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Guidelines

Expectations

Policies

MUSICAL

THEATER

HANDBOOK

2016/17

_______________________________

Name

Revised 8/16

NESA MT

2016/17 SEASON:

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“Imagination is more important than knowledge.”

— Albert Einstein

Dear MT Students and Parents: Please study this information carefully and review it often.

A major goal of NESA’s MT program is to train our students to adopt a disciplined and professional approach to their work. These guidelines and rules belong not just to NESA, but are representative of expectations of performers in the real world — in com-munity, academic and professional settings. These expectations are not limited to performance careers. Professional behavior – reliability, preparation, respect and dedication – is a constant for success in any field.

Expectations and Policies

Participation in the NESA program is a privilege to be maintained through exceptional behavior. At NESA, all NEISD rules are in effect at all times, as detailed in the Student/Parent Handbook. The Student/Parent Handbook is posted for review and download via either the Student or Parent buttons on the NEISD website, www.neisd.net. Parents and students should also review the Student Code of Conduct, which is linked to the Student Parent/Handbook page. Students who violate the Student Code of Con-duct are subjected to serious consequences established by the Lee HS administration and NEISD’s board of review. Adherence to the following rules and expectations is a qualification for participa-tion in the Musical Theater program. Students who are unable to follow these guidelines may be subject to dismissal from production work; severe violations may result in exclusion of those students from future productions, as well as their ultimate release from NESA and return to their home campus. Also remember that the Texas Education Agency requires students to be passing all non-honors or Advanced Placement courses in order to participate in our pro-ductions. Grades are checked every 3 weeks. Parents are strongly encouraged to utilize the Parent Portal on-line system, to stay aware of their child’s grades.

“It is not because things are difficult that we do not dare;

it is because we do not dare that they are difficult.”

— Seneca

“If people only knew how hard I work to gain my mastery,

it wouldn't seem so wonderful at all.”

— Michelangelo

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CONTENTS:

Page 4 Professional vs Unprofessional Behavior 5 NESA Comes First: Commitment, Dedication 6 Be On Time: Reliability, Discipline 7 Attendance 8 Ensemble 9 Absences 10 - 12 The Callboard; Rehearsal Techniques and Procedures 13 Training/Guests 14 Notes/Punctuality/Performance Calls 15 Crew/Props 16 - 18 Costume Fees & Procedures 19 Tech/Dress/Performance/Backstage Procedures 20 Faculty Contact info 21 Acting Class & Rehearsal Dress Code 22 Mandatory Attendance Events 23 Play Reading Lists 24 Actor Viewing Lists 25 Libretto/MT Library Agreement (Print, sign and turn in) 26 Reading/Viewing Assignment Form (Print and use for acting classes) 27 Rehearsal Absence Form (Print when needed) 28 Handbook Student/Parent Signature Page (Print, sign, and turn in)

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—PROFESSIONAL BEHAVIOR—

YOU must contribute to keeping NESA

a safe and humane environment.

If you feel you are disrespected, bullied, or treated inappropriately,

or if you observe that behavior happening to another person,

speak to a teacher or administrator about it.

To remain silent is to allow it to happen.

We all must help each other to succeed.

Consists of self-control, maturity and open-mindedness

Is what’s expected in the “real” world

Repects other people’s bodies and space (“Keep your hands to yourself!”)

Always considers the consequences of your actions

Takes responsibility for your actions/behavior

Reflects positively on the group/art/organization you represent

Recognizes the difference between public and private behavior

Leaves your personal life outside the workplace

Contributes to an environment of trust and safety

Is considerate of other people’s boundaries

Is productive

Treats younger and older students with respect

Is careful of what you put into words

Respects everyone and excludes no one

Is CIVIL and DIGNIFIED

Brings personal needs/problems into public situations

Hugs/touches constantly and is always sitting/lying on someone’s lap

Always on your cellphone

Excludes/ostracizes others (a form of bullying)

Is disengaged—talking, vulgar, competing with the work for attention

Acts as if your behavior doesn’t affect others

Horseplay & Foul Language

Tarnishes the reputation of a program or entity due to the consequences of

careless/reckless actions

Inappropriate pictures

Cyber-bullying

Bossiness

Disrespects younger/older students/stage management

—UNPROFESSIONAL BEHAVIOR—

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NESA COMES FIRST—Commitment, Dedication

You are attending NESA’s Musical Theater program in order to experience a highly specialized, intensive education in acting, singing, and dance. You want to be surrounded by peers who share your passion and dedication; you expect a

lot from NESA, and NESA expects a lot from you.

Performance, rehearsal, and attendance at NESA events is your top extra-curricular priority. Do not audition for theater, commercial, or film work that will conflict with NESA production work, showcases, or events. Conflicts due to out-side performances, rehearsals, or filming IS NOT TOLERATED. During the school year, you are required to dedicate your performance time to NESA. Let’s be clear here: If Steven Spielberg calls, tell him you can’t do it during the school year. (No joke)

“Hard work beats talent when talent doesn’t work.”

