy
1) All student personnel must sign in and sign out at the beginning and end of the strike.
The Stage Manager and/or ASMs will provide the sign in/out sheet for cast, crew, and IP.
2) Strike call is curtain of the show. Strike will begin 20 minutes after curtain. All strike
personnel should meet in the theatre house to receive your assignment from the technical
director.
3) Once your assigned duty is completed you will be released to the Technical Director
to be assigned additional duties. The technical director will then release all crews at the
conclusion of strike. Once released, the crew member should sign out with stage
management.
4) All strike personnel must come dressed in appropriate work clothing for the strike, this
includes close-toed shoes, comfortable pants, and shirt that may be dirty or torn.
5) Please bring any safety gear you possess, this may include earplugs, safety glasses, and
work gloves.
6) If you need to be excused from your assigned strike you must notify a member of the
STAD design technology faculty.
Failure to complete your assigned strike will result in your final IP grade being
reduced 1 full letter grade (100 points of total points earned for THEA 100 or
THEA 110). This includes being sent home by STAD faculty for inappropriate dress
and/or behavior, or being under the influence of drugs or alcohol.
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Production Analysis Form (may or may not be used on every
production)
Name (optional)__________________________________________________________
Production______________________________________________________________
Director’s Name__________________________________________________________
Please RATE and COMMENT on each position listed below:
1 = Poor 2 = Below Average 3 = Average 4 = Above Average 5 = Excellent
__________ Director
__________ Technical Director
__________ Stage Manager
__________ Technical Leadership Positions
What did you like LEAST about the production experience?
What did you like MOST about the production experience?
What aspects of the production experience do you think worked well?
What aspects of the production experience do you think are in need of improvement?
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Little Theatre of the Rockies (LTR)
History
The Little Theatre of the Rockies, the School’s professional summer stock program was
founded by Colorado State College (CSC) President George Frasier at the depth of the
Depression. LTR began as an adjunct to the summer recreation program of CSC (now the
University of Northern Colorado) in 1934 and was one of President Frasier’s favorite
projects.
Frasier entrusted the organization and development of the Little Theatre of the Rockies to
Dr. Helen Langworthy, who came to CSC as a summer faculty member and remained in
Greeley to make LTR her life’s work. Dr. Langworthy retired in 1965 and was
succeeded as Executive Director and Department Chair by Dr. Welby Wolfe. Dr. John
Willcoxon was appointed Executive Director and Department Chair in 1970. Dr.
Willcoxon left the Chair position in 1979, but remained as Executive Director of LTR
until 1985, the year he retired. Associate Professor Ron Gloekler was Chair from 1979 to
1983; and Acting Executive Director of LTR from 1985 to 1988. Jeannette Triomphe
served as Chair from 1983-1988. In 1988, Tom McNally (former Associate Professor at
Penn State) became the Department Chair and LTR Director.
The high standards of Dr. Langworthy and her staff won immediate community
acceptance and high praise from drama critics. By the early 1940’s, LTR was well
established regionally and served as a national model for methods and procedures of
successful educational theatre and as a pre-professional experience for actors, directors,
music/theatre performers, theatre designers and technicians, stage managers, and teachers
of secondary drama.
LTR suspended operations from 1943 to 1945, due to wartime limitations. The program
resumed theatre production in the summer of 1946. Following that summer, LTR
expanded its producing program to full year operations. The company first produced in a
small theatre in Cranford Hall, formerly a chapel.
In March of 1949, the Cranford Theatre burned in an arson-set fire that destroyed nearly
everything. The company had just completed the first dress rehearsal of a production of
The Male Animal. Through the aggressive determination of all concerned, the production
was pulled together with re-created settings, costumes, properties, and lights and was
presented at the Sterling Theatre in Greeley with a rousingly supportive audience of more
than 900 people.
From 1949-1953 productions of LTR were presented in the Central High School
auditorium with all the ramifications and complications of sharing a facility.
In Spring of 1951, the proposed plans for Frasier Hall were made public. Construction
began in November of that year. The Theatre in Frasier Hall opened in January of 1954
with the play Point of No Return.
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The goals of the Department (now School) of Theatre Arts and Dance and the Little
Theatre of the Rockies have remained relatively constant over the years. The Theatre Arts
program has provided strong pre-professional experience to actors, directors, dancers,
music/theatre performers, designers, technicians, and teachers, which has had a positive
effect on the State of Colorado and the nation. In addition, the Theatre Arts Department
and LTR continue to provide entertainment and cultural enrichment for UNC students
and the surrounding communities.
Little Theatre of the Rockies currently acts as a semi-independent summer stock
operation and no longer functions as the producing organization for the academic
programs for the School of Theatre Arts and Dance.
The Little Theatre of the Rockies Mission, Goals and Objectives Statements
The Little Theatre of the Rockies celebrated its 82
nd
anniversary season during the
summer of 2011. While all income and revenue for the Little Theatre of the Rockies flow
through the School of Theatre Arts and Dance, the summer company itself has its own
independent budget, administration and artistic leadership. All leadership appointments
for the Little Theatre of the Rockies are made by the Dean of the College of Performing
and Visual Arts. Currently, David Grapes serves as Producing Artistic Director. Their
duties are to select and produce the summer season, direct productions, prepare and
supervise all budgets, hire and supervise all personnel, market/promote the season,
maintain quality in all areas and assist the College’s Development Officer with fund-
raising activities.
The central mission of the Little Theatre of the Rockies is to provide the Front Range
community with high quality professional summer stock theatre each season and to
provide our current students, faculty, staff and alumni the opportunity to work alongside
professional Equity and Non-Equity actors and to inner-face with working professional
guest; designers, musical directors, musicians, dramaturges, stage managers, directors
and choreographers.
The goals and objectives of the Little Theatre of the Rockies are as follows:
• To entertain and educate the Front Range and University of Northern
Colorado theatre audiences with a production season that draws from the
best of family/classic/modern musicals and musical revues, contemporary
and classic comedies, state, regional and local premieres and when
appropriate provides a showcase for new work.
• To provide current students, faculty, staff, and alumni the educational
opportunity to learn each summer from working professionals.
• To produce plays and musicals that are better-suited for audiences in a
summer stock atmosphere.
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• To provide current students, faculty, staff and alumni with professional
“networking” opportunities.
• To provide current students, faculty, staff and alumni the opportunity to be
paid and gain summer stock experience without being forced to leave the
region each summer to find work.
• To provide guest artists with the opportunity and resources to conduct
workshops and master classes each summer for our faculty, staff students
and alumni.
• To operate on a balanced budget each year with the available resources.
• To provide our audiences with the unique opportunity to experience both
traditional proscenium style theatre in the Langworthy Theatre and
“theatre in the round” in the Norton Theatre.
• To allow our company members and audiences to experience theatre in a
rotating repertory format.
• To provide an opportunity for current students and alumni to be paid for
their work.
• To provide faculty and staff within the School of Theatre Arts and Dance
the opportunity for professional summer employment and professional
development.
Students can become full acting or technical company members, apprentice company
members, or be “jobbed” in on a per show basis. Students can also elect to enroll for up
to ten (10) semester credit hours for LTR company membership. For further information,
actors should contact the Artistic Director or Producer and designers, and technicians
should contact the Head of Design/Technology. All students who work for LTR will
receive one of the following: a salary/stipend, scholarship dollars, or academic credit for
their participation.
Since opportunities to perform with LTR may be limited, we encourage our performance
majors to audition for other summer companies to gain experience and build a network of
professional contacts.
• Auditions for other summer stock companies and dance programs include:
o Southeastern Theatre Conference (location changes each year)
o Mid West Auditions (St. Louis)
o Straw Hat Auditions (New York)
o Rocky Mountain Theatre Association (RMTA) Auditions
o American College Theatre Festival (ACTF) Auditions
o Colorado Shakespeare Festival
o David Taylor Dance Theatre and Canyon Concert Ballet Summer
Programs
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o Colorado Dance Theatre summer intensive program
§ Virtually all of these auditions occur from January to early March
each year. Contact your School Director for details.
Other Summer Performance and Educational Opportunities
NYC School of Film and Television Summer Program, regional and local dinner theatres,
theme parks and UNC summer school
LTR Policies and Procedures
LTR Summer Company begins in late May or early June and runs the last week in July or
the first week in August.
• Acting positions available include:
o Full Company
o Apprentice
o (Per show), Special Contract
• Technical positions available include:
o Props Master
o Stage Manager
o Master Electrician
o Assistant Stage Manager
o Master Carpenter
o Scenic Artist
o Props Artisan
o Carpenter
o Electrician
o Run Crew/Shop Apprentice
• Actors:
o Will attend all rehearsals in which their services are required
o Are governed by rules of UNC as regards to their personal conduct during
the period in which they are a member of the company.
o Will be available for rehearsals when needed, and will attend extra
rehearsals if called.
o Are required to participate in striking every show they are cast in.
o Will notify the director in advance of any absence due to illness or
unavoidable emergencies.
o Will usher for shows when available.
o Will provide a head shot for the lobby display.
o Will pay all UNC fines prior to June 1.
o Will fill out and sign all of the necessary paperwork required by the
university.
• Technicians:
o Will attend all meetings in which their services are required.
o Are governed by the rules of UNC as regards to their personal conduct
during the period in which they are a member of the company.
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o Will help in the execution of production work, and will assume any other
responsibilities assigned to them.
o Will be available to work whenever needed to fulfill their position
obligations as directed by their area supervisor and in line with normal
expectations.
Practicum Information
Guidelines and Application Form
On rare occasions, very advanced directors may apply or be asked to direct a student
practicum. Practicums are student directed plays or musicals that are full-length projects.
Up to one practicum per semester will be authorized by the faculty. The Fall Practicum
will be a Musical Theatre piece and the Spring Practicum will be a straight play.
The Practicum directors should have the following basic background:
• Playscript Analysis
• Beginning Stage Directing
• Workshop in Directing I
• Workshop in Directing II and/or Musical Theatre Directing
• One Act Play
• Or special permission of the practicum instructor
• If you qualify, you must present your potential project at a meeting of the full
faculty. At that meeting, the student director should follow the attached
application sheet.
o All practicum directors should be aware that practicums are non-funded
school projects – See Technical Guidelines for Practicums and Recitals.
Any student interested in participating in a practicum should consider the following:
• The student must seek faculty sponsorship and guidance
• The student must present a detailed proposal to the faculty including the
application form and any other materials appropriate
• The student must obtain all rights for the production by payment of royalty or
waiver in writing and proof presented to the faculty sponsor and box office at
least two weeks prior to performance
• The student must participate in all production meetings as determined necessary
by the Faculty Technical Director
• Casting must not interfere with Performing Arts scheduled productions
• No one student may direct more than one practicum, nor act in more than two
productions per semester, rehearsals must not overlap unless approved by the
School
• Using an entire production to showcase one individual’s talent is to be
discouraged
• The opportunity to participate in a practicum is not a right but an opportunity that
must be earned
Page 96 of 183
Practicum Application Form
Name of Director:
Title of Project:
Short Statement of Project’s Objectives (your reason for doing the project):
Production Concept Statement:
Cast Size:
Scenic Needs:
Properties Needs:
Lighting and Sound Needs:
Costume Needs:
Page 97 of 183
Technical Guidelines
• The only students assigned to these projects will include: a lighting coordinator, a
scenic and properties coordinator, a sound designer, and costume coordinator. The
rest of the student director’s staff and crew will be volunteers who will not receive
credit for this work.
• Any platforms, flats, steps, furniture or props will require the coordinator to meet
with the Staff Properties Coordinator and fill out a rental form and leave a
deposit.
• Deposits will be returned when ALL borrowed items are returned in original
condition. If not, the deposit will be kept.
• Main stage assignments, castings and rehearsals take priority over the practicum
and recital schedules.
• No budget will be allocated by the department for these activities. The focus
should be on the acting and directing keeping the visuals as minimal as possible.
Lighting and Sound Policy
Norton Theatre will have a repertory plot hung for the purpose of lighting Student
Practicum and One Act productions. The Rep plot will have an up and down stage front
light wash from two sides, side light from each side and a back light wash. This will
provide the stage with even illumination and the ability to create some minor differences
in the looks to help reinforce time of day and interior or exterior. In addition to the Rep
plot, directors may request three specials. These specials may be used from the remaining
Gray Theatre stock and should not interfere with the Rep plot in anyway and cannot
come from the Langworthy lighting stock.
Rules for Rep Plot
• Plot Focus:
o The Rep Plot Focus may not be changed or moved in anyway
o Specials may not interfere with the focus or patch of the Rep plot
• Plot Color:
o The color in the Rep plot may only be changed if requested at least one
week prior to tech rehearsals and if the colors are in stock
o Specials may use any color in stock
• Plot Patch:
o The Rep Plot Patch may not be changed or modified in any way
o Specials may not change or interfere with the Rep plot
• Specials:
o Specials will consist of units not used in the Rep Plot in the Gray Theatre
o Lighting Inventory
o Specials cannot go over the standard dimmer capacities for Gray Theatre
o Specials may use any color in stock
o Specials may use any patterns in stock
o Specials must be requested at least a week before Technical Rehearsals
Page 98 of 183
Sound equipment use will be limited to what is installed in the booth. Any cost of tapes,
CDs or other items is up to the responsibility of the director. No changes in equipment or
rewriting is allowed or all equipment will be removed from use.
Costume Policy
A student will be assigned each semester to oversee the pulling of items for practicums
and one-acts. Directors will need to set up a meeting with this person and provide all
measurements and a list of costume pieces to pull. When done, this person will request
fitting times. MINIMUM ALTERATIONS ONLY will be allowed. A deposit for
costumes will be given with the signature of a responsible person. When all is returned to
the costume shop this deposit will be returned. Missing items will result in a forfeit of the
deposit. No money is available for purchasing new items, and there is no staff available
to build any new items. Additional policies are available from the costume shop.
Showcase Opportunities
Currently the School of Theatre Arts and Dance produces two industry Showcase
Presentations to assist its senior musical theatre and acting students with their transitions
into the professional world. The Showcase experience is aimed at assisting the artist who
is committed to living and working professionally in either New York City or Los
Angeles.
NEW YORK CITY – The New York Musical Theatre Showcase is held during UNC’s
spring break each year. Any STAD student entering their senior year who has maintained
a minimum GPA of 2.8 may audition for the NY Musical Theatre Showcase. Auditions
are held toward the end of the preceding Spring semester. (For example: Auditions for
the 2017 NY Showcase were held in the Spring of 2016.) Auditionees must sing at least
one song as part of their audition package. Complete audition requirements will be
provided prior to the audition date, and any questions should be directed to John Leonard,
Head of Musical Theatre.
Currently the Musical Theatre Showcase is performed twice at a New York Off-
Broadway theatre near Times Square. Produced and Directed by John Leonard and David
Grapes.
LA SHOWCASE – The LA Showcase is held the first Tuesday and Wednesday of May
during finals week prior to graduation. Any STAD student entering their senior year may
audition for the LA Showcase. Auditions are held toward the beginning of the Fall
semester. Students interested in auditioning should watch the call board at the start of the
school year – audition date and requirements will be posted as soon as possible.
Currently, the LA Showcase is performed three times over two days at the Falcon Theatre
located in Burbank, CA. Produced and directed by David Grapes and Ken Womble.
Page 99 of 183
Frequently Asked Questions
What do the two Showcases cost?
The cost of the New York City Musical Theatre Showcase is approximately $1,300 to
$1,400 plus travel/housing/meals in New York City. The cost of the LA Showcase is
approximately $1,100 plus travel/housing/meals in Los Angeles. All participants are
REQUIRED to have approved headshots by a professional photographer. Cost $100 to
$300.
What expenses do the Showcase fees cover?
Theatre rental, insurance, catering, programs, marketing, a professional on site Producer,
mailings and follow up, Guest Artist fees, technical support, accompanist, etc.
How does each Showcase cast meet and rehearse?
Participating students are REQUIRED to take the showcase class during the fall and
spring term of their senior year (NYC) or spring of their senior year (LA)
What courses am I required to take if I am participating in one of the Showcases?
New York Showcase - MT 470 - Senior Project in Musical Theatre; M W F; 11:15 -
12:05 (three hours of credit) - Fall; and MT 465 - Musical Theatre Workshop; M W F;
2:30-3:20 pm (three hours of credit) - Spring;
Los Angeles Showcase - THEA 465- LA Showcase Class, T R; 3:45 - 5:00 pm (three
hours of credit) - Spring only.
How many cast members are selected?
The average size of each Showcase is 16-20 performers
Who attends the Showcase Performances?
Each year 75 to 100 industry professionals attend the 5 Showcase performances. These
include: Agents (commercial, print, film and television, legit), Casting Directors,
Managers, Producers, Directors and Playwrights.
How many people are signed each year?
That number always varies each year. In 2016, ten Showcase participants signed with
agents. The agencies included: Henderson & Hogan, Craig Wyckoff, Abrams Artists
Agency, Shiowitz/Connor/Ankrum/Wolf, Stone Manners, Inc., Studio Nine, Studio
Talent Group and Kazarian/Spencer/Ruskin & Associates.
What other opportunities exist for Showcase participants?
In addition, many participants receive auditions for current Broadway productions,
national tours, summer stock companies, Disney Entertainment, theme parks, industrials,
and film and television projects. An alumni accomplishment list is located on this web
site. To date, there have been 25 STAD alumi in 52 Broadway productions, and 33
alumni in 44 Off-Broadway productions. This is a remarkable achievement for an
undergraduate BA theatre program.
Name some of the guest artists who have assisted with the Showcases
Page 100 of 183
Victoria Morris (KSR), Michael Donovan, Rachael Hoffman (Telsey), Dave Clemmons,
Jeff Whiting, Joan Lader, Deb McWaters, Barbara Epstein, David Rambo, Steve Sedita,
Joan See, V.P. Boyle, Dolphin Films/Entertainment, Eric Lieberman, Richard Robichaux,
Peter Konerko, Herman Payne, Garry Marshall, Eric Ladin, Aaron Galligan-Stierle, Steve
Eastin, Patrick Welborn, Chris Parnell, Jordan Matter, James Earl, Matt Floyd, and
Naisha Arnold.
