2020 Virtual Audition, Rehearsal and Production Guidelines for Theater and Music Theater Programs at Princeton UniversityProposing students, directors, stage managers and designers version

This guide has been put together in response to Princeton going online this semester. All directors, proposers, stage managers and designers in Princeton theater and music theater programs should be familiar with this guide. We hope to support you as you adapt to meet the needs of the changing landscape of art making. These guides combine ideas and information from many artists, students and faculty and include many things that are Princeton specific. Special thank you to Shariffa Ali, Elena Araoz, Carmelita Becnel and the entire student Innovations in Socially Distanced Performance team for their contributions.

Students, faculty and visiting artists are encouraged to utilize and adapt the techniques and strategies offered in both guides as needed in order to best serve the needs of each unique and varied artistic process. We at the Lewis Center for the Arts understand that there is not a “one size fits all” solution to the concerns of learning and rehearsing online, and fully expect learners to adapt the techniques and strategies offered in this guide.

Everyone should also be aware of a document created by the ISDP team for the professional theater with best practices for making theater virtually this year, and a shorter version of this document, highlighting best practices for auditions and rehearsals, which should be shared with all participants in your process. All these documents are available on the Princeton Theater Program website in the Student Resources section.

Our students: The Princeton student body comes from many different backgrounds, cultures and countries. The Princeton theater and music theater programs are non-major programs that enthusiastically welcome all students, with and without theatrical experience.Students appearing in Princeton auditions and rehearsals may have been performing professionally since childhood or may never have been in a rehearsal room before. Given the broad range of experience, we need to be thoughtful and clear about expectations in all aspects of the process, and to make questions and concerns welcome in every setting. Most of our writers, directors, stage managers, designers and crew members are also undergraduate students, and undergraduate education should always be the primary goal. The theater and music theater programs are committed to process taking priority over product. From the theater program’s point of view, we never feel “the show must go on”.

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Mission Statement for the Theater Season:The Lewis Center for the Arts operates on the principle that rigorous artistic practice is a form of research, innovation, discovery, and intervention. The theater and music theater program season exists to support our students’ artistic practice. We hope to investigate questions about ourselves, others, and the events and systems that affect us all, through the embodied, imaginative and collaborative medium of theater. We strive to interrogate accepted wisdom and explore the underknown in order to better understand our shared humanity, to engage each other in dialogue, and to expand knowledge in the theater field. We seek for our theatrical research to be in service of a more caring, just and sustainable world.

Theater Season Values:We believe that theater should be a place for inclusion, belonging and community-building, and that the principles of anti-racism and social justice must be applied to the use of our program resources of people, space, and time.

We believe that in order to fully engage with each other in this collaborative and intimate medium, all students, faculty, and staff must be committed to working to create an inclusive, welcoming and anti-racist space in the design studio, audition and rehearsal room, classroom and theater.

We expect our students to take intellectual and creative risks, and we respect the right of the artist and the student to experiment and to fail.

We believe that theater is a space to develop the imagination and the ability to play, which best happens in a safe space with strong community commitments.

We recognize that the development of theatrical crafts are an intrinsic part of becoming an artist, and believe that our season can and should serve the growth of your craft. However, our season choices should prioritize the LCA mission of research, innovation, discovery and intervention.We believe that college is a place to explore creative processes; product is not important to the theater program. We therefore encourage you to pause and reflect when the process is not going well, rather than pushing through.

As faculty, staff, guest artists and senior theater certificate students, we aim to model and encourage generosity, transparent communication, personal responsibility, thoughtful preparation and flexibility as best practices for effective collaboration and creative growth.

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Anti-Racism and Anti-Racist practice:Anti-Racism is defined as the work of actively opposing racism by advocating for changes in political, economic, and social life.

A person who practices anti-racism is someone who works to become aware of and to change systems of racism. An anti-racist practice is alert to:

How racism affects the lived experience of people of color and Indigenous people. How racism is systemic, and has been part of many foundational aspects of society

throughout history, and can be manifested in both individual attitudes and behaviors as well as policies and practices within institutions.

How white people participate, often unknowingly, in racism.

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NOTE FOR SENIORS:For those students who have chosen to undertake senior year independent work in theater making, the program offers full participation in the production process. Senior students, who we think of as our Senior Year Theater Company, have the opportunity to collaborate with production teams of fellow students, professional theater practitioners, faculty, and staff, under the guidance of advisors or project mentors.

Since our senior student season serves as the program in theater season for all Princeton students, we hope you will welcome your fellow students to the program, encourage less-experienced students to participate, and work with them respectfully and thoughtfully. Proposers should consider themselves co-producers of their production with the program, which means that proposing students are responsible for helping to staff their project, for organizing rehearsals, for scheduling, for working with design and communications processes, all with support and guidance from the program.

