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    Jun 18, 2024  
2023-2024 Catalogue 
    
2023-2024 Catalogue

Belhaven University Theatre Handbook


Table of Contents

DEPARTMENTAL OVERVIEW
ACADEMIC INFORMATION
PRODUCTION POLICIES
CARING FOR HEART, MIND, SOUL & BODY
FACILITIES

 

MISSION STATEMENTS

Departmental Overview

Belhaven University

Belhaven University prepares students academically and spiritually to serve Christ Jesus in their careers, in human relationships, and in the world of ideas.

Theatre Department

It is the mission of the Belhaven University Theatre Department to prepare students academically, technically, artistically, and spiritually to serve their Community, their Collaborators, and their Creator in the world of theatre and related vocations.

 


 

ACCREDITATION AND MEMBERSHIPS

Departmental Overview

Belhaven University is accredited by the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC) to award associate, baccalaureate, and master degrees. Belhaven University is one of 36 institutions accredited in all four of the major arts - music, dance, theatre and visual arts. The university is an accredited institutional member of the National Association of Schools of Theatre (NAST).

The Belhaven University Theatre Department and/or faculty is a member of the following organizations:

  • Southeastern Theatre Conference
  • Christians in Theatre Arts
  • Mississippi Theatre Association
  • Theatre Communications Group
  • Actors’ Equity Association
  • IATSE, Local 896
  • United States Institute for Theatre Technology

Logos of: National Association of Schools of Theatre, Southern Association of Colleges and Schools Commission on Colleges, SETC, CITA, Mississippi Theatre Association, Theatre Communications Group, TSEIA, and USITT.

 


 

DEPARTMENTAL GOALS

Departmental Overview

The Theatre Department at Belhaven University strives to accomplish the following goals:

  1. To provide opportunities for participation in course work and production for majors leading to a Bachelor of Arts degree.
  2. To provide an engaging forum for discourse on the Belhaven campus through the staging of plays and musicals.
  3. To foster interdisciplinary arts participation, making Belhaven a distinctive experience in arts education in a Christian context.
  4. To cultivate an increased sense of the professionalism and self-discipline required of all theatre artists.
  5. To provide introductory exposure in theatre arts to students from other departments on campus.

     

 

 THEATRE FACULTY AND STAFF

Departmental Overview

DR. ELISSA SARTWELL, Department Chair and Professor of Theatre

  • Ph.D., Louisiana State University
  • M.A.T., B.A., George Fox University
  • Courses Taught: Script Analysis, Selected Topics in Acting, Scriptwriting, Directing, History & Literature of Theatre, Dramaturgy

 

RUTH DENTEL, Assistant Professor of Theatre

  • M.F.A, University of Virginia
  • B.S., Liberty University
  • Courses Taught: Makeup for the Stage, Costume Design, Costume Construction, Intro to Design, Design 2

 

BRADEN GRAVES, Assisstant Professor of Theatre

  • M.F.A, The Ohio State University
  • B.A., George Fox University
  • Courses Taught: Stagecraft, Stagecraft 2, Design 2, Stage Management, Scenic Design

 

JEFF ALLEN YOUNG, Assistant Professor of Theatre

  • M.F.A, Western Illinois University
  • B.A., Southwest Baptist University
  • Courses Taught: Intro to Theatre, Theatre Careers and Calling, Voice and Movement Workshop, Acting 1, Acting 2, Selected Topics in Acting, Acting in Musical Theatre, Musical Theatre Studio

 

MATTHEW McMURTRY, Technical Director & Production Assistant

  • B.A., Belhaven University

 

MELINDA PIERCE, Administrative Assistant

  • B.S., Mississippi College
     

ADJUNCTS AND GUEST ARTISTS FOR 2023-2024

  • CHRISSY HRIVNAK, Musical Director for Cinderella, Acting in Musical Theatre, Co-Director Night of Broadway
  • ALBERTO MEZA, Sound Designer/Engineer for Cinderella and Night of Broadway
  • KELLIS OLDENBURG, Choreographer for Cinderella.

