Professional Documents
Culture Documents
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CONTENTS:
Thespians: A History Lesson
The Penn State Thespians has changed a lot since our founding in 1897. Our
history here at Penn State is rich and full of many interesting facts and people.
Famous Alumni
The Penn State Thespians has been the home of some very notable people in the
professional theatre world and beyond.
Becoming a Member
The process is established so that you can learn as much as possible about the, club, how it
works, and its history, before becoming a member.
Signature Sheet
This sheet is here for you to keep a track of all of your hours completed with The Penn State
Thespians and must be turned into your Prospective Spec Master before Inductions.
While the organization improved after that first fiasco, the height of our debt would
not be reached until 1928, when a financial statement noted liabilities of over $15,000. At this
point, the Board of Advisors, then known as the Board of Directors, shifted gears. The College
installed a graduate manager to oversee club finances, and the Board held a tight grip on the
financial reigns of the club. Throughout the 1930s, the club continued to pay off its debt.
In 1932, however, a new problem was to plague the Thespians. At the time, Thespian
shows were performed during commencement weekend at Penn State. An original show, We,
the People, was highly resented by four female members of the Colleges Board of Trustees.
Those women wrote a letter to then-president of the College, Ralph D. Hetzel, complaining of
the vulgarity and lack of respect to the flag demonstrated in the show. Dr. Hetzel politely
informed the women that he had no control over student groups and that he felt coercion and
censorship to be ultimately detrimental to student success. Their concerns, however, were not
truly dismissed.
Working through the Colleges chain of command, word of the displeasure of the
trustees reached Thespians Board of Directors. They resolved, among other things, that the
Board would appoint a Production Committee (currently the Production Staff). The only
student representation during this appointment was the Thespian president, and only then as
an ex-officio member. Additionally, all scripts and budgets had to be approved by the Board
before production started. At this time, the Board had become heavy-handed in all aspects of
Thespian production, a far cry from the relative freedom the club experiences today. After a
brief bout with financial problems in 1939 (creditors tried to hold the College responsible for
Thespians remaining debt of $8,000 to no avail), Thespians found themselves amidst another
controversy over vulgarity. After our 1942 show, dean Warnock made several suggestions to
the College. These included assuming Thespians remaining debt and integrating control of
the club with the Department of Music. Ultimately, however, these suggestions only resulted
in, again, a revised Board of Directors (now the Board of Control). By 1951, the debt of 1928
was finally paid off in full. With that, the final historical Oops! was overcome.
FAMOUS ALUMNI
GENE KELLY: Participated in three shows for 1929-1930 before transferring to
Pitt.
JULIUS EPSTEIN: Wrote lyrics for Thespians and went on to write more than 30
screen plays, including Casablanca.
OLIVER SMITH: Built sets for Thespians. Won Tony Awards for stage settings on
MARY LOU BELLI: Played in the Fantastiks with The Penn State Thespians in
1975/76 and is now an Emmy award-winning director Mary Lou Belli who has
also earned multiple honors for her work in television and theatre.
BECOMING A MEMBER
Becoming a member of Thespians is a two-semester process. The process is
established so that you can learn as much as possible about the, club, how it
works, and its history, before becoming a member. In order to be inducted
into the club, you must fulfill the following requirements:
CREW HOURS This requires at least 10 hours of work on a crew for two
mainstage shows. These hours can be for any approved crew (lights,
costumes, cast, etc.).
SET HOURS You must contribute three hours to set construction
(building and/or painting). The vice president will notify prospectives
when and where these hours will take place.
COSTUME HOURS Three hours are required in the costume shop. The
shop is located in the basement of Schwab Auditorium, and you will be
notified of the hours that the costumer will be working.
LOAD-IN You must assist in the load-in for one mainstage show. This
requires at least four hours of work on load-in weekend. This weekend
occurs one week before each show opens.
STRIKE You must assist in strike for one mainstage show. This requires
that you stay and help until the everything is completely struck or until
the Technical Director or Stage Manager dismisses you. Strike occurs
immediately following the closing performance.
REHEARSAL You are required to attend one rehearsal for each of two
mainstage shows. These rehearsals may be attended at any stage of the
rehearsal process.
PROSPECTIVE PROJECT You must complete a Prospective Project, These
projects have typically included assisting in cleaning out our shops in
Schwab or the office, but other projects approved by the Prospective
Master may also be completed. Creative projects increasing the club or
communitys wellbeing or notoriety are encouraged. Projects must be
approved prior to completion.
ARTISTIC STAFF
Director Responsible for presenting their interpretation of the show to
the audience in the actual productions. Thus, they have artistic control
over almost all areas of production. The director has the final say in
casting, staging, actor coaching, design concepts, and all other artistic
decisions.
Musical Director Responsible for finding and directing the pit orchestra
or the performance. The musical director is also responsible for
interpreting the orchestration in a manner consistent with the director
and vocal director.
Vocal Director Responsible for training and coaching the singers. The
vocal director also works to ensure the vocal health of the cast.
Choreographer Responsible for the creation and expression of all the
dancing/movement in the show that is consistent with the directors
interpretation.
Scenic Designer Works with the director to design the set and creates
support documents, such as ground plans and elevations. Also works with
the scenic artist to devise appropriate colors.
Scenic Artist Works in conjunction with the scenic designer to paint the
set, to mix colors, and to work with the technical director to coordinate set
hours.
Lighting Designer Plans all the lighting for the show, including
practicals. The lighting designer should also create support documents
such as an instrument schedule, lighting plot, hook up sheet, etc. the
lighting designer also works with the master electrician to rent
instruments and to hang and focus.
TECHNICAL STAFF
Production Manager Responsible for coordinating all aspects of the
production to ensure that everything runs smoothly. The PM also runs the
production meetings and keeps the production staff informed of each
others needs.
Assistant Production Manager Requirements vary by production
manager. Typically assists more with the communication aspects between
cast and production staff, but this is not specified.
Stage Manager Coordinates all aspects of what is performed onstage.
They are responsible for organizing all rehearsals, reserving rehearsal
space, helping coordinate the design staff, and organizing the production.
During tech rehearsals and the performances, the stage manager is
responsible for coordinating all action on- and off-stage, including calling
and inserting cues.
Assistant Stage Manager Requirements vary by stage manager.
Typically in charge of coordinating all backstage activities during the
performance in addition to other duties.
Big: __________________________
Signature: ______________________
Signature
Crew
Signature: ______________________