Actor
DESCRIPTION:
REPORTS TO: Director and Stage Manager
GENERAL EXPECTATIONS OF ALL CAST MEMBERS:
Be prompt at rehearsals and all other official calls (fittings, makeup consultations, etc.)
If this is not possible, they will inform the Stage Manager prior.
If there is an emergency, they will inform the Stage Manager and Production Producer as soon as possible.
Check with the SM before leaving a rehearsal.
Respond promptly to all communication (email, call board, etc.) from the SM and production team.
Abide by all reasonable rules and regulations of the producing organization. Including the Rehearsal Guidelines, Drug & Alcohol Policy, Safety Manual, Sexual Harassment Policy, All COVID-19 Protocols
Sign in prior to the call time at all tech, dress rehearsals and performances.
Pay strict regards to makeup and dress.
Conform to the language of the script and execute all dance, fight, and intimacy choreography as choreographed and respect the boundaries of their scene partners.
Properly care for the Actor’s costume and props.
Respect the physical property of production and program.
Agree to have their name and likeness appear in print and digital media programs, publicity, promotion, and advertising that may include third-party sites.
Agree to provide the program with an electronic headshot and a 200 word or less biography as requested and in compliance with marketing standards.
The Actor commits to maintaining professional boundaries and practices throughout this process. This includes showing up to all calls on time, making an effort to exude a positive attitude towards the work, maintaining order and cleanliness in all spaces, maintaining personal hygiene, and treating all company members in an appropriate and respectful manner.
Meet guests in the front of the theater only after removing costumes and makeup
Attend KC/ACTF response
ACTORS EQUITY
The Mago Hunt Theater is not an equity house, but to the best of its ability wherever/whenever possible, the theater department follows the rules and regulations of the Actor’s Equity Association
AUDITIONS (see production process for more details)
Audition & Callback Schedule
Mainstage 1 – April of previous academic year.
Mainstage 2 & 3 – Second week of fall term.
Mainstage 4 – Second week of spring term.
Depending on the needs of each production, callbacks will be held in the two days following the general auditions.
The following information will be provided by the program prior to auditions for all productions:
A brief description of the play
A pdf of the play (if possible)
Character descriptions (pronouns, sexuality, race, ethnicity, religion, disability, etc.)
Physical skills needed
A brief description of the audition and production process
Any content or intimacy disclosures (general and specific to each character)
Any audition materials you will be asked to prepare
An overview of rehearsal dates/times, tech dates/times, and performance dates/times.
Individuals will be asked to register for auditions and complete an Audition Form before arriving for the audition. If you have a resume, attach it to the form or submit a digital copy to the stage manager and ignore questions on the form that are answered on the resume. Make sure both a current phone number and email address are provided.
If there is a role you do not wish to be considered for, you can put that down on the Audition Form.
CASTING (see Production Process for more details)
Every effort will be made to send role offers by Friday the week of auditions.
If you receive a role offer, please consider the offer carefully and then reply to either accept or decline the role.
Actors are not typically cast in more than one show per semester to maximize opportunity for everyone who auditioned.
ELIGIBILITY
Any student enrolled at the University of Portland is eligible to audition and be cast in the shows produced by the Theatre Program with the following exceptions:
Any student on Academic contract and any major in the program who does not maintain an overall 2.5 G.P.A. is not eligible to be cast.
Any student put on Department probation because of a failure to adhere to the Theater Program’s Company Rules and Policies is not eligible to be cast.
CASTING CONSIDERATIONS
University of Portland Theater is actively working towards identity-conscious and ethnoculturally competent theatre and we encourage performers of all ethnicities, gender identities, body types, abilities, and experience to audition.
Directors consider a variety of factors during the casting process. These factors include: availability, experience, physical abilities, relationship to other auditioners. Casting is complex and each casting decision may affect a number of other choices. We understand that there may be disappointment in the casting process. If you have any questions about this process or would like to discuss your audition, please reach out to the directors for feedback.
As an educational theatre program, every student opportunity is important. You have paid to attend a private university and one of the things we believe you are buying is the opportunity to gain a breadth of experience. For that reason, the directors, both faculty and students, are reminded of the necessity of maintaining a balance to casting. The Generalist philosophy of the program is such that the student who may be on stage in one production may well be backstage or in the light booth for the next. Your onstage opportunities will be there, but also realize that others must have their chance in the spotlight as well. The attempt to balance opportunities may affect casting.
We believe that every role is a valuable chance to learn and we encourage to take every advantage of all opportunities. You have no way of knowing where they may lead.
UNDERSTUDIES
The University of Portland Theater Program will cast understudies, standbys, and/or swings for its productions.
An understudy (u/s) is an actor within the cast who covers another role/track in the cast.
A standby is an actor outside of the cast who covers one role/track. Typically, standbys attend select rehearsals throughout the process to learn any essential choreography, songs, and scenes. They attend at least two full runs of the work to see how they fit into the whole and then during technical rehearsals and performances, they are on standby to go onstage for their role/track.
A swing is an actor outside of the cast who covers multiple roles/tracks. Swings often attend several rehearsals throughout the process to learn any essential choreography, songs, and scenes. They attend at least two full runs of the work to see how they fit into the whole and then during technical rehearsals and performances, they are on standby to go onstage for any of their roles/tracks.
UNDERSTUDY EXPECTATIONS:
Understudies are expected to be responsible for all of the duties of actors listed under “General Expectations of All Cast Members”
Unless there is an emergency, understudies/standbys/swings are given at least 45 minutes notice before they perform.
Understudies/standbys/swings are not required to fully perform a role/track until they have had at least one rehearsal encompassing all blocking, music (with at least piano accompaniment), fight and intimacy choreography (as applicable), props, costumes, mechanical or pyrotechnic devices as deemed necessary. If the above conditions have not been met, the understudy will read the part or may perform if able and willing.
PERFORMER and CAST DEPUTY
At the first rehearsal of each production, the cast shall elect a Cast Deputy who will serve as an advocate for the performers. Any concerns a cast member has during the production process should be brought to the attention of the Cast Deputy. Cast members are also encouraged to discuss questions and concerns directly with the Production Producer or another member of theater faculty and are not required to have the Deputy advocate for them. Questions and concerns should be addressed in a timely fashion.
MEASUREMENTS AND FITTINGS
Cast measurements will be taken by the costume department as soon as possible after casting is announced. It is imperative that cast members make the time for those measurements to be taken. Fittings may happen at any point between measurements to first dress. Fittings will be scheduled through the stage manager. It is required that cast members wear proper undergarments to every fitting. Privacy is always considered before, during and after a fitting.
COSTUMES AND ACTOR ETIQUETTE
Costume designs are created in collaboration with the Design team and the director and the vision or approach to production. Choices have been made within the conceptual approach and vision of the character and environment based on the text and the collaborative team. If a performer has questions or concerns regarding the designs, they should first see the director for clarification and consideration. Questions regarding fit and ease of movement should be addressed during the fittings.
REHEARSAL CLOTHES
The costume shop, in coordination with stage management, will supply rehearsal costume pieces and accessories for period shows as needed. Timeline, budget and workload will always be considered. Items such as corsets and hoop skirts and shoes that are specific to a show will be given to the actor to use in the rehearsal process as early as possible.
Actors are expected to provide their own rehearsal clothes for use in selected acting studio courses as well as during some rehearsals for productions. Men should have their own sport coat or suit jacket, a tie, and hard-soled dress shoes. Women should have their own heeled character shoes and a floor-length full skirt. Please contact costume shop manager if you have questions about specifics.
CHANGE OF APPEARANCE
After casting, actors should not change their appearance without explicit permission from the director and costume / makeup designers. “Change of appearance” includes haircut or color, tattoos, shaving your face, and piercings.
STAGE COMBAT/INTIMACY
Actors in productions at the University of Portland may be asked to take part in stage combat or intimacy depending on the requirements of the script. Any written stage intimacy will be indicated on the character description sheets posted at auditions and callbacks. Actors will have the opportunity to inquire about any content and establish their boundaries on their audition sheets. If cast, all combat and intimacy will be choreographed by trained fight and/or intimacy directors. No actors will be asked to work outside of their boundaries.
