I. The Harvard-Radcliffe Dramatic Club
II. The Ex Season
III. Applying to the Ex
IV. Finding a Crew
V. Casting
VI. Getting Around the Building
VII. Loeb and ART Staff
VIII. First Things First
IX. Money Mattersregular Ex season funding
pre- and post-season fundingX. Purchasing
before you shop
recommended (habitual) vendors
purchasing with cash
ordering from ART suppliersXI. Producers' Resources
telephones and faxes photocopying
computers
XII. Publicity
postering regulations postering tips
other publicity
XIII. Rehearsal Space
XIV. Costumes and Props
Loeb storage Loeb costume shop
resources elsewhere
XV. Set Design and Construction
design resources
the scene/prop shop
XVI. Fire and Safety Regulations
XVII. In Case of Emergency
XVIII. Lights
XIX. Sound
XX. Keys and Combos
XXI. The Week Before Put-In
XXII. Load-In and Tech Week
XXIII. House Management
XXIV. Strike
XXV. Tying up Loose Ends
The Loeb Experimental Theater was originally created as a home for innovative and unusual projects on a smaller scale than that of the Mainstage. In keeping with this intention, Ex budgets are low, and the shows do not charge admission. The Ex is a place for any undergraduates to come in and do a show with minimum overhead and minimum administrative hassles. This booklet is designed to aid you in many aspects of production, from the application process straight through strike and beyond. We hope it will be of aid in continuing the proud Ex tradition of creativity, invention, and excellence.
The HRDC, founded in 1908, is the umbrella organization for Harvard undergraduate theatre and has hundreds of members. The eight-member HRDC Board is a student-elected body that oversees Loeb undergraduate productions and Common Casting, and promotes other campus theatrical events. While working in the Ex, you will be dealing primarily with the Ex Coordinator and the Board liaison assigned to your show. All Board members, however, are there to help you and are open to queries about anything. The Board can be reached collectively at 496-3030 or hrdc_board@hcs.harvard.edu. Go to the HRDC web page for information on the current board.
HRDC members receive the HRDC Newsletter and invitations to free club events, such as barbecues and show openings. If you are not a member, you should be -- contact the Club Coordinator or call 6-3030. The HRDC also runs an e-mail news service to distribute notices and information of interest to club members. To join, send e-mail to majordomo@fas with the message: subscribe hrdc-list John Doe. Also, there is a newsgroup, harvard.rec.theatre, for your lurking pleasure.
The Ex is in use at least 49 weeks of the year. It is run by the HRDC and is also home to Harvard-Radcliffe Summer Theater (HRST) and to the ART's Institute for Advanced Theatre Training.
• The HRDC season runs for 13 weeks in the fall (from approximately the fourth week of Sept to the second week of Jan) and 12 in the spring (from approximately the second week of Feb to the second week of May). Neither of these periods include student vacations (Thanksgiving, winter, and spring) during which the ART Institute uses the Ex.
The first 2 or 3 weeks and the last 1 or 2 weeks of each semester's season are designated pre- and post-season by the Ex Coordinator. These periods are designed for special projects and smaller, innovative shows which might not otherwise be seen on campus. They have different financial and casting responsibilities (explained below).
• A Commencement week show is often presented during Commencement week as a fund-raiser for HRST. Applications are available from the HRDC Board. The logistics of this show change from year to year; ask a Board member for more information if you are interested.
• H-R Summer Theater inhabits the Ex during the summer and presents three productions. Usually it begins right after Commencement and ends in the middle of August. The HRST is separate from the HRDC, and this handbook does not necessarily apply to summer shows.
• Who can apply: Anyone can apply for the Ex as long as a majority of the cast and crew are Harvard undergraduates. No experience in directing or producing is necessary to apply.
• When: Applications are accepted twice yearly, in December for spring productions and in April for fall productions. A specific deadline is set each semester by the Ex Coordinator and the HRDC Board.
• What is needed for an application: A written application with a copy of the script, music, rough budget and set plans, a list of staff and other pertinent information must be submitted for each proposed project by the application deadline. Applications must also include a rights quote, or a written guarantee that the rights are available. The rights quote is absolutely essential, as without it we cannot guarantee that anyone will be allowed to perform a show.
• What happens after that: About a week after the application deadline, the Ex Coordinator and another Board member will interview the core of each show's staff. These interviews are short and informal. Applications and interviews are then discussed by the HRDC Board. Final decisions are made within a day or two by the Ex Coordinator, in consultation with the Board.
Any other questions about the Ex should be directed to the current Ex Coordinator.
• What makes up a crew: A non-musical play should have the following people (non-essential people in parentheses)
Producer (or two) -- takes ultimate responsibility for everyone doing their job and takes care of the budgetDirector -- directs the actors and techies and develops a concept for the show
(Assistant Director) -- assists the director and "go-fers" during rehearsals
Stage Manager -- coordinates rehearsals, runs tech week, manages the stage during performance; there is a whole other HRDC Stage Manager's Handbook
Set Designer -- designs and builds the set, or pulls it from large props
Light Designer -- designs the lighting and oversees its installation and programming
Sound Designer -- puts together sounds and music
Costume Designer -- pulls costumes from storage or makes their own
(Props Manager) -- pulls props from storage or makes their own
Technical Director -- runs load-in and strike and does most of the building
Master Electrician -- hangs and focuses lights
Light Operator -- runs lights during the show
Sound Operator -- runs sound during the show
(Helping Hands) -- help out, ASM's or running crew can also fall under this
• Harvard undergraduates: At least 50% of the crew must be currently enrolled Harvard undergrads. Other crew members are all right, but they must be reported to and approved by the Ex Coordinator.
• How to find a crew: Start with people you know and get them to fill key roles, then find people they know. HRDC Board members may know of good people you can call, and in the HRDC office are lists of people interested in various technical positions. See the Club Coordinator the lists. There is also an interest list that contains names of both experienced and inexperienced techies; ask a board member for help accessing it. Start early; Harvard techies are notorious for being ridiculously overcommitted months in advance.
• Which crew members are most essential: All of them.
• About crew changes: Producers and crew members make an important commitment to one another. It is expected that, once a crew member is brought aboard, he will not change jobs or leave the show without his own consent and the agreement of the producer.
• Pre-casting: Regular-season Loeb shows are required to audition through Common Casting and may not precast without the explicit written approval of the HRDC Board. Pre- and post-season shows are encouraged, but not required, to use Common Casting.
• Ac-Pro: University academic regulations forbid students on academic or disciplinary probation to participate in organized extracurricular activities.
• Harvard undergrads: Shows may cast grad students and non-Harvard-affiliates; however, University policy requires that the cast be at least 50% H-R undergrads. Moreover, any non-undergrads who are cast must be reported to and approved by the Ex Coordinator.