University of Northern Colorado
School of Theatre Arts and Dance
Distinguished Alumni List
(Updated 8 - 20 - 2015)
Broadway – 25 Performers (52 Productions)
Josh Buscher – West Side Story 2009 (OC), Pricilla Queen of the Desert (OC), Big Fish
(OC)
Ryan Dinning – Machinal (OC)
Jenny Fellner – Wicked, Mama Mia, The Boyfriend, Pal Joey (OC)
Scott Foster – Forbidden Broadway (Alive and Kicking) 2013, Brooklyn (OC), Forbidden
Broadway (Alive and Kicking) 2014
Greg German – Assassins (OC), Biloxi Blues (OC), Boeing/Boeing
Patty Goble – Bye Bye Birdie 2009 (OC), Curtains (OC), The Woman in White (OC), La
Cage Aux Follies 2004 (OC), Kiss Me Kate 1999 (OC), Ragtime (OC), Phantom of the
Opera
Derek Hanson – Anything Goes (Sutton Foster) Side Show (2014 Revival)
Tamara Hayden – Les Miz, Cabaret
Autumn Hulbert – Legally Blonde
Aisha Jackson – Beautiful – The Musical, Waitress (OC)
Ryan Jesse – Jersey Boys
Patricia Jones – Buried Child (OC), Indiscretions (w/Kathleen Turner)
Andy Kelso – Mama Mia, Kinky Boots (OC)
Beth Malone – Ring of Fire (OC), Fun Home (OC)+
Victoria Matlock – Million Dollar Quartet (OC)
Jason Olazabal – Julius Caesar (OC) (w/Denzel Washington)
Laura Ryan – Country Roads The John Denver Musical (OC)
Lisa Simms – A Chorus Line
Andrea Dora Smith – Tarzan, Motown (OC)
Erica Sweany – Honeymoon in Vegas – The Musical (OC)
Jason Veasey – The Lion King
Jason Watson – Mama Mia
Aléna Watters – Sister Act (OC), Adams Family Musical (OC), West Side Story 2009,
Wysandria Woolsey – Chess, Parade, Beauty and the Beast, Aspects of Love, Phantom of
the Opera, Cats
Note: OC = Original Broadway Cast
+ 2015 Tony Award Nomination for Best Female Performer in a Musical
Page 101 of 183
Broadway Producing/Management
Nancy Nagel Gibbs – Broadway Producer for – Peter and the Star Catcher, All Shook
Up, Man of La Mancha, General Manager Broadway – Bring It On, Peter and the
Starcatcher, Sister Act, Next To Normal, 25
th
Annual Putman County Spelling Bee,
Wicked, Man of La Mancha, The Graduate, The Search for Signs of Intelligent Life in the
Universe, Off Broadway Producer for Strinking 12, The Gospel of John, Bat Boy, The
Big Bang, Fully Committed, Over the River and Through the Woods, General Manager
Off Broadway 4 Guys Named Jose, The Prince and the Pauper, Visiting Mr. Green, The
Last Session, Full Gallop, John and Jen, Opal, Smoke on the Mountain, Company
Manager Broadway Gypsy, The Speed of Darkness
Stephanie Cowan - Director of Development at B. Swibel Presents and Playing Pretend
Productions of NYC, (XANADU, WILL FERRELL’S YOU’RE WELCOME
AMERICA; SPEED THE PLOW; THE SEAGULL
Alexis Jackson - Associate Producer at Harbor Entertainment in NYC - Broadway;
AMELIE, FRANKIE AND JOHNNY IN THE CLAIRE DE LUNE and FIDDLER ON
THE ROOF
Broadway – Musical Direction
Mike Ruckles – Associate Musical Director/Conductor for A Gentleman’s Guide to Love
and Murder
Broadway - Direction/Choreography
Nathaniel Shaw – Associate Choreographer – Once (OBC and NT)
Broadway – Design/Technology
Don S. Gilmore – Dracula: the Musical, 700 Sundays, Dr. Suess’ How the Grinch Stole
Christmas, Guy and Dolls (Revival), 700 Sundays (Revival)
Danny Griego – The Full Monty, Damn Yankees, Play On
Jason Krueger – The King & I
Ken Scar – The Full Monty, Dirty Rotten Scoundrels, Imaginary Friends, Ain’t Nothin’
But the Blues, Last Living Confederate Window Tells All, How the Grinch Stole
Christmas, Play On
Off Broadway – Playwright
Brian Watkins – My Daughter Keeps Our Hammer – Flea Theatre
Off Broadway - 34 Performers (44 Productions)
Blake Babbitt – Seeking Savage Love
Ashley Betton – Forever Dusty
Jessiee Datino – Sin, The Late Christopher Bean
Ryan Dinning - El Viaja de Beatriz, Awesome 80’s Prom
Molly Fahey – Fine, Funny & Female, It’s Only Sex
Page 102 of 183
Jenny Fellner – Lizzy Borden, Tin Pan Alley Rag, The Devil's Disciple, Marcy in the
Galaxy, Crossing Brooklyn
Dan Fischer – From the Stoop on Orchard Street
Scott Foster – Forbidden Broadway, Sessions
Blythe Gruda – Room Service
Autumn Hurlbert – Tomorrow Morning
David Johnson – The Rothchilds
Blake Joseph – Whoopee, Pardon My English
Mary Kelley – Karate Kid: The Musical
Andy Kelso – Deep Cover
Beth Lake – Sound Designer for Freud’s Last Session
Maya Landauu – Single Wide
Alex Lanning – Single Wide
Joe LaRue – Blue Man Group
Beth Malone – The Marvelous Wonderettes, Fun Home
Billy Marshall – TRIO
Victoria Matlock – The Marvelous Wonderettes
Cristine McMurdo-Wallis – Small Craft Warnings, The Cripple of Inishman
Monica Meadows – Fashion
Jake Mendes – Bunnicula
Kristin Mudge – A Play About the Baby
Catherine Pilafas – Conviction
Anthony Reimer – Cactus Flower
Amy Shute – Evil Dead: The Musical
Alexander Stein – Stairway to Hell
Jenny Stetzler – The Washed Up Blondes
Julia Tobey – Twelfth Night
Jason Veasey – Spidermusical
Heather Washburn – Honestly Abe
Jason Watson – Mama Mia (Las Vegas)
Aléna Watters – Newsical, Boobs: The Musical
National/European/Asian Tours – Partial List
Paul Ashley – Crazy For You (with Loretta Switt)
Jonathon Bray – Walking With Dinosaurs (US and Asia)
Jason Burnside – Walking With Dinosaurs (US and Asia)
Cashelle Butler – Mama Mia
Jake Corcoran – Bullets Over Broadway
Michael Covert – Silver Shadow Cruise Line, Tokyo Disney
Jeff Cyronek – Ragtime, Showboat (with Cloris Leachman)
Daniel Dawson – Cats, Disney Cruise Lines
TJ Dawson – Grease
Jenny Fellner – All Shook Up, Wicked
Pearl Thomas-Flanagan – Hairspray, The Full Monty, All Shook Up
Adam Fontana – The Civil War
Kathie France – Victor/Victoria
Jenny Gelwick – Best Little Whorehouse in Texas
Page 103 of 183
Michael Grebe – Walking With Dinosaurs
Blythe Gruda – Superstar, Cabaret
Derek Hanson – Shrek – The Musical, A Chorus Line, Cats
Tamara Hayden – Phantom of the Opera
Ryan Heidenreich – How to be a Pirate, Diary of a Worm and a Spider
Suzanne Hepker – Dora the Explorer, Dragon Tales Live
Spencer Hughes – Walking With Dinosaurs
Ashley Hunt – Swing
Autumn Hurlbert – Little Women
Ryan Jesse – Jersey Boys, Cinderella (with Lea Solonga), Dirty Dancing
David Bryant Johnson – Norwegian Cruise Lines
Andy Kelso – Wicked
Keir Kirkegaard – Barbie Live, Rock of Ages (Las Vegas)
Matt LaFontaine – Forever Plaid
Anna Landy – Disney Cruise Lines
Joe LaRue – M. Butterfly
Beth Malone – Sister Act
Roberto Marin – Walking With Dinosaurs
McKayla Marso – Wizard of Oz, Spamalot
Victoria Matlock – Wicked, Full Monty, Evita
James May – Beauty and The Beast, Falsettos, Jingle Bell Rock
Kytt McLaughlin – Charlotte’s Web
Lauren Parsons – Happy Days
Noelle Pedersen - Disney Cruise Lines
Joe Popiel – Meet Me in St. Louis, High Button Shoes, Mack & Mabel
Kurt Quinn – Reduced Shakespeare Company’s Complete History of Comedy Abridged
Davey Rosenberg – Hair
Brian Crawford Scott – Hair, Beauty and the Beast
Christopher Sergeoff – Mama Mia, Beauty and the Beast
Joseph Serrano – How to be a Pirate
Andy Shute – Grease
Kevin Sims – Beauty and the Beast
Andrea Dora Smith – Rent, Happy Days
Hayden Stanes - Disney Cruise Lines
Jenny Stetzler – Peter Pan
Cameron Stevens – Saturday Night Fever
Erica Sweeney – Cats, Tommy
Justin Michael Terry – Walking With Dinosaurs (US and Asia)
Nikki Tomlinson – Joseph and the Amazing Technicolor Dreamcoat
Maren Uecker – In the Mood (US and Australia)
Jason Veasey – The Lion King
Randy Warshaw – Aladin and the Magic Lamp
Alena Waters – Beehive, The Showgirl Must Go On (w/Bette Midler)
Jason Watson – Jekyll and Hyde, Mama Mia, Next to Normal
Aaron Young – Cabaret
Jeffrey Zicker – Shrek, The Musical
Page 104 of 183
Film, Television and Music – Partial List
Thomas Bradfield – Gossip Girl
Mike Campbell – Homicide: Life on the Streets, Port Charles, Immaculate Springs,
Mastered, Hollywood, IL
Kristina Candelari – The Young & the Restless
Jason Chanos – Numbers, Cold Case
Gil Colon – Young & The Restless
Andi Davis - Larry Gaye: Renegade Male Flight Attendant, Heaven Sent
Rachelle Dimaria – Beverly Hills 90210, Samantha Who?, Lie to Me, Los Paranoias,
Welcome to Kain
Steve Eastin – Up in the Air, Field of Dreams -200 film and television appearances since
1974
Molly Fahey – All God’s Creatures
Greg Germann – Bolt, Ned & Stacy, Sweet Justice, In Case of Emergency, Ally McBeal,
Talladega Nights, etc.
Ryan Grassmeyer – The Brian McKnight Show, Livin’ Loud
Hannah Marie Hines – Dead Thursday, Heaven Sent, Headgame
Autumn Hurlbert – MTV’s The Search for Elle Woods (Legally Blonde)
Andy Kelso – The Producers (Directed by Mel Brooks)
Melissa Kidd – Costume Assistant – Major Crimes, The Closer, Big Love, True Blood,
Aliens in the Attic
Franklin Killan – Glee
Keir Kirkegard – Now, Nat Geo, Glee
Scott Kruse – Lost Tapes (Animal Planet), Nat Geo
Greg LaVoi – Hollwood Costume Designer – Major Crimes, The Closer, State of Mind,
Dirty Deeds, etc.
Cristine McMurdo Wallis – Award-winning regional theatre actor
Monica Meadows – Law and Order, The Sexes
Elizabeth Mihelich – Other People’s Parties, Repo, Asylum, Frankenstein Jr.
Victoria A. Morris – Over 30 feature film and television movie of the week appearances
Lia Ochoa – Pink Panther 2
Jason Olazabal – The Inside Man, Law and Order
Neyla Pekarek – Member of the Denver based band The Lumineers (Two 2013 Grammy
Nominations)
Tom Phillips – The Maze (Wes Craven)
Tommy Phillips – The Maze
Mark Piznarski – Director for Everwood, Friday Night Lights, My So Called Life,
Veronica Mars, feature films
Elyse Porterfield – CSI New York, Project X, White Board Girl
Merwin Smith – Legendary Colorado television and radio broadcaster
Jason Thomas – Star Trek, Cold Case
Joey Thomas – Night Things, Two and a Half Men, How I Met Your Mother, The Office,
Brothers and Sisters,
Julia Tobey – As the Words Turns, All My Children
Ricky Van Schnier – Alien Resurrection
Repertory Theatres where UNC Alumni Have Worked - Partial List
Page 105 of 183
Alabama Shakespeare Festival (AL)
Alley Theatre (TX)
American Conservatory Theatre (CA)
Arena Stage (Washington, DC)
Arvada Center For the Performing Arts (Denver)
Berkley Repertory Theatre (CA)
Capital Repertory Theatre NY)
Colorado Shakespeare Company (Boulder)
Curious Theatre (Denver)
Denver Center for the Performing Arts (Denver, CO)
Denver Germinal Stage Company (Denver)
Goodman Theatre (Chicago)
Hartford Stage Company (CT)
Huntington Theatre (MA)
Indiana Repertory Theatre (IN)
Intimate Theatre (WA)
Laguna Playhouse (CA)
La Jolla Playhouse (CA)
Mark Taper Forum (LA)
McCarter Theatre (NJ)
National Shakespeare Theatre (DC)
New Jersey Shakespeare Festival (NJ)
Northlight Theatre (Chicago, IL)
Oregon Shakespeare Company (Ashland)
Papermill Playhouse (NJ)
Paragon Theatre (Denver)
Pasadena Playhouse (CA)
Portland Center Stage (OR)
Portland Stage Company (ME)
Seattle Rep (Seattle, WA)
Second City (Chicago, IL)
Steppenwolf Theatre Company (IL)
The Guthrie Theatre (MN)
Utah Shakespeare Company (Cedar City)
National Commercials – Partial List
Francis Corby – Squaresource (Super Bowl 48), Turbo Tax (Super Bowl 49)
Ryan Grassmeyer and Michael Grebe – Dodge Durango
Mike Black – Jack in the Box, Subway, CEW
Trysten Cain – Red Lobster, Cottonell Bathroom Tissue
Gary Culig – Duncan Doughnuts (Super Bowl)
Ryan Grassmeyer – EA Sports, Sears
Lincoln Hayes – Poor Richard PC
Hannah Marie Hines – www.pig.com, Wiskas Cat Food
Autumn Hurlbert – Flo TV (Super Bowl 47)
Kurt Larson – Colorado Lottery
Greyson Lewis – Conoco/Phillips 66, Gieco Insurance
Page 106 of 183
Talia Liccardello – Toshiba, Subway, Delta Dental, Colorado Lottery
Beth Malone – Progressive Insurance, McDonalds Chicken Strips (Super Bowl 46)
Andrea Dora Smith – Gillette, McDonalds, NY State Lottery, Mediaset Premium
Joey Thomas – Rent-a-Center
Nikki Tomlinson – Bank One
Jack Wefso – WalMart (Super Bowl 47)
Others of Note – Partial List
Barbara Andrews and Michael Stricker – Co-Founders of Denver’s Paragon Theatre
Mike Black – Stand-up Comic
Catherine (Bowers) Burdette – Producer for WFAA (ABC) Dallas, TX
Susan Crabtree – Scenic artist/professor and author of a widely used text on scenic
painting
Steven Dietz – Award-winning playwright, Distinguished Professor of Playwriting at UT
- Austin
Steve Eastin – Film actor (200 TV/films) and owner of Eastin Acting Studio in LA
James Edmonson – Associate Director/actor for Oregon Shakespeare Festival (100+
roles)
Danny Griego – Scenic artist for 3 Broadway Shows
Bill Hahn – Published author and filmmaker
Jessi Hill – Theatre Director in NYC and Chicago
Jeoff Horgan – Principal dancer and choreographer for the David Taylor Dance Company
Tim Jarrell – Sound technician at DePaul University
Chris Johnson – Audio Engineer for Chicago’s Steppenwolf Theatre
Josh Johnson – LA Casting Agent
Goeff Kent – President of the Society of American Fight Directors
Jason Kruegar – Sound Designer on Broadway
Beth Lake – Sound Designer for Off Broadway Production of Freud’s Last Session
Alf LaMont – LA Talent Manager
Joe LaRue – Director for nine Off-Broadway shows
Andrea Loverro Sprick – Founder of the Glenwood Springs Dance Festival
Tara Masimer – Teaches dance at the Dance Center in Amsterdam, Netherlands
Robert Mills – Las Vegas stage manager
Randall Murphy – Director of the Museum of Contemporary Art in Las Angeles
Travis Palmer – Technical Director at the University of Florida
Jeanette R. Prentice – Founder of the Westminister’s Gaslight Theatre Company
Anthony Reimer, – Sky Seals, Founders of New York City’s Wide Eyed Productions
Theatre Company
Patricia Renzetti – Artistic Director of Academy of Colorado Ballet
Ed Saindon – Assistant Technical Director of Minneapolis’s Guthrie Theatre
Ken Scar – Lead Scenic Artist on seven Broadway Shows
David Schmitz – Managing Director of Chicago’s Steppenwolf Theatre
Brian Crawford Scott – Former Ringmaster for Barnum & Bailey Circus
David W. Shaffer – Manager of the Capezio Dance Theatre Shop in New York City
Dr. Jay Ver Linden – Professor of Communications Studies at Humbolt State University
Rita Vreeland – Chicago area Stage Manager
Steve Wasson – - Artistic Director of Theatre de l’Ange Fou London England
Page 107 of 183
Vanessa Whitney – Stand-up Comic
Kimb Williamson – Theatre Department Chair at the University of Scottsdale
Graduate Programs where UNC Alumni have attended on scholarship – partial list
California Institute of the Arts
Carnegie Melon
Florida State University
HB Studios
Moscow Art Theatre
National Theatre Conservatory
Neighborhood Playhouse
New York Conservatory of Dramatic Arts
NYU
Ohio State University
Ohio University
Penn State University
Purdue
Roosevelt University
Royal Academy of Dramatic Arts
Rutgers
San Jose State University
Second City Conservatory
The Actor's Studio
UC - Irvine
UMKC
University of Alabama/Alabama Shakespeare Festival
University of Arizona
University of Denver
University of Florida
University of Illinois
University of Iowa
University of Mississippi
University of Montana
University of North Carolina
University of Tennessee
University of Texas at Austin
University of Washington
Yale School of Drama
Teachers
UNC alumni are teaching in colleges and universities from coast to coast, The School of
Theatre Arts and Dance also has alumni teaching high school drama in nearly all fifty
states. Note: one out of three high school drama teachers in the state of Colorado
graduated from UNC.
Page 108 of 183
Programs of Study and Degree Requirements
The following pages show the degree programs offered by the School of Theatre Arts and
Dance at UNC for the 2016-2017 academic year.
A complete list of UNC Bachelors Degree program requirements can be found here:
http://unco.smartcatalogiq.com/en/current/Undergraduate-Catalog/Undergraduate-
Programs/Bachelors-Degrees
A complete list of UNC Minors can be found here:
http://unco.smartcatalogiq.com/en/current/Undergraduate-Catalog/Undergraduate-
Programs/Minors
A complete list of UNC Master’s Degrees can be found here:
http://unco.smartcatalogiq.com/en/current/Graduate-Catalog/Graduate-
Programs/Masters-Degrees
Theatre Arts B.A.
