OFFICIAL PROSPECTIVE PACKET

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.

Production Staff Positions Each show is completely student run and so our members and members of the Penn State community fill those positions. Here you will find a list of positions and learn more about how the work behind the production process is broken down.

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.

Prospective Project Proposal Sheet Use this sheet as a guide to completing your project. This sheet must also be turned into your Prospective “Spec” Master prior to Inductions.

THESPIANS: A HISTORY LESSON

WHY WE ARE HERE [OUR MISSON] “The purpose of this organization shall be to present theatrical entertainment and to provide the students of The Pennsylvania State University with educational experience in all phases of dramatic production; and in doing, hereby enhance the cultural diversity of its members and the University.”

-The Penn State Thespians Constitution

OUR ORIGINS [THE BEGINNINGS] “A dramatic association has been formed under the name of ‘Thespians.’ It is to be a permanent organization, new members being elected each year from the lower classes.”

-The Free Lance, Nov. 1897

The first Thespians meeting was called to order on October 22, 1897, by our founders, Drs. Fred Lewis Pattee (author of Penn State’s “Alma Mater”) and John H. Leete, both professors at the University. At this meeting, the club acquired its name, Thespians (suggested by Leete), the officers were elected, and the first show was selected. The Rivals was Thespians’ first performance, held in the college chapel of the original Old Main on February 14, 1898. The scenery was borrowed from the Garman Opera House in Bellefonte, and the costumes were rented from a company in Philadelphia. The show was performed at the Garman Opera House a few days later, partially to facilitate the return of the scenery.

Interestingly enough, Dr. Pattee was the head of the Department of English, and Dr.

Leete was a professor of Mathematics. Neither had roots in theatre, yet both came together to form Thespians. This tradition continues today, as many of our members are not actively pursuing degrees or careers in theatre.

Musicals did not become standard Thespian faire until 1912, with the production of

Popocaterpillar VII. Costumes and rights were secured courtesy of the Cornell Masque. To generalize our shows and styles, Thespians performed one show per year until

1919. At that time, we began producing one show per semester. Until 1910, our shows were mostly theatrical classics. From 1910 to WWII, we switched to musical comedies. During WWII, farces were presented, primarily for economic reasons. Finally, after the war, Thespians saw a return to musical theatre, which has continued to the present day.

WOMEN IN THEATRE [SOCIAL CHANGE] For the first two decades of the Thespians’ existence, the shows were cast exclusively

of men, due in no small part to the low numbers of women on campus. Men cross-dressed for female parts and danced in such musical numbers as the “Hula,” “Bunny Wiggle,” “Japanese Glide,” and “Gorilla Hug.”

The sex barrier was broken for a short time in 1918 because so many of Thespians’

members were called to service during World War I. Four women were allowed to be part of the cast of “It Pays to Advertise,” and Margaret Fishburn (’19) landed the first female lead in a production. There was a comment in the program concerning the integration of co-eds into the cast, stating: “The difficult parts. Verily, the war works wonderful changes.” This was, however, only a temporary change. Shows returned to all-male casts at the conclusion of the War.

In 1926, a woman was again permitted to perform onstage for a Thespians variety

show. This performance led the way for an all-female chorus in the 1929 production of “H.M.S. Pinafore,” and by 1931, women became commonplace in Thespian productions. Because they were still not permitted to become members of the club, Penn State women formed a sister club, the Masquerettes. The club existed alongside Thespians from 1934 until 1953, when women were finally inducted into Thespians as full-fledged members. As an interesting aside, it wasn’t until the 1991 constitutional revision that women were permitted to serve as president of the club. Despite this regulation, there were three female presidents prior to the change.

FINANCIAL HISTORY [OOPSIES AND BAND-AIDS] In one form or another, Thespians has maintained a Board of Advisors since the very

inception of the organization. The major ups and downs of Thespians’ history coincide with changes to this Board, and its history is valuable in understanding our own. Indeed, Drs. Lewis and Pattee are listed as its earliest members. In the early years of the club, the Board functioned as an integral part of Thespians. Because the club’s founders were on this Board, they had a vested interest in the success of the club from the onset. They were involved with club affairs and ensured our initial success as a student organization. From the club’s birth, Thespians had been travelling the east coast by taking their shows on the road. This started out as a relatively simple process, and the club remained largely in Centre County. As we began doing musicals, the casts and equipment necessary began to require much more capital to travel, and destinations were pushed as far away as New York City.

Gradually, debts accrued. The First National Bank of State College was the chief creditor of Thespians, as it became “tradition” to take a note (or add to an existing one) when the club fell on tough financial times. Because the bank’s president, Claude G. Aikens, was a supporter of Thespians, no great pressure was applied for the repayment of the loans. Out of town creditors, however, were not as munificent. Eventually, pressure on both the club and College (there was no University yet) led to the “great audit” of 1926. The audit revealed a debt of $10,205.06 (over $100,000 in today’s money) and assets of only $269.97 (about $3,000 today). This major discrepancy was caused by Thespian’s first financial disaster: taking Wooden Shoes on the road in 1925.