— observed on a t-shirt at Zio’s

MT students achieve success through hard work. All MTs have talent, otherwise they wouldn’t be here. But talent isn’t enough: if you want to achieve your full potential over your time at NESA, during college, in your career, and throughout your LIFE, then you need to WORK HARD. Want to be successful? If yes, then now is the time to learn to work with determination and focus; if no, then NESA is not the place for you. AT NESA WE WANT YOU TO SUCCEED. We want you to be a successful student and a successful person. We want you to graduate from high school and go to college. Some of you will pursue musical theater beyond NESA; some of you won’t. Musical Theater, however, will prepare you well for your next step. As an expression of what it means to be human, drama and music offer ways of know-ing the world that encompass not just the arts, but history, culture, and the so-cial sciences. Musical Theater education teaches life skills that will enhance your study of any academic discipline.

“I’m not a talented actor. I’m a focused actor”

— William Hurt

Weeping

Spielberg

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BE ON TIME – Reliability, Discipline

School ends at 4:05 p.m. Rehearsal begins at 4:15 p.m. Choreography sessions begin immediately after the end of school. You must be ready to begin rehearsal on time. You cannot stroll into rehearsal at its start time and be mentally and physically prepared to work. Always plan to arrive ten to fifteen minutes early. Repeated tardiness (2 times in the course of a rehearsal schedule) demonstrates a lack of responsibility and dedication. Ex-cessive tardiness (3 times in the course of a rehearsal schedule) will be treated in the same manner as absences.

Arrive early to rehearsal and use that time to prepare for the day’s scheduled

work. Change into appropriate rehearsal clothing. Warm up your body and

voice. Study your lines/music. Review choreography/blocking. Look over di-

rector notes, your own character notes – and get your imagination back into the

world of the play in time to rehearse again. Focus.

Socializing with friends is not considered a warm-up. Hanging out and chatting about your day does not prepare you for rehearsal. If you wait until 4:20 p.m. to enter the rehearsal space because you’ve been socializing in the hall, you are holding everyone back.

It takes everyone called for rehearsal to create a positive, creative energy in the space; it takes only one person to destroy that energy.

“You are what you DO, not what you SAY.”

— Rolfe Tinsdale

Are you on time? Are you prepared because you study your material at home? Do you show respect for others? Do you bring positive energy to your work? Do you listen? Do you support your peers in their work?

Once you enter the rehearsal space—whether it’s room 512, the Vocal Ped room, the Dance Studio, or the stage—you are working on that day’s rehearsal.

“To be early is to be on time. To be on time is to be late.”

Ancient MT Mantra

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Beyond the Rehearsal Space/Classroom/School: Be careful of language, photos and content on your Facebook, Twitter, YouTube, and Instagram pages. Do not put anything on them you don’t want read or discovered by teachers and administrators.

ATTENDANCE – Dependability, Dedication, Discipline

Do I have to attend every rehearsal? You must attend all rehearsals during which your scenes/songs/dances are scheduled, including Tech Rehearsals and Dress Rehearsals. How do I know which scenes I’m in? SCHEDULES and SCENE-BREAKDOWNS (a list of who appears in what scenes) are distributed and reviewed on the first day of rehearsal. These documents are also available on the rehearsal web site. Once these documents are made availa-ble to you, there is no excuse for not knowing when you are needed at rehearsal. But do I need to be at rehearsals even if I only have a small part?

“There are no small parts, only small actors.”

-– Stanislavski

Or are you late? Often absent? Were you at school earlier, but now no one knows where you are? Talking to others when you should be listening? Hanging out with your boy/girl-friend instead of getting to rehearsal? Texting? Gossiping? Complaining? Always quick with an excuse for why you aren’t prepared?

“Action talks and foolishness walks.”

— paraphrasing David Mamet

ANYONE can SAY he/she is dedicated, serious, committed, blahblahblahblah

SHOW us you are.

HEAR YE, HEAR YE! COLLEGES and

BUSINESSES now employ people

to review social network sites in response to

your applications. In short, your

on-line postings can get you REJECTED

from college and job applications!

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en●sem●ble \än-'säm-bəl\(n):

n [F, fr. ensemble together, fr. L insimul at the same time, fr. in- + simul at the same time] (1750) : a group producing a single effect; (ca. 1911) emphasizing the roles of all performers as a whole rather than a star performance ‹~ acting›

— Merriam Webster

What if there were only twelve people in “Masquerade”? What if Dracula had no “brides” to appear in Jonathan Harker’s room…? What if there where no fairies with Titania? What would Les Misérables be like without beggars? What if there was nobody to eat the meat pies in Sweeney Todd?

CONFLICTS:

You are asked to list rehearsal conflicts on your season audition form. Sit down with a parent, review your family calendar, and make a specific list of anything that you are aware of that will conflict with our rehearsal schedule(s).

Understand that family trips, voice/dance lessons, work schedules, and just “bad days” in gen-eral are not acceptable for your absence from a rehearsal.

Try to schedule doctor/dentist appointments on days when you are not called for rehearsal.

Every performer and crew member is vital to a production’s success. Never think of your role as “small.” This implies that the role is unimportant, and, therefore, that your work is unimportant. You may have less time on stage when compared to some other cast members, but if you are not present to perform your part—if you don’t invest your character with imagination, energy and spirit—then our production will come crashing down at your entrance. Our success depends on everyone: on the entire ENSEMBLE.