Each project has an educational focus, which has been determined based on the priorities expressed in the student's original proposal and organized around the values of the theater program season. Production and personnel support for each project are based on these priorities, and on where your show falls in the season calendar in relation to other shows and events. This of necessity means that each project will have very different levels of support in different areas; it is our job to be clear about what support you will receive, and it is your job to assimilate that understanding into how you create your show!

GOOGLE DRIVEProduction for theater and music theater lives in Google Drive. Your project will be assigned a folder in which we hope to collect all information about the project, from contact sheets to design deadlines to scripts and communications information. If you are not aware of the Google Drive folder for your project, please reach out to Chloe Brown, our production manager!

PRODUCTION SUPPORTWe have an extraordinary production support system, including many high level professional craftspeople who are excited to work on our student productions. However, our staff work for ALL programs in the Lewis Center, not just theater, and work on ALL productions, so please be aware that your questions and requests will need to be very timely - generally speaking, our staff are working on 10-20 shows at any one time. We have a small professional costume shop and scenic shop, as well as professionals of the highest level in production and stage management, sound and lighting. Take the time to get to know some of these people as you work on your projects; all of them are here because they enjoy working with students and are excited to support your work. Critical people to know are: Darryl Waskow, our producer; Chloe Brown, our production manager and Carmelita Becnel, production stage manager for theater and music theater.

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STUDENT ADVISING WITHIN THEATER AND MUSIC THEATER SEASON

Since the theater program is not a department, advising on senior year independent theater projects is unlike advising within a major for a senior thesis. Advising in the theater and music theater program is generally assigned for productions or projects, not to individual students, with some exceptions. This year, larger projects may be assigned a design and tech production coordinator so that we can figure out together how this fits into our new virtual world!

Students should feel free to request particular advisors or production mentors, but must be aware that the program has to take the needs of the entire community into account when making our assignments and will often be unable to accommodate these requests. Occasionally, we are able to support specialized advising needs, but it is not within our financial resources to offer specialized advising on most of our projects. We will prioritize requests for culturally appropriate advising where possible.

Again, advising in the theater and music theater program is generally assigned for productions or projects, not to individual students, with some exceptions.

On productions directed in our season by faculty members or guest artists, all student actors are jointly advised by the faculty or guest director, who will be someone with expertise in acting and directing. This person serves both the proposing students and the other performers.

On large scale productions directed by students in our season, all student actors and the director are advised by a Production Mentor, who will be someone with expertise in acting and directing.

On small scale productions directed by students in our season, all student actors and the director are advised by a Production Advisor, who will be someone with expertise in acting and directing.

On new play explorations led by student writers, there will be a very minimal amount of production advising, if any for the rehearsal room process; non-proposing students participate in these explorations at their own risk There are clear guidelines for auditions and rehearsals for play explorations which the writer should share with the student cast.

Student writers will generally be assigned a writing advisor. On occasion, the theater program will offer a class to a group of student writers; in this case the faculty member/s teaching the class will be the students’ advisor.

Student dramaturgs taking on senior year independent work will probably have individual advisors from our full time faculty, since dramaturgy is the theater program’s secret super power!

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Student designers may have individual advisors, either through the THR 400 class, or because the project is their senior year independent work. Student designers who are neither doing their senior year independent work nor are in THR 400 generally cannot be assigned advisors for financial reasons.

Student music directors may have individual advisors, if the project is their senior year independent work.

Students taking on unusual roles for their senior year independent project, such as community organizer or producer, may be assigned an additional advisor if the Production Mentor or Advisor doesn’t have the expertise to support them, and the theater program is financially able to do so.

Student stage managers will be advised and supported by the production department and production faculty, if the project is their senior year independent work.

ALL first time student stage managers will be assigned and supported by our student stage management mentors.

Students whose senior year work will take place in student theater groups rather than within the program season will be assigned an advisor - either individually or for a group of students, depending on the project.

RIGHTS FOR YOUR PRODUCTION

The first thing you will need to know is: can we get the RIGHTS for your production? If we are to work on your production as anything other than a classroom exercise, we must secure the rights to the kind of performance/streaming/recording that you would like to do. You should work with Darryl Waskow, our producer, several months ahead of your desired performance date if you would like to get rights for a text or musical. Please be aware that most plays and musicals that are not in the public domain do not permit changes to scripts, music, locations or characters. If your project depends on altering a script or musical’s original intentions, you should reach out to begin the rights conversation as soon as possible!

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MEETINGS AROUND PRODUCTION:

Meetings will be scheduled to accommodate faculty, staff, guest artists and students. These meetings are of the highest priority and scheduled as early in the process as possible. Carmelita Becnel, our production stage manager, will email notices and reminders regarding production meetings to the appropriate parties.