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 College’s 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 College’s 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 Broadway productions of Brigadoon, West Side Story, My Fair Lady, Oklahoma!, Guys and Dolls, and Hello Dolly. CARRIE FISHBEIN ROBBINS: Performed as “Mammy Yocum” in Lil’ Abner with Thespians. Won a Tony Award for her costume design of Grease. JONATHAN FRAKES: Performed with Thespians, went on to play Commander William Riker on Star Trek: The Next Generation. 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. JONATHAN FRAKES: Started classes at Pennsylvania State University, enrolling as a psychology major. The next summer, he worked as an usher for the local theater and observed his peers thoroughly enjoying acting. He was motivated to switch his major to theater arts and graduated with a bachelor's degree in 1974. He is known for his role as Commander William Riker in “Star Trek: Next Generation” and subsequent spin-offs.

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 community’s wellbeing or notoriety are encouraged. Projects must be approved prior to completion.

PROSPECTIVE MEETINGS – These meetings will be held regularly throughout each semester. These meetings will serve to provide Prospectives with relevant information (opportunities for crew hours, etc.) and allow opportunities for questions and answers. The goal of these meetings is to allow members of each prospective class to get to know each other and to ensure that the pledging process is as enjoyable as possible.

PROSPECTIVE QUESTIONS – Each prospective must ask either five members any three questions or three members any five questions. You must write down the questions asked and the answers given verbatim. Each interviewee must sign off on their answers. These questions are to be turned in at the same time as your completed signature sheet.

CLUB HISTORY – Read it, learn it, know it.

COMMUNION – A technically optional, though highly encouraged, portion of the pledging process, communion will occur on a weekend evening prior to inductions.

PROSPECTIVE SKIT – Each prospective class will present a skit immediately prior to the induction ceremony.

INDUCTIONS – Inductions are held at the last meetings of the Fall and Spring semesters. You must complete this ceremony to become a member.

Once you have completed these requirements, a head of crew, as appropriate, must sign each portion of your signature sheet. Your packet signature sheet must be completed by Inductions [the last Thespian Meeting of each semester]. You will also be assigned a “Big” who will help orient you to the club, answer your questions, and provide an experienced friend within Thespians.

PRODUCTION STAFF POSITIONS

You may apply for any one of the following positions. Note that many of these Positions have assistantships.

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 director’s 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.

Sound Designer – In charge of determining what sound equipment is required for the show (microphones, monitors, etc.). Also responsible for finding any sound effects requested by the director. The sound designer must reserve and set up the equipment as necessary and operate the soundboard throughout the show.

Costume Designer – Creates the costumes to be worn by the actors

during the show, following guidelines given by the director. The costume designer is expected to create renderings of the costumes prior to creation.

Properties Master – Responsible for acquiring or building all props for

rehearsals and performances. Also responsible for any set dressings requested by the scenic designer.

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 other’s 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.

Technical Director – Responsible for coordinating the construction of the set. The technical director is also responsible for creating support documents for the scenic designer’s plans that layout how the set is to be constructed. They are also responsible for reserving appropriate construction space. § Master Carpenter – Uses plans created by the technical director to guide the building of the set.

Master Electrician – Uses support documents provided by the lighting

designer to hang, wire, and circuit the lighting plot for the show. The master electrician is also responsible for running the light focus, maintaining the lighting equipment, and typically running the lighting board during tech rehearsals and performances. These are brief descriptions of the positions available for each show. Please speak an individual who has held the position in the past to learn about the full extent of a specific position’s duties. You are encouraged to apply for any position or crew you are interested in, regardless of experience.

PENN STATE THESPIANS’ SIGNATURE SHEET

Prospective: __________________________ Big: __________________________ Prospective Master: _____________________ Prospective Project: Title: ___________________________________________________ Date Completed: ____________________ Signature: ______________________ Main Crew Hours(10 hours per show):

Show/Semester Signature Crew

1. __________________________ ____________________ ___________________ 2. __________________________ ____________________ ___________________ Costuming and/or Marketing Hours (3 hours per show):

1. ________________________ ___________________ 2. ________________________ ___________________ Set Hours (3 hours per show):

1. ________________________ ___________________ 2. ________________________ ___________________ Rehearsal (observe one per show, signed by Stage Manager):

1. ________________________ ___________________ 2. ________________________ ___________________ Load-in Hours (4 hours for one show):

1. ________________________ ___________________ Strike (4 hours for one show):

1. ________________________ ___________________

PROSPECTIVE PROJECT PROPOSAL

A prospective project should take at least four hours of time, and it must directly benefit the club or the community. You are welcome to participate in well-established projects, such as Schwab cleanout or selling ads for a program, but you are encouraged to propose any project you would like to do. Creative projects to benefit the club, increase its notoriety, or provide community service through theatre are welcome proposals. Name: ______________________ Signature: ______________________

Prospective Project Title: ________________________________ Anticipated Date of Completion: ________________________

Prospective Master Signature: _____________________________ Rationale for Selection: