Some Guidelines for the Loeb Mainstage Theatre
This list is by no means complete and does not take into account every situation. Check with Michael Griggs to clarify any of the following or to discuss issues not covered here.

Click on the topic below to jump to that location:

Audience Considerations

• You can set up the audience seating in any of 3 configurations, proscenium, thrust, and arena. All configurations contain 556 seats. You should plan on using all of the seats for audience, if you want to hide some of the seats or use them onstage as scenery you must provide Loeb Management (Jonathan Miller) with very good artistic reason. Get plans for the theatre here or view ART's seating plans for proscenium or thrust.
• Put up notices outside of the theatre in visible places for the courtesy of your audience if you are using any of the following: actors smoking (must discuss with Michael Griggs), smoke, fog, haze effects (see regulations), gunshots, strobe light, or anything else you think your audience might have a physical reaction or allergy to.

ART Staff for Mainstage Productions

• HRDC productions on the Loeb mainstage are student run productions. But since the space is more technically complex, ART staff that supervise the stage, lighting, and sound departments will need to meet with the designers of the appropriate areas of the production to review your plans before going into the theatre. The set designer will need to show plans to Michael Griggs before the budget is approved and to the ART Assistant Stage Supervisor about a 2 weeks before load-in to discuss rigging. Lighting designers will need discuss their plans with ART master electrician Derek Wiles and the ART Lighting Assistant well before load-in and schedule a time to show him a complete light plot. Sound designers should discuss their plans early in the production process with ART Sound Designer David Remedios. All these staff members are very busy with ART productions so please do not wait until the last minute to schedule meetings. To reach them call or e-mail them from the contact information provided on the ART staff page.
• The ART assistant stage supervisor works with the HRDC mainstage productions during the 6 weeks each semester that the HRDC shows are in the theatre. Their job is mainly to safely construct the rigging for the production and to instruct the student crew in the proper operation of the theatre stage equipment needed to run the production. They are not there to do all your rigging for you (you need to provide labor) and they are not there to build or paint your set.

Actor Considerations

• You should consider the safety of the actors who will be inhabiting your set design. Look over your set and make sure it is "actor proof". That is, check for loose boards and materials that can be tripped on, sharp edges of materials that can cut actors or catch the fabric of costumes, splinters on unfinished wood edges, etc. Walk around backstage with the houselights off and only the stage lights on to make sure there are no obstacles or dangerous places backstage. Provide clip lights backstage where needed or requested by actors, the ART assistant stage supervisor will assist you with this.
• Walk around the set and make sure everything is secure. Make sure stair units do not slide, ramps and rakes are not too steep, steps are not too high, platforms are not wobbly. Listen to the actors requests and complaints and respond to them to provide a safe set.
• Actors can play scenes from the balconies on the left or right sides of the theatre. The access to these spaces is from the second floor hallways.
• You must consider the time, money and space required to provide safe "escapes" from platforms in your set. Do not always assume that there are enough staircases in stock to handle any situation. Escape staircases must have secure railings and must be easily "climbable", meaning the stair steps should not vary greatly in height by using a number of patched together stair units.
• Any plans to "fly" an actor requires advanced notice to me and use of special rigging and harnesses that are usually borrowed from ART supplies. If the equipment is not available, the purchase of special flying equipment will come out of your production budget. Rigging for a flying actor will involve a discussion with Joe Stoltman, ART Stage Supervisor and Steve Setterlun, ART Technical Director. The director, actor and crew will have to prove to Michael Griggs that they can safely accomplish the effect during technical rehearsals.
• It must be made known to the actors by the producer, director and/or the designer that they can speak up at anytime with any concerns they have about the safety of anything in the production.