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ONLY THE DIRECTOR(S) CAN APPROVE YOUR ABSENCE FROM A REHEARSAL.

PLANNED ABSENCES: Defined as an absence for which the director(s) have given prior approval. These should be noted under Conflicts on your audition form.

a Fill out a Rehearsal Absence Form, available from the stage manager. Both you and a parent sign the form and turn it in to the Director.

b If your absence is approved, a copy of the form will be returned to you, while another copy goes to the Stage Manager. You must turn in your Rehearsal Absence Form at least one week in advance of the absence.

c We will allow 2 planned absences per show rehearsal calendar, depending on the conflict. If you need to have 3 absences on days you are scheduled to re-hearse, your understudy will be given one performance on the date of their choice. If you need more than 3 planned absences, you will become the un-derstudy.

EMERGENCY ABSENCES: Please both call and e-mail the director(s) as soon as possible during the day so that preparation can be made for your absence. It is difficult to rehearse scenes without all actors and technicians present. Mr. Connelly’s cell # is 210-860-2630; Mrs. Bry-ant’s cell # is 325-864-9172. DO NOT contact a friend to pass on your info to the direc-tor(s). If you are SICK, stay home and get well. We do not want you coming to school and getting worse — or getting us sick!

UNEXCUSED ABSENCES: Defined as any absence without prior notification being given to the directors. The first infraction will receive a warning and the second will result in your removal from the show. THE EXCUSE “I DIDN’T KNOW WE HAD REHEARSAL” IS NEVER AC-CEPTABLE. “I COULDN’T STAY BECAUSE I DIDN’T HAVE A RIDE HOME AFTER RE-HEARSAL” IS NEVER ACCEPTABLE.

AFTER SCHOOL TUTORING: Tutoring with a teacher or a NESA Nerd is always an acceptable reason to be late to rehearsal. Your grades are important! However, you are still responsible for notifying the director in advance about your tutoring needs on a specific day. (Failure to do so may result in an unexcused absence.) Note that if grade problems require you to at-tend many tutoring sessions and therefore miss a lot of rehearsal time, your role may be altered at the discretion of the directors.

ABSENCES

"Every child is an artist. The problem is

how to remain an artist once we grow up."

— Pablo Picasso

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Production Communication Procedures The most difficult thing confronting any organization is communication. In a theatre production, clear communication between the directors and the company is vital.

The Callboard — is the place where important information regarding the day-to-day business of the production is post-

ed. The Callboard is located outside of Room 512.

1 Try to check the callboard at least twice a day—when you get to school and at the end of

the day. Rehearsal updates will also be sent out via the MT Facebook page.

2 Important notices may also appear posted outside the Vocal Ped room and in the dance studio. If a notice is posted at any of these locations, you are responsible for reading it.

3 The directors, assistant director, and stage manager are the only people authorized to

post notices for a production on the callboard.

4 Never post/remove an item to/from the callboard without specific permission from a

teacher. 5 Always sign in with the stage manager in charge of attendance at each rehearsal so that

roll can be checked quickly and effectively.

Each rehearsal’s “Sign In” sheet is the official attendance document for that day.

Basic Rehearsal Techniques and Procedures

Scripts/Librettos

1 Keep your script/libretto with you at all times during the rehearsal period. 2 Put your name in your script in pencil. Do not use ink to mark it. Write in pencil and

make any necessary changes as rehearsal progresses. Always bring a pencil to rehearsal. 3 All blocking and stage business should be marked in your script as it is given to you. 4 Take thorough notes on anything told to you by the directors, assistant director, or stage

manager concerning your performance. 5 You are responsible for all librettos/scripts/sides/music given to you for rehearsal. If you

lose rented materials, you must pay for them. Lost librettos will generally cost you (that is, your parents) at least $30.

6 Plan to turn in your libretto on the day of the final performance.

“Acting has to do with saying it as if you meant it, so

for me the words are always very important. It's very

important for me to know my lines, know them so

well that I don't have to think about them.”

— Christopher Walken

“Luck is where opportunity meets preparation.”

— Denzel Washington

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Memorization

“No truly creative work can occur in rehearsal until the actor knows her lines/music/lyrics so well that she never

has to think about them as she plays.” — Silas Farnum

When you are reading from your script or thinking about your lines, you are “in your head.” You can-

not be creative “in your head.” Your mind is analytical, critical, and self-conscious. When you are “in your head,” you think about yourself, and you will often criticize what you are doing:

“I’m singing so flat!” “My dancing sucks!” “OMG, I’m such a terrible actor!” Some of us learn lines/music/choreography very quickly. Most of us, however, need to work hard at it. Here are some techniques and guidelines about memorization.

Learn the lines as written. NEVER give yourself the freedom to paraphrase.

Set aside at least an hour a day to work on your script.

Drill, baby, drill. A common mistake you will make is that you will think you know the lines once you’ve reviewed the scene a few times successfully. You initially hold the lines in your short term memory. They can often fade without constant review. It takes time and repetition to move those lines to your long term memory.

.

When you forget a line in rehearsal, simply stay in the moment and call "Line" in charac-ter. The stage manager should not feed you your line until you ask for it.

Being "off book" means that you have memorized your lines and can proceed through a scene without the help of the script. After you are off book, continue to review your script and have someone run lines with you at least once a day.

ALWAYS bring your script to rehearsals and throughout the performances.

Rehearsal Etiquette

Treat all company members – cast, crew and directors – with courtesy and respect. The words ‘please’ and ‘thank you’ can go a long, long way.

Complete and utilize your character preparation. Do your assigned research. This is your responsibility.

Be Quiet! Absolute silence must prevail in the rehearsal room and backstage during per-formance, except where communication is necessary to expedite work.

Respect the authority of the Stage Management and assistant director(s). When your peers are in these positions, they have authority over you. Help them do their jobs by lis-tening to them and obeying their directions.

Once your mind absorbs your text, however,

then your intuition, your creativity, and your

imagination are released. That’s when

you feel good!

( This voice is called your “inner critic,” and he/she is NOT your friend!)

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Any free time you may have during rehearsals should be used to learn lines, learn music, and to complete homework.

SNACKS: you are encouraged to bring a healthy snack to eat prior to rehearsal. Howev-er…

… Eating and/or drinking in the rehearsal space or the theater is not permitted. This in-cludes gum! Bottled water IS permissible and encouraged. Rehearsal meals provided by pARTners will be served in the cafeteria or the Auditorium lobby.

Videotaping and/or photography are not allowed during rehearsals or production without prior approval from the director(s).

Vulgar language and/or behavior during the rehearsal process or backstage during re-hearsals, performances, and classroom time will not be tolerated. (See “Professional Behavior,” p. 3.)

Leave personal problems/issues at the door. Keep the drama on the stage.

Do not offer “suggestions” to, argue with, or prompt other actors.

Do not distract actors who are waiting for an entrance.

Do not talk backstage during rehearsal or performance unless it concerns the welfare of the production.

Be ready for your entrance. This is your responsibility during rehearsals and perfor-mances.

Do not hang out in the wings. Only performers preparing for entrances should be imme-diately offstage.

Overt physical affection to another cast or crew member backstage is

inappropriate. NO P.D.A. (See “Professional Behavior,” p. 4)

Dating someone in the cast? Keep it OUT of rehearsals/ performances.

Clean up after yourself. Take clothes, shoes, backpacks with you. After rehearsal, help clean up, even if it is not your mess.

Never leave the rehearsal space or the theatre until you have been released by a director, assistant director, or stage manager. Only these people have the authority to release you.

A FEW WORDS ABOUT OUR FRIEND, MR. CELL PHONE:

CELL PHONES shall be set to silent and left in your bag/cubbie/locker. Texting, checking e-mail, surfing the web on smart phones, etc., is not appropriate during re-hearsals or performances. If you have a special situation where you need to check your phone during a rehearsal, get permission from the director(s). Students observed using their cell phones during rehearsal or performance time will be required to hand over their phones to Stage Management at the beginning of rehearsal/performance calls.

And don’t use our stage wall as a charging station.

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To keep the body in good health is a duty…Otherwise we

shall not be able to keep our mind strong and clear.

— Buddha

The Company Responsibilities

TRAINING Theatre is a strenuous and athletic art form. It requires complete concentration and great stami-na. Please check attitudes and egos at the door. In addition:

Eat three good meals a day. Bring a healthy snack to eat before rehearsal.

Stay hydrated – drink LOTS of water. Always have water with you at rehearsals.

Get as much sleep as possible. Good health is essential to good performance.

Take care of your voice. (This means that you have to be attentive to how you are using it outside of rehearsal as well as during rehearsal.) If you feel vocal strain in rehearsal, tell the directors immediately.

Try to get to rehearsals at least 10 minutes early. You will need the time to get ready physically, vocally, and mentally to rehearse.

Always allow yourself enough prep time for an adequate warm-up.

Take care of things at home. This includes family. They will see you less often and they may not understand the stress and added workload encountered with a produc-tion. Tell them things that are going on at rehearsal that you might have never experi-enced doing some other activity. Tell them about the show, what you are learning about yourself and others, the production’s cultural context, and how you think the show is progressing.

GUESTS IN THE THEATER

Only cast, crew, designers and directors are allowed to attend rehearsals. Parents are not allowed at rehearsals unless they are working on the production (costume moms, for example).

Unauthorized people are NOT permitted backstage. Authorized people are those that are members of a particular production in progress or those who have obtained per-mission by the directors.

No company member is allowed to receive guests at the theatre except after a re-hearsal or performance has ended.

Guests may not be anywhere backstage before, during, or after a performance.

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PERFORMANCE NOTES:

You may receive notes in person, by e-mail, or as a post-ing on the callboard after each rehearsal or before the next performance.

When you get the notes, go over them carefully. WRITE THEM DOWN in your character journal and apply them to your performance the next day. The only way for this to work is to go home the same evening and spend a few minutes going over your notes. If you show up at rehears-al the following day never having reviewed your notes from the previous rehearsal, you will hold everyone in the company back and keep the production from progressing.

Keep all your notes together and go over them again each day just prior to your rehearsal to be sure you incorporate the suggestions in your performance.

PUNCTUALITY

Rehearsals and crew calls begin exactly at the time indicated on the callboard.