• Common Casting: Common Casting runs the first week of classes each semester and allows most of that semester's shows to audition at the same time, so as to bring together as large a group of actors with as large a group of shows as we possibly can. Common Casting is run by the HRDC Campus Liaison. Contact him or her to arrange for auditions there.
• Scheduling callbacks: Loeb shows can be given callback time in the building for the weekend after Common Casting; talk to the Campus Liaison about scheduling.
• Some advice about Common Casting: The Ex is a popular space and many people will be interested in auditioning for your project. It is therefore a good idea to keep your auditions to no more than 10-15 minutes per group. Try to provide cuttings that are not gender-specific so that you can take groups of any composition. To speed the process, try to see several people at a time and to have some actors go over cuttings while others are auditioning. Remember that in the initial process you are only determining who you will call back. Don't be squeamish about cutting people off the moment you know that you do or do not want to see them again. Also remember that you don't have to call someone back if you are sure you want them. You should therefore tell people that they might still get the part even if you don't call them back.
The Loeb Drama Center is located at 64 Brattle Street, Cambridge MA 02138. There is only one entrance to the Loeb; straight ahead is the box office, to the right are the stages and public restrooms, and to the left is the Donut and administrative offices.
• The Donut is the receptionist's desk. It is staffed from 9am to midnight. The phone number is 495-2668 and the receptionist can transfer calls to anywhere in the building, except for the box office. The Donut also has message boxes for everyone in the building, including the HRDC. Check there if you are expecting a message or a delivery.
• For security reasons, everyone entering the building (except to attend a performance) must pass the Donut; therefore, it makes their job easier if you get to know the people who work there.
• The HRDC office key can be obtained from the Donut in exchange for a Harvard ID card. It is also on the Ex keybar. (See Locks and Combos, below)
• Remember that all facilities used by students are also used by professionals. This is especially important in the shop. Clean up before leaving the building. Always ask before moving equipment from one room to another. And immediately report anything broken or otherwise hurt. ART staff (or another Harvard show) might be upset if a saw is broken; they will definitely be upset if they don't learn it is broken until they need it. The more communication there is between the HRDC and Loeb staff, the less room there is for misunderstandings. You must talk to the Technical Liaison if you have never worked in the space.
• Performances occur almost every night and Wednesday and Sunday afternoons. The Loeb is blessed with walls slightly more than paper thin, but any loud noises, even in the rehearsal rooms, will be heard on stage. In the hallway between the Ex and the Mainstage, even moderately loud voices will be heard. Permanent "performance in progress" signs should be adhered to unless you are absolutely positive that there is in fact no performance taking place.
• Rehearsals go on in random places all over the building. The schedule is posted opposite the Donut. Anyone not involved in a rehearsal should wait until the rehearsal is over to enter -- even to walk through -- the room.
• The second floor is not a complete circuit. Avoid walking through the costume shop and the hallway-that's-really-an-office, unless they are empty.
• The Loeb closes at midnight. When the Donut staffer begins to close the building at 11:45, everyone must leave. Ex shows must leave even if others are legitimately staying late -- their supervisor cannot be expected to look after the Ex as well. Only during strike may an Ex show stay after midnight.
• The directors/producers meeting before Common Casting is a required meeting for all directors and producers. It is an opportunity to meet many of the people who, later on, will be very useful to know.
Loeb and ART employees' names are printed in boldface throughout this handbook. Listed in this section are people who can help in abstract and undefined ways; others whose relations to undergraduates are more defined are included later in this handbook wherever appropriate.
• Michael Griggs is the Loeb Technical Director for Undergraduate Theatre. He is an experienced theatre designer who is ready to help with any technical or design problems. His job is focused squarely on undergraduates, and he is always available to help HRDC shows. Michael's office is next to the HRDC office; he can be reached through the Donut, or through email (jmgriggs@fas). You leave him a voice mail message at x8854. If you need to reach him immediately, first try the HRDC Board, or your producer who may have his cell phone number.• Jonathan Miller is the Loeb Drama Center General Manager. In addition to working for the ART, he has a general oversight role over HRDC shows. A former undergrad, Jonathan understands how we work and what it takes to get a HRDC show up. He can be reached through the Donut.
The Loeb is also the home of the American Repertory Theatre, a highly acclaimed professional theatre, and most of its actors, technicians, and production people enjoy helping undergraduates. Contact staffers through the Donut to make an appointment.
• A professional ART director is on hand to give input to student productions if desired. Marcus Stern is the advisor for both semesters this year. You are required to have at least one meeting with the advisor well in advance of the opening of your show. He is willing to watch rehearsals, attend performances, and give advice if requested. He is a tremendous resource and are here to help. Call him! (He won't build your set.)• Other ART staff can be found on the ART Who's Who page.
• Most ART tech rehearsals are open to undergraduates; just walk in (quietly, of course) during any rehearsal on the Mainstage. You may also be able to attend earlier rehearsals by contacting the show's director.
It never hurts to start any task early, but there are some things that are especially important to do ASAP.
• If you do not have a paper "rights quote" you should not eat or sleep until you have one. Call the rights holder. (Arrange with your Board liaison to make free calls from the HRDC office.) Explain that the Ex is a non-profit student theatre with free admission and a seating capacity of 100. Have them send the rights contract to the HRDC, 64 Brattle Street, Cambridge MA 02138.
• Ex slots: Slots vary from one to two weeks. Ordinarily, they will begin on a Sunday and end on a Saturday. Shows can be performed at any time during this period. Only the Ex Coordinator can change the dates of an HRDC slot. This will only be done in writing.
• Set dates and times as soon as possible so that they can be correctly entered in the Harvard Theatre Bulletin put together by the Publicity Coordinator around the time of Common Casting. Contact the Ex Coordinator as soon as dates and times are set. The Ex Coordinator must approve dates and times before they are publicized in any way.
Ex shows traditionally start at 7:30pm. It is also possible to do 7:30pm & 9:30pm (or 7:00pm & 9:30pm) shows in one evening, but closing nights may only have one evening performance. Matinees normally begin at 1:30pm or 2:30pm. Other times are possible if special circumstances merit them. A schedule would normally include three or four performances each weekend -- on Fri, Sat, and possibly Thurs and/or Sun nights, and perhaps a matinee.
• Special requests such as extra dressing rooms, ART equipment rentals, or special rehearsal needs should be mentioned to the appropriate person as soon as possible. Michael Griggs or your Board liaison can tell you who that person might be.
• Put together a contact sheet with the names and phone numbers of the full cast and crew, and distribute it to everyone. At the same time, develop a rehearsal schedule and a production schedule leading right into tech week.