Any student receiving a grade of “D+” or lower in a course in the required
core or concentration area must retake the course until a grade of “C-” or
higher is achieved.
Degree Requirements — 120 Credits
Degree Requirements
1. Required Specified LAC — 6 credits
LAC area 3 — Arts and Humanities
THEA 296
History of Theatre I
3
THEA 297
History of Theatre II
3
Remaining LAC — 34 credits
See “Liberal Arts Core”.
2. Required Major — 16 credits
Take all of the following courses:
THEA 135
Playscript Analysis
3
THEA 149
Orientation to Technology
3
THEA 160
Beginning Acting
3
THEA 240
Beginning Stage Directing
3
Page 109 of 183
THEA 250
Stage Make Up I
2
THEA 324
Masterpieces in Theatrical Production
2
THEA 160: Must be taken for 3 credits
THEA 240: Must be taken for 3 credits
Choose one concentration area (33-66 credits)
Acting Concentration (46 credits)
Take all of the following courses:
MT 261
Singing for Actors
2
THEA 150
Actor's Lab
1
THEA 159
Acting Theories and Practice
3
THEA 190
Stage Speech I
2
THEA 193
Stage Speech and Dialects
3
THEA 260
Scene Study
3
THEA 275
Stage Movement I
2
THEA 276
Stage Movement II
2
THEA 308
Theatre Workshop
1-4
THEA 335
Advanced Voice Production
2
THEA 360
Advanced Acting Styles I
3
THEA 361
Advanced Acting Styles II
3
THEA 362
Acting for the Camera
3
THEA 464
Audition Techniques
3
THEA 308: Take 2 credits
Complete 12 hours of Individual Performance in Theatre
courses:
THEA 100
Individual Performance in Theatre
2
THEA 110
Performance in a Theatrical Production
2
THEA 492
Little Theatre of the Rockies Summer
Internship
6
THEA 110: no more than 6 hours can be used to satisfy this requirement
THEA 492: This class is only taught during the Summer Session and can be taken in lieu
of 6 credits of THEA 100.
Page 110 of 183
Sample 4-year plan for incoming students, 2017 – 2018:
Page 111 of 183
Design Technology Concentration (66 credits)
(Students must complete all Required Major Credits as outlined in the Theatre Arts BA
program except, not required to complete THEA 250 Stage Makeup I.)
Take all of the following courses:
THEA 100
Individual Performance in Theatre
2
THEA 155
Orientation to Design
3
THEA 210
Drafting for the Theatre
3
THEA 300
Advanced Individual Performance in Theatre
2
THEA 449
Theatre Technical Seminar
3
THEA 450
Design and Technology Practicum
3
THEA 100: Take 8 credits
THEA 300: Take 8 credits
Choose three courses from the following:
THEA 222
Costume Technology I
3
THEA 232
Lighting Technology
3
THEA 249
Scenic Technology
3
THEA 375
Stage Management for the Theatre
3
Choose three courses from the following:
THEA 215
Scene Design I
3
THEA 220
Costume Design I
3
THEA 230
Lighting Design I
3
THEA 245
Sound Design I
3
Choose 20 credits from the following courses:
ART 181
Ancient Art History
3
ART 182
Medieval to Rococo Art History
3
LIB 150
Introduction to Undergraduate Research
1
MUS 150
History of Rock and Roll
3
MUS 209
Introduction to Music Technology
2
MUS 313
Digital Composition
2
MUS 343
Recording Techniques
2
SES 233
Advanced First Aid and Cardiopulmonary
Resuscitation
2
THEA 221
Costume History
3
THEA 250
Stage Make Up I
2
THEA 290
History of Style and Decor
3
THEA 308
Theatre Workshop
1-4
THEA 311
Scenic Painting I
3
THEA 312
Scenic Painting II
3
THEA 315
Scene Design II
3
THEA 317
Properties Technology
3
THEA 320
Costume Design II
3
Page 112 of 183
THEA 323
Digital Media
3
THEA 332
Lighting Design II
3
THEA 345
Sound Design II
3
THEA 415
Collaborative Design Seminar
3
THEA 433
Dramaturgy
3
THEA 475
Advanced Stage Management
3
THEA 492
Little Theatre of the Rockies Summer
Internship
6
ART 181 and ART 182: (LAC area 3.a.)
Page 113 of 183
Sample 4-year plan for incoming students, 2017 – 2018:
Page 114 of 183
Theatre Studies Concentration (34 credits)
(Students must complete all Required Major Credits as outlined in the
Theatre Arts B.A. program, except THEA 250.)
Take all of the following courses:
THEA 150
Actor's Lab
1
THEA 190
Stage Speech I
2
THEA 241
Seminar in Theatre Arts Management
3
THEA 275
Stage Movement I
2
THEA 373
Playwriting
3
THEA 375
Stage Management for the Theatre
3
THEA 433
Dramaturgy
3
THEA 454
Theatre Studies Senior Seminar
1
THEA 241: Take 2 credits
Complete ten hours of Individual Performance in Theatre
courses:
THEA 100
Individual Performance in Theatre
2
THEA 110
Performance in a Theatrical Production
2
THEA 308
Theatre Workshop
1-4
THEA 492
Little Theatre of the Rockies Summer
Internship
6
THEA 110: no more than 4 hours can be used to satisfy this requirement
THEA 308 and THEA 492: only taught during the Summer Session and can be taken in
lieu of THEA 100.
Choose six credits from the following courses:
ART 190
Art Appreciation
3
DNCE 167
Ballroom Dance I
2
ENG 312
Shakespeare in Context: Histories and
Comedies
3
ENG 313
Shakespeare in Context: Tragedies and
Romances
3
ENG 314
Shakespeare in Context: Poetry
3
MIND 288
Contemporary Arts Connections
3
MIND 297
Creativity in the Arts
3
MT 296
Musical Theatre History
3
MUS 140
Introduction to Music
3
MUS 241
Perceiving the Arts
3
THEA 130
Introduction to the Theatre
3
THEA 193
Stage Speech and Dialects
3
THEA 220
Costume Design I
3
Page 115 of 183
THEA 225
Theatre in Film
3
THEA 250
Stage Make Up I
2
THEA 308
Theatre Workshop
1-4
THEA 326
Theory and Practice
3
THEA 340
Workshop in Directing I
3
THEA 374
Playwriting II
3
THEA 401
Practicum in Theatre
1-4
THEA 422
Directed Research in Theatre
1-4
THEA 440
Directing the One-Act Play
3
NOTE: No more than 2 credits may be taken in any combination of THEA 401 or THEA
422.
THEA 340 and THEA 440: Only if space is available.
3. University-Wide Credits — 0-34 credits
Complete additional credits to achieve the minimum credits needed for this
degree at UNC; for this degree that will typically be 0-34 credits depending
on concentration chosen.
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Sample 4-year plan for incoming students, 2017 – 2018:
Page 117 of 183
Theatre Arts B.A. – Secondary Teaching Emphasis
Initial license in Drama (Grades 7-12)
Any student receiving a grade of “D+” or lower in a course in the required
core or concentration area must retake the course until a grade of “C-” or
higher is achieved.
Degree Requirements — 121 Credits
Degree Requirements
1. Required Specified LAC — 6 credits
LAC area 3 — Arts and Humanities
THEA 296
History of Theatre I
3
THEA 297
History of Theatre II
3
Remaining LAC — 34 credits
See “Liberal Arts Core”.
2. Required Major — 43 credits
Take all of the following courses:
THEA 135
Playscript Analysis
3
THEA 149
Orientation to Technology
3
THEA 160
Beginning Acting
3
THEA 190
Stage Speech I
2
THEA 240
Beginning Stage Directing
3
THEA 250
Stage Make Up I
2
THEA 255
Creative Drama
3
THEA 260
Scene Study
3
THEA 275
Stage Movement I
2
THEA 324
Masterpieces in Theatrical Production
2
THEA 340
Workshop in Directing I
3
THEA 380
Design Fundamentals for Secondary
Education
3
THEA 440
Directing the One-Act Play
3
THEA 160: Must be taken for 3 credits
THEA 240: Must be taken for 3 credits
Complete 8 hours of Individual Performance in Theatre courses:
Page 118 of 183
THEA 100
Individual Performance in Theatre
2
THEA 110
Performance in a Theatrical Production
2
THEA 492
Little Theatre of the Rockies Summer
Internship
6
THEA 110: no more than 2 hours can be used to satisfy this requirement
THEA 492: is only taught during the Summer Session and can be taken in lieu of 6
credits of THEA 100.
3. Required PTEP — 38 credits
Phase I (5 credits taken concurrently).
EDFE 110 required semester before; see www.unco.edu/teach/check
STEP 161
Observation and Analysis of Secondary
Teaching I
2
EDF 366
Conceptions of Schooling: Context and
Process
3
Phase II (8 credits taken concurrently)
STEP 262
Observation and Analysis of Secondary
Teaching II
2
EDSE 360
Adaptation, Modification, and Integration of
Curriculum for the Secondary Exceptional
Learner
3
PSY 349
Educational Psychology for Secondary
Teachers
3
Phase III (8-11 credits taken concurrently)
EDFE 120 required semester before.
STEP 363
Clinical Experience: Secondary
2
EDRD 340
Developing Language and Literacy in the
Content Areas
3
ET 449
Integration of Technologies in Secondary
Education Pedagogy
3
THEA 385
Methods of Teaching Drama
3
EDRD 340: maybe taken outside of Phase III
Phase IV (14 credits).
EDFE 130 required semester before.
STEP 464
Secondary Student Teaching
1-14
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Sample 4-year plan for incoming students, 2017 – 2018:
Page 120 of 183
Musical Theatre B.A.
Any student receiving a grade of “D+” or lower in a course in the required
core or concentration area must retake the course until a grade of “C-” or
higher is achieved.
Program Recommendations:
Recommended Liberal Arts Core Credits: FND 250 Principles of Nutrition
(3)
Degree Requirements — 120 Credits
Degree Requirements
1. Required Specified LAC— 3 credits
LAC area 3. — Arts and Humanities
MT 296
Musical Theatre History
3
Remaining LAC — 37 credits
See “Liberal Arts Core”.
2. Required Major — 80 credits
Take all of the following courses:
MT 101
Musical Theatre Sight Singing and Ear
Training
2
MT 160
Class Piano for Musical Theatre
2
MT 161
Introduction to Musical Theatre Performance
1
MT 250
Voice Class for Musical Theatre I
1
MT 251
Voice Class for Musical Theatre II
1
MT 260
Acting in Musical Theatre
3
MT 285
Performance in Musical Theatre
1-3
MT 350
Advanced Musical Theatre Voice Class I
1
MT 351
Advanced Musical Theatre Voice Class II
1
MT 369
Individual Performance in Musical Theatre
Voice
2
MT 370
Musical Theatre Dance
2
MT 390
Advanced Musical Theatre Scene Study
2
DNCE 166
Ballet I
2
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DNCE 167
Ballroom Dance I
2
DNCE 170
Jazz Dance I
2
DNCE 175
Tap Dance I
2
DNCE 180
Ballet II
3
DNCE 181
Jazz Dance II
3
DNCE 183
Tap Dance II
2
THEA 100
Individual Performance in Theatre
2
THEA 135
Playscript Analysis
3
THEA 159
Acting Theories and Practice
3
THEA 160
Beginning Acting
3
THEA 193
Stage Speech and Dialects
3
THEA 240
Beginning Stage Directing
3
THEA 260
Scene Study
3
THEA 360
Advanced Acting Styles I
3
THEA 361
Advanced Acting Styles II
3
THEA 464
Audition Techniques
3
MT 285: Take 1 hour
MT 369: Take 4 credits
THEA 100: Take 4; crew work
THEA 160: Must be taken for 3 credits
THEA 240: Must be taken for 3 credits
Each Musical Theatre Major must complete at least 2 hours of MT 285/MT 485 credit.
Choose twelve credits from the following courses:
(Select with advisor approval)
MT 169
Applied Voice: Individual Voice Study
1
MT 285
Performance in Musical Theatre
1-3
MT 360
Scene Study in Musical Theatre
3
MT 369
Individual Performance in Musical Theatre
Voice
2
MT 407
Individual Coaching in Musical Theatre
Repertory
2
MT 465
Musical Theatre Workshop
3
MT 470
Senior Project in Musical Theatre
3
MT 485
Performance in Musical Theatre
1-3
DNCE 171
Modern Dance I
2
DNCE 172
Foundations of Hip Hop
2
DNCE 182
Modern Dance II
3
DNCE 280
Ballet III
3
DNCE 281
Jazz Dance III
3
DNCE 296
Choreography and Improvisation I
3
DNCE 354
Dance Performance I
3
MUS 260
Intermediate Class Piano I
1
MUS 285
Performance in Opera Theatre
1-3
Page 122 of 183
MUS 286
Scene Studies in Opera
1-3
MUS 485
Performance in Opera Theatre
1-12
MUS 486
Scene Studies in Opera
1-3
THEA 110
Performance in a Theatrical Production
2
THEA 149
Orientation to Technology
3
THEA 250
Stage Make Up I
2
THEA 335
Advanced Voice Production
2
THEA 465
LA Showcase Class
3
THEA 492
Little Theatre of the Rockies Summer
Internship
6
Major Vocal Ensemble
2
MT 169: Repeatable up to 4 credits
MT 360: Must be taken for 3 credits
MT 407: Repeatable up to 8 credits
MT 465 and MT 470: Audition required
Major Vocal Ensemble: Mixed Concert Choir, Women's Glee Club, Men's Glee Club are
major ensembles.
Each Musical Theatre Major must complete at least 2 hours of MT 285/MT 485 credit.
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Sample 4-year plan for incoming students, 2017 – 2018:
Page 124 of 183
Dance minor
Minor Requirements — 24-25 Credits
Take all of the following courses:
DNCE 175
Tap Dance I
2
DNCE 180
Ballet II
3
DNCE 181
Jazz Dance II
3
DNCE 182
Modern Dance II
3
DNCE 296
Choreography and Improvisation I
3
DNCE 397
Choreography and Improvisation II
3
DNCE 459
Dance Production in High School and
College
2
THEA 160
Beginning Acting
3
THEA 160: Must be taken for 3 credits
Choose from 1 of the following courses:
Take 2-3 credits:
DNCE 167
Ballroom Dance I
2
DNCE 172
Foundations of Hip Hop
2
DNCE 183
Tap Dance II
2
DNCE 184
Ballroom Dance II
2
DNCE 280
Ballet III
3
DNCE 281
Jazz Dance III
3
DNCE 354
Dance Performance I
3
DNCE 355
Dance Performance II
3
MT 370
Musical Theatre Dance
2
NOTES: The dance minor focuses on the development of skills and
teaching strategies that will enhance the student's ability to teach or work
with dance in a variety of settings.
The Dance minor can be selected by students in conjunction with most
other majors at the University. Approval by the major program is required
for this minor.
If a student wishes to teach in the public schools, licensure must be
obtained through the appropriate major. Suggested combinations of
programs of study for public school teacher licensure are a Dance Minor
with a Theatre Arts Education major or a Dance Minor plus a Physical
Education major. At present there is no public school licensure for dance in
Colorado's public schools.
Page 125 of 183
A grade of “B” or better must be achieved in a technique class in order to
progress to the next level.
To complete a minor in Dance, a student is not required to earn upper-
division credits (300-400) in the minor.
Theatre Arts Minor
Minor Requirements — 24 Credits
Take all of the following courses:
THEA 100
Individual Performance in Theatre
2
THEA 135
Playscript Analysis
3
THEA 149
Orientation to Technology
3
THEA 160
Beginning Acting
3
THEA 240
Beginning Stage Directing
3
THEA 100: Take 4 credits total
THEA 160: Must be taken for 3 credits
THEA 240: Must be taken for 3 credits
Elective Minor — choose 8 credits from THEA-prefix
courses
Note: To complete a minor in Theatre Arts, a student is not required to
earn upper-division credits (300-400) in the minor.
Theatre Education M.A. - Theatre Educator Intensive
Degree Requirements — 36 Credits
This focused program consists of two three-week summer institutes for
eighteen (18) credits - 9 each year - one three (3) credit 500 level or above
approved UNC or transferable theatre course; three (3) three-credit on-line
courses spread out over two academic years (graduate transfer credits
may also apply), and six (6) credits of thesis advisement for a total of thirty-
six (36) credits spread out over the course of two academic years and two
summer sessions.
Degree Requirements
Required Courses — 33 credits
Page 126 of 183
THED 530
Theatrical Production I
3
THED 531
Theatrical Production II
3
THED 540
Directing/Acting: Realism and Non-
Realism/Period Styles
3
THED 541
Directing/Acting: Musical Theatre
3
THED 560
Innovative Strategies in Drama Education
3
THED 561
Voice and Movement
3
THED 600
Dramaturgy/Research Methodology
3
THED 670
Advocacy, History and Philosophy of Theatre
Education
3
THED 680
Theatre Education Curriculum Development
3
THED 690
Thesis I
3
or
THED 696
Action Research I
3
THED 699
Thesis II
3
or
THED 697
Action Research II
3
Theatre Electives — 3 credits
Approved 500 or 600 Level Theatre Course
3
The Coordinator of the M.A. in Theatre Education: Theatre Educator
Intensive program will assign each student an academic advisor and a
graduate committee. The academic advisor will serve as the chair of the
graduate committee.
It is recommended that students have a graduate committee review each
semester. The student will discuss the graduate review with the academic
advisor and the Coordinator of the M.A. in Theatre Education: Theatre
Educator Intensive program. The student will assume responsibility for
scheduling graduate reviews. Two unsuccessful graduate reviews will be
considered grounds for termination of the program. In conjunction with
THED 690 or THED 696 and THED 699 or THED 697, the student will
prepare and submit a written thesis or action research proposal. Prior to
beginning work on the thesis, the thesis proposal must be approved by all
members of the student’s graduate committee.
A written research thesis or action research project is required of all Master
of Arts degree candidates in the School of Theatre Arts and Dance. In
conjunction with the required written research thesis, graduate students
are required to direct a thesis production.
Page 127 of 183
Upon completion of the program, the student will be required to
demonstrate competence in the designated area of concentration in
accordance with approved school standards. The student’s committee
must approve the candidate for graduation.
Dance Education M.A.
Degree Requirements — 33-36 Credits
The program will be delivered through both on line learning and on campus
classes. The on line learning would take place during the fall and spring
semesters, while the students would be on campus during the summers for
face-to-face intensive classes. The summer classes would include three
classes taught over a three week time period.