A call of "Places" means that all performers and crew involved in a particular scene must be ready to perform. Stop what you are doing immediately and take your place back-stage.

It is best to arrive at the rehearsal hall AT LEAST ten minutes prior to a call. It is mandato-ry that you are ready to work on time. (Is this sinking in yet?)

PERFORMANCE CALLS

Be at the theatre promptly at the designated time or you will be considered "absent" from the call.

Make adequate planning for arriving at the theater for call time on non-school days. Do not walk in while everyone is warming up on stage.

There will be a sign-in sheet on the callboard. You must sign yourself in. No one should sign in for you and you should not sign in for someone else.

The sign-in sheet is removed by stage management when warm-ups begin. If you are not signed in, you will be assigned clean-up duty at the Stage Management’s discretion.

If you are late for Performance Call more than two times, your MT performance class grades will be affected, as will your casting consideration in future shows.

“Reputation, reputation, reputation! O, I have lost my rep-

utation! I have lost the immortal part of myself, and what

remains is bestial. My reputation, Iago, my reputation!”

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RELATIONSHIP WITH THE CREW AND EQUIPMENT

During a scene shift, an actor should completely exit the stage space unless he is involved in the change or about to make an immediate entrance.

Never touch a piece of lighting, sound, or stage equipment unless assigned to do so.

Restricted areas include: the tech booth, the di-rectors’ tables/desks, costume and prop storage and closets, the fly rail, the cat walk, and the stage manager's area. At no time are you allowed to enter these areas without permission.

REHEARSAL PROPS As you read your script, note where you need props. The script may indicate a prop, or you may have an idea about how a certain prop would work for you in the scene.

Add your own rehearsal props as soon as you are off book and your hands are free to use the props. Use these props every rehearsal until performance props are provided.

If you cannot find a rehearsal prop, substitute one of your own devising rather than going onstage during rehearsal without one.

Treat rehearsal props with as much care as you would performance props. Never touch props that are not assigned to you.

Always keep rehearsal props on the prop table when not in use.

NEVER TOUCH A WEAPON unless assigned to do so.

PERFORMANCE PROPS

Never touch a prop unless you are the character assigned to use that prop.

Always return your props to their assigned spot on the backstage prop table as soon as you leave the stage.

Never sit on stage furniture back stage.

Report broken props to the stage manager and/or prop master immediately. If you don't tell someone, it won't get fixed.

NEVER TOUCH A WEAPON unless assigned to do so.

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REHEARSAL COSTUMES

If a rehearsal costume is issued to you or you are asked to provide it, you will be ex-pected to wear it every time you are called for rehearsal until it is replaced by your perfor-mance costume.

Wear appropriate clothing and shoes to rehearsal. Your clothing should not restrict your movement. Rehearsal clothing should also adhere to the MT dress code, unless permis-sion is given in regard to character costuming.

Wear shoes and clothing to rehearsal that will be similar to that which you will be wearing in the performance. Your own personal research into time period will aid you in making rehearsal clothing choices.

Your arrival time should include time to put on your rehearsal costume. If you need time to put a costume on, you should arrive early so that you may start rehearsal on time.

COSTUME PROCEDURES

COSTUME FEES: Students pay a costume fee for each production, to help ensure that we maintain a consistent level of quality in our production costuming. Fees vary, depending on each show’s costume ex-penses, as well as the role being performed. (For instance, principle roles with several costumes will likely require a higher fee than ensemble roles with one or two costumes.) Note that dance shoes, hosiery, wig caps, bobby/hair pins, undergarments and all personal makeup is the responsibility of the student. Specialized make-up materials and facial hair pieces will be provided by NESA and may be in-cluded in the costume fee, depending on show needs. 2016/17 MT Season Costume Fees:

PHANTOM OF THE OPERA:

Principals & Principle Dancers: $200 Costume Fee Featured ensemble members: $100 Costume Fee Cast Members without Rentals: $80 Costume Fee

FORBIDDEN BROADWAY:

$80 Principals; $50 Ensemble

Costume Fee payments are due one month from the start of rehearsals. For example, PHANTOM begins rehearsals on August 22, so the Fee payment for performers is due September 22.

AIDA:

Principals: $100 Costume Fee All other cast members: $80 Costume Fee

“For me, clothes are kind of character.”

— Meryl Streep

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COSTUME CALLS

A call for a costume fitting is as important and urgent as a rehearsal call. DO NOT MISS COSTUME FITTINGS.

If you miss measurements or fittings, your costume cannot be made or ordered.

Use the fitting to help you determine what sorts of rehearsal costumes you may need to help you simulate your performance costume. The costume designer may have some-thing you may use until your performance costume is ready.

Discuss with the designer and directors costume items that you may need to work with…swords, pockets, purses, handkerchiefs, etc.

GENERAL COSTUME REMINDERS

Once you are cast, your "look" is an important part of your costume and is not to be al-tered without prior permission from the directors. Performers may not alter their person-al, everyday "look" without prior permission from the directors and costume designer. Altering includes, but is not limited to: shaving, growing, cutting or dyeing hair and/or facial hair.

NEVER complain about the color or style of the costume. Great effort has been

made to make the actor look the best for the character being portrayed.