 


 

ACADEMIC ORGANIZATIONAL CHART

Departmental Overview

Organizational Chart of Theatre Department. Highlights of the chart: Dr. Ellisa Sartwell = Chair of Theatre Department. Krista Bower  = Dean of the Arts.
 


 

ARTISTIC/PRODUCTION ORGANIZATIONAL CHART

Departmental Overview

 Organizational chart of the Theatre Artistic/Production department. Highlights from the chart: Dr. Elissa Sartwell = Artistic Director and Producer. Krista Bower = Dean of the Arts. Ruth Dentel = Costumes, Hair, and Makeup. Jeff Allen Young = Director, Mentor to Student Directors. Braden Graves = Scenic, Lighting, Sound, and Props.
 


 

HOW TO DEAL WITH QUESTIONS/CONCERNS

Departmental Overview

When a difficulty or concern arises, we encourage you to talk directly to the person with whom you have a conflict first. If the situation is not resolved privately, students should refer to either the Academic Organizational Chart or the Artistic/Production Organizational chart for guidance on the chain of command appropriate to your situation.

Try to assess the situation or difficulty and be straightforward and honest with the other party or parties. Strive to maintain a Christ-like attitude in your difficulty and avoid spreading rumors or disparaging other people. Refer to Matthew 18:15-17 for the biblical model of reconciliation.
 

CLASSROOM-RELATED CONCERNS

If the difficulty concerns a class, speak first with your professor. If that discussion is not satisfactory, you should share your concern with the chair of the department, Dr. Elissa Sartwell.
 

PRODUCTION-RELATED CONCERNS

If the question, concern, or difficulty concerns a production, first try discussing your concern or question with the person most directly related to the problem. If you still have difficulties, please proceed as follows, adhering to the order listed:

ACTORS:

  1. Speak to the stage manager
  2. If still unresolved, speak to the director of the production
  3. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.

SHOP WORKERS:

  1. Speak to the appropriate shop manager: Ruth Dentel, Braden Graves, or Matthew McMurtry.
  2. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.

CREW:

  1. Speak to the stage manager
  2. If still unresolved, speak to Braden Graves, stage management mentor.
  3. If still unresolved, speak to the chair of the theatre department, Dr. Elissa Sartwell.
     

TITLE IX CONCERNS

The Theatre Department strives to maintain a safe, welcoming environment in which all students feel empowered to grow as artists and as people. Concerns related to bullying, physical, or sexual harassment may be addressed to the department chair, Dr. Elissa Sartwell, or to the university’s Title IX Coordinator, Virginia Henderson. Please see the following web page for information about Belhaven University’s Title IX complaint process: https://www.belhaven.edu/about/consumer-info/title-ix/complaint-procedure.html.

 


 

PHYSICAL CONTACT & CONSENT POLICY

Departmental Overview

CLASSES, REHEARSALS, PERFORMANCES

In classes, rehearsals, and/or performances, physical contact between teacher and student, student and student, and student and self may be used as part of the training and/or rehearsal process or required for performance. Examples of physical contact are theatrical intimacy (i.e, a stage kiss); contact choreography (i.e, a partnered lift); or tactile feedback used to guide alignment placement.

No physical contact shall occur without verbal consent from both parties. In all cases, proposed physical contact should be discussed prior to the rehearsal of a scene or the execution of the tactile feedback. Physical boundaries differ from person to person, and can even differ within the same person from one day to the next. After an initial consent to physical touch, it is essential for all individuals to check in before each rehearsal to communicate if any boundaries have changed from the previous rehearsal or performance.

Necessary and agreed-upon physical contact shall take place during class time and rehearsals with other students present and aware that the contact is being made. Physical contact will always be conducted in a professional manner and with respect to the body.

If you have an injury, chronic condition, or an area that is prone to sensitivity or pain, please notify the instructor immediately. If the student is uncomfortable at any time with the physical contact, he or she should immediately inform the instructor, or wait until after class, whichever the student prefers.

A REQUEST BY THE STUDENT TO CEASE ANY PHYSICAL CONTACT WILL HAVE NO EFFECT ON THE STUDENT’S GRADE OR STANDING IN THE DEPARTMENT.
 