• Production meetings should be held regularly -- weekly, after rehearsals start. This is the producer's only chance to make sure everyone else is up to date and working together. It is also, say, the light designer's chance to hear that everyone in the cast will be wearing huge sombreros, so that he can scream.
• Budgets: Amounts allocated to each show will be announced at the producer's and director's meeting at the beginning of the semester. Before making a budget, talk to your designers; they should know approximately how much they will need to spend. Michael Griggs also has price lists for anything that you are unsure about.
The producer is responsible for the overall budget and is solely responsible for paying all bills for his show. Michael Griggs and Nancy Simons must approve the budget before any money can be spent; you should divide the budget between money reserved for vendors and money available for reimbursement later. Vendor expenses over the budgeted amount will not be paid; similarly, photocopying will be limited to the amount budgeted for publicity. Food expenses will only be reimbursed when they are an explicit line-item in the budget. To change these figures, file a revised budget (approved by Michael) with Nancy Simons in the Financial Office.
• Rights: Performance rights fees come out of a separate pool of money, not out of your budget. Make sure that Nancy Simons has your rights information and that rights for your show have been procured well before it opens.
• Outside funding: No regular season show may solicit or receive outside funds without the specific consent of the HRDC Board and Jonathan Miller. This includes Office for the Arts grants, money from house drama societies, etc.
• Solicitation: No regular season show may charge admission, solicit donations at the door, or sell advertisements in their programs. Advertisements may be given in exchange for discounts or free merchandise.
• Funding: The HRDC provides these shows with a minuscule amount of money. Credit for vendors and photocopying will be limited to the HRDC stipend; all other expenses must be paid up front.
Pre- and post-season shows are encouraged to seek outside funding from the OFA, the UC, RUS, the IOP, the BGLSA, and other generous letters of the alphabet (as well as the Harvard Foundation) well in advance of opening. HRDC Board members may also be able to suggest ways to raise money. Do not be dissuaded if an organization "normally" doesn't award grants until after your show will be over -- a timely phone call can usually soften them up. Also don't forget that these applications are due at strange times compared to our seasons so get your application in early.
• Rights: Pre- and post-season shows have no rights allowance. They must purchase rights for their performances out of the grant and other monies they raise.
• Solicitation: Like other Ex shows, pre- and post-season shows may not charge admission, solicit donations at the door, or sell advertisements in their programs. Advertisements may be given in exchange for discounts or free merchandise.
• Vendors: If getting funding from an outside source you may not be able to use the ART account with the vendors. If you would like to charge materials through ART you must make arrangements with the financial office and get approval of Jonathan Miller before ordering materials.
• Before you shop:
• Ex shows are entitled to a number of supplies kept by Michael Griggs:
a roll of black gaff tapeglow tape
red spike tape (for marking floor-plans in rehearsal spaces)
lamps for lekos and fresnels
some standard light bulbs for lamps or clip lights
black California AllFlor paint (for returning the space to its basic black during strike)
If you need any of these things, talk to Michael or leave a note on his door. Try to do this at least a few days before you have to use them.
• The Red Tool Room should be fully equipped. If a tool is missing or supplies (hot glue sticks, drill bits, jigsaw blades, staples, screws, etc.) are running out, contact Michael or the Tech Liaison.
• The paint-sink: The big paint-shelf on the back of the fridge doors holds leftover paint from other productions. You may be able to find paint there for small jobs. (Don't use paint that is labeled with the names of other current shows.) Some rollers and paintbrushes are usually available, but if there are not enough, you are responsible for getting your own. Do not dump paint down the sink, mix it in a bucket with sawdust to make it solid or pour it in the 30 gallon waste drum next to the paint sink.
• Salvaging lumber: Scrap lumber is kept next to the radial arm saw. Also, check with Mainstage shows and Ex shows (HRDC or Institute) striking before you load in -- you may be able to salvage lumber from them. DO NOT TAKE WOOD FROM THE RIGHT SIDE OF THE WOOD RACK. DO NOT TAKE WOOD FROM THE ART PART OF THE PLYWOOD RACK.
• The ART gets many theatrical materials (canvas, lumber, foam rubber, etc.) from local suppliers, most of whom deliver. Often it has an account with these suppliers through which you can order. Ask ART staffers where they order from, and talk to Michael Griggs about ordering. Also be aware that sometimes these suppliers are not the cheapest around -- if you have a means of transporting materials, it may be worth it to do some comparison shopping.
• Clifford Lumber (966-6411) Cliff is a Harvard theater legend. He is the almost-exclusive supplier of Loeb wood, except when he's on vacation. Free delivery, usually within 24-48 hours. For financial reasons it is best to let Michael Griggs place your order with Cliff.
• Backstage Scenic Supply (1-800-698-8995) stocks most Rosco paint colors. (Michael Griggs has a color chart.) They also stock most Lee and Roscolux gels and lots of other paints (like AllFloor) and supplies. They also deliver within 24 hours. For billing, see "ordering from ART suppliers" below.
• HTAG (the Harvard Technical Advisory Group) stocks many basic supplies in a storeroom at the Agassiz Theatre (across Brattle Street). Most of these are already provided for free in the red tool room and from Michael Griggs, but HTAG can be handy in a pinch.
• Dickson Bros. True Value Hardware (876-6760) is a popular source because of its location on Brattle Street next to Wordsworth Books. Prices and quality can be less than optimum, but often it's the only source within reach. Dickson Bros. closes at 6pm on weekdays and is closed all day on Sunday.
• Winmil Fabrics (542-1815) is located at 111 Chauncy Street, one block to the right (ie South) of the Chauncy Street exit to Downtown Crossing. They offer a good selection of fabrics and helpful sales people.
For vendor details go to Loeb Info Vendor Page
• Get the Harvard tax-exempt number from Michael Griggs or from your Board Liaison. Tax will not be reimbursed. When you use the tax-exempt number, many stores will look it up in their records; it might be alphabetized under "Harvard" or "President and Fellows".
• Make sure that designers know how much they can spend. Make it clear that they are responsible for expenditures over the budgeted amount. (Of course, producers are ultimately responsible to see that they are paid by someone.)
• You cannot pay an individual for his services and be reimbursed. Only certain student groups can be paid by Harvard; check with Nancy Simons or the HRDC Treasurer for information.
• If you use a credit card, try to get a normal receipt ("cash receipt") besides the credit receipt. The Financial Office will not reimburse for a non-itemized receipt.
• No more than $100 will be reimbursed for a single item.
• Collect receipts from designers before they manage to lose them. Tape receipts to 8 1/2"x11" sheets of paper listing the show and the person to be reimbursed, his Harvard ID and Social Security numbers, and whether he is on a Harvard payroll. Circle the total amount to be reimbursed, not including sales tax. All shows must turn all receipts in to the HRDC Treasurer (this is a new policy) within one week after the final performance. Reimbursement checks should be available from Nancy Simons in the Financial Office a few weeks after receipts have been turned in.