Piercings that are visible once you are in costume must be REMOVED for the perfor-mance.

Please take a shower before getting into costume.

Please use soap, deodorant, and antiperspirant.

Do not wear perfume or scented hairspray while in your costume. (Other students may be allergic to these substances.)

“Actresses can get outrageously precious about the way they look.

That's not what life's about. If you starve yourself to the point where

your brain cells shrivel, you will never do good work. And if you're overly

conscious of your arms flapping in the wind, how can you look the other

actor in the eye to respond to them?” — Cate Blanchett

About Glasses: It's an established practice in theater that, when doing a play set in another time period, actors with glasses should not use them, un-less the style of frame is appropriate for that era. Ideally, wearing glasses on stage should be a character choice - necessary because the character needs to have them.

Why is it an established expectation that actors with glasses would do this? To support the sense of period "reality" being created on stage with the sets, costumes, music and content of the play. The play's producers/directors don't want anything on stage to break the illusion of reality being created for the audience. Plus, the audience wants to see your eyes. Glasses obscure the eyes, as stage light reflects off the lenses. And her eyes are one of the most important aspects the actor has to share her performance.

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Leave valuables at home or locked in your car. Do not leave valuables in the dressing areas. NESA is not responsible for items that disappear backstage. Leave cameras, mp3 players, videogames, -- in fact, ANYTHING of value that can suddenly disappear -- AT HOME. (We say this from experience.)

Apply make-up BEFORE putting on your costume.

If your costume goes on over your head, ask someone to help you by putting a cloth over your head to protect your make-up and costume.

Men: Unless you are required to grow a beard for the production, be sure you shave be-fore applying make-up.

NEVER restyle wigs and/or hair pieces unless trained to do so. This should be done by the costume crew.

When you are wearing your costume, do not eat or drink anything other than water.

Be careful where you sit; be careful what you lean on.

Before leaving the dressing area, check yourself for any item that your character would not be wearing (i.e. watches, jewelry, wallets, etc.).

Please do not touch anyone else's costume or accessories (hats, fans, canes, purses, gloves, etc.) This will help avoid confusion and loss.

Obtain your costume only from the crew member in charge of checking out costumes.

Remove your make-up AFTER you have removed your costume.

You must check your costume in EVERY NIGHT. You are not dismissed until you have checked out with crew members in charge of costumes.

Please return costumes neatly hung on hangers by your name tag. If the garment is too heavy for one hanger, hang it on several. Be sure to include all items that may be in use as part of your costume in your accessory bag. Costumes left on the floor will result in a $5.00 fine for the person who left the costume on the floor. The excuse “I hung it up be-fore I left” is unacceptable.

Please wait patiently while items are checked in by the costume crew.

If your costume needs repair or adjustment, tell the stage manager and costume crew, AND write your needs on the costume repair sheet.

Items worn as costumes never leave the theatre during the dress rehearsal and perfor-mances, even if it is the own property of the actor.

An actor should never be seen in costume or make up by audience members prior to a performance.

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During the technical/dress rehearsal period, it will be necessary to have the complete co-operation of the entire production company.

The director(s) and stage manager will conduct the these rehearsals/performances. They may cut from scene to scene (cue to cue), depending upon the needs of the designers, directors, and crew.

Anyone may stop a rehearsal if she/he feels that she/he is being put into an unsafe posi-tion.

Remain attentive and do not engage in unnecessary conversation.

At no time should the actors question the authority of the stage manager and crew mem-bers. Even if you disagree with a procedure, comply with the directions given to you. The only exception to this is if you feel a situation is unsafe.

Never change the production of the show once it has been set in final dress rehearsal. It is the duty of every company member to maintain the production as rehearsed through-out each and every performance. Nothing is to be changed or modified without prior ap-proval of the directors.

Notes will continue to be given by the directors up through the final performance.

All performers and crew members are required to attend strike after the final Sunday mat-inee.

BACKSTAGE PROCEDURES

Performers shall not enter the dressing rooms/changing areas of the opposite sex.

Keep your make-up area clean.

Do not borrow other people’s make-up materials without asking.

Keep noise levels to a minimum. There should be NO talking in the wings or the shop ar-ea during a performance.

Only actors preparing for an entrance are allowed in the wings.

If you can see the audience, the audience can see you!

Costume changes should be made in designated areas and never in full view of the cast..

Respect the back-stage parent volunteers.

Report disrespectful and/or unprofessional behavior to the stage manager or a teacher. If you do not help solve a problem, you become part of the problem.

Review the “Professional Behavior” page at the beginning of this hand-book and apply all points there to your backstage behavior.

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NESA CONTACTS

NESA Office: 210 - 356 - 1033 NESA Box Office: 210 - 356 - 1036 NESA Website: www.neisd.net/nesa/

MUSICAL THEATER:

Jordan Bryant—Voice

Cell: 325-864-9172 E-mail: jbryan@neisd.net David Connelly—Acting

Cell: 210-860-2630 E-mail: dconne@neisd.net DANCE:

Dena Mabry E-mail: dmabry@neisd.net Carolyn Gresham E-mail: cgresh@neisd.net TECHNICAL THEATER: Mark Ayers E-mail: mayers@neisd.net FACEBOOK ADDRESS: NESA MT on Facebook

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MT Acting & Rehearsal Dress Code

In addition to NEISD dress code:

Shirts - comfortable, loose fitting shirts with crew necks – no v-necks or low cut (read cleavage) tops.

Shirts must be long enough to cover your midriff while stretching and rolling down:

Pants – jeans, trousers or sweat pants that allow freedom of movement. No shorts, dresses, leggings or skirts:

Good MT!! Good MT!! BAD MT!! BAD MT!!

Shoes – No sandals, heels, flip-flops or boots. Sneakers and jazz shoes are fine. For your own safety,

wear shoes that protect & support your feet:

Good MT! Good MT! BAD MT!! BAD MT!! NAUGHTY MT!!!

Character/period appropriate clothes and shoes are always encouraged for scene-

monologue- production rehearsals & performances!!

Always wear the appropriate dance shoes and attire for choreography sessions.

Wear this

during acting

class/

rehearsals

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2016/17 MT Mandatory Attendance Events

August 10/11 Season Auditions Theater August 15 Phantom Dance Audition Theater August 16—18 Season Call-Backs 512 November 3 - 13 PHANTOM OF THE OPERA Theater December 13 Acting 4 Showcase, 4:30 & 7 pm 512 January 12 Audition Showcase, 7 pm 512 Feb. 23—26 AIDA Theater March 2 Acting 1 Showcase, 4:30 & 7 pm 512 March 9 Acting 2 Showcase, 4:30 & 7 pm 512 March 23 Acting 3 Showcase, 4:30 & 7 pm 512 April 20—23 Footnotes Theater May 11—14 FORBIDDEN BROADWAY Theater May 23 Senior Recital, 7 pm Theater May 24 Freshman Recital, 4:30 & 7 pm 512

You will be either performing in, or attending, all of these events. (If attending, you’ll only need to go to one performance, of course.)

Your performances and attendance are all part of your grade.

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Freshmen Romeo & Juliet A Midsummer Night’s Dream The Odd Couple (Simon) Our Town (Wilder) Death of a Salesman (Miller) The Heidi Chronicles (Wasserstein) Ah, Wilderness (O’Neill) Crimes of the Heart (Henley) Harvey (Chase) You Can’t Take It With You (Kaufman/Hart) A Raisin in the Sun (Hansberry) The Crucible (Miller) The Glass Menagerie (Williams) Sophomore The Three Sisters (Chekhov) The Seagull (Chekhov) Hedda Gabler (Ibsen) The Hairy Ape (O’Neill) A Doll House (Ibsen) The Stronger (Strindberg) Miss Julie (Strindberg) A Streetcar Named Desire (Williams) Cat on a Hot Tin Roof (Williams) The Importance of Being Earnest (Wilder) Zoo Story (Albee) True West (Shepard) Pygmalion (Shaw) Major Barbara (Shaw)

Junior Shakespeare Moliere Sophocles Euripides Aeschylus Cyrano de Bergerac (Rostand)

Senior Beckett Harold Pinter Sam Shepard August Wilson David Mamet Sarah Ruhl Annie Baker The Bald Soprano (Ionesco) Rhinoceros (Ionesco) The Three Penny Opera (Brecht) Mother Courage (Brecht) Beyond Therapy (Durang) Who’s Afraid of Virginia Woolf? (Albee) Long Day’s Journey into Night (O’Neill) Top Girls (Churchill) Angels in America (2 plays) (Kuschner) Dutchman (Jones) How I Learned to Drive (Vogel) Topdog/Underdog (Parks) Proof (Auburn) August: Osage County (Letts)

MT Reading Lists - One Play each 3 weeks

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Freshmen/Acting 1 Clark Gable Katharine Hepburn James Stewart Ingrid Bergman James Cagney Bette Davis Spencer Tracy Olivia de Havilland Humphrey Bogart Judy Garland Cary Grant Greta Garbo Henry Fonda Vivien Leigh Gary Cooper Barbara Stanwick Charlie Chaplin Jean Arthur Buster Keaton Mary Pickford Douglas Fairbanks Lillian Gish Lon Chaney Marlene Dietrich John Wayne Rosalind Russell The Marx Bros. Clara Bow Charles Laughton Joan Crawford Sophomores/Acting 2 Marlon Brando Marilyn Monroe Montgomery Clift Elizabeth Taylor James Dean Joanne Woodward Burt Lancaster Deborah Kerr Gregory Peck Doris Day Peter O’Toole Julie Andrews Sidney Poitier Jane Fonda Peter Sellers Audrey Hepburn William Holden Grace Kelly Alec Guinness Anne Bancroft Jack Lemmon Julie Christie George C. Scott Judy Holliday Albert Finney Shirley MacLaine Paul Newman Glenda Jackson

Juniors/Acting 3* Laurence Olivier Mrs. Patrick Campbell John Giegud Sarah Bernhardt Kenneth Branagh Peggy Ashcroft Edwin Booth Judi Dench John Barrymore Helen Mirren David Garrick Vanessa Redgrave Richard Burton Sarah Siddons Derek Jacobi Ellen Terry Edmund Kean Edith Evans Ian McKellen Maggie Smith Paul Scofield Vanessa Redgrave Herbert Beerbohm Tree Kevin Kline Richard Burbage Mark Rylance Henry Irving

*Acting 3 students will watch films of Shakespeare plays. These actors are people you will research later in the year.