1. Overview meeting: you will meet with a faculty advisor and/or Jane Cox, Darryl Waskow, and/or Chloe Brown to discuss the “big picture”. In this meeting, we hope to get clarity on both sides about what you are hoping to achieve, and what the theater program can do to support you (and what we cannot do!). In this virtual year, expect a lot more “we don’t know” than usual! In these meetings, we hope to have the proposers and the director and stage manager of the project.

2. Pre-Production meeting for large scale projects: you will meet with Chloe Brown and members of the production staff, your advisors, your stage manager, the stage management office and designers to discuss any physical production and design needs, the prep for your rehearsal process, and to address any questions or concerns about your production so far on either side. The primary purpose of this meeting is to make sure that we are heading in the same direction BEFORE the train of physical production and starting full rehearsals sets off down the tracks.

3. Production meetings on larger projects: your director, SM, designers, proposers and appropriate theater Production Staff attend to discuss the logistics of your show including finalizing schedules and other logistical issues. Come to these meetings with any questions, comments, and information you have regarding your show. These meetings will follow an agenda, and are useful in reporting on the status of all elements of a production, as well as resolving any issues. At this point the train of physical production is far down the tracks, and it’s hard to change course too much!

4. Check in meetings on smaller projects: your director, SM, the proposer and any appropriate staff meet to check in on the progress of your project. Come to these meetings with any questions, comments, and information you have regarding your show.

5. Student debrief meeting: The debrief meeting with your project mentor or with a full time faculty member of the program is an opportunity for you, the senior student, to discuss your experiences working on your project. The meeting has two goals. The first is to facilitate you assimilating and processing your production experience. The second is to help the program in theater better understand and serve the educational needs of our students. This is NOT a review of your success or failure in any way, nor a critique of your production.

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TECH CREDITS

For 2020-21, we will be approaching the idea of tech credits as follows: one tech credit is about 25 hours of work, and four is about 100, on average. All senior year projects can expect to have at least 50 student tech hours (or two tech credits) assigned; as a senior or a director you should reach out to Carmelita Becnel to find out how many tech hours might be assigned to your project. At a minimum, you should expect to have a “second” on the project to work with you, act as occasional audience member, support you in administrative needs and so on. This person would be called your stage manager, and you are responsible for finding that person (on larger projects, that person will be getting 100 hours, or 4 tech credits). Generally speaking that person will be looking for tech credits in return for their work; but it is also fine if you would like to work with someone who is NOT looking for tech hours but is just interested in the project and in working with you, of course.

Unfortunately, since we are all experimenting this year, it’s going to be impossible to tell those students exactly what you will be asked to do in support of the project they sign up to work with, but we will ask them to keep track of their hours and do no more than 25 hours per tech credit. Students do not need any particular skills to sign up to support projects - we will train them if they need a particular skill to do the work and will provide software or hardware as needed to support them in doing so. Carmelita Becnel is responsible for all things tech credit, please be in touch with her for all questions and concerns surrounding tech credits - yours and other peoples!

STAGE MANAGEMENT

Student Stage Management:Most of our productions and projects are staffed by student stage managers, who are rarely experienced in this role and will need everyone’s support and attention. This is also true of most of our designers, dramaturgs, etc. The theater program makes every attempt to mentor these student stage managers, but all parties should remember that Princeton stage managers are student assistants who also have a full academic schedule. These students will need the director to either help with or offer instruction in things like planning the daily and weekly rehearsal schedules, keeping track of breaks, as well as planning and communicating with the entire group. They are involved in the project because they want to learn more about theater making and want to participate in a creative process with the rest of the team.

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Stage Manager (SM), Assistant Stage Manager (ASM)1. The senior proposing student(s) are responsible for seeking and securing stage

managers (and any needed assistant stage managers) for their shows. 2. Prior to rehearsals, the SM must schedule a meeting with the production stage

management office and the show director to clarify expectations and understanding of what a student SM does (and does not) do.

3. SM: Once rehearsals begin, the SM is the eyes and ears of the production, working alongside the director. The most important aspect of the SM’s position is communication! The SM keeps notes about what’s happening in the rehearsal process, and ensures that every note or new idea that comes up in rehearsal gets communicated to the appropriate department.

4. ASM: This year, ASMs will provide a variety of support to the project, up to 25 hours for each tech credit that they hope to receive.

5. The SM should email rehearsal reports following each rehearsal, so that production staff can respond. Talk to the production stage management office about how often you should send reports, and who they should go to

6. Carmelita creates a Contact Sheet template, shared with the SM, and which should be completed as soon as possible for distribution

DESIGNERS

In a typical year, designers are an integral part of conceptual conversations, participating in the dramaturgical and research work of the director and team, exploring the physical and aural environment for production, and preparing all drafting, sketches, models, paint elevations, sound cues, music, and paperwork necessary to communicate with the production staff and creative team in the design area for which they are responsible. Typically, designers in our season are assigned, in conversation with project directors, through the Theatrical Design Studio Class (THR 400) in order to provide appropriate mentorship for their relationship to and communication with the LCA production staff. Students who have been through a design process as part of the THR 400 class can then design for the program at any point.

Designers who have never taken THR 400 are not eligible to complete large scale designs for the program, since the process of working successfully with the technical staff on large designs requires considerable mentorship, concrete technical skills and ability to meet particular deadlines. However, there are many opportunities within the program for smaller scale designs by students with minimal or even no experience, without taking the THR 400 class. If students are interested in designing but unable to take design classes, they should reach out to Janecox@ and enquire about small scale opportunities. We encourage students to participate in design even if they cannot make it a priority.

The theater program never guarantees particular design support to projects - we cannot, we are dependent on student interest and expertise in any given year. We are occasionally able to

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offer professional designers to projects where proposing students have a particular educational focus that would be supported by working with a professional designer, and when our budget allows. Student designers are reminded that attendance at rehearsals is part of the design process. Directors are reminded that our designers are typically undergraduate students majoring in something else, and cannot, like our stage managers, participate in hours of notes outside of rehearsal hours.

AUDITIONS:

Due to the nature of the online semester, this fall’s auditioning process will take place online. In lieu of “general auditions”, the theater and music theater plans to find a pool of interested performers by asking all interested students to answer some questions and to upload a video of themselves of no more than 3 minutes. In this video, students can do anything they like (sing a song, fry an egg, juggle, read a poem). We will continue accepting materials from student performers throughout the fall, and these materials will be made available to our faculty directors, visiting artists and senior year student certificate student directors ONLY.

Directors are expected to watch all of the recorded submissions and corresponding electronic form to cast for the project. If a director is interested in considering someone for the role, they can move to a callback. Directors will schedule their own callbacks with our stage management office. To preserve their comfort and integrity, auditionees are ideally not required to perform during the virtual callback, but rather meet and greet with the director and discuss the project outcomes and artistic process instead.

Our cast comes from inside the Princeton student community. If you have a compelling reason to cast outside of our student community, you must seek specific permission from the theater program.

Planning Your Virtual Audition:In the interest of maintaining an open and inclusive environment, we request that directors NOT pre-cast a show (with the obvious exception of show proposers). This will allow for a more equitable audition process providing students with a fair opportunity to be considered for available roles. Offer as much information as possible about your upcoming virtual project on our program audition website so that students know as much as they can before they audition or attend a callback.

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Virtual Callback Process:If a director is interested in working with a particular student, they should reach out personally with information about their project (and a script, if available) to arrange a conversation or ask for another submission of some kind tailored to the project in question. Directors should carefully consider what audition material to send to auditionees if they would like students to read a monologue or part of a scene.

When soliciting pre-recorded audition material, directors must be clear about what you expect from those who are submitting. And remember, not everyone lives in a house with space. Please consider this in your requirements and be prepared to ask auditionees with limited space to do other things instead.

What kind of material should the auditionee prepare? What if any, physical activity should be included in the audition? What format should the submissions be?

The Princeton Stage Management team will provide a link to the collected audition responses. If you need to provide audition or callback materials (monologues, sides, etc.), please contact Carmelita Becnel at: cbecnel@princeton.edu.

Setting the space is very important. As with an in-person callback, the callback may be the first point of contact we have with potential students and newcomers to the theater program, and is sometimes the first audition experience a student has ever had so it is imperative that the Princeton virtual audition and callback process is welcoming, thoughtful, and professional. During the callback process we ask that you please greet the auditionee warmly, spend the time getting to know them as individuals, and refrain from making comments on the quality of any student’s work in the submitted video, no matter how light-hearted.

Directors should be prepared to speak about their motivations for the project, the artistic process, and to answer questions that the auditionee may have. Directors are encouraged to communicate with auditionees to understand and accommodate their specific access needs like internet, time zone, housing, special requirements, etc.

Potential cast members should receive at least a proposed rehearsal schedule at callbacks, and student cast members should commit to this proposed schedule when they accept a role in the project. Students accepting roles should have read the play or musical before they commit to participating and should give the director and stage manager clarity about any conflicts.

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If the play or musical is not yet written, the director or proposers MUST give the students a written document that includes any draft of the play you have so far and some language about the kind of process (for example – if you proposer to devise the work) that you expect to have in the virtual rehearsal room. If you are considering participating, you should always feel free to reach out to the director with any concerns about the material or the schedule prior to accepting a role.

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REHEARSALS:

Princeton Golden Rule: Rehearsals MUST do their best to start and must absolutely end on time as advertised. All members of the Princeton community are very heavily scheduled, and we respect each other’s time by arriving on time and ending promptly where at all possible. In our new virtual environment, promptness isn’t always possible, and we must extend grace to each other’s differing circumstances. Nonetheless, rehearsals must end on time as advertised!

Virtual rehearsal rooms should be a thoughtful and focused space of work and creativity; they should also be a safe space where all participants feel that their voice is heard and respected. Think carefully about how to adapt your rehearsal process to meet the needs of your cast members and the limitations of remote rehearsal. For these Zoom sessions, the director and stage manager will be the co-hosts. Directors should be mindful of the stress or trauma that might be impacting participants as a result of online semester and the twin pandemics of COVID and racism.

Consider questions of safety and consent in all aspects of the theatrical process. Although the work we do in the rehearsal room requires risk, it must be done in an environment in which everyone feels safe to do that exploration. Particular attention to the needs of safety and consent in a virtual rehearsal space are vital in order to best serve the entire creative team. The Princeton Theater Program strongly values process over product, and is much more interested in the success of education around safe and creative processes for all participants than in any “product”.

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Here are some things to think about together in the virtual rehearsal room:

Accepting the virtual situation and embracing the limitations of remote performance is your first step towards realizing a meaningful and inclusive virtual process.

Make time to build a connection between each of the remote collaborators. Listen mindfully to each other, listening to hear, and not to respond. Consider shortening the duration of the virtual rehearsal to better support those who may be

affected by screen fatigue Directors and stage managers should consider and clearly indicate time zone when communicating

and scheduling rehearsals. Take appropriate breaks during longer rehearsals - at least ten minutes every two hours. Make sure that there are appropriate breaks for meals Have grace with yourself and others as distractions and outside forces may impact virtual

rehearsals. Prioritize making time in the virtual rehearsal room for conversation around the play, especially

around difficult material. For example, any work that explores race, sexuality, or gender obviously requires careful conversation. Make sure you have time to discuss and rehearse thoughtfully

Consider what content, in addition to obviously sexual or violent content, might be complicated for participants to discuss or perform. For example: strong language, substance abuse, and self-harm.

Check in with each other to be sure that everyone is continuing to feel safe in the work. Consent is never assumed and can be retracted at any time. Have a clear cellphone, online browsing, and household distractions policy wherever possible -

make a virtual rehearsal room decision and state it clearly. The cast should have some conversation time without the director in the room on a regular basis Everyone should prepare for rehearsal. Actors should work on their scenes, contemplate notes, and

memorize their lines in a timely manner. Directors should be prepared for the scenes at hand. Consider that some participants may have very limited to no theater experience, and may have less

ability to separate from acting role than professional actors with more tools All scenes with intimate, sexual, or violent contact should be reconceptualized to meet the needs

of working remotely. If your project includes this kind of material, please talk to the theater program about possible support (such as an intimacy coach, fight director, etc.)

Slow down and examine a moment before working on challenging content, including any kind of stylized, virtual “physical” intimacy.

Listen and speak up. Actors should never hesitate to verbalize their boundaries, to pause the action if anything feels unsafe, and to bring concerns to the theater program.

Consider creating a small ritual for the ending of each rehearsal that allows participants to leave the work behind and resume their own lives.

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First Rehearsals:Successful projects usually have a well thought through first rehearsal. It is generally good practice (and the professional norm) to schedule a first rehearsal to which you invite all cast, designers, crew, members of the creative team, etc., as well as representatives from the theater and music theater program. At this first rehearsal, the thesis proposers and director might offer some context, every person in the room should introduce themselves, and the whole group should go over the above rehearsal page together! You should also choose a student representative (see below) at your first rehearsal.

Student Representatives:The Student Representative is a liaison between the students involved in a program production, and the theater and music theater program faculty. This student is invited to speak up on behalf of any or all student participants regarding concerns or questions that any student involved in the production may have. The goal is to make it easy for students to communicate uncomfortable challenges to the faculty and staff with minimal anxiety. This student representative must be chosen at the first rehearsal in which all cast, and crew are called. For further information about student representatives, please see our theater program website Student Resources section.

Rehearsal Schedules:The Stage Manager and Director must be aware of time zones and schedule rehearsals at times that are accessible to all participants, and are not too early or not too late.

We allow for a very broad range of rehearsal schedules to accommodate a broad variety of performance results - from a selected scenes reading through full virtual production. However, there are limits to the number of hours our students can accommodate within the confines of their full academic schedules and their obligations to their major department. Remember, our students are not theater majors.

Please be sure to discuss a proposed rehearsal schedule ahead of time with our production stage management office, by contacting Carmelita Becnel. Please prioritize a meaningful and educational process over product in this educational context.

Some theatrical events at Princeton will rehearse for a day, some for a week and some for 2-3 weeks. There is no “correct” length of rehearsal process - and no production should expect to have a professional rehearsal schedule.

No production should include more than six to eight weeks of rehearsal. No individual student, other than the proposing seniors themselves, should rehearse more than 10-15 hours a week over

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Zoom. This kind of rehearsal schedule is obviously significantly less hours than a standard professional production, so directors and actors should plan accordingly!

A typical schedule might include rehearsal being held three to four days a week for 2-3 hours, with a 3-5 hour rehearsal on one weekend day. In the professional world, many have found Zoom rehearsals to be taxing and there is a tendency to prioritize shorter rehearsals over longer rehearsals to make the most out of a Zoom process.

During this online semester, MOST classes are scheduled to end at 4:20pm EST. After which students can be available (time zone permitting) to rehearse. MOST students can rehearse after 4:30pm EST on weekdays; Consider time zones, meal times and personal needs of participants when building out this rehearsal times.

If your rehearsal process takes place during reading period you may have a shorter rehearsal process. During this time, you will have to organize your schedule around individual student exams and should give three to four days off around Dean’s Date.

Non-proposing seniors should not be asked to contribute more than about 80 hours of Zoom rehearsal without discussion with the theater program. One useful barometer or guideline for staging theater at Princeton is to allow for about one hour of rehearsal for one page or minute of stage time. This rough estimate would not include the initial learning of music if you are working on a musical or choreographic sequences.

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Theatrical consent for stage intimacy and stage violence:All theatrical intimacy and violence should be discussed directly with the cast as soon as possible. If your project contains this type of material, please be sure you are in contact with the theater program about possible support. The theater and music theater program takes student consent very seriously in the rehearsal room and onstage, and we understand that consent to any language around intimacy or violence may be offered and later retracted. There is no such thing as blanket consent! Regular check-ins to renegotiate and re-affirm consent are a critical part of any process. Encouraging a culture of consent is everyone’s responsibility, and we expect conversation around this in the rehearsal room.

We do expect that students will read the material of the play prior to agreeing to participate in a cast or crew. This does not imply that student’s consent in any particular situation, but will help individuals to identify challenging material early on.

Here are some questions to ask of the material that will help to understand which parts of the play require special attention:

Does the material require non-sexual stylized “physical” contact with others? Theatrical intimacy such as kissing? Simulated sexual assault or violence?

Derogatory language or profanity? Actions related to disordered eating? Simulated acts of violence or self-harm? Theatrical firearms? Revealing costumes and/or partial nudity?

Derogatory and violent language:Because of the shift in programming a new emphasis is placed on the written word and language. It is not unusual for plays to contain strongly worded language, however it is important that care and consideration is exercised when using this type of language throughout the process. When rehearsing a play or musical with derogatory language, care and respect must be used at all times. For example, if a racial slur is a part of the script, the director needs to address the language, gauge the comfort levels of everyone, and then make a decision based on this dialogue and continue to check in with cast members. Casual use of derogatory language will NOT be permitted.

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COMMUNICATIONS AND PUBLICITY

The Lewis Center Communications Office is available to help with promoting and sharing the story of your senior year independent work in theater or music theater. The Office has a range of communications tools, networks, partnerships, and strategies to do this. These opportunities include: website, playbill, social media, advertising, events calendar postings, media relations, feature stories, and trailers. The tools employed and how they are used depend on a number of factors including: the audience goals, timely availability of information and materials, time of year and concurrent demands on the Office’s resources, and the story elements behind your project, but the most critical is your active collaboration with the Office of Communications in developing and implementing a promotional plan for your project.

The best first step is to schedule a planning meeting with the Communications team along with any co-proposers or key personnel for your project at least 8 weeks before your show’s opening. During that meeting you and the team will plan out what needs to be done and confirm your (or your project designee’s) role in implementing the plan.

Video recording of senior thesis projects for archival purposes is done through the Lewis Center’s Technical Support Office. At least 6 weeks before your opening, contact the Tech Office at LewisCtr-Tech@princeton.edu to schedule which performance will be recorded. Archival recordings are sent at the end of each academic year to the Mudd Archives. We’re not 100% sure what this means this year but we’ll keep talking!

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ZOOM BASICSTHE INTERNET

The strongest internet connection can be achieved by connecting directly to your internet router via ethernet cable. If you have questions about this, you can read more here.

If you don’t have the ability for an ethernet connection, and are only able to connect using WiFi, try and position yourself as close to your internet router as possible.