PHYSICAL CONTACT AND WARDROBE

With regard to costume fittings and measurements, the following guidelines are established and shall be followed:

  • When possible, personnel should adjust procedures to respect touch boundaries and rely on communication and collaboration for working within boundaries;
  • All parties have a responsibility to clearly communicate any concerns or questions;
  • Performers should always wear appropriate undergarments to their fittings;
  • Due to space constraints, costume fittings and quick changes are sometimes held with other personnel present; performers should notify the appropriate personnel in advance if they have specific concerns about privacy or if they prefer more or fewer people in the room.

     

 

UNIVERSITY AND DEPARTMENTAL FORMS

Departmental Overview

ACADEMIC FORMS

Students may access the following forms on BlazeNet

  • Address Change Request Form
  • Major Selection Form
  • Name Change Form
  • Request to Take a Couse Online Form
  • Request to Take a Course at Another Institution
  • Special Request Form
  • Transcript Request Form
  • Transferability of Credits Notice
  • Withdrawal Form
     

DEPARTMENTAL FORMS

The following forms and sample forms are available in the Theatre Office and on the Theatre Department Canvas page.

  • Belhaven University Theatre Department Accident Report
  • Trip Waiver
  • Forms related to the Registrar’s Office
    • Major/Minor Declaration Form
    • Special Request Form
  • Proposal to Direct a One-Act Form
  • Forms related to juries for BA students
    • Performance Jury Form
    • Production Jury Form
    • Review of Critical Work Jury form
    • Review of Creative Work Jury form
  • THE499 Senior Project Proposal Form
  • Forms for BFA students who are using the 2017-2019 catalog years
    • BFA Acting Jury Form
    • BFA Musical Theatre Jury Form
    • BFA Musical Theatre Dance Jury Form
    • BFA Musical Theatre Piano Proficiency Form
    • Senior Showcase Jury Form
  • Forms related to season selection
    • Belhaven Theatre Mainstage Suggestion Form
    • Proposal to Direct a One-Act Form

       

 

REQUESTING PERMISSION FOR PERFORMANCE & PRODUCTION WORK OUTSIDE OF THE DEPARTMENT

Departmental Overview

Students must request and receive permission to work in any off-campus theatre-related assignment or job that takes place during any portion of the academic year (i.e., August through April).  Each request will be considered individually and will take into consideration the following factors:

  • The student’s academic performance in the previous semester
  • The student’s artistic and professional readiness for the opportunity
  • The degree to which the opportunity would conflict with departmental classes, practicum work, rehearsals, or performances.
     

To request permission, the student must send an email to the Theatre Chair including the following information:

  • Brief description of the opportunity
  • List of all dates/times that the student would be required to work, rehearse, and/or perform as part of the opportunity
  • A paragraph in which the student articulates what s/he hopes to gain from the opportunity as well as how s/he would maintain academic and departmental responsibilities if permission is granted for off-campus work.
     

The Theatre Chair will communicate a decision within 5 business days of receiving the student’s request. The student must not audition or accept off-campus work until permission has been received from the Theatre Chair.

What kinds of off-campus jobs/activities require permission? Any of the following jobs, whether they be at a theatre company, opera company, dance company, or any other company or industry:

  • Acting
  • Designing
  • Stage Management
  • Run Crew
  • Working on scenic, costume, or props construction
  • Hanging/focusing lights/ME
  • Sound engineering/mixing
  • When in doubt, ask!
     

Why is this policy important? The theatre world is small, and every job you perform in will contribute both to your personal reputation and to Belhaven Theatre’s reputation. This policy exists to ensure that students are ready to perform at a standard that will reflect well upon themselves and the department. Additionally, this policy addresses the need for students to prioritize their academic progress while they are students at the University.

 


 

DEGREE REQUIREMENTS AND COURSE OFFERINGS

Academic Information

The Department of Theatre offers a number of majors and degree options:

  • Bachelor of Arts in Theatre (42 hour major)
  • Bachelor of Arts in Theatre, Performance Emphasis (49 hour major)
  • Bachelor of Arts in Theatre, Production Emphasis (48 hour major)

Information about degree requirements and course offerings can be accessed online at https://www.belhaven.edu/academics/arts/theatre/bachelor-degree.html.
 