Scenery on the Mainstage

• You can screw into the floor of the mainstage, just try not to go nuts with it. There are areas of the stage floor that cannot be screwed into, such as the calipers where the floor is concrete.
• You can use the ex parallel platforms for a mainstage show, be sure to reserve them in advance so they all don't end up in an ex show when you need them. Reserve them by telling your HRDC board liason, Michael Griggs and the HRDC Ex coordinator.
• You cannot paint the mainstage floor with any paint that has a texture to it, or with any metalic or flourescent spray paint or with any high gloss paint. Do not glue anything to the mainstage floor.
• Do not use floor wax on the mainstage floor and only use Rosco Clear Gloss or Clear Flat to seal it.
• If you want to use any prohibited material for your stage floor, you must purchase flooring material (masonite, hardboard, etc.) to cover the stage with and then paint or texture that material.
• Any use of unconventional materials for scenery such as dirt, sand, newspaper, peat moss, etc. needs to be discussed with Michael Griggs well in advance. Issues such as fire safety, dust, humidity, and destruction of theatre equipment need to be addressed. This doesn't mean that you cannot use some of these types of material, but I may be able to suggest alternative materials that will keep your actors, costume designer, and building manager happy.
• The seat covers must be in place on the lower section of seats when you are working on the mainstage. They are usually put on the seats at strike of the previous show and not removed until opening day.
• You will be discussing the construction of your scenery with Michael Griggs well before begining to build. He will create or assist you in creating construction drawings for all scenery that needs to be built to fly or support weight.
• For scenery that has to roll, be sure to discuss casters (wheels) with me in advance to make sure we have enough for your show. If we need additional casters the cost comes out of your show budget.
• Some rigging hardware and cable costs will come out of your budget. Depending on your flying scenery needs I can give you an estimate for budgetary purposes.
• All stage department tools have light blue spray paint marking them, do not put these tools in the red tool room.

Painting on the Mainstage

• Most painting of your show should happen in the shop. A great many precautions need to be taken to protect stage drapery and parts of the theatre when painting on the mainstage.
• You can paint the stage floor of the mainstage, but not the calipers and you have to restore the stage floor to black at strike.
• You must protect the stage floor and other parts of the theatre when painting scenery on the mainstage, this also means when painting on the sides of the stage in the wings. Do not spill paint on the floor or walls, use plastic or paper to protect the floor.
• Do not paint the mainstage floor with any paint that has a texture to it, or with any metalic or flourescent spray paint, do not us e a high gloss finish. Do not glue anything to the mainstage floor.
• Do not use floor wax on the mainstage floor and only use Rosco Clear Gloss or Clear Flat to seal it.

Drapery on the Mainstage

• Review the inventory of mainstage soft goods.
• Soft goods can NOT be pinned or taped or stapled. The ONLY acceptable way to attatched goods together or to hold them back is to use the spring clamps that should be on the mainstage and in the red tool room. Most of these clamps are metal spring clamps with padded jaws..
• The softgoods are some of the most frequently used equipment in the building. Please treat them gently and keep them clean so they can continue to mask for years to come.
• All softgoods at stage level must be flown out or clamped back when doing any painting on the mainstage, discuss plans for painting with Michael Griggs or the ART assistant stage supervisor.

Water on the Mainstage

• On occaision there are requests to use water as an element in the design of a show. Due to the size of the mainstage, any large scale use of water is usually cost prohibitive for an HRDC production. Simple uses of water, such as a working sink faucet are not difficult and only require a discussion with Michael Griggs before construction. More elaborate tricks like a rain effect are usually too costly and require the skills of professional stage technicians that are not within the reach of an HRDC production. Low budget attempts to create these effects are unreliable and usually look bad, thereby defeating the purpose. Any damage from spills or leaks will require that production to purchase and replace damaged materials.
• Any scenes in the show that will have the actors spilling water onto the stage will require that the set include a floor material such as masonite panels over a protective layer of 6 mil. plastic sheeting that will cover and protect the stage floor.

Fire and Smoke on the Mainstage

• In general there is no fire of any kind allowed on stage. You need to discuss issues of actors smoking cigarettes with Michael Griggs.
• Torches, oil lamps or other flaming devices are not allowed.
• There is a small Rosco fog machine available for use by shows. Mainstage HRDC shows get priority for its use, so reserve it before an ex show does. I usually have a supply of fog juice around, so you will probably not have to purchase any. I will only release the fog machine to the person who will be responsible for it during the run of the show and I will teach them how to use it at that time. Please review the regulations regarding use of smoke, fog, and haze on the mainstage.