REHEARSALS
Rehearsals are usually scheduled Sunday to Thursday OR Monday through Friday from 7:00pm to 10:30pm (depending on the director preference). Prior to technical rehearsals, rehearsals must conclude by 11:00pm. Rehearsal will not begin before 6:00pm during the week and 5:00pm on Sundays. Rehearsals will not exceed 18 hours per week. Students are encouraged to enroll in THTR 272 for each production that they are cast in.
First Rehearsal will involve a Company Meeting. The Producer, Production Designers, Dramaturg, and the Director will all do presentations to introduce research, concepts, and the final designs. Table work will usually begin at this rehearsal.
You must keep up on information in the rehearsal schedule, know when you are needed and don’t be late! Punctuality is imperative. Time is the most valuable resource we have, so be respectful of it for yourself and others. Everyone should be ready to work at the assigned time. Individual directors will make their own expectations and routines known to each cast concerning warm-ups and other preparation.
Never leave a rehearsal without obtaining permission from the stage manager. Only the stage manager and the director can determine if you are no longer required. If you are going to another part of the building during a time you are not needed on stage, inform stage management, and let them know where to find you.
TECHNICAL REHEARSALS AND PERFORMER INVOLVEMENT:
While there may be exceptions due to the specific demands of a particular show, the following outline can be looked at as typical for most productions at the University of Portland. Company members should be prepared for the added demands of this vital period.
The Last Friday before Tech: Cast members should leave the last Friday before tech weekend open for an evening rehearsal. This is usually devoted to a full-length run-through or is used as an opportunity to refine scenes that are still in need of work.
Cue to Cue: Saturday afternoons (approx. 2:00pm – 6:00pm) is reserved for a cue-to-cue rehearsal. This involves all cast and crew directly related to onstage and backstage. In this rehearsal, the technical crew will have the opportunity to rehearse their light, sound, scenic shifts and specific effect cues. All actors are required to attend this rehearsal, running the production as directed by the stage manager. In most cases this will involve running lines prior to a specific cue through the proper execution to the cue. If the cue is not run to the satisfaction of the director, designers and the stage manager, or if adjustments need to be made in lighting and sound levels, the cue will be repeated until executed as envisioned.
Patience is the key to a cue-to-cue rehearsal. Actors must be tolerant of errors and be prepared to repeat entrances, exits, and other important moments involving cues so that the technical crew can, in a very brief period, learn their roles in the production. Actors must remain quiet during periods of discussion and clarification, should refrain from trying to “help the crew” unless requested to do so, and remain in the vicinity of the stage sot that if the cue is to be run again, it can be done so easily and quickly.
First Tech/Dress Rehearsal (typically Sunday): At the University of Portland, the first tech/dress rehearsal is normally held on the Sunday of Tech Weekend. Actor calls may vary or be staggered depending on the size of the cast and the complexity of dressing. Normally the call for first dress is 5:00pm with a scheduled curtain at 6:00pm. Actors should be on time because the costume crew has a limited amount of time they can devote to each actor. No make-up is used at this rehearsal and hair may or may not be a concern for first dress. Actors should be prepared for a minimum of 5 hours for first tech/dress. Expect to start and stop the show as needed for technical adjustments.
Full Dress Rehearsal (typically Monday): This dress rehearsal adds both hair and make-up and consequently the call, set by the Costume Designer and head of the make-up crew, may be as early as 5:00pm depending on cast size and the demands of the make-up and hair styles. As with costumes, schedules will be set and actors need to adhere to them so that all the cast has ample time to get ready. Go time for this rehearsal is usually 7:30pm.
Final Dress Rehearsal (typically Tuesday: Invited Audience): The final dress rehearsal is an opportunity for actors to play in front of a live audience before opening the next night. High school audiences, friends of the cast and the crew may be welcomed, and every attempt is made to create the atmosphere of a performance. Curtain time for Final Dress Rehearsal is 7:30pm. Photos are typically taken at this rehearsal. Actors must be prepared to remain after the rehearsal for notes and to fix any last-minute problems before the opening performance.
PERFORMANCES
Shows at the University of Portland generally run a single week, opening on Wednesday and playing each evening through Saturday, with a closing performance on Sunday afternoon. Curtain time for evening performances is 7:30pm and Sunday matinees begin at 2pm. Musicals or “audience pleasers” may run for 6 performances over 2 weeks, typically open on Friday, play Sat and Sunday (matinee), reopen on Thursday and play Friday and close Saturday.
Dressing rooms open about 5:00pm for an evening show and about noon for Sunday matinees. Stage management, in consultation with wardrobe and make-up crews, will give actors specific call times. Please be prompt.
All performers should have showered before coming to the theatre and have clean underwear.
Actors should initial the cast sign-in sheet immediately upon arriving at the theatre. Once you have signed in you must clear it with the stage manager if you leave the theatre for any reason,
Actors should check props and all costume pieces upon arriving. It is much easier to find or replace a missing prop or costume accessory 90 minutes before the play begins than 2 minutes before. Please check in with ASM if something is missing.
The house opens 30 minutes before the curtain and no actors may be in view at that time. Props and onstage work must be completed before the house opens.
Warming up for the performance may be handled in several diverse ways depending on the director. Each actor, however, should be responsible for preparing himself or herself, mentally, physically, and vocally prior to the performance and time needs to be set aside for that. Most warm-ups typically take place in the downstairs classroom (Grey Box).
Following the performance, actors and the wardrobe crew handle getting the performers out of costume, retrieving items from on or backstage and returning them to the proper place in preparation for the next performance. These tasks, and the cleaning of the make-up stations must be completed by each actor before meeting anyone in the lobby.
PRODUCTION PHOTOS
Photos will be taken during the designer run and the final dress rehearsal. They will then be provided to the full company.
PRODUCTION HAIR AND MAKEUP
Anyone cast in a University of Portland Theater production—whether a play, or musical—may be asked to supply their own stage makeup as defined below. For hygiene reasons and personal safety, actors are not permitted to share makeup items.
Actors Equity Association requires actors working under its authority to supply their own ‘ordinary and conventional makeup.’ Following that model, the theater department requires students cast in its productions to supply their own ‘ordinary and conventional makeup kit,’ and be able to apply ‘basic’ makeup. ‘Basic makeup’ must be purchased well before any publicity photos or dress rehearsals.
‘Basic makeup’ looks include: 1) Adult standard, to highlight eyes, cheeks, lips 2) Simple “character” looks, such as a pirate, a beggar, a houseless person 3) Some light aging, to create the look of 10–20 years older than the actor.
What to buy: Ben Nye Theatrical Makeup Kits are recommended. Replacement components, like mascara, may be purchased as needed. Some makeup items may also be purchased individually at a drug store. To complete your personal makeup kit, be sure to purchase enough to accomplish the three makeup looks listed above. Most products are available locally at Hollywood Lights or online from Amazon or Stage Makeup Online https://stagemakeuponline.com/ This website has a Foundation Chart to aid in selecting the correct color kit. Tattoo cover is not included in kits.
Tattoos: Students with tattoos will be responsible for covering their tattoos should that be considered necessary by the creative team. Students must supply their own tattoo cover. This must be bought well before any publicity photos or dress rehearsals.
Specialty Makeup: The program will buy additional specialty make-up, as needed, on a show-by-show basis.
Makeup Training: Actors may be required to attend a makeup application training prior to dress rehearsals.
HAIR
Basic contemporary hair style maintenance is required for every actor. Following casting, please check with the costume shop before getting a haircut. Wigs may be provided and will be styled and maintained by the costume department. If performers are asked to change their hairstyle or color, and agree to those changes, the cost those changes will be absorbed into the budget.
PRODUCTION TIMELINE
9 Weeks Before Opening: Play Discussion
General Auditions, Callbacks, Casting/Role Assignment Meeting, Role Offers
4 Weeks Before Opening: Company Meeting/First Rehearsal
Attend rehearsals according to your calls
1 Week Before Opening: Final rehearsals, Paper Tech, Looks & Levels, Q2Q
Week of Opening Tech, Dress Rehearsals, Performances