Required Courses 33-36 Credits
DNCE 550
Dance History - Tribal Cultures to Current
Times
3
DNCE 560
Dance Movement Skills & Pedagogical
Approaches
3
DNCE 565
Interdisciplinary Teaching and Advocacy in
Dance
3
DNCE 570
Doing, Teaching & Appreciating
Choreography & Creative Dance I
3
DNCE 575
Dance Lesson, Curriculum and Assessment
Design
3
DNCE 600
Movement and Dance - Framing a Research
Question
3
DNCE 690
Thesis I
3
DNCE 693
Popular Dance Forms
3
DNCE 695
Doing, Teaching and Appreciating
Choreography II
3
DNCE 697
Dance Production Techniques
3
DNCE 699
Thesis II
3-6
The Coordinator of the M.A. in Dance Education degree program will
assign each student an academic advisor and a graduate committee. The
academic advisor will serve as the chair of the graduate committee.
It is recommended that students have a graduate committee review each
semester. The student will discuss the graduate review with the academic
advisor and the Coordinator of the M.A. in Dance Education Program. The
Page 128 of 183
student will assume responsibility for scheduling graduate reviews. Two
unsuccessful graduate reviews will be considered grounds for termination
of the student’s involvement in the program. In conjunction with DNCE
690 and DNCE 699, the student will prepare and submit a written thesis
proposal. Prior to beginning work on the thesis, the thesis proposal must
be approved by all members of the student’s graduate committee.
A written research thesis is required of all Master of Arts degree
candidates in the School of Theatre Arts and Dance.
Upon completion of the program, the student will be required to
demonstrate competence in the designated area of concentration in
accordance with approved school standards. The student’s committee
must approve the candidate for graduation.
Program Descriptions and Assessments
The Colorado Commission on Higher Education and this program requires the
completion of a yearly assessment process. The assessment, which includes an evaluation
of your year’s progress, may be the basis of your continuance in the program area.
Once a year all majors within the School of Theatre Arts and Dance must complete an
assessment to:
• Satisfactorily complete the state mandate assessment process as required by the
Colorado Commission on Higher Education (CCHE).
• Give students an opportunity to annually evaluate:
o Their goals and activities (narrative)
o Update resumes
o Evaluate department strengths
o Evaluate department weaknesses
• Give faculty an opportunity to evaluate the continued appropriateness of the
students’ participation in a concentration area.
o To see more information, go to the “Programs of Study” section of the
Student Handbook.
Acting!
The Acting program at UNC is a rigorous, pre-professional training program designed to
prepare talented young actors for careers in theatre, film, and television.
Acting Assessment Information
First Year
Criteria
4 Points
3 Points
2 Points
1 Point
0 Point
Page 129 of 183
Assessment
Preparation
Narrative and
resume expertly
done, plus
professional
demeanor
Well written
narrative and resume
presented, and solid
introduction
Narrative,
resume, and
introduction
adequately
presented
Only narrative
and resume
presented
No narrative
or resume
presented
Objectives/
Obstacles and
Tactics
Actor cleanly plays
what the character
is trying “to do”,
uses a unique and
varied way to
obtain the objective
and is overcoming
specific obstacles
in the piece
Clear objective,
character
acknowledgement of
obstacles and use of
tactics to make the
most of the piece
Objective
understood, but
obstacles and
tactics all the
same and
unvaried
Only objective
played – not
other steps
No character
or objective
Relationship
and
Past Life
Superior
demonstration of
characters feelings,
attitudes and
changes toward the
“other” in the piece
and full of inner
life as connected to
the long range and
immediate past life
of the character
Clean sense of the
facts and feelings of
the “other” and
substantial past
triggers to the present
life of the piece
Adequate sense
of relationship
and past life
Only
relationship; a
past life hinted
at in piece
No
relationship
and no past
life
Voice and
Diction
Superior breath
support, precise
articulation and
connections from
actor’s choice to
vocal productions.
Clean articulation,
breath support,
adequate to end all
sentences, etc.
Mostly
understandable
and fairly
intelligible
Many vocal
bad habits
Serious vocal
problems
Total Score:_____________
Page 130 of 183
Second Year
Assessment
Criteria
0
1
2
3
4
Objectives Obstacles
Tactics
No sense of
character
objective
Little sense of
character
objective
Objective
fairly clear in
most of the
piece
Clean sense
of objective
and tactical
choices made
to overcome
obstacles
Personalized stakes connected
to the character’s emotional
needs with discoveries of
varied & motivated subtextual
tactics that overcome specific
external & internal obstacles
Given Circumstances
and Relationship
No sense of
circumstances
or relationship
Minimal use of
circumstance or
relationship
Circumstance
and/or
relationship
clear in much
of the piece
Sense of
where the
scene takes
place and
how the
characters
relate
Detailed & demonstrated
connection of place, time,
period, conditions, facts &
feelings of the relationship and
how all of this affects the
character’s behavior
Character
No character
elements
attempted
Only a few
surface level
character
elements
attempted
Attempted to
create another
person
Clear sense of
outer and
inner
character
elements
Demonstrated a superior
understanding of the
character’s past life and
successfully integrated the self
and truthful outer physical life
to the psychological elements
of the character
Orchestration
No changes in
the scene
Some changes
in the scene
Some
changes in
the scene
Character is
different at
the end of the
scene than at
the start and
we clearly see
the why of
the changes
Character is different at the
end of the scene than at the
start. Actor plays a virtual,
motivated roller coaster
journey of varied marked
events, adjustments, &
spontaneous discoveries
Voice and Movement
Serious and
significant
voice and
movement
problems
Some
significant
vocal and/or
movement
problems
Few vocal or
movement
problems
Intelligible/cl
ear
articulation
and
movement is
character
specific
Precise articulation, varied pitch
levels, strong breath support,
appropriate & honest character
movement that connect to both
outer and inner character
elements
Total Score:____________
Page 131 of 183
Third Year
Advanced Acting Styles I: Ibsen, Chekhov, Shaw
(Students may select which playwright they would prefer to assess with)
Name_____________________________ Playwright______________________
Title______________________________ Character_______________________
Criteria
4 points
3 points
2 points
1 point
0 points
Score
Basics of Acting
Clear Objective,
high stakes, Clear
Tactics, varied,
physicalized,
obstacles,
connected to
other, Believable,
personalized
All elements
exist but they are
soft, needs
personalization
Elements are
missing, there
are
inconsistencies.
Through-line is
erratic, not
believable
Elements are
missing,
complete
confusion,
not believable
No discernable
attempt made
Circumstances:
Factual
Emotional
Clear
Relationship,
Clear Past Life,
layered, Given
Circumstances,
detailed
incorporation,
physically &
emotionally
Clear
relationship, past
life, given
circumstances
are clear. Lacks
layers/detail
Relationship
incomplete, past
life confusing,
lacks
layers/detail
Given
circumstances
erratic or unclear
Complete
confusion,
lack of
connection to
the text
No discernable
attempt made
Period Behavior
Etiquette and
Physicality, rules
are clear &
actively
incorporated
Rules of
etiquette and
physicality are
clear but could
be more actively
incorporated
Rules of
etiquette and
physicality are
erratic and need
to be more
actively
incorporated
Rules of
etiquette and
physicality
barely
discernable
and inactive
No discernable
attempt made
Clarity of Style:
Specific to
playwright
Evidence of
detailed
application of
unique qualities
specific to
individual
playwright
Style is evident
but lacks detail
Style is erratic
Style is
barely
discernable
No discernable
attempt made
Orchestration
Clear Discoveries,
multiple &
immediate, Clear
Events,
Rhythmical
variety, Builds,
dynamic
&motivated, Clear
Progression from
Beginning to End
Builds are
strong, multiple
discoveries, there
is rhythmical
variety, events
are soft,
progression from
beginning to end
is weak or
unmotivated
Builds are weak,
discoveries are
erratic, there is
some rhythmic
variety. Events
are soft or
erratic, lacks
progression
Orchestration
barely
discernable
No discernable
attempt made
20 points possible Total Points________________
Page 132 of 183
Fourth Year Assessment
Advanced Acting Styles II
Greek and Shakespeare
4 pts
3 pts
2 pts
1 pt
0 pts
Character
Research
Superior written
component of
Character – Factual
and Emotional Given
Circumstances;
Complete Scoring of
Text; IPA
Transcription; Laban
Notation; Description
of Overall Character
Mask; Imagery
Exploration; Animal
Observation;
Tremendous interest
and improvement
Good written
component of
Character – Factual
and Emotional Given
Circumstances;
Complete Scoring of
Text; IPA
Transcription; Laban
Notation; Description
of Overall Character
Mask; Imagery
Exploration; Animal
Observation;
Noticeable interest
and improvement
Fair written
component of
Character – Factual
and Emotional Given
Circumstances;
Complete Scoring of
Text; IPA
Transcription; Laban
Notation; Description
of Overall Character
Mask; Imagery
Exploration; Animal
Observation;
Evidence of interest
and desire to improve
Poor written
component of
Character – Factual
and Emotional Given
Circumstances;
Complete Scoring of
Text; IPA
Transcription; Laban
Notation; Description
of Overall Character
Mask; Imagery
Exploration; Animal
Observation; Very
little interest and
improvement
No written
component of
Character – Factual
and Emotional Given
Circumstances;
Complete Scoring of
Text; IPA
Transcription; Laban
Notation; Description
of Overall Character
Mask; Imagery
Exploration; Animal
Observation; No
interest and
improvement
Acting
Superior
demonstration of
Period/Int./Ext.
Mask; Clear
Discoveries;
Objective;
Tactics/Actions/Units
and Obstacles;
Emotional
Connection, Use of
Imagery, Animal and
Personalization,
Clear Relationship to
“The Other;” Chakra
Exploration; and,
additionally, Parallel
Improv. Tremendous
interest and
improvement
Good demonstration
of Period/Int./Ext.
Mask; Clear
Discoveries;
Objective;
Tactics/Actions/Units
and Obstacles;
Emotional
Connection, Use of
Imagery, Animal and
Personalization,
Clear Relationship to
“The Other;” Chakra
Exploration; and,
additionally, Parallel
Improv. Noticeable
interest and
improvement
Fair demonstration of
Period/Int./Ext.
Mask; Clear
Discoveries;
Objective;
Tactics/Actions/Units
and Obstacles;
Emotional
Connection, Use of
Imagery, Animal and
Personalization,
Clear Relationship to
“The Other;” Chakra
Exploration; and,
additionally, Parallel
Improv. Evidence of
interest and the
desire to improve
Poor demonstration
of Period/Int./Ext.
Mask; Clear
Discoveries;
Objective;
Tactics/Actions/Units
and Obstacles;
Emotional
Connection, Use of
Imagery, Animal and
Personalization,
Clear Relationship to
“The Other;” Chakra
Exploration; and,
additionally, Parallel
Improv. Very little
interest and
improvement
No demonstration of
Period/Int./Ext.
Mask; Clear
Discoveries;
Objective;
Tactics/Actions/Units
and Obstacles;
Emotional
Connection, Use of
Imagery, Animal and
Personalization,
Clear Relationship to
“The Other;” Chakra
Exploration; and,
additionally, Parallel
Improv. No interest
or improvement
Voice
Superior application
of Vocal Quality;
Lack of Vocal
Tension; Breath
Support; Placement;
Variation in Pitch;
Resonance; Open
Channel;
Power/Range; Clear
Articulation; Laban
Efforts; Language;
Use of Metre; and
Emotional
Connection to Text.
Tremendous interest
and improvement
Good application of
Vocal Quality; Lack
of Vocal Tension;
Breath Support;
Placement; Variation
in Pitch; Resonance;
Open Channel;
Power/Range; Clear
Articulation; Laban
Efforts; Language;
Use of Metre; and
Emotional
Connection to Text.
Noticeable interest
and improvement
Fair application of
Vocal Quality; Lack
of Vocal Tension;
Breath Support;
Placement; Variation
in Pitch; Resonance;
Open Channel;
Power/Range; Clear
Articulation; Laban
Efforts; Language;
Use of Metre; and
Emotional
Connection to Text.
Evidence of interest
and desire to improve
Poor application of
Vocal Quality; Lack
of Vocal Tension;
Breath Support;
Placement; Variation
in Pitch; Resonance;
Open Channel;
Power/Range; Clear
Articulation; Laban
Efforts; Language;
Use of Metre; and
Emotional
Connection to Text.
Very little interest
and improvement
No application of
Vocal Quality; Lack
of Vocal Tension;
Breath Support;
Placement; Variation
in Pitch; Resonance;
Open Channel;
Power/Range; Clear
Articulation; Laban
Efforts; Language;
Use of Metre; and
Emotional
Connection to Text.
No interest or
improvement
Page 133 of 183
Movement
Superior
incorporation of
Character
Movement; Animal
and Laban
Explorations;
Psychological and
Archetypal Gestures;
Posture/Décor-
um/Etiquette/Man-
ners/Costume of
Period. Tremendous
interest and
improvement
Good incorporation
of Character
Movement; Animal
and Laban
Explorations;
Psychological and
Archetypal Gestures;
Posture/Décor-
um/Etiquette/Man-
ners/Costume of
Period. Noticeable
interest and
improvement
Fair incorporation of
Character
Movement; Animal
and Laban
Explorations;
Psychological and
Archetypal Gestures;
Posture/Décor-
um/Etiquette/Man-
ners/Costume of
Period. Evidence of
interest and desire to
improve
Poor incorporation of
Character
Movement; Animal
and Laban
Explorations;
Psychological and
Archetypal Gestures;
Posture/Décor-
um/Etiquette/Man-
ners/Costume of
Period. Very little
interest and
improvement
No incorporation of
Character
Movement; Animal
and Laban
Explorations;
Psychological and
Archetypal Gestures;
Posture/Décor-
um/Etiquette/Man-
ners/Costume of
Period. No interest or
improvement
Orchestration
Superior Build from
Beginning to End,
Rhythmic Variations,
Energy, Delineation
of Units.
Tremendous interest
and improvement
Good Build from
Beginning to End,
Rhythmic Variations,
Energy, Delineation
of Units. Noticeable
interest and
improvement
Fair Build from
Beginning to End,
Rhythmic Variations,
Energy, Delineation
of Units. Evidence of
interest and desire to
improve
Poor Build from
Beginning to End,
Rhythmic Variations,
Energy, Delineation
of Units. Very little
interest and
improvement
No Build from
Beginning to End,
Rhythmic Variations,
Energy, Delineation
of Units. No interest
or improvement
TOTAL SCORE: _______________
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Narrative (please type)
Description of Yearly Activities
Goals and Aspirations for the Future
Strengths of UNC and Theatre Arts School
Ways UNC and Theatre Arts School can improve
Page 135 of 183
Sample Resume
Name
Phone number
Email address
Height: 5’5”
Weight: 130
Hair: Brown
Eyes: Brown
Voice: Alto
THEATRE
Master Class
Gypsy
Hamlet
Lovers
Annie
Private Lives
Sophie
Ensemble
Ophelia
Mag
Mrs. Hannigan
Sybil
Little Theatre of the Rockies
Little Theatre of the Rockies
University of Northern Colorado
Soapbox Productions / UNC
Hometown Community Theatre
City High School
David Grapes
John Leonard
Tom McNally
Susan Jones
Joe Smith
Janet Johnson
TRAINING
* Acting: Tom McNally and Ken Womble. Workshops with Lucy Peacock and Steve Eastin
* Voice: Matthew Herrick, Shelly Gaza, and Susan Voiceteacher
* Movement: Andrea Moon. Workshops with Bill Bowers and Deb McWaters.
* Dance: 3 years Ballet (Christy O’Connell-Black), 2 years Modern (Monte Black), 1 year
Tap (John Leonard), 2 years Hip-Hop (Joe Danceteacher)
AWARDS
Irene Ryan nomination for Ophelia in Hamlet, 2015
SPECIAL SKILLS
Dialects: English (R.P.), Irish, American Southern, American Standard.
Juggling, fluent in Spanish and French, proficient in violin and guitar.
EDUCATION
B.A. Theatre Arts, Acting – expected graduation May 2017
Page 136 of 183
Design and Technology
The Design and Technology program at UNC combines the best of practical application
and applied theory, and consists of multiple tracks within the program that gives each
student the ability to build an education tailored to his or her personal needs and
aspirations.
Design and Technology Assessment* Information
All design and technology students will assess regularly through their careers at UNC.
The following guidelines are the perimeters that students should expect to meet to have a
successful assessment. Students should check the design and technology callboard
regularly for any updates to these procedures and for assessment times and dates.
*Failure to complete a formal assessment with D/T faculty at the end of each semester
can result in the student being placed on STAD probation.
FALL ASSESSMENTS (DECEMBER)
Seniors
• Defined as any D/T student who will be graduating Fall or Spring of current
academic year.
• Your assessment materials should be presented according to the U/RTA
guidelines for auditionees of your respective area. See the U/RTA website for
specifications.
• Your window for setting up your displays will be XXXX in Norton Theatre.
• Your assessment times will be from XXXX pm on XXXX.
• You will be required to breakdown your display from XXXX on XXXX.
Juniors
• Defined as any D/T student who will be graduating Fall or Spring of following
academic year.
• Your assessment materials should be presented as though you were presenting
them for summer employment.
• COVER LETTER: You should prepare a cover letter of application for your
summer employment stating position you are seeking, relevant experience, and
your “preparedness” for the position for which you are applying.
• RÉSUMÉ: Additionally, you should prepare a current résumé with references
listed.
• PORTFOLIO: Your portfolio should be organized for your interview for the
position you are seeking.
• Your window for set up is XXXX from XXXX.
• Your assessment times will be from XXXX on XXXX.
• You will be asked to take your materials with you after your “interview”.
Page 137 of 183
Sophomores
• Defined as any D/T student who will be graduating Fall XXXX or Spring XXXX.
• Your assessment materials should be approached as “pre-declaration of emphasis”
material.
• PREDECLARATION LETTER: You should present a letter outlining which
area(s) you are considering “declaring” as your emphasis area at the conclusion of
the spring semester.
• RÉSUMÉ: You should also have a current résumé with references listed.
• PORTFOLIO: Your portfolio should represent your growth through your
semester at UNCO to date.
• Your window for set-up is XXXX.
• Your assessment times will be from XXXX.
• You will be asked to take your materials with you after your assessment.
Freshmen
• Defined as any D/T student who will be graduating Fall XXXX or Spring XXXX.
• You are not required to assess this semester.
U/RTA PORTFOLIO RECEPTION IN NORTON THEATRE ON XXXX. ALL D/T
STUDENTS ARE STRONGLY ENCOURAGED TO ATTEND.
ASSESSMENT SIGN-UP SHEETS WILL BE POSTED OUTSIDE ANNE’S OFFICE
DOOR AS SOON AS ADVISING IS COMPLETED.
IF YOU HAVE ANY QUESTIONS REGARDING THESE PROCEDURES, PLEASE
SEE ANNE.
SPRING ASSESSMENTS (MAY)
Seniors
• Defined as any D/T student who will be graduating Fall of XXXX or Spring
XXXX.
• You are not required to assess at this time.
Juniors
• Defined as any D/T student who will be graduating Fall of XXXX or Spring
XXXX.
• Your assessment materials should be presented as a final “general assessment”
with your focus being placed on goal setting for after graduation. What will you
do next?
• GOAL SETTING LETTER: You should outline your plans for the next 2-5 years
as you begin to plan to pursue your chosen area of concentration. Additionally,
you should address those items with which your faculty can help you, and those
items which you hope/need to accomplish before you graduate.
Page 138 of 183
• RÉSUMÉ: You should prepare a current résumé with references listed.
• PORTFOLIO: Your portfolio should be organized as a best representation of you.
• Your window for set up is XXXX from XXXX.
• You will be asked to take your materials with you after your assessment.
Sophomores
• Defined as any D/T student who will be graduating Fall of XXXX or Spring
XXXX.
• Your assessment materials should be approached as a “general assessment”, with
your materials best reflecting your progress in the School of Theatre Arts and
Dance to date.
• SELF REFLECTION LETTER: You should present a letter outlining an honest
analysis of your growth with the School to date. Please address how the faculty
can help you in future growth.
• RÉSUMÉ: You should also have a current résumé with references listed.
• PORTFOLIO: Your portfolio should represent your growth through your
semester at UNCO to date.
• Your window for set-up is from XXXX.
• Your assessment times will be from XXXX.
• You will be asked to take your materials with you after your assessment.
Freshmen
• Defined as any D/T student who will be graduating XXXX or XXXX.
• This assessment should be viewed as an opportunity to be reflective of what you
have learned in the first year here at UNCO.
• INTRODUCTION LETTER: You should prepare a letter of introduction of
yourself and your goals for the next three years of study. Please tell us a bit about
yourself, if there are aspects of you that we do not know. Think about those on
the faculty that do not know you and what do you want them to know about you
at this point?
• RÉSUMÉ: You should prepare a résumé with a minimum of three references
listed.
• PORTFOLIO: You should emphasize ALL aspects of the work you have
completed to date; this includes class work both within and outside design and
technology.
• Your window for set-up is from XXXX.
• Your assessment times will be from XXXX.
• You will be asked to take your materials with you after your assessment.
ASSESSMENT SIGN-UP SHEETS WILL BE POSTED OUTSIDE ANNE’S OFFICE
DOOR AS SOON AS ADVISING IS COMPLETED.
IF YOU HAVE ANY QUESTIONS REGARDING THESE PROCEDURES, PLEASE
SEE ANNE.
Page 139 of 183
Design and Technology Assessment and Portfolio Materials
You need to show examples of the following as appropriate:
• At least one page of photos (prints) of shows you have worked on. These should
be mounted, matted, or in plastic album sheets. The expectation is that this
portfolio will increase up through your senior year. Technology students should
have process photos of your works as well as the final product. IE: carpenters or
properties masters will show evidence of what you have built with photos from
both sides during and after construction.
• Best examples of your drafting, both class and practical projects, in areas of set,
lighting design, or construction drawings. Design concentration students should
do all of the above, but show more of your design work. You should show your
process from concept to completion through elevations and renderings or models.
Model photos with light sources are acceptable. Lighting students should show
plots and paperwork. Costumers should show concept or character analysis,
research material and color plates with fabric swatches attached. Quality of your
presentation is very important.
• All items in your portfolio should be labeled with show title, name of student,
whether practical or class project, and the date accomplished/completed.
• You may include other examples of outstanding work such as research papers in
your field or work outside of the department such as: artwork, posters, computer
aided design work, or other work related to your concentration area.
• Stage Managers: Some of the first four examples will apply. Beyond this, the
Stage Manager will include play analyses and related examples from
acting/directing courses as they apply to concentration area. You should show
your promptbook, paperwork, and organization and any new ideas you have come
up with to make the job simpler.
• A Stage Manager’s promptbook should include examples of schedules, calendars,
and forms to record the working, rehearsal and production notes for props, lights,
costumes, sound, scenery, and special effects. The Stage Manager promptbook
should also include blocking, and all notes with the cues for the show and all final
schedules, check-in sheets, etc. Perhaps particular problems you’ve encountered
and the solutions you came up with to solve them.
• Sound Design students will have appropriate paperwork including auditory
concept, cue traffic plot sheets, cue list, scene-by-scene charting, environmental
design and equipment design. Examples of special effects may be presented.
• IP work will be documented when appropriate and noted in your resume. Class
work in these areas is also recommended. You should show examples from the
various design classes you have taken.
• Letters of recommendation can be shown, especially for seniors or persons who
have applied for jobs or who plan to attend the URTA’s. Those attending the
URTA auditions must set up a review session with the design faculty before
applying and/or leaving to audition.
• Included for all can be supporting material of quality work in the way of letters of
thanks, letters of commendation, newspaper articles, mentions in reviews, etc.
NOTE: The student should not expect more than basic feedback at these short sessions.
The point is for you to show how you have progressed and to hand in your resume and
Page 140 of 183
narrative. Responses to your narratives, work, and evaluation forms can be arranged for
later times.
Design and Technology Narrative
For the narrative, you will type out your response to the four questions listed below.
Bring 8 copies with you and include these in your display at the set-up time.
• Discuss your growth here as a student and developing theatre practitioner since
your last assessment. What have you done and what have you learned?
• Discuss where you see yourself going after you graduate. What are your goals and
what do you want to do?
• Discuss what you would like to accomplish between now and your next
assessment. What technical areas would you like to work in, what classes do you
want to take, and what personal developments would you like to achieve?
• In what ways can we help you to achieve the goals you have outlined?
Sample Resume
You will include with your portfolio and interview a resume of your work. This resume
should include your name, address, phone number, at least three references, related skills
and work experience as follows:
Show Title:
Position:
Director:
Company:
Crimes of the Heart
Scenic Designer
Tom McNally
University of N. Colorado
Fiddler on the Roof
Run Crew
John Leonard
Little Theatre of the
Rockies
Lend Me a Tenor
Carpenter
David Grapes
Little Theatre of the
Rockies
ALWAYS have others review your resume for clarity and organization before you start to
use them. It can make a big difference if you get the position or not.
Interview Process and Information
You must sign up for an interview time slot on the sheet found on the callboard. The time
for setting up your display will be posted with the sign-up sheet. When you come in for
your assessment, take your portfolio items to the front of the room and give a brief
overview of the highlights of your narrative. When you are done, the faculty will have
comments and suggestions for you.
You will only have ten minutes total. If you run over, we will have to cut you off, so
practice what you are going to say and/or write it down. Again: focus only on what you
have done in the last year or since your last assessment.
When you set your materials up, please leave 8 copies of your narrative and resume.
Please make sure that your name is on all your materials. The faculty will come in and
look at your display and read your materials before interviews begin.
Please come dressed in a professional manner and be prepared. If you come ill prepared
and lacking any of the required elements, you will be put on probation. A second bad
assessment and you will be expelled from the program. If your scores are low do to lack
Page 141 of 183
of involvement in the program or for lack of improvement over the last year, you may be
put on probation as well.
UNC NON-MAINSTAGE PRODUCTION
OPPORTUNITIES:
DESIGN AND TECHNOLOGY PERAMETERS
All UNC design and technology students will be assigned to positions within the school
at the onset of each semester. These assignments are your first production priority and
need to be treated as such. Any student who is interested in pursuing any type of UNC
non-Mainstage production opportunity should FIRST speak with their area advisor about
the project with which they are interested in participating. If their advisor deems the
project a suitable one that will not jeopardize the student’s course work or any production
assignments, the student must then complete the UNC NON-MAINSTAGE
PRODUCTION PERMISSION FORM.
Page 142 of 183
UNC NON-MAINSTAGE PRODUCTION PERMISSION
FORM
STUDENT NAME: ________________________________________
CONTACT PHONE NUMBER: ______________________________
EMPHASISAREA: ________________________________________
ANTICIPATED GRADUATION DATE: _______________
I AM REQUESTING PERMISSION TO BE THE ____________ (position)
FOR _________________________________ (Producing organization).
THE DATES FOR PREPRODUCTION ARE _______________
AND THE DATES FOR PRODUCTION ARE ______________
Please write a short description of what the expectations of your position
will be, as you understand it:
(Student signature & date)
(Area advisor & date)
(Head of Design & date)
(School Director signature & date)
Page 143 of 183
Theatre Studies
The Theatre Studies program at UNC is designed to foster multi-disciplinary theatre
professionals, and is the quintessential concentration area for the self-directed student
interested in further study in graduate school or a career in Theatre Arts.
Our Theatre Studies alumni go on to have exciting careers in directing, producing,
playwriting, teaching, performance, theatre administration, and much more. The Theatre
Studies program offers a wide variety of theatre classes that encompass all discipline
areas including acting, stagecraft, playscript analysis, directing, stage management,
playwriting, dramaturgy and theatre management. The program also offers elective
concentration credits, allowing scholars to pursue specific interests and areas of study,
including classes and activities outside the School of Theatre Arts and Dance. In addition,
Theatre Studies students are expected to be self-directed and after meeting the basic area
requirements will be asked to shape their own educational experience, with guidance
from the Theatre Studies advisor, in a way that best suits their individual needs and career
goals.
Theatre Studies students are encouraged but not required to audition for all School of
Theatre Arts and Dance productions as well as Little Theatre of the Rockies. Additional
opportunities specific to the area include serving on the Editorial Advisory Board for the
School of Theatre Arts and Dance blog, serving as Dramaturg for Mainstage productions
within the season, and functioning as the public face of the School of Theatre Arts and
Dance by directing and implementing publicity for productions.
Expectations for Students within the Theatre Studies area:
q Students will maintain a 3.0 GPA while attending UNC
q Students will comport themselves with professionalism and demonstrate respect
to teachers and colleagues in all curricular and extra-curricular activities
q Students will attend all mandatory Theatre Studies area meetings at the beginning
of each semester. If these meetings conflict with course work or the student’s job,
the student will let the Theatre Studies advisor know by e-mail and find an
alternate manner of getting the information that was disseminated during the
meeting
q Students will meet with the Theatre Studies Advisor and/or the Student Services
Coordinator during advising times every semester to develop, and ensure
adherence to, a graduation and post-graduation plan
q Beginning Spring semester of the sophomore year, students will be expected to
demonstrate engagement in projects that serve the STAD, wider university or
surrounding communities.
Theatre Studies Assessment Information
Theatre Studies is an academically focused degree, therefore most assessment will be on
the students’ class work.
Page 144 of 183
Freshman Theatre Studies students will be assessed on:
Grade point average
Attitude and comportment in Class
Attendance at Theatre Studies meetings and advising appointments
Sophomore Theatre Studies students will be assessed on:
Grade point average
Attitude and comportment in Class
Attendance at Theatre Studies meetings and advising appointments
Engagement in a project/activity that serves the STAD, UNC or greater community
Junior Theatre Studies Students will be assessed on:
Grade point average
Attitude and comportment in Class
Attendance at Theatre Studies meetings and advising appointments
Engagement in a project/activity that serves the STAD, UNC or greater community
Individual Assessment at the end of the Fall semester on shaping the final year and a half
of their academic career at UNC
Senior Theatre Studies Students will have individual assessments with the Theatre
Studies Advisor sometime during the Fall semester. These assessments will serve as a
debriefing on the student’s tenure in the Theatre Studies concentration and as a way to
define a post-graduation plan
Secondary Teaching Emphasis
The Theatre Education program at UNC strives to develop skilled practitioners who are
committed to excellence in Theatre Arts education. Our teacher candidates recognize that
theatre is essential for every child’s complete educational development, and endeavor to
help their students discover how the Theatre Arts can also enhance their lives. In addition
to taking classes in all areas of theatre (acting, speech, movement, history, playscript
analysis, directing, and design & technology), Theatre Education students also complete
course work in the College of Education and Behavioral Sciences, which includes their
student teaching.!
Secondary Teaching Emphasis Assessment Information
• First Year
Assessment Tool: Grading Rubric
Final presentation in THEA 255 Creative Drama
• Second Year
Assessment Tool: Grading Rubric
Final presentation in THEA 240 Beginning Directing
• Third Year
Assessment Tool: Grading Rubric
Final presentation in THEA 340 Workshop in Directing
Page 145 of 183
Teach two lessons in THEA 385 Methods for Teaching Drama/STEP 363 Clinical
Experience
• Fourth Year
Assessment Tool: Grading Rubrics
Final presentation in THEA 440 Directing the One Act
Teach four lessons in STEP 464 Student Teaching
THEA 255 Create a lesson plan: (150 points) Turn in one lesson for each individual
and one Understanding by Design per pair) Imagine your role drama is part of a three-
day unit. Create and type one 50-minute lesson plan for one curricular unit. Please tell me
if your lesson is day 1, 2 or 3. This unit should be a curricular topic you could teach
someday: for a theatre, social studies or language arts class. These should be three lessons
that you do back to back and should have a clear beginning/middle and end. This should
be a lesson using drama as the major teaching methodology.
You will be graded on the following for each lesson: (90 points)
-Completed lesson: Does the lesson include all elements required from worksheet? Is
there a clear beginning, middle and end which serves the objectives? (30 points)
-Use of creative drama: Does the lesson use at least 2 creative drama methodologies?
Are these activities used in a way that furthers the objectives of the lesson? Are these
imaginative choices that would engage the students? Do the activities build on one
another in a way that would help students learn skills? (30 points)
-Quality of lesson: Does the lesson seem imaginative? Well thought out? Is there a flow
where students are building skills and information from the beginning to the end? Is there
a clear hook at beginning, and a clear ending activity? Do the assessment methods
(writing/questions/creative methods) reflect the goals and activities of lesson? (30 points)
Understanding by Design: 60 points
-Includes all elements from UbD format: 20 points
-Unit Plan is creative, inventive and utilizes skills we’ve learned in class: 20 points
-Thorough work, attention to detail: 20 points
THEA 240 and 340 Directing Rubric
Name: Show:
1. Clarity of Scene Analysis:
a. Clear Story
b. Plot
c. Character
d. Given Circumstances
Page 146 of 183
2. Blockings/Staging/Composition
3. Acting Qualities
a. Objectives/obstacles/tactics
b. Believability
c. Relationships and Interaction
d. Vocal Production
e. Movement
f. Use of Language
4. Orchestration
5. Ensemble Direction
a. Evidence of Period/Style/Genre/Concept/Creativity
THEA 385 Lesson Plan Format
BASIC
DEVELOPING
PROFICIENT
ADVANCED
1. Learning Set
To arouse interest and set a purpose for learning
1.1 Gain
Attention
Teacher candidate recognizes
the importance of an attention
getter at the onset of the
lesson
Teacher candidate
attempts to implement
an attention getter at
the onset of the lesson
Teacher candidate
successfully implements
an attention getter at the
onset of the lesson
Teacher candidate
successfully implements
a creative and innovative
attention getter at the
onset of the lesson
1.2
Review/State
Prerequisite
Teacher candidate displays
awareness of prerequisites
necessary to teach new skills
Teacher candidate
identifies one
previously learned
skill and relates is to
new skills presented.
Teacher candidate
identifies several
previously learned skill
and relates is to new
skills presented.
Teacher candidate
creatively integrates
several previously
learned skill and relates is
to new skills presented.
1.3 Objective
Teacher candidate displays
awareness of:
a) the conditions under which
the student will use the new
skills presented
b) what the student will know
and be able to do by the end
of the lesson
c) the Colorado Content
Standards used in the lesson
Teacher candidate
attempts to relay:
a) the conditions under
which the student will
use the new skills
presented
b) what the student
will know and be able
to do by the end of the
lesson
c) the Colorado
Teacher candidate
successfully identifies:
a) the conditions under
which the student will
use the new skills
presented
b) what the student will
know and be able to do
by the end of the lesson
c) the Colorado Content
Standards used in the
Teacher candidate
creatively implements
and identifies:
a) the conditions under
which the student will use
the new skills presented
b) what the student will
know and be able to do
by the end of the lesson
c) the Colorado Content
Standards used in the
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Content Standards
used in the lesson
lesson
lesson
1.4 Advance
Organizer
Teacher candidate displays
awareness of the theme, main
idea, and lesson concept
Teacher candidate
attempts to relay the
theme, main idea and
lesson concept
Teacher candidate
identifies the theme,
main idea and lesson
concept, and
successfully explains to
students how the lesson
will proceed.
Teacher candidate clearly
defines the theme, main
idea and lesson concept
and specifically explains
to students how the
lesson will proceed
2. Present
Information
To teach the content of the lesson.
2.1 Describe
(Pre-reading
and/or pre-
writing activity)
Teacher candidate displays
awareness of skills, concepts
or principles of the lesson
Teacher candidate
attempts to relay
skills, concepts or
principles of the
lesson
Teacher candidate
successfully identifies
skills, concepts or
principles of the lesson
Teacher candidate
creatively identifies and
integrates skills, concepts
or principles of the lesson
2.2 Demonstrate
Teacher candidate displays
awareness of:
a) skills, concepts or
principles through examples,
diagrams, modeling, etc.
b) remembering and using the
skills, concepts or principles
in practice.
Teacher candidate
attempts to:
a) illustrate skills,
concepts or principles
through examples,
diagrams, modeling,
etc.
b) remembering and
using the skills,
concepts or principles
in practice.
Teacher candidate
successfully:
a) illustrates skills,
concepts or principles
through examples,
diagrams, modeling,
etc.
b) remembering and
using the skills,
concepts or principles in
practice.
Teacher candidate
creatively and through
several approaches
a) illustrates skills,
concepts or principles
through examples,
diagrams, modeling, etc.
b) remembering and
using the skills, concepts
or principles in practice.
3. Refine
Learning
To allow students to test their understanding.
3.1 Practice
(Guided reading
and/or guided
writing activity)
Teacher candidate displays an
awareness of the importance
of allowing students to use
information in an activity that
matches the objective
Teacher candidate
attempts to allow
students to use
information in an
activity that matches
the objective
Teacher candidate
successfully allows
students to use
information in an
activity that matches the
objective
Teacher candidate
creatively and through
several approaches allows
students to use
information in an activity
that matches the objective
3.2 Feedback
(Post-reading
and/or post-
writing activity)
Teacher candidate displays an
understanding of the
importance of providing the
students with information
about the accuracy of their
understanding
Teacher candidate
provides the students
with limited
information about the
accuracy of their
understanding
Teacher candidate
provides the students
with adequate
information about the
accuracy of their
understanding
Teacher candidate
provides the students with
thorough information
about the accuracy of
their understanding
4. Closure
To wrap up the lesson.
4.1 Summary
Teacher candidate displays an
awareness of the main points
of the lesson and knows what
students are able to do
Teacher candidate
attempts to summarize
the main points of the
lesson and tell the
students what they are
Teacher candidates
successfully
summarizes the main
points of the lesson and
tells students what they
Teacher candidate
thoroughly summarizes
the main points of the
lesson and tells students
what they are specifically
Page 148 of 183
able to do
are able to do
able to do
4.2 Transfer
Teacher candidate displays an
awareness of how the
knowledge gained will be
useful in other situations
Teacher candidate
attempts to tell
students how the
knowledge grained
will be useful in other
situations
Teacher candidate
successfully tells
students how the
knowledge gained will
be useful in other
situations
Teacher candidate uses
several examples to
successfully tell students
how the knowledge
gained will be useful in
other situations
4.2A Near
Transfer
Teacher candidate displays an
awareness of how to use the
knowledge gained in
situations very similar to the
practice
Teacher candidate
attempts to tell
students how to use
the knowledge gained
in the situations very
similar to the practice
Teacher candidate
successfully tells
students how to use the
knowledge gained in
situations very similar
to the practice
Teacher candidate uses
several examples to
successfully tell students
how to use the knowledge
gained in situations very
similar to the practice
THEA 385 Colorado Teaching
THEA ED
Basic
Developing
Proficient
Advanced
Standard 1:
Knowledge
of Literacy
Teacher candidate is aware
of student literacy
development in reading,
writing, speaking, viewing,
and listening
Shows limited
knowledge…
Displays
knowledge…
Shows
thorough
knowledge…
Standard 2:
Knowledge
of
Mathematics
… is aware of integrating
mathematics into
curriculum
… attempts to
integrate…
… successfully
integrates…
…
successfully
and
creatively
integrates…
Standard 3:
Knowledge
of Standards
and
Assessment
… is aware of strategies,
planning practices,
assessment techniques, and
appropriate
accommodations to ensure
student learning in a
standards-based curriculum
… attempts to
employ…
… successfully
employs…
…
successfully
and
creatively
employs…
Standard 4:
Knowledge
of Content
… shows limited knowledge
about literacy, mathematics,
and their content area
… shows
basic
knowledge
about…
… is
knowledgeable
about…
… shows
extensive
knowledge
about…
Standard 5:
Knowledge
of Classroom
… shows limited knowledge
about classroom practice in
order to successfully
… shows
basic
knowledge
… is
knowledgeable
about…
… shows
extensive
knowledge
Page 149 of 183
and
Instructional
Management
manage time,
communications, and record
keeping procedures that will
support and enhance student
learning
about…
abou
Standard 6:
Knowledge
of Individual
Instruction
… is aware of the needs and
experiences children bring
to the classroom: culture,
community, ethnicity,
economics, linguistics, and
innate learning abilities.
T.C. is aware of leaning
exceptionalities and
conditions that effect the
rate and extent of student
learning and is able to adapt
instructions for all learners
… is
somewhat
responsive
to…
… shows
basic
knowledge
about…
… is
responsive
to…
… is
knowledgeable
about…
… is very
responsive
to…
… shows
extensive
knowledge
about…
Standard 7:
Knowledge
of
Technology
… is aware of technology
and how it is used to
support instruction and
enhance student learning
… shows
basic
understanding
of…
… is
knowledgeable
about…
… shows
extensive
knowledge
about…
Standard 8:
Democracy,
Educational
Governance,
and Careers
in Teaching
… is aware of the school’s
role in teaching and
perpetuating our democratic
system, and is aware of the
relationships among the
various governmental
entities that create laws,
rules, regulations, and
policies that determine
educational practices
… shows
basic
understanding
of…
… is
knowledgeable
about…
… shows
extensive
knowledge
about…
Standard 9:
Diversity
… is aware of
demonstrating respect for
cultural diversity
… attempts to
demonstrate
…
… successfully
demonstrates
…
…
successfully
and
creatively
demonstrates
…
Standard 10:
Professional
Behavior
… is aware of conducting
him/herself in a professional
matter
… attempts to
conduct…
… successfully
conducts…
…
consistently
conducts…
Standards
THEA 385 Final Work Sample
Page 150 of 183
Each item below is worth five points for initial submission, and 5 points after it is
corrected and submitted in the Final Work Sample.
WS Section I (Planning Process): WS Section II:
Map Description of Setting
Calendar
Content and Learning Outcomes WS Section IV:
Lesson Plan 1 and 2
WS Section III: Supporting Materials 1 and 2
Standards Self Reflection 1 and 2
Unit Goals
Lesson Objectives WS Section VI: Analysis of Pre
and Post Assessments
WS Section V: Written Analysis of Pretest
Pre Assessment Written Analysis of Post-test
Pre Assessment answer key Comparison Graph of Pre/Post tests
Post Assessment
Post Assessment answer key
WS Section IV:
Lesson Plan 3, 4, and 5 and Supporting Materials 3, 4, and 5
THEA 440 One Act Rubric
Name: ______________________________
Acting: /55 points
-clear intentions in acting
-Are the actors comfortable/well rehearsed?
-Do you believe the actor’s choices?
-Relationships between characters clear?
-Clear conflict with characters?
-Clear sense of power/status in scenes?
Staging: /55 points
-variety?
-motivated?
-helped tell the story?
-clear sense of given circumstances
Orchestration: /65 points
-arc/sense of play: did characters change and were they affected?
-Was there a clear sense of timing/tempos appropriate for the text?
-Change motions clear?
-Transitions well orchestrated?
Technical: /25
-Did you include appropriate technical elements that helped to tell the story?
Personal Rubric: /50 points
Time: 50 minutes or less? (every minute after 52 minutes, deduction of 5 points)
Page 151 of 183
Total: /250
Note:
For STEP 363 and STEP 464 Rubrics, refer to The College of Education website at:
http://www.unco.edu/cebs/teachered/sptep.html
Note:
Please let your stage mangers know that on most Tuesday evenings they are required to
attend a seminar at the College of Ed from 5-7pm and should not be penalized for
arriving late to rehearsal. They are not allowed to miss these seminars as they could be
removed from the education program. That being said, only one seminar absence is
"allowed" (yet not encouraged) - excused or unexcused - yet the student must write a 5
page paper on the material missed that evening. So if a dress rehearsal or performance
falls on a Tuesday, the student should be prepared to write the applicable paper. The
student should provide the stage manager with the schedule of the Tuesday seminars.
Page 152 of 183
Sample Resume
PERMANENT ADDRESS
CAMPUS ADDRESS
1797 S. Nelson St.
Littleton, CO 80127
(303) 973-2099
1508 9th Ave
Greeley, CO 80631
(970) 310-7973
OBJECTIVE
To obtain a theatre education position in a secondary school.
EDUCATION
Bachelor of Arts, Theatre Arts
Concentration Area: Acting, Secondary Education
University of Northern Colorado, Greeley, Colorado
Graduation Date: May 1998
Expected licensure: May 2000
EXPERIENCE
Northglenn High School, Northglenn, CO (Currently, Spring 2000)
Student Teacher
Chicago Parks and Recreation District, Chicago, IL (Spring 1999)
Assisted program Director in facilitating daily workshops and
classes for Chicago Public School students
Colorado State Thespian Conference, Denver, CO (1995-1998)
Served as judge for non-scholarship entries
Facilitated acting workshops for high school participants
Greeley West High School, Greeley, CO (Fall 1997)
Assistant Forensics Coach/Forensics Event Judge
John Evans Middle School, Evans, CO (Fall 1995)
Field-Based Observation Course
ACTIVITIES
Actor, numerous UNC Theatrical Productions, (1994-2000)
President, UNC Chapter, Alpha Psi Omega Honorary Theatre
Fraternity, (1996-1998)
Student Representative, Performing Arts Council, (1997-1998)
Coach, Intramural Co-ed/Men’s League Softball Teams, (1995-98)
Representative, Student Funding Allocation Board, (1997)
Member, UNC Student Organizational Chartering Committee,
(1995-1996)
Member, Residence Life Multicultural Task Force, (1994-1995)
EMPLOYMENT
Food Server/Trainer (1996-Present)
Rock Bottom Restaurants, Inc. (Greeley, CO; Chicago, IL)
Technical Director (Spring Season, 1999)
Emerald City Theatre Company, Chicago, IL
Chief Sound Engineer (October 1998-July 1999)
Lookingglass Theatre Company, Chicago, IL
Assistant Company Manager (Summer Season 1996, 1998)
Little Theatre of the Rockies, Greeley, CO
Orientation Leader/Academic Advisor (Summer 1994, 1995)
University of Northern Colorado, Greeley, CO
Resident Assistant (1994)
Department of Residence Life, University of Northern Colorado,
Greeley, CO
Page 153 of 183
Narrative
Description of Yearly Activities
Goals and Aspirations for the Future
Strengths of UNC and Theatre Arts School
Ways UNC and Theatre Arts School can Improve
Musical Theatre
The Bachelor of Arts with a major in Musical Theatre is designed to prepare students for
work as a professional performer in Musical Theatre. The program is interdisciplinary in
nature, drawing upon the resources of the School of Music and the School of Theatre Arts
and Dance.
The Basic objectives of the program are two-fold: 1) to train the singer-actor-dancer in
the arts and techniques of musical theatre performance, and 2) to provide a broad
educational background in the liberal and fine arts which will give perspective and
dimension to the student’s professional training.
Students majoring in Musical Theatre are expected to demonstrate proficiency in
performance through participation in university musical, dance, opera, and play
productions and evaluation by assessment each year. In the event that the student does
not pass the assessment, that student may be dropped from the program.
Upon entering the program, students will be placed in one of the three specialized areas
according to their audition assessments and their desire for extended study in that
particular area. Students will select seven hours of elective major credits in their
specialized area in consultation with their advisor (see Four-Year Plan).
Additional Program Information
As a part of the Musical Theatre degree program, the student will be involved in the
following:
• Performance in vocal juries (when studying private voice) at the end of each
semester or at the discretion of the Musical Theatre voice faculty.
• Annual Assessments as established in the Assessment Document (a mandatory
meeting regarding assessments will occur during the first semester).
• Attendance at school meetings, recitals, studio recitals, musical theatre senior
projects, and performance and class seminars as determined by the Musical
Theatre Director and/or Voice Teachers
• Technical theatre work (Individual Performance in Theatre). Requirements are as
follows: a minimum of four semester hours of THEA 100 as a crew member.
• Performance in musical theatre, dance, opera, and play productions in the College
of Performing and Visual Arts.
UNC productions must take priority over off-campus productions during the academic
year. A student must obtain permission from their advisor, Director of Musical Theatre
Page 154 of 183
Program, and their voice teacher prior to auditioning off-campus. Failure to obtain
permission may result in dismissal from the program. (Forms for permission are available
in the Theatre office, Frasier 105, on line in the Forms section of the STAD website, or in
the STAD Student Handbook.)
Audition Policy
UNC Theatre Mainstage Productions are an integral part of the pre-professional training
program at UNC. The ability to audition successfully is an important and necessary skill
for all theatrical performers. Therefore, we want our performance majors to have as many
audition opportunities as possible.
It is also our belief that the principles, theories, and performance practices taught in the
classroom have a very real application in our productions. All Mainstage performance
and production activities are intended to serve as an ongoing laboratory for the principles
and techniques learned in the classroom.
Musical Theatre majors are responsible for auditioning for all faculty or guest-directed
musicals and plays every semester and encouraged to audition for Little Theatre of the
Rockies (LTR). First semester Freshmen are not required (but are still encouraged) to
audition for plays, operas, and dance concerts. Students may not audition for off-campus
productions without first obtaining written permission to do so from the Musical Theatre
Director.
Please Note: If you are cast into a production, you are required to accept the casting.
Audition Exemptions: Any performance major (Acting or Musical Theatre) may request
permission from the School Director not to audition for a given production. Requests
should be made at least one week in advance of the audition in question. Any legitimate
request shall not be unreasonably denied.
Note: If you fail to audition without prior consent from the School Director or the
Director of the production, or if you refuse a role without prior permission from the
Director, or you are replaced in a role due to disciplinary action or un-professionalism,
you will be placed on departmental probation and/or may be dismissed from the program.
(See casting policy #5 and/or "Ineligibility/Probation/Expulsion Policy” in the Student
Handbook.)
Performance Credits
Credit is given for performance in musicals, plays, operas, and dance concerts. When
performing in a musical, take MT 285 or MT 485. Three credits are awarded for a lead,
two credits for a supporting role, and one credit for chorus (unless the chorus is very
active). When performing in an opera, take MUS 285 or MUS 485. The designation of
numbers of credit hours is the same as a musical. Performance in a play is credited by
enrolling in THEA 110 for two credits. Students performing and/or choreographing for
the Dance Concert will enroll in DNCE 354, 355, 356, 357 as appropriate to the student’s
Page 155 of 183
annual participation in the concert. It may also be the student’s annual participation in the
concert.
Please Note
MT students are limited to two production projects per semester. This is done to insure
that you have sufficient time to be a student and to spread the performance opportunities
around. The projects may be selected from the following options:
Mainstage (LTR)
Norton
One Acts
Dance Concert
Tour Troupes
Acting Practicum
Production Assistant
Dance Captain
Opera Scenes
Opera
All castings should be recorded in the Musical Theatre office.
Specifically, the student in the Musical Theatre Program must achieve a 2.33 grade point
average (GPA) in voice, dance, and acting courses during their freshman year. If the
student does not attain the 2.33 GPA upon completion of the two semesters, the Musical
Theatre faculty will place the student on a probationary status. During the sophomore,
junior, and senior years of individual instruction, any grade of “C” or below will
necessitate an examination of the student’s ability to complete the Musical Theatre
degree. A grade of “D+” or less in any major class will require a retake of that class.
Either of these situations may prompt a change of status for the student. The student may
be placed on probationary status, or the student may be asked to leave the program,
pending the result of next semester grades. A Musical Theatre student will be required to
achieve minimally a 3.0 GPA in Musical Theatre performance courses.
Individual Performance in Voice (applied voice lessons)
(Refer to Voice Handbook for more details)
Work in the fundamentals of good singing is carried on through the entire program. This
includes voice development, correct intonation, breath control, phrasing and articulation.
Attendance, promptness and preparation are essential for maximum growth and optimum
learning. Students in Individual Performance in voice should be aware of the following
policies and procedures of applied lessons:
• Students are expected to be at their lesson promptly at the time indicated in the
schedule of classes. (Please knock when it is time for your lesson.)
• Except for health and emergency reasons, attendance will be required at all
lessons. It is the student’s responsibility to do their best to keep in optimum
physical condition needed to meet the demands of the vocal lessons.
• A student may not cancel a voice lesson because of illness or vocal problems and
still sing in choir or other performances on the same day. The voice lessons are no
more demanding vocally or otherwise than choir rehearsal and does not usually
Page 156 of 183
last as long. If the vocal mechanism is impaired to the point of not being able to
sing well in the studio, the voice should not be used in choir rehearsal.
• If three lessons are missed, it is likely that the student will be asked to stop voice
lessons for that semester. Three lessons missed constitutes 1/5 of the semester’s
work. (This is equal to missing 9 class meetings of a three-hour course.)
• Missed lessons may not be made up. However, if a foreseeable conflict should
arise and an alternate time can be arranged with the accompanist at the time
available to the teacher, such a change might be permissible.
• If the instructor should be forced to miss a lesson, the lessons will be made up.
• Assigned music will be prepared by the date indicated. Failure to have
preparations ready will indicate inability to solve musical problems, disinterest, or
both. Consistent non-preparation will effect the grade and possibly the student’s
right to remain in the program. Students are responsible for finding and paying
their own accompanist. It is the responsibility of each student taking voice lessons
to make their own private arrangements with an accompanist to be available for
their lessons.
• It is imperative that all students in the Musical Theatre program see their advisor
for confirmation of their curriculum before any registration or pre-registration
occurs.
• There will be a $10.00 per credit hour education service fee charged to students
each semester that they are enrolled in Individual Performance in voice.
Individual Performance in Theatre (THEA 100) or IP
It is required that in addition to performance, the Musical Theatre major will take four
semesters of Individual Performance in Theatre (technical work only). This will involve a
specific number of hours of technical work on a production(s) during the semester in
which the student is registered. It is strongly recommended that a student not take THEA
100 during a semester in which the student is involved in a production as a performer. It
is possible that the Musical Theatre student could take additional THEA 110 credits, if
the student auditions and is cast in a play production. This course would be considered as
an elective and in addition to the technical IP crew requirements. THEA 149 enrollment
will also fulfill the THEA 100 requirement for Musical Theatre students.
Page 157 of 183
(Sample Resume – Musical Theatre)
Name
Phone number
Email address
Height: 5’5”
Weight: 130
Hair: Brown
Eyes: Brown
Voice: Alto
THEATRE
Master Class
Gypsy
Anything Goes
Hamlet
Lovers
Annie
Sophie
Ensemble
Reno Sweeney
Ophelia
Mag
Mrs. Hannigan
Little Theatre of the Rockies
Little Theatre of the Rockies
University of Northern Colorado
Soapbox Productions / UNC
Hometown Community Theatre
City High School
David Grapes
John Leonard
John Leonard
Susan Jones
Joe Smith
Janet Johnson
TRAINING
* Acting: Tom McNally and Ken Womble. Workshops with Lucy Peacock and Steve Eastin
* Voice: Matthew Herrick, Shelly Gaza, and Susan Voiceteacher
* Movement: Andrea Moon. Workshops with Bill Bowers and Deb McWaters.
* Dance: 3 years Ballet (Christy O’Connell-Black), 2 years Modern (Monte Black), 1 year
Tap (John Leonard), 2 years Hip-Hop (Joe Danceteacher)
* Open Jar Institute – summer 2016 (Joanna Gleason, Jeff Whiting, Susan Strohman, James
Gray)
AWARDS
Irene Ryan nomination for Reno Sweenet, 2015
SPECIAL SKILLS
Dialects: English (R.P.), Irish, American Southern, American Standard.
Juggling, fluent in Spanish and French, proficient in violin and guitar.
EDUCATION
B.A. Musical Theatre – expected graduation May 2017
Page 158 of 183
Musical Theatre Assessment Rubric
0 points
1 point
2 points
3 points
4 points
Total
Acting
Intention:
Object,
objective,
obstacle, tactic,
result
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Character:
Inner life,
empathy
quotient,
personalization,
believability,
relationship
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Preparation and
Performance:
memorization,
motivation,
energy,
projection, stage
movement,
articulation,
variety
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Singing
Quality:
vocal health,
clarity of points
and words,
appropriate
placement of
sound, support
breathing
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Musicianship:
Intonation,
rhythm,
phrasing,
communication
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Stage Presence:
Poise, charisma,
animation,
Categories
not visible,
all areas
Categories
visible, but
poorly done.