The following is a summary of a Financial Office memo which is no longer posted on Michael Griggs' office door. Note that, contrary to that memo, this summary instructs producers to return PR forms and invoices to the HRDC Treasurer. The Treasurer will look over the forms and return them to Nancy Simons.
• Get vendor Purchase Request (PR) forms, along with your show's financial tracking code, from Nancy Simons (a sample form is in the back of this book) and distribute them to anyone who will need to purchase from a vendor (set designer, possibly costume or light designer).
• Michael Griggs has information on ART suppliers and the most recent purchase prices of their products. These prices are not necessarily up-to-date. Let Michael know of any changes.
• When you order, give the vendor your show's tracking code from the PR form. It will probably begin with the letters "HR" or "X". Make sure that the vendor uses this code on all invoices and forms. This ensures that your expenses will not be confused with another Loeb show. If you don't know the code then have the vendor put the show name on the invoice.Don't forget to use the tax-exempt number. Then complete the PR form.
• Please note: Make sure that your designers know the correct procedures to use when ordering items from ART suppliers. They should order under the ART account and include what show they are ordering for. This way it can be easily identified as belonging to your show. Some vendors require a PO#, get this from Michael Griggs.
• Indicate delivery information on the PR form, and to the vendor. Small items can be delivered to the Donut. Larger items should be delivered to the loading dock behind the shop. Dock access must be arranged with Michael Griggs, and you must ensure that someone will be there to unload the goods. Clifford lumber will just leave the stuff on the dock, be sure to move it inside later that day.
• Place completed PR forms in the "to be received" file at the Donut immediately after placing the order. Michael will periodically remove inaccurate or incomplete forms. The Donut will refuse any delivery without a completed PR form. The Donut is not responsible to check the accuracy of orders upon delivery.
• After delivery, PR forms are returned by the Donut to Michael Griggs. Producers are responsible for periodically collecting them from Michael and giving them to the HRDC Treasurer. Invoices from vendors are often mailed directly to the Treasurer, but it is still the producer's responsibility to check and make sure that the Treasurer has received invoices and purchase forms for every order.
• If you order without using a PR form, you are responsible for paying the bills. You can then use the bill as a receipt to be reimbursed.
• Phone numbers:
Loeb Donut / ART 5-2668Loeb Box Office 547-8300
HRDC Office 6-3030
ART Fax 5-1705
Michael Griggs (loeb office) 496-2000 x8854
Escort Service 5-0400
Office for the Arts 5-8676
Agassiz shop/backstage 6-8374
HRDC Board phone numbers are at the end of this handbook.
• Loeb phones operate like Centrex phones. Press "out" (the second button from the top) to get out of the Loeb, then enter the 5-digit Harvard extension. To get out of the Harvard system, press "out" and "9", just like any other Harvard phone.
• The Donut can page people in the building. However, no one can be reached if they are in the Ex or the Mainstage.
• If you need to make long distance calls for your show, (i.e. to obtain rights) the HRDC has a PAC code which works only from the HRDC office phone. Ask an HRDC Board member to enter it for you.
• You may use the ART fax machine when necessary. If you don't know how, please ask for help. The number is (617) 495-1705; there should be cover sheets in the immediate vicinity. If you will be receiving a fax, make sure that the sender addresses it to your name and "HRDC". ART staff will put the fax in the HRDC mailbox across the hall from the fax machine.
• You may have noticed that there are several commercial copy centers in Harvard Square. These businesses tend to charge 6 or 7 cents per copy and 2 cents per staple. They are often more convenient than the Loeb photocopiers, and almost every show uses them, but almost every show is also quite shocked by the $40 unbudgeted expense that can easily result. Moral -- copy where it's convenient, but do pay attention to how much you're paying.
• The Loeb photocopier costs just 2.5 cents per copy -- cheaper than anywhere else on earth. To use the photocopier, your budget must have already been approved by Nancy Simons; each show then gets its own 5-digit access code from Nancy Simons in the Financial Office. Your code will be limited to a certain number of copies (in multiples of 1000). You cannot make more photocopies than you have budgeted for. After the show closes, the access code is deactivated.
• Use the large photocopier located upstairs near the financial office. It can collate, staple, print both sides, enlarge, reduce, etc. To learn how to operate this machine, talk to your Board liaison. The copy machine is only on M-F, 9am-5pm.
• If you have a major copying job (such as scripts or programs), reserve a block of time to do it by signing up near the copier at least a day in advance.
• Do not use paper heavier than 60# bond.
• There is also a paper cutter and a folding machine in the Loeb. You can get permission to use these from Nancy Simons or from the Press Office across the hall.
• Ex shows may use the Power Mac in the HRDC office after consulting with your Board liaison. The office computers have such software as Microsoft Word and Excel, Pagemaker, and Filemaker Pro.
• Programs can be made using Pagemaker. If you need help, talk to your Board liaison or try the manuals on the shelves above the computer.
• After your show, you must make a budget reconciliation on Excel. The budget template for this is in the main folder on the Power Mac.
• Posters should be no larger than 11"x17", as dictated by University policy.
• Posters should begin, "The Harvard-Radcliffe Dramatic Club presents..."
• In the lower righthand corner should be the words "app'd HRDC" and the last day of your show (for archival purposes, please include the year). This is necessary to meet University regulations.
• Please poster only in legal places like kiosks and bulletin boards. Illegal postering places (i.e. everywhere else) include sidewalks, mailboxes, telephone poles, the glass doors at the Science Center, and the doors in Sever. The show will be charged $25 per poster for any posters in an illegal space. Chalk on the sidewalks is also illegal.
• No more than one poster on a kiosk, please -- this is University policy.
• Posters which have been put in illegal locations will be torn down by Harvard Police or maintenance and the show will be fined. Individual shows and not the HRDC will be responsible for postering violations.
• Print posters and teasers early so you can have them ready at least two weeks before the show. Shop around for the best prices.
• Poster the houses, Quad, and freshman dorms, as posters there have a longer life expectancy than those on kiosks or in classroom buildings. Yard kiosks are usually cleared on Monday and Thursday mornings.
• Don't forget to poster the Loeb. There are kiosks in the outer lobby. After load-in, you can poster in the Ex lobby, where posters are visible to Mainstage audiences. You can also poster on the main Loeb doors. Courtesy dictates that Ex posters go below ART posters; when the HRDC is on the Mainstage, the Ex and Mainstage alternate the top and bottom of each door.
Please use only small pieces of Scotch tape on the corners of the poster, parallel to the edge. For the outer doors, use a block of several (often four) posters on each window so that Ex and Mainstage posters are approximately the same size.
• Libraries: Give copies of your poster to the staff at the circulation desks of Lamont and Hilles; both libraries have displays of current campus events. The Cambridge Public Library (on Broadway Ave.) also has a bulletin board designated for community events.
• Community Contacts: The Harvard Information Center in the Holyoke Center arcade will display posters for any Harvard show (on a first-come, first-served basis). Schoenhof's Foreign Books has been known to display posters of shows being presented in translation. Cambridge Trust usually allows account holders to put up displays in their windows. Other businesses may also publicize your show, especially if it relates to their business.
• The HRDC Newsletter contains current show listings lifted from the Bulletin printed each September and February. If show dates and times have changed, report this to the Club Coordinator as soon as possible. (Of course, you should have first reported this to the Ex Coordinator.)
• Publicize electronically through the World Wide Web and Usenet. The HRDC has a Web server <http://hcs.harvard.edu/~hrdc/> and a newsgroup <harvard.rec.theatre>. HRDC Board members can help you use these resources. If you have questions or corrections regarding a listing on the Harvard theatre/HRDC Web server, send email to theatre@radcliffe.harvard.edu
• Get your show listed in the calendars of the various publications around campus. While you're at it, see if they'll do a larger article:
Fifteen Minutes -- 576-6565Harvard Independent -- 5-7876
Arts Spectrum -- the OFA at 5-8676
Harvard Gazette -- 5-1585, deadline the Thurs before
Yard Bulletin -- Jim Walton at 5-1574, deadline noon Tues
House newsletters -- contact the Asst. to the Masters
Dining Services table tents -- 6-8600 (call ASAP)
• Talk to the HRDC Publicity Coordinator about other publicity opportunities.
Scheduling for the rehearsal rooms is handled by Chris Viklund. Each show's producer or stage manager is responsible for applying for rehearsal space every week.
• Scheduling forms are available at the Donut and should be returned to the Donut by 5pm on the Wednesday before the week (Mon-Sun) requested. A copy is in the appendix. You can also get them at www.loebinfo.com
• There are three rehearsal rooms in the Loeb. Rehearsal rooms C and D (on the second floor) are each approximately half the size of the Ex. The dance studio (in the basement) is the full size of the Ex and has a dance floor material on the floor. The West (main) Lobby can also be reserved for rehearsal when there is no show on the Mainstage.
• Shows are prioritized as follows:
• next mainstage• two closest Ex shows
• following mainstage
• following Ex shows in order
• Schedules for each week are posted by the Donut. Because rehearsal space is shared by the ART, the Institute, Harvard drama classes, and the HRDC, you may not get your first choice. If Loeb space is not available, you can often rehearse in house JCRs by contacting the house's assistant to the masters.
• If you have not signed up in advance, you may write your project in at times that are not already filled. (You cannot, however, boot another show which already has space reserved, even if they have lower priority than you do.)
• If you are consistently rehearsing in one space and would like to tape the floor, be sure to use red spike tape (available from Michael Griggs), not masking tape, and take it off the floor once you stop rehearsing there. Do not remove other shows' spike tape.
• Suzy Kadiff is the Loeb costume stock manager; she loans out both costumes and props from HRDC storage in the Loeb basement. You can make an appointment to visit props and costume storage by calling her voicemail at 6-2000, extension 8876. Her hours are:
Tuesday 3:30pm-8:30pmThursday 3:30am-8:30pm
Friday 9:00am-1:00pm
• Loeb shows may borrow costumes and props from HRDC storage free of charge or deposit. Suzy Kadiff will make a list of all borrowed costumes and props. Your Board liaison uses this list during and after strike to make sure that everything has been returned. Shows are liable for any missing or damaged props or costumes.
• Small props contains hand props and set dressings.• Large props contains furniture, doors, stairs, appliances, walls, etc.
• Costume storage contains costumes, including hats and sandals.
• A small stock of wigs is available in the costume shop.
• Street clothes, dress shirts and shoes, and other non-distinctive items are available in the black cabinets near the HRDC office.
• No one may access any of these storage areas unless accompanied by Suzy Kadiff, Michael Griggs, or an HRDC Board member. Suzy Kadiff must be informed every time a prop or costume is taken from or returned to storage, so that they can record it.
• To reserve an item for your show, it must be recorded by Suzy Kadiff. You should also attach your name, phone number, show name, and put-in/strike dates onto the item.
• Tagged items may be loaned to earlier shows. However, they may not be altered in any way and must be returned by the put-in of the tagging show.
• Any alterations to borrowed costumes or props MUST first be explicitly approved by Michael Griggs, Suzy Kadiff, or an HRDC Board member. This includes painting, upholstering, trimming, tailoring, sawing, gluing, hacking apart, etc. Some alterations are welcomed, but many attractive props have been ruined over the years. Before you cut a table in half or paint a wooden chair lime green, ask one of the people above. The same goes for painting a formerly lime-green chair with woodgrain -- ask one of the people above. SHOWS WHICH DO NOT FOLLOW THIS RULE WILL BE FINED.
• The costume shop is upstairs above the prop/scene shop. With permission from the ART costume staff, it can be used by students after 6pm and on weekends.
• You must contact Jeanette Hawley before you want to work in the costume shop; some of the equipment can be tricky.
• Clean work only is allowed in the costume shop. Gluing, painting, plastering, etc. should be done downstairs in the prop shop.
• Clothes may be dyed in certain washers in the Josie (the ART costume craft room). Permission must be received from both the owner of the clothing to be dyed and from the ART Craft person or Jeannette Hawley. They can also answer your questions about how to dye different fabrics.
• Other theaters and schools in the area have reciprocal agreements with the ART. Most will not lend costumes for an ex show. Some charge rent, while others are free. Talk to Suzy Kadiff for more information.
• When borrowing from other theaters you are representing the HRDC (and often the ART). It is absolutely vital that borrowed items be returned, undamaged, when promised. This is the responsibility of both the producer and the costume/prop/set designer.
• Ex blueprints, lists of available softgoods and platforms, and other information is available from Michael Griggs, or from the Ex Coordinator. Plans for the Ex in a variety of computer formats can be found here.
• If you have questions or want advice, talk to the HRDC Tech Liaison, the Ex Coordinator, or Michael Griggs. If they don't know the answer, they may know who does.
• All set designs must be approved by Michael Griggs. This is mainly for fire and safety reasons, but Michael might also have suggestions about how to make your designs cheaper or easier to build. Talk to him ASAP. He got his MFA in design and is tickled pink to help students design better shows.
• Discuss your designs with the director and lighting designer. You wouldn't believe how many people don't do this. By the same token, directors should discuss their blocking with the set designer.
• Pay attention to the fire and safety rules listed below.
• Be sure to include seating platforms on your designs. They take up more room than most people think. The Ex can seat up to about 100 and usually seats 70, and shows sell out almost every performance. Each platform can fit 4.5 chairs with no aisle; remember that there is no balcony seating and it is very disappointing to turn people away on closing night. Ordinarily, the Ex Coordinator will not allow fewer than 50 seats.
• There are nine hanging flats (4' wide, 16' high) which can be moved along a grid of track into various configurations. They may be painted but may not be screwed into, glued, C-clamped, or otherwise have their flatness compromised.
• The floor and any flat wall surfaces may be painted, but may not be screwed into, etc. without permission of the Ex Coordinator. Bumpy wall surfaces may not be painted.
• Seating platforms (3'x8') are stored in the Ex in various heights from 8" to 32". They have attached legs and fold like tables; they also latch together under normal circumstances. They are not to be painted, taped, or screwed into (except for safety strips along the sides and back; see Fire and Safety, below). See the attached memo about platforms.
• Stage platforms (4'x4' and 4'x8') are stored in the mainstage trap room. Bases come in 1', 2', 3', and 4' heights. The bases are separate from the lids and may be stacked underneath them. Lids may be painted but may not be screwed into. If you need to cut a lid, make your own instead. See the memo about platforms.
• Softgoods (curtains and the like) must be checked out from the ART Stage Supervisor, Joe Stoltman or one of his assistants. You must talk to him AT LEAST FOUR DAYS BEFORE LOAD-IN. You may not staple, tape, spindle, or mutilate softgoods. Let me emphasize that even gaff tape will damage softgoods (and would hurt them even more if it's removed). You ordinarily must pledge your soul that they will not be damaged. You must also make arrangements to return your soft goods to Joe after the show.
• The scene/prop shop is used by the ART until 6pm on weekdays and by HRDC and Institute shows at other times. This means that Ex shows may not use the shop while ART staff are working. You do not need to reserve the shop, but you must be considerate of other shows and should coordinate times with the Mainstage TD and other Ex TDs. If you have questions, contact Michael Griggs or the Tech Liaison.
• HRDC wood can be stored in the "shelves" to the left (not the right!) of the radial arm saw. Label your wood and keep it on a different shelf than other shows. Plywood can be stored in the lower portion of the plywood rack (underneath the costume shop stairs) that's marked "HRDC".
• The red tool room is used exclusively by the HRDC and contains tools with red paint on them. Tools with white paint belong in the white tool room and those with sky-blue paint belong to the ART mainstage crew. These are not to be used by students. Inside the red tool room is an "inner sanctum" of more expensive tools; if you need to get inside contact Michael Griggs, the Ex Coordinator, or the Tech Liaison. If tools are broken or expendable supplies are running low, contact Michael Griggs.
• The Ex keybar is locked to the wall between the paint sink and the white toolroom. It is a set of ball bearings with keys for the red tool room, lighting storage, and the HRDC office. Your Board liaison has the combination -- make sure that you lock it up when you're done.
• Always ask before using an unfamiliar tool; anyone working in the shop will be happy to answer your questions. None of the tools kept in the shop (i.e. not in the toolroom) should be used without a short safety lesson from Michael Griggs or the HRDC Tech Liaison. Even if you think you know what you're doing, you could break the tool, your project, or yourself.
• The paint cabinet has paint that may be used by Ex shows. Label your paint and do not use paint labeled with future shows' names. Brushes are above the sink; always rinse out brushes so that there is no color before putting them away. Spray paint and oil-based paint are not to be used.
• Always clean up after yourself by sweeping the shop and putting away tools. If you need to store items in the shop, contact Michael Griggs before those items have to be stored.
The following guidelines, in accordance with Cambridge fire laws, must be met by all Ex productions. The set designer, TD, and house manager of your show should all be aware of these rules. Infringements of these rules can cause your show to be shut down. The regulations are as follows:
• 100 maximum capacity including performers and audience. This is an absolute limit.• No audience may be seated in the balconies, with or without chairs.
• A 4' audience exit path must be cleared to the main ex double entry doors. And you must have clear access to the second exit door that goes through the lower airlock. One of these exits must be clearly visible to the audience the other can have the portable exit sign guide a clear path to the exit. The door leading to the dance studio is not a fire exit.
• However, the door from the dance studio is a fire exit from the dance studio and should not be blocked by seating risers.
• Exit signs must be visible at each fire exit. They may not be turned off, blocked, or gelled, do not tape over the ventalation slots.
• Hallways leading from marked exits must be kept clear. This means the airlock must have a clear path all the way through it.
• All seating platforms should have a narrow strip of lumber secured along the back edges and sides to keep chairs from falling off. This is necessary even if the platform is against the wall; without the strips chairs can damage the wall.
• Seating platforms (the ones that look like tables) should not be stacked. If they must be stacked, put the taller one on top. You must then secure the top one to the bottom one; otherwise they will slide -- trust me, I've been there.
• The fridge doors to the shop should normally be closed to prevent both fires and shop noise. Any opening of either set of fridge doors during a show must be cleared with Michael in advance.
You must submit set and seating plans to Michael Griggs before you can receive budget approval, and you must keep Michael informed if any of these plans change. Michael's decision on whether your set meets fire and safety regulations is final; it's best to meet with him well in advance in case there are issues you're not aware of.
You must inform Michael well in advance of any situation which might cause harm or injury, or might be perceived by anyone as having that potential. If you work with Michael in advance, appropriate solutions can almost always be found. Possible hazardous situations include, but are not limited to,
• flying or lowering people• long leaps or jumps
• smoke or chemicals
• water
• lighting and smoking cigarettes
• swordplay or fights
• use of firearms
• use of animals
• gunshots or sudden loud noises
• strobe lights
• There is only one person in charge. During building, that person is probably the set designer or technical director. During a show or technical rehearsal, that person is invariably the stage manager. Whoever is in charge instructs everyone else on what to do; she should be the only person talking. Students manage the situation only until police, Loeb or ART staff, etc. arrive.
• Do not panic. Everyone else will be following what you do. You want them to know that you are in control and that they should not panic.
• There is a fully stocked first-aid cabinet backstage right (Donut side) on the Mainstage. The latch can be tricky; try it out before you need it. There is also a small emergency first aid kit in the Loeb Shop on the door to the white tool room by the loading dock door.
• Always tell a dispatcher that you are at the Loeb Drama Center at 64 rattle St.. There are five other "Loeb"s on campus. The Loeb Drama Center is at 64 Brattle Street on the corner of Brattle and Hilliard Streets. The Ex is in the northwest corner of the building, near the loading dock off of Fuller Place.
• If the building must be evacuated, try to avoid a crowd evacuating the Mainstage. Everyone should walk down the sidewalk, preferably without crossing the street, until they are well away from the building. Do a headcount, but do not return to a dangerous building to find someone. One person should stay in front of the building until help arrives.
• Jonathan Miller should always be notified of fires or serious injuries as soon as the situation is under control. Have the donut person or board liaison call him at home. If you need a band-aid, you don't need to call. If you burn the theater down, you need to call.
• In case of fire, first, evacuate the audience quietly and in an orderly fashion. If the fire is small and not likely to spread, try to put it out, but do not put yourself in danger. Whoever is in charge should ordinarily be the last to leave and should check the entire Ex and balcony to make sure everyone has left. However, it is obviously better to be safe than heroic. You should make a note of where fire extinguishers are when you load-in.
• If someone is injured, one person should stay with the injured while another calls an ambulance, the producer, Jonathan Miller, and Michael Griggs, in that order. It is best to first call Harvard Police (5-1212) and have them get an ambulance, this gets the quickest response. If, for whatever reason, there will be a delay in the transportation of the injured person to the hospital, the Harvard police are most likely to wait for you. There should be no such delay. The Donut and Mainstage house manager should be notified, and a path should be found for paramedics so as not to cause alarm. Someone should meet the ambulance in front of the Loeb. One person should stay with the injured in the ambulance.
If the show can go on, it should go on while non-essential people take care of the injured. If the show must be canceled, the house manager should make an announcement to the audience and evacuate them before an ambulance arrives. Everyone else should go home, too.
• If an injured person refuses help, the stage manager must decide whether the injuries are serious enough to cancel the show. Always err in the direction of cautious. Injuries that don't seem severe can come back to haunt you.
• Emergency numbers:
from the Loeb from outside Harvard Harvard police 5 - 1212 Cambridge police 9 - 349 - 3300 911 UHS 5-5711 617-495-5711 Fire 5-1511 911 Mt. Auburn Hospital Emergency 9-499-5025 617-499-5025 Camb Hospital Emergency 9-498-1429 617-498-1429
• The Ex grid plans (including dimmer numbers for each outlet) are available from Michael Griggs or online here.
• The Ex has the following lights as of January 2004 :
• 20 6" fresnels• 25 6x9 ellipsoidals
• 25 4.5x6.5 ellipsoidals
• 5 6x12 ellipsoidals
• 4 6' 3 circuit 12 lamp striplights, PAR 38 lamps
However usually a light or two is out of commission, please be prepared.
• Other lights may be borrowed from ART master electrician Derek Wiles, though that is rarely necessary and seldom available. Because the Ex lighting system uses a twist-lock plug (unlike every other Harvard space) borrowed lights require adapters.
• Two-fers and extension cables are stored in the Ex grid.
• There are 72 dimmers controlled by a computerized lighting system. All dimmers are rated for 2.4 kilowatts. The house lights are wired into dimmers 91-96.
• Instructions for the lighting console are available from the Tech Liaison or download here.
• Gels are stocked by the HRDC and are kept on the shelf in the HRDC office. Gel can also be ordered from local vendors (see Purchasing).
• Turtles for using lights on the ground are also available in the Ex. There are ten of them and are located under the stairs on the way to the grid.
• All lights must use their safety cables. If some are missing, contact the Ex Coordinator.
• Houselights are on dimmers 91-96 and are operated through the light board. Also be aware that the lights have individual pull switches so they can be turned off individually now. It is usually undesirable to have houselights on over your set.
• Grid lights are controlled by the switches next to the main ex doors and on the balcony, near the door to the upper airlock.
• Dave Remedios, the ART sound designer, is very good with students. However, because he is very busy, he should be contacted far ahead of time. You can reach him through the Donut.
• The mainstage sound booth has some wonderful editing equipment and a ridiculous number of sound effects. For information, contact Dave Remedios.
• The Ex has two speakers. You can move them to wherever you'd like. There may be others, but some of them don't work. Be sure to stay out of the way of your light designer. Sound cords can be borrowed from Dave Remedios.
• The Ex sound console has a CD player, tape deck, a mini disc unit and an effects generator. The lock's combination is available from your Board liaison. Make sure you lock everything up at the end of the day. If you need help hooking up or operating the console, contact your Board liaison.
• The HRDC office key card is always available at the Donut in exchange for a Harvard ID card.
• Your show will be given a four-digit combination when you load in. This combination will work in the locks on the Ex keybar, the props cabinet, and the sound console. If you're ever unsure of the combo, contact your Board liaison, or any Board member.
• The Ex keybar is locked to a metal bar next to the white tool room door. It has a keycard for the HRDC office and red tool room. If you need the previous show's combo (e.g. if you will be using the shop and toolroom before you put-in), contact your Board liaison. Please lock up your keybar at the end of every work session.
• The inner sanctum of the red tool room also has a combination lock. Contact Michael Griggs, the Ex Coordinator, or your Board liaison for the current combination. Everyday tools are kept in the main part of the toolroom; if you need a special tool, relock the inner sanctum after fetching it.
• The Ex dressing room is Actresses B (across from the dance studio). To enter, punch in your combo and turn the latch; the combo is available from (guess who?) your Board liaison. Although there is a lock, it is recommended that valuable items be kept elsewhere or have your stage manager collect them; dressing rooms are susceptible to theft.
• The Loeb is notorious for theft problems. If something isn't locked up, it could easily be stolen. Therefore, lock everything, and keep certain doorways (from the lower lobby to the dance studio, and all outside doors) closed at all times.
(try to complete these items by the Thursday before you load-in)
• Give your roommates and friends a fond farewell.
• Weigh yourself. Your about to really gain, or really lose weight.
• By now Michael Griggs and the Ex Coordinator should have approved your set.
• Contact the Art stage supervisor, Joe Stoltman, about borrowing softgoods.
• Ask your actors "for the last time" just how many tickets you need to reserve for their family and friends. Aunts, uncles, and girlfriends often pop up mysteriously five minutes before closing night. You can only reserve 1/ 4 of your capacity before tickets are released to the public. Remind actors that they can obtain free tickets from the box office. These tickets do not count towards the 1/4 capacity limit.
• Your producer and technical director MUST physically meet with your Board liaison by the Thursday before you load-in. (If you lack a technical director, substitute the person who will act as technical director.) You should go over the set and your load-in schedule and ask as many questions as you can think of. Your Board liaison can offer suggestions to make tech week run smoothly, and he or she also needs to get information on how many tickets you would like reserved, what lock combo you would like, and when he or she needs to let you into large props, the trap room, etc.
• Meet with your designers and technicians about load-in, and develop a comprehensive schedule for load-in and tech week.
• Contact the producer set designer or TD of the current Ex show about your requests for their strike. Specify what platforms you wish to have left, what portions of the space should or should not be repainted black, and other pertinent information. This kind of communication generally results in a lot less work for both shows. It's best to do this beforehand, however. During their strike is not a good time.
• Determine which of your staff will help strike the current Ex show. The amount of help that person will provide is up to him, but it is absolutely mandatory that someone be present at the strike, and that person knows what state your show would like the Ex to be in. THE EX COORDINATOR WILL PENALIZE SHOWS WHICH DO NOT SEND SOMEONE TO THE PREVIOUS STRIKE. This person's main function is to make sure the TD of the current show knows how to leave the Ex for the next show. If the next show if not an HRDC show, the current TD should contact the Ex Coordinator for instructions.
• Make sure that safety and emergency procedures are clear.
• If you have any questions for your Board liaison or for anyone, ask them now, while you can still remember them.
• Load-ins generally begin at 9am on Sunday. However, the donuteer normally arrives at 10am on Sundays. Make sure to remind your board liaison to be there at 9 to open the building for you.
• As you load in, note where fire extinguishers and fire alarm pull-boxes are, and determine two paths you would take outside in case of a fire. Note that pull-boxes only sound an alarm and do not notify the fire department.
• See above, especially under Set Design and Construction for various load-in prohibitions.
• Keep the Ex lobby neat. Remember that it's part of the Mainstage lobby. All chairs should be stacked in a single row against the wall or behind the lobby display board. If things have been left in the Ex lobby that you feel shouldn't be there, contact the Ex Coordinator.
• If you have any problems during put-in, contact your Board Liaison, the Ex Coordinator, or the Tech Liaison.
• Have Michael Griggs check your set early in the week, in case you need to make changes.
• Clear-com headsets, intercom boxes, and cables are usually in a crate in the HRDC office or the ex prop box. If you need extra parts or if you cannot find the crate contact either Michael Griggs or the Ex Coordinator.
• Clip lights are available in the red tool room. Music stands may be available from Dave Remedios.
• Use the black plastic chairs for audience seating. Additional black chairs may have migrated around the building to the dance studion or rehearsal rooms. .
• A set schedule is very important during tech week. The stage manager should be in constant communication with everyone, keep track of the schedule, and make sure that techies, actors, and the director all have enough time to do their thing. Cast and crew calls should be strictly enforced.
• No one may ever stay in the building after midnight except during strike.
• During tech week, the Ex is yours. Other Loeb people may occasionally stray into the Ex; put up a sign and contact the Ex Coordinator if you have anything particularly delicate in there. You are free to (politely) kick out anyone else at any time; no one else may schedule the Ex for rehearsal without the permission of the Ex Coordinator and the current Ex show's producer.
• Use the HRDC office computers to make your program. Your Board liaison can show you how.
• The dance studio is reserved for Ex shows from 1/2 hour before showtime until midnight. It can be used as a warm-up space, backstage area, and/or dressing room.
• Determine all available seats well in advance. Preferably put chairs there. Otherwise, you will be scurrying to find standing room right before showtime.
• Keep a waiting list for each performance. Most of the waiting list eventually get in.
• Maximum capacity is 100 people. No seating in fire exit aisles!!
• Each night, tell the Mainstage house manager what times you have performances. Ask if they have any requests for you. For instance, they might want to divert your audience directly outside after the show to avoid noise in the West Lobby.
• Be ready to open the doors at least fifteen minutes before curtain. Ticket holders enter first. Do not use the waiting list until show time, then move down it quickly.
• No audience may be seated in the balconies.
• Restrooms are downstairs, as is a decent water fountain.
• When the performance begins, close the main Ex doors and put the crowd-control rope in front of them.
• Fill out the House Report form with the size of the house. Turn in the form to the Ex Coordinator it is important for future funding.
• Strike is a whole game in and onto itself. I can't hope to cover it all here. Please refer to the attached Strike Guidelines. They are several pages long, but it is very important that you and your crew be aware of them all beforehand. If they were summarizable, they would have been included here.
• Discuss your strike beforehand with your Board liaison.
• Arrange beforehand to have everything removed from the Ex during strike. The HRDC does not have storage space for your belongings (or for borrowed items). If you find it impossible to take everything home during strike, talk to your Board liaison.
• Make sure everyone knows that they are expected to participate for the full strike. Divide up tasks beforehand so that everyone has something to do.
• Outdoor noise should be kept to a minimum during strike. Be especially quiet when taking out the garbage, and try to take out most of it before midnight.
• Strike should be finished by 2:00am. No strike should ever have to last longer, but it will require some planning to meet this deadline.
• Your Technical Director is in charge both for planning and during strike. Your board liaison is there to supervise. Feel free to ask them any questions, and to do whatever they say.
• It is the ultimate responsibility of the producer and TD to return the Ex to prime condition, whether or not you found it in that condition. In fact, the Ex and Ex lobby should invariably be left nicer than you found them.
• Make sure that everyone has a safe walk home. Call the escort service (5-0400) or safety walk (6-5656) if necessary. Your Board liaison will wait for them to arrive before closing up the building.
It's not quite over the Sunday morning after strike. Please make sure that the last aspects of your show are taken care of promptly.
• All receipts must be returned to the HRDC Treasurer within the week after the show closes or you will not be reimbursed. You must work out a final budget breakdown using Microsoft Excel under the advisement of your Board liaison and turn it in to the Treasurer. A template for this should be on the HRDC IIsi.
• Return your House Report to the HRDC Treasurer. The Loeb needs these figures for tax and grant purposes.
• Dry-clean costumes. Check costumes and props back into stock during Suzy Kadiff's office hours. Do not leave them in the HRDC office. Repeat with me: Do not leave them in the HRDC office.
• Strike problems: Occasionally a producer will receive a call early in the week after their strike from someone from the next show or the ART saying that something has not been put back in its proper place. If this happens, be polite, even if you feel that it was not your fault. If it is something connected with your show, even if you were not aware that you were responsible, please go in that day and correct the problem. If the source of the problem is not your production, contact the Ex Coordinator.
• The rest is history: Make sure the HRDC Campus Liaison has copies of your program and poster for posterity. Any props or set pieces you have bought or built should go into large or small props if they might be useful for other shows.
That's all, folks! If there's anything else you want to know, contact myself or another Board member. Best wishes for another excellent season!
-- Michael Davidson
the Ex Coordinator 1998
HRDC President 1999
Go To Loeb Info Main Page
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Questions or comments for the HRDC? E-mail hrdc@hcs.harvard.edu
Adapted by J. Michael Griggs from the HRDC version last modified February 1999.