ACADEMIC GRIEVANCES

Students wishing to file grievances on academic issues, including grades, should submit written appeals to the Academic Appeals Committee, which may be done through the Registrar’s Office. Appeals regarding course grades must be filed before the end of the next semester in which the grade was received. Decisions made by the Academic Appeals Committee shall be final.

 


 

ADMISSION TO THE DEPARTMENT

Academic Information

Students who have applied for and been granted admission to Belhaven University can declare a major in theatre (B.A. in Theatre) without audition or portfolio review. If a student wishes to receive a theatre scholarship or to be considered for admission to the Performance or Production majors, the student will need to complete an audition or portfolio review.

In addition to applying for admission to Belhaven University, current and prospective students who wish to declare a major in Theatre (Performance) or Theatre (Production) must audition and/or present a portfolio in order to be considered for admission to the major of their choice.

On-campus auditions and portfolio reviews are held twice each semester. Typically, these dates are in October, November, February, and April. Students whose circumstances prevent them from traveling to campus should contact the Theatre Department Administrative Assistant through email at BUTheatre@belhaven.edu to discuss alternate ways to audition or submit a portfolio.

Please see the following to determine the audition requirements for the major of your choice:

B.A. IN THEATRE

Students wishing to pursue the B.A. in Theatre do not need to audition for admission to the program, however, if a student wishes to be considered for a theatre scholarship, he/she will need to perform an audition or submit a portfolio for consideration. Scholarship auditions and/or portfolio reviews can be done in person or via digital/video submission. Contact the Theatre Department Administrative Assistant through email at BUTheatre@belhaven.edu for instructions for digital submissions.
 

B.A. IN THEATRE (Performance emphasis)

Students wishing to pursue the BA in Theatre (Performance emphasis) must audition with three of the following. This audition should be done in person during one of our upcoming Arts Discover Days (November 17, 2023 or February 9, 2024). Students who are unavailable to travel to campus on either of those dates should contact the Theatre Department Administrative Assistant through email at BUTheatre@belhaven.edu for instructions on alternate audition options.

  • Comedic monologue, 45-90 seconds in length
  • Dramatic monologue, 45-90 seconds in length
  • Classical verse monologue, 1-2 minutes in length
  • Excerpt from a musical song, 30-45 seconds in length*

NOTE: You will need to provide your own accompaniment. We recommend use your smart phone with a Bluetooth speaker.
 

B.A. IN THEATRE (Production emphasis)

Students wishing to pursue the BA in Theatre (Production emphasis) must present a portfolio and complete an interview with faculty in person during one of our upcoming Arts Discover Days (November 17, 2023 or February 9, 2024). Students who are unavailable to travel to campus on either of those dates should contact the Theatre Department Administrative Assistant through email at BUTheatre@belhaven.edu for instructions on alternate submission options.

 


 

STUDENT LEARNING COMPETENCIES

Academic Information

CORE LEARNING COMPETENCIES FOR ALL THEATRE STUDENTS

Every student who successfully completes a degree in theatre at Belhaven will be able to do the following:

  1. Demonstrate knowledge and basic application of multiple aspects of theatre production, including acting, construction, design, direction, and management.
  2. Apply knowledge of theatre history, dramatic literature, and script analysis to the creation and evaluation of theatre.
  3. Examine the role of faith, ethical responsibility, and collaboration in the theatre arts.
     

COMPETENCIES FOR B.A. IN THEATRE (PERFORMANCE EMPHASIS)

In addition to Learning Competencies 1-3, students who successfully complete a Bachelor of Arts in Theatre (Performance) degree at Belhaven will be able to do the following:

  1. Examine a character in terms of objectives, tactics, obstacles, and images.
  2. Demonstrate a solid command of voice, body, and imagination as instruments of
    characterization in works from a variety of eras and genres.
     