Categories of
average
quality- most
Categories
well done,
most areas
Exceptional
work, all
categories
Page 159 of 183
energy
absent or
incorrect
Some areas
acceptable
areas covered
adequately
covered well
superbly
handled
Dance
Mechanics:
alignment,
center,
appropriate
rotation of legs,
extension,
flexibility,
strength
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Preparation and
Performance:
memory,
coordination or
arms &legs,
skill in genre,
transitions &
continuity,
acting while
dancing, stage
presence
Categories
not visible,
all areas
absent or
incorrect
Categories
visible, but
poorly done.
Some areas
acceptable
Categories of
average
quality- most
areas covered
adequately
Categories
well done,
most areas
covered well
Exceptional
work, all
categories
superbly
handled
Page 160 of 183
Acting
• Intention: Character motivation and choices
• Object: Point of focus, where actor’s eyes are focused, usually on significant other
• Objective: What character wants
• Obstacle: What is in the way of the character obtaining their objective
• Tactic: How the character goes about getting what they are after
• Result: The win or loss of the objective
• Character: Who am I?
• Inner Life: What has the past lie been and what is going on now as a result?
• Empathy Quotient: Root for factor, do you feel for and with the character?
• Personalization: Substitution of actor’s past or present life used to energize the
emotional core and make his or her relationships organic
• Believability: The moment-to-moment appearance of truth in the motivation of
lines and actions
• Relationship: Clarity of characters connections to the significant other or others in
their world. What do they want and from whom? What are the conditions?
• Preparations & Performance: Rehearsal and performance
• Memorization: Accuracy of lines and security of actions
• Motivation: Visible reasons for what character says and does; this is visible via
“triggers that lead to action”.
• Energy and Projection: Externalized actions stemming from inner urgency and
ease of hearing line delivery.
• Stage Presence: Charisma and command of the stage in performance.
• Stage Movement: Character walk, use of center, and character shape; also
business related activity.
• Articulation: Clarity of word pronunciation.
• Variety: Variance of pitch, volume, and timbre producing levels and energies that
are diverse and layered.
Acting Assessment Requirements – Musical Theatre Majors
Freshman
Sophomore
Junior
Senior
Point of focus (object)
Point of focus (object)
Point of focus (object)
Point of focus (object)
Point of concentration
(objective)
Point of concentration
(objective)
Point of concentration
(objective)
Point of concentration (objective)
Discern the obstacle
Discern the obstacle
Discern the obstacle
Discern the obstacle
Determine the game
plan/tactic
Determine the game
plan/tactic
Determine the game
plan/tactic
Determine the game plan/tactic
Win or loss (result)
Win or loss (result)
Win or loss (result)
Win or loss (result)
Inner life commitment
Inner life commitment
Inner life commitment
Inner life commitment
Empathy quotient
Empathy quotient
Empathy quotient
Empathy quotient
Believability
Believability
Believability
Believability
Assessment:
Support
Support
Support
Contemporary (Late
19
th
/early 20
th
century)
Projection
Projection
Projection
Page 161 of 183
Monologue, straight play
Placement
Placement
Placement
Articulation
Articulation
Articulation
Gestures
Gestures
Gestures
Character physicalitzation
Character physicalitzation
Character physicalitzation
Moment to moment
believability
Moment to moment
believability
Moment to moment believability
Assessment:
Defense of character
Defense of character
Monologue and song from
musical
Adv. Material e.g. Sondheim,
Bernstein
Role study
Relationship dynamics
Relationship dynamics
Assessment:
Overall Musical Theatre techniques
Researched presentation –
defend a character
Assessment:
Duet: Scene and Song
Audition package & role study
Preparation for entry into
professional market
Assessment judged on professional
merit
Classical (comic and serious)
Contemporary (comic and serious)
Classical MT ballad, up tempo
Patter song, contemporary up tempo
ballad
Solo, 1 scene partner
Audition Package including pieces
listed above and headshot &resume
Page 162 of 183
Vocal
• Quality: Overall pleasantness of the sound of the singing voice including vibrato,
timbre, and lack of tension in the sound.
• Vocal Health: Overall condition of the voice including a consistent closure of the
vocal folds producing a point to the sound, a lack of ambient air, and a general
lack of hoarseness, excessive mucus, strep, or frequent sore throats.
• Clarity and Point of Words: The words are well projected and easily understood
and the sound is solid and the actor doesn’t devoice the words.
• Appropriateness & Placement of Sound: The appropriate use of vocal styles for
the character. E.G. Belt for “Evita,” legit (classical) for “Phantom of the Opera.”
Forward placement in belt, mix, and legit.
• Support: Use of abs, gluds, lower back, obliques, and air pressure to produce &
project the singing.
• Breathing: Low breathing centered in elongation and complete filling of the lungs
using the diaphragm. The ribs stay open and excess air is jettisoned on held notes
and ends of phrases to allow a new and complete air load for the incoming new
phrase.
• Musicianship: Skill at manipulating singing technique.
• Intonation: Accuracy of pitch.
• Rhythm: Accuracy of note duration and syncopation.
• Phrasing: Control of where singer breathes in relation to punctuation and logical
meaning of sung lines.
• Communication: The meaning and acting intention of the sung lines are clear. The
words make sense as a unit as opposed to words being sung without purpose.
• Stage Presence: Performer commands attention and lights up the stage.
• Poise: Posture, alignment, and smoothness of movement in performance.
• Charisma: Personality, magnetism, and energetic vitality that fills the space and
draws the audience to the character.
• Animation: Physicality, facial expression and appropriate gestures that bring the
character vividly to life.
• Energy: Physical vitality that captivates the audience and electrifies the moment.
Vocal Assessment Requirements
Freshman
Sophomore
Junior
Seniors
Voice Quality:
basic vocal health,
pleasantness of
sound, potential
for vocal growth,
clarity, strength,
timbre
Voice Quality: basic
vocal health,
pleasantness of sound,
potential for vocal
growth, clarity,
strength, timbre
Voice Quality: basic
vocal health,
pleasantness of sound,
potential for vocal
growth, clarity,
strength, timbre
Voice Quality:
basic vocal
health,
pleasantness of
sound, potential
for vocal growth,
clarity, strength,
timbre
Diction:
pronunciation,
articulation,
Diction:
pronunciation,
articulation, energy,
Diction:
pronunciation,
articulation, energy,
Diction:
pronunciation,
articulation,
Page 163 of 183
energy, resonance
resonance
resonance
energy,
resonance
Musicianship:
intonation, rhythm,
phrasing,
accuracy, ability to
communicate
intent of song to
audience
Musicianship:
intonation, rhythm,
phrasing, accuracy,
ability to communicate
intent of song to
audience
Musicianship:
intonation, rhythm,
phrasing, accuracy,
ability to communicate
intent of song to
audience
Musicianship:
intonation,
rhythm,
phrasing,
accuracy, ability
to communicate
intent of song to
audience
Stage Presence:
charisma, poise,
expressions,
movement,
presentation
Stage Presence:
charisma, poise,
expressions,
movement,
presentation
Stage Presence:
charisma, poise,
expressions,
movement,
presentation
Stage Presence:
charisma, poise,
expressions,
movement,
presentation
Art Song
Assessment:
Musical
Theatre/Opera Aria
Assessment
Musical Theatre
(more complex
material)
Senior
Practicum
Student should
demonstrate ability
to adequately
perform one
selection from the
British/American
art song repertoire.
Student should
demonstrate ability to
adequately perform
one selection from
traditional musical
theatre (e.g.
Rodgers/Hammerstein,
Gershwin, etc.) and
one opera aria at an
easy/moderate
difficulty level.
(Consult voice teacher
for recommendation).
Student should
demonstrate ability to
adequately perform
two selections from
more
contemporary/complex
musical theatre
repertoire (e.g.
Sondheim, Bernstein,
or pop/rock
selections).
Consult advisor
and/or handbook
for requirements.
Page 164 of 183
Dance
• Mechanics: Physical qualities of the body and movement related to dance.
• Alignment: Appropriate centering and position of torso and limbs including
opening of the vertebrae and adjustment of the head over the shoulders, pelvis
centered, and chest lifted with shoulders down.
• Center: The maintaining of balance over the center of gravity in turns and
movement.
• Appropriate Rotation of the Legs: Turn out in ballet and parallel for jazz dance.
• Extension: The height of the lift on the kicks or leg lifts with develop,
• Flexibility: The body’s stretch and flexion or bendability.
• Strength: The physical prowess of the dancer and the assertiveness of the steps
and line.
• Preparation and Performance: Rehearsal and performance.
• Memory: Accurate reproduction of assigned choreography combinations.
• Coordination of Arms and Legs: The handling of arm and leg movement
appropriate to the set choreography.
• Skill in Genre: Performance and technique abilities in the basic forms of ballet,
jazz or tap.
• Transitions and Continuity: The line fluidity evident between dance pictures that
make the dance steps and pictures link into a smooth flow.
• Acting while Dancing: Facial and body expressions and gesticulation reflective of
internal connection to the dance content. These expressions and internal
motivations must be physicalized.
• Stage Presence: Charisma and personality that “take stage” and create empathy
and investment of caring by the audience.
Dance Assessment Requirements
Freshman
Sophomore
Junior
Senior
Preparation and finishing of
exercises
Preparation and finishing of
exercises
Preparation and finishing of
exercises
Preparation and finishing of
exercises
Proper alignment
Proper alignment
Proper alignment
Proper alignment
Use of center
Use of center
Use of center
Use of center
Appropriate rotation of legs
Appropriate rotation of legs
Appropriate rotation of legs
Appropriate rotation of legs
Use of feet
Use of feet
Use of feet
Use of feet
Extension and line
Extension and line
Extension and line
Extension and line
Rhythmic
accuracy/Musicality
Rhythmic
accuracy/Musicality
Rhythmic
accuracy/Musicality
Rhythmic
accuracy/Musicality
Strength/speed/flexibility
Strength/speed/flexibility
Strength/speed/flexibility
Strength/speed/flexibility
Memory of exercise
Memory of exercise
Memory of exercise
Memory of exercise
Transitions/continuity
Transitions/continuity
Transitions/continuity
Transitions/continuity
Coordination of arms and legs
Coordination of arms and legs
Coordination of arms and legs
Coordination of arms and legs
Projection of personality in
character to the dance
combination
Projection of personality in
character to the dance
combination
Projection of personality in
character to the dance
combination
Projection of personality in
character to the dance
combination
Page 165 of 183
Assessment:
Ballet Assessment
Jazz Assessment
Tap Assessment
Ballet, Jazz, and Tap
Assessment
Barre:
Various jazz walks
Flap
All previous material graded
in the first three years
Grande plie in 2
nd
and 5th
Grand plies center
Triple time step
Additional work in Ballet:
Simple tendu from 1
st
and 5
th
Isolations
Buffalos
Grand jete en tournant
Ronde de Jamb
Lay out
Cramp rolls
Entrechat Quatre (8 in a row)
Developes
Table top arabesque
Pull backs
Double turns en de hors
Grands Battements
Tilt in 2
nd
Essence (soft shoe)
Good single en de dans
Adagio
Slow contraction standing
Backward essence
Promenade and penche/1
st
arabesque
Grand plie 5
th
center
Slow contraction on floor
Maxifold
Additional work in Jazz:
Retire devant
Jazz splits
Flee Hops
Double turns parallel
Develop to 1
st
arabesque
Jazz Grande battlement and
fan kick
Falling off the log
Axel turns
Small jumps:
Turn:
Toe snaps
Switch leaps
1
st
, 2
nd
, 5
th
, echappe sauté
Pas de Bourree
Cramp rolls
Petit Allegro:
Pencil turn
Glissade
Parallel turns from 4
th
Jete
Other steps
Assemble
Jete in 2
nd
Balone
Barrel turns
Pas de chat
Step ball change
Turns”
Single en de hors (right and
left)
Pique turn de dans (right and
left)
Across floor:
Chasse sauté 1
st
arabesque
Grande jete
Page 166 of 183
Dance
Dance Program Standards and Policies
The following policies and standards must be adhered to in all UNC dance classes:
• Attendance and Tardiness
o Each non-excused absence will result in a lowering of one’s grade in the
class. Consult individual professors on their policies regarding excused
and non-excused absences as well as observation days/
o Each tardy counts for one third of an absence. A total of three tardies
(arriving more than 5 minutes late for class) will result in one absence.
o A student arriving more than 10 minutes late to class may only join with
the consent of the instructor and may be asked to sit out.
o No talking in class. Dance classes are for physical expression not verbal
expression unless requested by the professor.
o No gum, food, or drink (other than water) allowed in class.
• Dress code – Ballet Classes:
o Women: black leotard, pink tights and shows, hair in a bun
o Men: black or grey tights, plain white form-fitting t-shirts, black ballet
slippers or white ballet slippers with short white socks
• All other dance classes:
o Leotard and tights or unitards or tight fitting jazz pants. Men may weary
tight fitting t-shirts/
o Not allowed: sweats, shorts (other than short tights), loose cloths of any
sort.
• Shoes: All dancers must wear proper footwear for the technique they are studying.
Absolutely NO street shows in any dance studio!
• Hair: Ballet – hair must be in a bun
• Other dance classes – hair must be back or up
o Absolutely NO loose hair around the face or neck
• No jewelry other than small post earrings, rings, and watches. No jewelry at all in
classes that involve partnering.
• Complaints against instructor: Students must address the professor concerned
before bringing complaints to any other professor.
• Respect and honor yourself, instructor, and your colleagues.
Page 167 of 183
Dance Assessments: Ballet
Name__________________________
BALLET Skill Test Check Sheet
BARREWORK 55 points
Preparation and finishing
of exercises
Proper alignment/Use of center Proper
epaulement Coordination of arms/legs/body
Memory of exercise
Technical accuracy Transitions/continuity
Accuracy of arm & body
positions/poses
Aplomb
Strength/speed/flexibi1Ity Musicality
TOTALS
ADAGIO 40 points
Preparation and finishing
of combination
Memory of combination Accuracy
of arm &body
positions/poses & proper
epaulement
Technical accuracy
Control/strength
Transitions/continuity Aplomb
Musicality
TOTALS
PETIT ALLEGRO 40 points
Preparation and finishing
of combination
Memory of combination Accuracy
of arm & body
positions/poses & proper
epaulement
Technical accuracy
Quickness/lightness
Transitions/continuity
Aplomb
Musicality
TOTALS
Excellent
5 points
Good
4 points
Average
3 points
Fair
2 points
Poor
1 point
:
v
Grand
Total
Grand
Total
Grand
Total
Page 168 of 183
Name_____________________________
GRAND ALLEGRO 40 points
Preparation and finishing
of combination
Memory of combination Accuracy
of arm and body
positions/poses & proper
epaulement
Technical accuracy
Turn accuracy
Transitions/continuity Aplomb
Musicality
TOTALS
PORT DE BRAS 40 points
Preparation and finishing
of combination
Memory of combination Accuracy
of arm& body
positions/poses & proper
epau1ement
Technical accuracy
Proper body coordination
Transitions/continuity Aplomb
Musicality
TOTALS
BODY FACINGS 40 points
Preparation and finishing
of combination
Memory of combination Accuracy
of arm & body
positions/poses & proper
epaulement
Technical accuracy
Proper body coordination
Transitions/continuity Aplomb
Musicality
TOTALS
SUM OF ALL TOTALS
AVERAGE OF ALL TOTALS
GRADE
COMMENTS:
Excellent
5 points
Good
4 points
Average
3 points
Fair
2 points
Poor
1 point
Grand
Tptal
- ■
Grand
Total
Totall
Grand
Tptal
Page 169 of 183
INTERMEDIATE JAZZ DANCE
Skill Test Midterm and Final
TECHNICAL
10%
Excellent Good Average Fair Poor
5 pts 4 pts 3 pts 2 pts 1 pt
1. Use of technique (center/
alignment, balance, breathing, toes pointed,
etc.)
2. Memory of combination
3. Movement Accuracy (level,
direction, shape, footwork, and patterning,
weight placement, arms)
4. Rhythmic Accuracy/Musicality
TOTAL
S PERFORMANCE 10%
1. Eye contact with audience and projection of
movement
2. Projection of personal enjoyment (Gets the
audience involved in dancer's personal
enjoyment of the dance.)
3. Projection of personality in
character to the dance
combination
4. Ability to continue if make a
mistake
TOTALS
TEXTURING OF MOVEMENT 5%
1. Transitions/Continuity/ Fluidity of
movement
2. Appropriate energy used
throughout
combination
TOTALS
■
Grand
Total
|
- . * ■
Grand
Total
TOTAL POINTS_________
GRADE_________
Grand
Total
Page 170 of 183
Modern Skill Test:
Technique
2 points
1 point 0 points
Alignment, front
Alignment, side
Gravity
Balance
Balance/Compensation
Energy flow
Breathing
Tension/relaxation
Breathing/aliveness
Accuracy
Performance
Projection
Relationship to music
Eye focus/contact (1 pt. only)
Grand
Total
TOTALS
Page 171 of 183
Study
Student Assessment Form - 100 possible points
Name of person being evaluated
COMPOSITION
Coherence w/compositional problem
/appropriate style
Performance - technical skill level Performance -
concentration/
involvement
Preparation
Use of new movement
Dance form/structure - development
of ideas
Use of space (direction/ level,
size-dimension, planes, pathways,
focus, staging)
Use of shape design
Use of time/timing/phrasing
(low and high points)
Use of energy/dynamics/weight Use of
repetition
Use of symmetry and asymmetry
Transitions
Use of graining technique
Use of stasis (active stillness)
Use of breath
Variation/Contrast of ideas Unity of
choreography Artistic Impact
TOTALS
COMMENTS:
Excellent
5
Good
4
Average
3
Fair
2
Poor
1
Grand
Total
Name of Evaluator*•Student evaluator names will be removed before giving back to performer.
Page 172 of 183
Performance Evaluation
5
4
3
2
1
1.
Movement memory
2.
Technical accuracy (center,
alignment, use of feet, arms from back,
etc)
3.
Accuracy of movement (level, direction,
shape, footwork, weight placement, etc.)
4
.
Kinesthetic awareness
5.
Sense of space (defining space around
body)
6.
Projection of movement
7.
Energy flow (transitions)
8.
Eye contact
9.
Relationship to music
(pulse)
-
10.
Musicality, rhythm
(phrasing)
11.
Communicating quality, intent,
feeling
12.
Synthesis with other dancers (awareness
of them)
13.
Physical appearance
Grand
Total
TOTALS
Page 173 of 183
Teaching Experiences Evaluation
• 4 pts. 1. Command of class
o Has control, but not dictatorial.
o Views all students.
o Circulates in dance space when appropriate
• 4 pts. 2. Demonstration of movement
o Clarity with respect to desired result.
o Step by step building from simple to more
complex.
• 4 pts. 3. Description of movement/cuing the class
o Uses cue words such as right, left, up, down.
o Gives images and other descriptions when
appropriate, especially during corrections.
• 3 pts. 4. Use of voice/sound
o Projection of voice.
o Keeping pulse/underlying beat when appropriate by counting, clapping,
etc.
Page 174 of 183
Safety
Theatre Safety
Scene Shop/Stage General Safety Regulations:
For rules and safety regulations specific to each shop area, see the faculty or staff
personnel in charge of that area.
Weapon Prop Policy
Anyone transporting props that resemble guns, knives, or any weapon, must notify
campus police. There are no exceptions to this policy. University Police must be
contacted at 351-2245. Notification must include who is transporting the prop, when and
where the prop is being taken, and a detailed description of the prop. Any questions can
be directed to the theatre office at 351-2991 or the campus police at 351-2245. This
policy is for everyone’s safety.
Fire Rules and Regulations
• Fire Occurrence
o Every employee is responsible for knowing the location of the nearest fire
alarm pull box, fire extinguisher, and exit from his/her work area and/or
classroom. In the event of a fire, immediately activate the nearest fire
alarm and call 911 to notify University Police of the emergency.
• Building Evacuation
o Faculty are responsible for evacuating students when alarm sounds. Upon
hearing the fire alarm, faculty and assigned administrators will take
necessary action to clear the building of all occupants. Evacuate quickly
and orderly by the way of the nearest exit to a safe distance
(approximately 100 feet).
o Do NOT use the elevators. If a door feels warm to the touch, do NOT
open that door. If there is heavy smoke, stay as close to the floor as
possible and breathe through a piece of clothing.
o Keep clear of emergency vehicles. Stay with the group from your area or
with your class. Do NOT re-enter the building until the all-clear signal has
been given.
• When to Use Fire Extinguishers
o After the fire alarm has been sounded, call University Police. If the fire is
small and/or isolated, you may use the wall mounted fire extinguishers.
o DO NOT USE WATER ON ANY FIRE!!!
• Evacuation of the Campus
o If it is necessary to evacuate the campus in a vehicle, and if the road is
usable, exit in directions given by announcement through University
Police, Environmental Safety Personnel, University Administrators, or
Page 175 of 183
other law enforcement officers. Do not put your vehicle in a position
where it blocks the way for others. Some vehicles may be selected for
emergency transportation, please cooperate if yours is chosen. If the road
is not usable, leave your vehicle and evacuate on foot.
• Evacuation for Disabled Persons
o An assigned building administrator should designate a faculty/staff
member who will be assigned as an assistant for evacuation of disabled
person(s).
o Safe Rooms: a safe room is simply any room with a door and telephone
that is far removed from the fire or the impending hazard. The disabled
person and assistant should enter the safe room and dial 911 or 2245 for
University Police Department emergencies. The disabled person or
assistant will tell the dispatcher that a disabled person needs emergency
evacuation. The caller will give the disabled person’s name, the assistant’s
name, that he/she needs emergency evacuation, the nature of the disability,
the name of the building, and the room number.
o The assistant or caller will advise the University Police Department that
the assistant is leaving the safe room immediately after UPD has been
given all the information and will proceed directly out of the building,
ensuring the door to the room is closed.
o If the telephone is not working, the assistant should proceed immediately
to another telephone (leaving the disabled person alone in the safe room)
and make the call elsewhere or tell the emergency personnel the required
information as soon as they arrive on the scene.
General Directions for All Emergencies
This information is designated to provide general guidance in the event of an emergency.
The procedures outlined, together with common sense, are intended to prevent injury to
persons and to reduce campus damage.
• The primary focus is placed on how to handle emergencies during the normal
campus workday in addition to Saturday, Sunday, and evening class hours.
• Please keep this information in a convenient location, and review the procedures
periodically.
• The first thing in any emergency is to take care of yourself. When you know you
are safe, follow the steps outlined to promote the general safety and well-being of
others. Evacuate the building in response to all alarms, follow the instructions of
Environmental Safety, University Police personnel, campus Administrators, and
local police/fire personnel.
• Remain calm – think before you act. Leave phones free for use by those in charge.
In all instances, a summons for help should be sought.
• Call the University Police Dispatch: 911, Immediate Emergency, or all other calls
2245. Emergency Telephones are located at various points on campus. Clearly
give your name, location, phone extension, and describe the problem. The
operator will contact the appropriate Public/Safety/Security Personnel.
Page 176 of 183
Bomb Threat
All bomb threats must be considered real until proven otherwise. The most important
element in a bomb threat situation is communication. Obtain as much information from
the caller as possible.
Keep calm and ask the following questions:
• When will the bomb go off?
• What is the location of the bomb?
• What type of bomb is it?
• What does it look like?
• Why are you doing this?
• Where are you calling from?
• Make note of:
o Exact time of call
o Exact words used
o Sound of voice – male, female, child, slow, rapid, accent, loud, excited,
angry, etc.
o Any background noises
Immediately after the call, notify the University Police, 911. DO NOT USE PAGING
DEVICES OR RADIOS: University Police Personnel will determine whether evacuation
is necessary and will give directions accordingly.
Equipment Explosion/Chemical Spill
Call the University Police (911). The University Police will make the appropriate
response; e.g. Life/Safety Coordinator or Greeley Fire Department. If evacuation of the
building is necessary, activate the nearest fire alarm.
Blizzard/Heavy Snow Warning
Snow conditions will be monitored by Facility Services and the University Police
Department. The decision to close the University is made by the President, and the
homepage of the UNC website will post such announcements.
Tornado and Severe Weather
If a tornado warning is issued (a tornado has actually been sighted), move quickly, but in
an orderly fashion (do not run) to the lowest floor or to the interior hallway of the middle
floor). Do NOT use the elevators. Avoid the gymnasium and window areas. Crouch down
on the floor and cover your head with your arms. DO NOT leave the campus in your
vehicle or on foot. If a sever weather warning is issued, remain in the building and await
further instructions.
Health/Personal Injury
• Emergency:
o Call University Police 911 or use Emergency Telephone
Page 177 of 183
• Non-emergency:
o University Police X-2245, Environmental Safety X-1979, 350-1095
(pager) X-2446.
o Keep calm and provide the following:
§ Where you are
§ Nature of problem
§ Who you are and the phone number from where you are calling
§ What type of assistance is needed (ambulance, fire department,
police, plumbers, electricians)
§ If the situation or location changes, reconnect the appropriate
number.
o What do you do until help arrives:
§ Do not move the victim unless they are in further danger of injury
§ If you or someone else is trained in first aid, remember A,B,C’s
o A – Airway – open/maintain
o B – Bleeding – control with direct pressure
o C – Circulation – Cardio Pulmonary Resuscitation
§ Keep victim calm and reassure them that help is on the way
§ Have someone meet the emergency responders to guide them to
the exact location
§ Do not put yourself or others in jeopardy to assist or rescue a
victim of injury if a hazard still exists
• Report all accidents or injuries to your department supervisor. Workers
Compensation injuries must be reported to both your department supervisor and
the University Personnel Office. University Police will complete a report of
accident or injury if required.
Power Failure
There are emergency lights throughout the building. If a power failure occurs in your
area, call University Police – 911 or 351-2245, and wait for further instructions. Turn off
all electrical equipment, computer, lights, fan, coffee pot, copy machine, typewriter, etc.).
*Elevators: If the elevator stops because of a power failure, remain calm. Do not
attempt to operate the elevator or open the doors. Use Emergency call Box located
inside the elevator and advise University Police of location and name. Assigned
personnel will respond to the elevator to assist with your safe evacuation as
quickly as possible.
Emergency Telephone Numbers
First call 911 or 351-2245, give your full name, location, phone number, and type of
assistance needed.
Ambulance
911
Counseling Center
970-351-2496
Dean of Students
970-351-2796
Page 178 of 183
Greeley Fire
970-350-9600
Greeley Police
970-350-9600
Hospital
970-352-4121
Health Center
970-351-2412
Poison Control
970-350-6250
Rape Crisis
970-352-7273
Service Center
970-351-2446
UNC Campus Operator
0
UNC Environmental Safety or Digital Pager
970-350-1095
University Police Dispatch
970-351-2245
Woman’s Place
970-356-2412
Student Safety
Personal Safety
Violent crimes are an unfortunate reality in the United States, and college campuses are
not immune. Thousands of people make safe trips across campus every day. However,
occasionally an incident takes place in which a student or campus visitor doesn’t make
that trip safely. How can you decrease your chances of becoming a victim? Consider the
following suggestions for your day-to-day activity.
• Alcohol:
o Alcohol is no stranger on college campuses. Some students look to alcohol
to avoid difficult situations or uncomfortable feelings. Social pressures at
school can be intense. But alcohol doesn’t give anyone self-confidence,
and drinking can easily become a crutch. Also, feeling anxious about
making and keeping friends can lead students t drink even if they don’t
want to. But who wants to be a part of a crowd that makes it hard to be
yourself? Alcohol can lead a person to say or do something that he or she
will regret. For example, a person who has been drinking is more likely to
make a bad decision about whether to have sex. Also, people under the
influence of alcohol are more open to hazards with the law, and their life.
o Ideas to sop someone from drinking and driving:
§ Drive the person home whom has had a large amount of alcohol.
§ Designate a driver who will not drink that night so everyone can
make it home safely.
§ Take their keys and let them stay the night where it will be a safe
environment.
o If you are attending a function serving alcohol:
§ Consider not drinking
§ If you are drinking, do it responsibly.
§ Pay attention to what is going on with your friends. Don’t leave a
friend behind.
§ Avoid becoming isolated or going home with people you don’t
know.
Page 179 of 183
• Stalking:
o Regardless of the situation, stalking is a serious crime. If you believe you
are being stalked, let someone know. Report the incident to the police and
provide all of the information you have to date about the situation. You
may also want to consider obtaining a restraining order. There are usually
available through courts. Don’t discount the situation and ignore the “red
flags”. Trust your judgment, if the situation doesn’t feel right, try to get to
a public place where there are other people around.
o If you feel you are being followed:
• Cross the street or change direction.
• Keep looking back so the person knows you cannot be surprised.
• Go to a well-lit area. Examples are stores, a house, a residence hall,
or the library.
• Remember as much as you can about the person so you can give a
good description.
• Lock car doors once in a vehicle.
• Try to find someone who can help such as a police officer, friend,
or store clerk.
• Attacks:
o Tips on avoiding attacks:
• Go with someone. There’s safety in numbers.
• Stay away from isolated areas.
• Protect your valuables by keeping them close to your body.
• Don’t carry any large amounts of cash.
UNC Alcohol and Drug Policy
STUDENT RESPONSIBILITIES
1) All UNC students are required to abide by University policies, as well as local,
state, and federal regulations regarding alcohol and other drugs. A link outlining
such laws is provided below.
2) The use, possession, consumption, distribution, or presence of alcohol is
prohibited for persons under the age of 21 at all times in all University Residence
Halls.
3) The possession, use, and/or distribution of illegal drugs, including prescription
medications that are not prescribed by a medical provider, is prohibited. The use
of marijuana on campus, even with a valid medical marijuana license, is
prohibited.
Violation of The Drug and Alcohol Policy will result in judicial sanctions, which
may result in suspension or expulsion.
Personal Property, Security, and Assaults
Page 180 of 183
Be alert to what’s going on around you. If you witness a fight, assault, burglary, etc.,
don’t try to be a hero. Make as much noise as possible to attract the attention of others.
Immediately call the University Police at 911 or 970-351-2245. Consider using the
official UNC Escort if you are walking on or near campus after dark. Telephone 351-
2245 (University Police Dispatch) for this service.
• Trespassing (prowlers, intruders, anti-social behavior, etc.):
Get a good description. Try to have a witness who can also give descriptions.
Report the incident to University Police, 911 or 351-2245 immediately.
• Suspicion of Theft or Damage (vandalism, burglary, etc.):
Keep valuables out of view. Get in the habit of locking your valuables in a file
cabinet or desk drawer. Do not try to detain the suspect. Get a good description
and as many witnesses as possible. Immediately report to the University Police,
911 or 351-2245.
• Report All Unusual Incidents:
Call the University Police – immediate threat 911, or non-immediate threat 351-
2245. Remember the police cannot help if they aren’t notified of a potential
problem. Be cautious and call if in doubt.
• Without a doubt, prevention is your best protection against crime. If you suspect
something is wrong, or a situation seems dangerous, you might be right. Don’t
dismiss suspicious people, cars, or situations. Report them to the police
immediately. Try to make friends in the neighborhood, and finally, keep
emergency numbers handy. Keep a list near the phone and in a wallet or purse.
Sexual Misconduct
Sexual misconduct (including sexual harassment and sexual assault) is not simply
inappropriate behavior; it is against the law. Students who engage in sexual misconduct
against other students violate Title IX of the 1972 Education Amendments, which
protects against sex discrimination in the educational setting. The University of Northern
Colorado prohibits and will not tolerate sexual misconduct or discrimination that violates
federal or state law, or the University's antidiscrimination policy and grievance
procedure.
When UNC learns of sexual misconduct, immediate and appropriate action will be taken
to determine what has occurred. Steps will be taken to end sexual misconduct, prevent its
recurrence, and address its effects on campus, whether or not the sexual misconduct is the
subject of a criminal investigation. Likewise, the University will not tolerate any form of
retaliation against any student or employee for reporting discrimination or assisting in the
investigation of a complaint.
To ensure that UNC does everything possible to assist survivors and stop sexual
misconduct in our community, UNC employees are required to report information they
receive to the Title IX Coordinator. There are confidential resources available for
students to seek support without filing a report.
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Resources
University of Northern Colorado
ASAP, 351-1490, offers confidential services to UNC survivors of sexual assault,
intimate partner violence, and stalking; their friends, family, and concerned others.
University Counseling Center, 351-2496. Counseling for students is free. Individual and
couples therapy, groups and seminars are available. The Counseling Center is located in
Cassidy Hall.
UNC Student Health Center, 351-2412. Medical clinic providing services to UNC
students at low cost, including testing and preventative treatment for STD's & pregnancy.
Dean of Students, 970-351-2796. The purpose of the Dean of Students Office is to
enhance and recognize student learning and personal responsibility through:
1 Resolving student issues which may include consultation with faculty and staff;
2 Serving as an information and referral center for the campus community;
3 Coordinating a student recognition and awards program for academic and leadership
achievement; and
4 Holding students accountable who have exhibited conduct incompatible with the
academic mission of the University.
Greeley, Colorado
The Sexual Assault Victim Advocate Center (SAVA), Hotline: 970-472-4200, Office:
970-506-4059.
Women Incested Needing Group Support (WINGS), 1-800-373-8671. Peer support group
for survivors of childhood sexual abuse.
A Woman's Place, Inc., Crisis Line 970- 356-4226, Business Office 970 - 351-0476.
Services for battered women, including safe housing, crisis counseling, support and
advocacy.
North Colorado Medical Center, 1801 16th St., 352-4121. Community hospital with 24
hour emergency care, rape kit procedures, preventive care for STDs and pregnancy.
North Range Behavioral Health, 1306 11th Ave., 347-2120. Community mental health
center providing individual, family, and group therapy on a sliding scale.
Bystander Intervention
How many times have you been at a party or with a small group of friends and witnessed
something that made you feel uneasy? Maybe it was a man pressuring a woman to leave
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with him. Perhaps it was someone spiking another person's drink. Or maybe you saw a
friend slap his date. What would you do?
You might be thinking, "that's none of my business." You may feel like to say something
would mean "sticking your nose in someone else's business."
If you stay silent, you are part of the problem.
Sexual assault or violence rarely happens in a room full of people. But warning signs or
red flags that a situation is about to become abusive are often noticed by others. Stepping
in to find out what's going on could prevent a sexual assault or an abusive situation.
This doesn't mean that you have to get in a fight. It could be as simple as interrupting the
situation (asking "where's the bathroom" could provide an opportunity for someone who
is feeling cornered to slip away) or checking in with the person you're concerned about. It
could mean telling a friend that you don't like the way they are acting, or it could mean
calling the police.
The point is, if you see an abusive or potentially abusive situation DO SOMETHING!
It could change the course of someone's life forever.
The Internet and Social Media
Forms
Many of the forms mentioned and/or included in the STAD Student Handbook can be
found on the Forms page of the STAD website: http://arts.unco.edu/theatre/forms-
information/
Social Media
Be sure to “like” the School of Theatre Arts and Dance (STAD) and Little Theatre of the
Rockies (LTR) Facebook pages, and follow the STAD and LTR Twitter and Intstragram
feeds. All are updated regularly with important school and production information.
Protect your reputation!
As a pre-professional theatre artist, it is vitally important that you maintain a mature and
professional online presence. Almost every hiring producer, director, and manager today
will search a potential employee’s social media accounts before making a final decision
on whether or not to hire that person.
Also remember that the overall reputation of the School of Theatre Arts and Dance
reflects on each of us as individuals. NEVER post unflattering or derogatory photos or
information (this includes pictures or references to “partying”) about yourself or any of
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your UNC colleagues and classmates. We must work together to protect and uphold not
only our individual reputations, but that of our entire School.
Life After UNC
Employment
When it comes to steady employment, the profession you have selected is precarious at
best. Of the 100% membership in the Actors Equity Association (AEA), less than 30%
had a job in theatre last year! The employment picture does brighten some for those in
technical theatre and theatre education. In any case, theatre artists cannot rely on talent
alone - they must know how to aggressively sell themselves. This is not a business for the
timid. You must have a talent for finding and even creating opportunities for yourself.
For performance majors, in your senior year, you will take a course in Audition
Techniques. This course will teach you how to write resumes, prepare rep company or
grad school auditions, how to seek out agents, how to do voice over and on camera
commercial text acting, and how to select the correct photographers to represent your
brand/type. One thing that is clear, the more that you can do and the more that you are
willing to try, the better chance you have for success!
Some students approach their careers like this:
Major Job
Student A Theatre Arts Acting Only
Sometimes those students get lucky.
Other graduates approach their careers like this:
Major
Job
Student B
Theatre Arts
Directing (starting your own company)
Commercials (on camera)
Teaching
Children’s Theatre
Webisodes
Theatre Publicity
Theatre Researcher
Box Office
Sets/Costumes/Lights
Becoming an Agent
Graduate School
College Teaching
Obviously, Student B has a much higher possibility for employment than Student A.
See your Advisor for a list of possible jobs and careers in your field or area of interest.