Seniors/Acting 4 Jack Nicholson Ellen Burstyn Woody Allen Diane Keaton Robert Duvall Faye Dunaway Robert De Niro Meryl Streep Al Pacino Sissy Spacek Daniel Day Lewis Holly Hunter Sean Penn Emma Thompson Gene Hackman Frances McDormand Dustin Hoffman Helen Mirren Anthony Hopkins Kate Winslet Chadwick Boseman Jodie Foster Russell Crowe Viola Davis Denzel Washington Dianne Wiest

Cate Blanchett Forrest Whitaker Penelope Cruz Michael B Jordan Tilda Swinton Morgan Freeman Melissa Leo Christian Bale Octavia Spencer Don Cheadle Charlize Theron Tom Hanks Hillary Swank Heath Ledger Julianne Moore Javier Bardem Angela Bassett

Actor Viewing List—One Film Each Three Weeks

You may check out a dvd from the MT library, or view a film via an on-line streaming service. If you choose to do the latter,

you MUST get my permission first for your film choice.

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MT Script/Libretto/Video Library Agreement The NESA MT program provides a large script and video library for the benefit of our majors. The purpose of this agreement is to ensure that the undersigned student and parent commit to upholding the value of this educational resource. This agreement ensures that NESA students who check out plays, music, librettos and/or videos from the MT library will return said items in a timely manner or pay NESA for the cost of replacing lost or damaged texts/videos. The student and parent signing below agree that they guarantee the return of any plays, textbooks and/or videos to Mr. Connelly. Should the student damage or lose a library item, he/she will pay NESA the item’s replacement cost, including shipping charges (if applicable). The student and parent should understand that failure to replace missing MT library items will affect a student’s ability to return to NESA, as well as a senior’s ability to par-ticipate in the graduation ceremony. Students who are unable to use these materials responsibly will lose their ability to borrow scripts and videos, and will therefore need to rent items elsewhere at their own expense. Additionally, students who receive rented librettos as cast members of our pro-ductions must return said items on the day of the final performance, or pay NESA the appropriate replacement cost of this item (refer to the MT Handbook).

__________________________ __________________________ Student Name (Print) Parent/Guardian Name (Print)

__________________________ __________________________

Student Signature Parent/Guardian Signature

For Junior and Senior parents: The vast majority of the MT video library is unrated “classic” films. Some films on the Senior and Junior MT viewing list have an “R” rating. These films have generally re-ceived this rating due to mature content (language and/or violence). We do not view films that are exploitative. Some of the most important film performances of the past thirty years have occurred in “R” rated films: The Godfather, Dog Day Afternoon, Erin Brockovich and Monster are a few examples. Only films pertinent to the student’s artistic growth are included on the MT viewing list and video library. Can this student check out videos rated “R” in the MT video library? (Please circle one) NO YES: ____________________________ Parent/Guardian Signature

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Film: Performer:

Action: To _______________

Scene Objective: To ________________

Obstacle: ____________________

Analysis Moment illustrated below:

MT Viewing/Reading Assignment

Due Date: Name:

Play: Character:

Favorite Scene:

Why?

Super-Objective: To _________________ Scene Objective: To ________________

Scene Obstacle: _____________________

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REHEARSAL ABSENCE FORM

Name: Date of Absence:

Reason for Absence

CIRCLE ONE:

Doctor’s Appointment (Please provide SM with Dr’s note upon return) Tutoring (Please provide SM with Teacher’s note upon return) Illness/Family Emergency (Please provide parent note for Mr. Connelly, or have a parent call Mr. C at 860-2630 if that is preferable) OTHER: Student Signature: Parent Signature: Director/Faculty Authorization Excused Unexcused Students should NEVER attend rehearsal if ill. We want you home at rest, and we DON’T want you getting US sick! If you miss school due to illness, do NOT come to rehearsal! Students with unexcused absences from rehearsal will be removed from the cast at the director’s discretion. __________________________________________________________________________________________

REHEARSAL ABSENCE FORM Name: Date of Absence:

Reason for Absence

CIRCLE ONE:

Doctor’s Appointment (Please provide SM with Dr’s note upon return) Tutoring (Please provide SM with Teacher’s note upon return) Illness/Family Emergency (Please provide parent note for Mr. Connelly, or have a parent call Mr. C at 860-2630 if that is preferable) OTHER: Student Signature: Parent Signature: Director/Faculty Authorization Excused Unexcused Students should NEVER attend rehearsal if ill. We want you home at rest, and we DON’T want you getting US sick! If you miss school due to illness, do NOT come to rehearsal! Students with unexcused absences from rehearsal will be removed from the cast at the director’s discretion.

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STUDENT/PARENT SIGNATURE

I pledge that I have read this handbook and that I will adhere to the guidelines and rules above to the best of my ability. ___________________________ _________________________ Student Signature Parent Signature ___________________________ _________________________ Student Name (Please print) Parent Name (Please print) Date: ______________ Date: _____________