Lighting on the Mainstage

• Review the inventory of mainstage lighting instruments
• A Mainstage lighting designer must discuss their plans with ART master electrician Derek Wiles before getting too far into planning the production. Derek and his assistant can advise you on equipment, effects and design ideas. You will need to show him your light plot in the week before load-in. Be sure to make an appointments in advance.
• If instruments are not working, flicking on and off, or sparking then tell Derek or put them on the work bench in lighting storage with a note explaining the problem. If you do not have a spare instrument, inform me of the problem.
• Spare lamps for mainstage instruments should be left out in the light booth. If you run out of spare lamps for any of the instruments or worklights, leave Derek a note or voice mail.
• You must let Derek Willes know how many template holders you will need so he can leave them out for your load-in. You must also let him know how many PAR lamps you may need to swap out and any other special equipment such as barndoors that you will require. All of this can be discussed at your meeting with him about the light plot.
• The mainstage lighting equipment includes larger gel frames for PARs and 8" fresnels and the frames for cyc lights, Derek will leave these out for you. The gel frames for 6" fresnels and 6" ellipsoidals are HRDC equipment and live in a crate that is usually in the ex or the HRDC office. Let me know if you do not have enough.
• For followspots on the mainstage we have been using a Source 4 with an iris and handle and using it on the 2nd or 3rd beam above the audience. Check with Derek first to see if he has the equipment in stock before you rent. You will of course need an operator at each followspot position. The Loeb does not have any 'super trouper' type followspot equipment.
• Since 2003 the use of projections on the mainstage took a giant leap with the acquisition by ART of some large scale digital projectors. Use of these by HRDC shows must be approved by Michael Griggs and Derek Wiles and the setup and operation of the units will require direct supervision by Derek.

Sound on the Mainstage

• The sound designer for a mainstage show needs to contact ART sound designer David Remedios very early in the process to discuss plans for the show and equipment to be used.
• I have a telephone ringer device (Tele-Q box) available for HRDC shows at the Loeb. You need a phone with a working ringer to make this work, there should be a couple in small props. Contact me if you want to use this.
• There is a permanent Clear-Com intercom system on the mainstage. Michael Griggs will usually set up the system before your tech rehearsals. Let him know if you have any special needs, such as a Clear-Com in the pit or on the grid or upstage center. If any of the Clear-Com parts do not work contact Michael or your sound designer.

Rigging on the Mainstage

• The ART assistant stage supervisor will plan the rigging for the show based on the set design and lighting plot. A student crew will assist the ART assistant stage supervisor with the installation of the rigging.
• The ART assistant stage supervisor will instruct members of the stage crew and lighting crew in the operation of the winch board on a need to know basis. If you have not received training in the operation of the winch board you must find somebody who has to operate it for you.
• You may only operate lines sets if you have been trained by the ART assistant stage supervisor and know how to tie the knots. If you cannot see the entire piece you are moving, you must have a spotter watching the flying piece to make sure it does not snag or hang up on any other rigging. Except during the run of a show, you must call out what is moving and make sure everyone onstage is aware of the moving piece.
• Anything that flies during the production will be rigged on a manually operated line set. The electric winches that are part of the Loeb rigging system are used for heavy items like electrics or masking but are not used to move scenery during a show since they cannot be spiked accurately and the control system is not as reliable as a stage crew member. The winches are also noisy.

Costumes and Props

• Read the Guidelines for use of the Loeb Costume Shop and costume and prop stock. You can also review the section on props and costumes and use of the costume shop in the Ex Handbook which is relevant for mainstage shows too.
• If you want to use the equipment in the costume shop, you must first contact the costume shop manager, Jeanette Hawley for an orientation. Call 495-2668 and ask for her or send an e-mail. Review the Costume Shop FAQ manual here.
• Get the combos to the mainstage dressing rooms from the ART costume shop or from Michael Griggs. Please remove everything from the dressing room that belongs to your show at strike. If there is a pile of stuff in the dressing rooms when you get in there notify Michael.
• Mainstage shows almost never borrow from ART Prop Stock. If you have proven that you cannot find a certain prop and the action of the production will not endanger the prop in any way you can discuss with me the possibility of borrowing something from ART prop stock. ART props does not loan weapons, glassware or anything highly valuable or breakable or loseable.
• If you have a peculiar prop problem contact Michael Griggs or the assistant props manager at ext. 8877 for help finding, building or inventing difficult props.
• If you will be bringing a lot of prop items or a very large item to the Loeb for your show, discuss where to store things with me or with your HRDC board representative in advance of their delivery.
• I have a couple of prop guns that can be used for mainstage shows when a gun needs to fire. You will need to purchase blanks for these from me and listen to a safety lecture from me on the proper use and care of these props. I will only turn over the prop guns to the crew person who will be responsible for them during the run of the show and only after speaking with the actors that use them.
• Be sure to lock up valuable or irreplaceable props in the mainstage prop cabinet.