If and when possible, make sure all other devices in your household are disconnected from the WiFi network during the video call when you are connecting via WiFi. This includes other laptops, tablets, and smartphones. This will free up bandwidth for your device to run the call as smoothly as possible. However, we acknowledge this may not be possible for everyone.

YOUR COMPUTER When running the Zoom app, make sure all other applications on your computer are closed.

This will allow your computer to focus all its resources on running Zoom. Throughout the call, keep an eye on your computer’s volume level. If it is too high it could

create an echo for other participants. Sounds silly, but: make sure your camera is clean and that the lens free of debris.

WIFI OR DATA? Use whichever one yields a stronger internet connection. If your smartphone data is

stronger, you can connect to your personal hotspot from your computer or laptop.

LIGHTING AND POSITIONING Place your computer/laptop on a stable surface in front of you. Make sure not to sit in front of windows or a light source, but have lights on around the

room so you can be seen. The video should capture you from chest up, with shoulders in view. Drag your video screen to the top center of the computer so you are looking into the

webcam while speaking.

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CORRECT Camera Lighting & Positioning INCORRECT Camera Lighting & Positioning

SOUND QUALITY It may be useful to wear headphones during the zoom rehearsal to prevent any echo. You may use either plain headphones/earbuds or ones with a microphone attached. Be mindful of when you’re using the “mute” function. Best practice is to keep your

microphone muted at all times unless you are speaking.

WHAT HAPPENS IF MY VIDEO FREEZES/STOPS? If the call becomes unstable, please refresh the page. Do not panic! Have a plan in place if

someone freezes or gets disconnected.

OPTIMIZING YOUR VIDEO When setting up your laptop and webcam for the webinar, make sure your laptop is on a

firm, flat surface. Avoid echoey places, or very large rooms with exposed hard surfaces. Take care that your background distractions are at a minimum. Turn off any items that may

make background noise (your computer/phone notifications, fans, other appliances, etc.). Wherever you decide to set up your shot, make sure the camera is at your eye level. Try and

avoid the “up-the-nose, bottom-of-your-chin” shot. Take the time to find your light. If your rehearsal takes place at night, lamps will be key.

Avoid being totally front or backlit. Aim for a soft light (not a bare lightbulb, for instance) and try to get it in front of you (diagonal to one side is fine), and a little above you.

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Tips for rehearsing and performing on Zoom: Sometimes it is helpful to turn off your video on Zoom. Even in a virtual rehearsal process it is important to begin with building a set of shared

community values that tackles ED&I Framework along Zoom lines. Zoom Meetings are great for rehearsals! If you have an additional set of hands, you can use

breakout rooms in Zoom Meetings to rehearse various scenes at the same time. Zoom Webinars can be used for performances. Video on/mic on and Video off/mic off serve similarly to “entrances” and “exits” on a real stage. Encourage performers must work with smaller facial reactions and softer volume levels, as well

as larger body language and louder projection. Also encourage actors to experiment with their distance away from the webcam.

Active listening is vital when you’re close-up on screen. Looking directly into the camera is often the best solution for dialogue. Imagine that the

webcam is your scene partner and react to it, instead of the window featuring your scene partner.

Props are extremely useful and help the actors immensely. They give the performers something to which they can react and serve as lovely scene partners.

Play with passing things through the webcam. “The Giver” must reach above or below and drop the object. “The Receiver” must have a similar object and mimic the same alignment.

Have a plan for when someone freezes or has technical issues. Whether you recite poetry, sing a song, do a dance, improvise a monologue…don’t ignore it! Your audience understands that these are unconventional times.

If there are more than two people onscreen, the audience doesn’t know where to look. Use vocal cues to help, something as simple as a sound or addressing characters by name before you speak to them.

Think BIG, but realize that most of your ideas will have to evolve to meet the needs of remote rehearsals.

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CONTACTS Jane Cox Director of Theater /Producing

Artistic Director of season609-258-7294 janecox@princeton.edu

Darryl Waskow Producer 609-258-3733 waskow@princeton.eduChloe Brown Production Manager 609-258-4788 cb25@princeton.eduCarmelita Becnel Production Stage Manager 609-258-8161 cbecnel@princeton.eduRob Del Colle Assistant Stage Manager 609-258-8389 rdel@princeton.eduMatt Pilsner Lighting and Stage Supervisor 609-258-1472 mpilsner@princeton.eduKay Richardson Sound Engineer 609-258-0297 kanithar@princeton.eduTorrey Drum Theater Technician 609-258-7291 tdrum@princeton.eduTim Godin Technical Director 609-258-7198 tgodin@princeton.eduJesse Froncek Asst. Technical Director 609-258-7198 jfroncek@princeton.eduAlexandra Geiger Props Master 609-258-7198 ageiger@princeton.eduMelissa Riccobono Scenic Artist 609-258-7198 mr16@princeton.eduMike Smola Master Carpenter 609-258-7198 msmola@princeton.eduKeating Helfrich Costume Shop Manager 609-258-5499 eh2@princeton.eduJulia Kosanovich Costume Shop Assistant 609-258-5839 jk10@princeton.eduCaitlin Brown Costume Technician 609-258-5839 caitlinb@princeton.eduJoe Fonseca Theater Program Associate 609-258-7810 jfonseca@princeton.eduDanielle Dennis Lewis Arts Complex Venue Manager 609-258-2163 dcommini@princeton.eduAhren Henby Venue Associate 609-258-2440 ahenby@princeton.eduRay Chalme Venue Associate 609-258-2440 rchalme@princeton.eduDavis Caramanico Berlind Theater Stage Carpenter dcaramanico@mccarter.orgMichael Hochman Berlind Theater Electrician mhochman@mccarter.org

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WHO TO GO TO…..For: Contact:Box Office / Front of House / Venue Manager Danielle Comini, cc: Ahren Henby, Ray ChalmeContact Info (T&D Staff, etc.) Carmelita Becnel, cc: Rob Del ColleCostumes Keating Helfrich, cc: Julia KosanovichDesign budgets & deadlines Chloe BrownDressing Rooms Keating Helfrich, cc: Julia KosanovichEmail Distribution List (for SMs) Carmelita Becnel, Rob Del ColleEvent scheduling Chloe BrownGuest Artist contracts, housing, etc. Darryl WaskowKeys or Prox access Joe Fonseca, Danielle DennisLighting Matt Pilsner (LCA), Matt Hochman(Berlind), cc: Chloe BrownMisc. Production Information Chloe BrownMusical Instrument equipment/rentals Darryl WaskowPhoto Shoots Steve RunkProduction Calendar Carmelita BecnelProduction Meeting scheduling, questions Carmelita BecnelProgram/Playbill Steve RunkProps Alexandra Geiger; cc: Jesse FroncekPublicity/Marketing/Programs Steven RunkRehearsal scheduling/space reservation Carmelita Becnel, Rob Del ColleScenic (FYI: The Scene Shop is offsite.) Tim Godin, Jesse FroncekSound Kay Richardson; cc: Matt PilsnerStage Management info/paperwork Carmelita Becnel; cc: Rob Del ColleTech needs (Black Box Theater, Dance Theater) Matt Pilsner; cc: Chloe BrownTech Schedule Carmelita Becnel; cc: Chloe BrownTheater, Music Theater Certificate tech credits Carmelita BecnelVideo recording (archival) Rick Pilaro, cc: Steve Rife, Steve Runk

For more information:All participants involved in a process through the theater and music theater program are also free to speak to the project advisor(s), Jane Cox (theater program director), Stacy Wolf (music theater program director), Darryl Waskow (producer), or any of the below faculty and staff with concerns or questions at any time.

Shariffa Ali shariffa@princeton.eduElena Araoz earaoz@princeton.eduChloe Brown cb25@princeton.eduJane Cox janecox@princeton.edu

Brian Herrera bherrera@princeton.eduDarryl Waskow waskow@princeton.eduStacy Wolf swolf@princeton.edu

We hope that this document offers some essential guidelines and answers some basic questions for starting a virtual rehearsal process at Princeton. We also hope that this is just the beginning of a conversation as we embark on this virtual adventure together!

Additional Information:

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Land Acknowledgementso Native Land: Land Map & Acknowledgment Resources o USDAC: #HonorNativeLand Guide o meztli projects: Land Acknowledgment Guide

Anti-Racismo Black Lives Matter o Talking About Race o Racial Equity Tools o Intersectionality Matters! Podcast o Non-Black People of Color Need to Start Having Conversations About the Anti-Blackness

in Our Communitieso Institutionalized Racism: A Syllabus o Princeton Library: Anti-Racism & Social Justice o Race, Racism and Anti-racism - video by Dr Camara Jones

Access Needso Zoom Accessibility FAQs o Accessible Virtual Meeting Tips o Rooted in Rights: Virtual Meetings & Events Access

Mental Health Needso CDC: Coping with Stress o WHO: Mental Health o MHA: Mental Health & COVID-19 Resources o BIPOC Mental Health & COVID-19 Resources o LGBTQ+ Mental Health & COVID-19 Resources o QTPOC Mental Health Resource Guide o National Queer and Trans Therapists of Color Network

Self-careo Self-care for Black People Struggling During Painful Events o Staying Healthy During the Pandemic o Mayo Clinic: Self-care o Everyday Health: Self-care tips o Princeton Library: Celebrating Black LGBTQIA Stories

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