COMPETENCIES FOR B.A. IN THEATRE (PRODUCTION EMPHASIS)

In addition to Learning Competencies 1-3, students who successfully complete a Bachelor of Arts in Theatre (Production) degree at Belhaven will be able to do the following:

  1. Demonstrate a solid command of skill competency and materials to safely  achieve technical or creative solutions in: Stage Management, Scenic, Costume, Lighting, Projection, Sound, Hair and Makeup, Stage Properties, and/or Technical Direction.
  2. Analyze a script to creatively serve specific production areas as a designer and/or technician.
     

COMPETENCIES FOR B.A. IN THEATRE (NO EMPHASIS)

In addition to Learning Competencies 1-3, students who successfully complete a Bachelor of Arts in Theatre (no emphasis) at Belhaven:\

  • Meet at least one of Learning Competencies 4-5
  • Meet at least one of Learning Competencies 6-7.

     

 

THEATRE SEMINAR

Academic Information

Each semester, theatre majors are required to enroll in and attend Theatre Seminar (THE 100).
Theatre Seminar meets every Thursday from 11:00-12:15.

Theatre Seminar exists to provide students an opportunity to present work from their courses and to work on portfolio development and audition techniques. Additionally, Theatre Seminar is a time for departmental announcements, guest  speakers, and a variety of workshops.

As part of Theatre Seminar, each student will participate in an end-of-the-semester jury that will be critiqued by departmental faculty. Please see the section on Juries for more information.

It is understood that in certain cases, a required course for a student’s second major may conflict with the Theatre Seminar meeting time. In such cases, the student should speak to the Theatre Chair to request permission to register for a “Time TBD” section of Theatre Seminar. If permission is granted, the student will be excused from attending weekly seminar but will still be required to complete the end-of-the-semester jury. Fifth-year seniors are required to register for Theatre
Seminar and to complete end-of-the-semester juries but are not required to attend weekly seminar sessions.

Students will receive a satisfactory/unsatisfactory (“S” or “U”) grade for Theatre Seminar.

 


 

THEATRE JURIES

Academic Information

As part of THE100 Theatre Seminar, all theatre majors are required to perform a Jury at the end of each semester. Juries will be scored by theatre faculty and/or guest adjudicators. Each student’s work will be evaluated using the following scale:

5 = Exemplary
4 = Proficient
3 = Developing
2 = Beginner Level
1 = Unsatisfactory
 

THE PURPOSE OF JURIES

Juries are intended to help students track their progress and skills-development over the course of their time in the department. Jury forms include scores and written comments from faculty. Each student will receive their jury forms within one week of the jury. In some cases, jury feedback will also be provided in a face-to-face conversation between the student and theatre faculty.

Students will be expected to receive an average jury score of 4 or higher prior to enrolling in THE499 Senior Project.

*NOTE: B.F.A. students using catalog years 2017-2019 must receive an average jury score of 4 in order to enroll in THE498 Senior Showcase*
 

THE FORMAT OF JURIES

Juries are held at the end of each semester. In most semesters, jury day is the day before final exams begin. Each program’s jury will be formatted as follows:


B.A. IN THEATRE STUDENTS

Because the B.A. in Theatre (with no emphasis) is a generalist degree, it is important for students to demonstrate ongoing progress in multiple areas of theatre studies, including performance, production, and critical work. Each semester, BA students can choose one of the following jury options, with the expectation that the student will not choose the same jury option two semesters in a row.

  • Option 1: Performance Jury - Please refer to the instructions for the BA in Theatre (Performance) jury below
  • Option 2: Production Portfolio Review - Please refer to the instructions for the BA in Theatre (Production) jury below
  • Option 3: Review of Critical or Creative Work - One week prior to the jury date, the student should submit to theatre faculty a critical or creative work for review. Examples of critical work include an academic paper, a critical review of a professional theatre production, and/or a dramaturgical casebook. Examples of creative work include a play script or screenplay. The student will arrive to the jury with an appropriate resume. Faculty will provide feedback on the critical work and evaluate the student’s resume.
     

B.A. IN THEATRE (PERFORMANCE) STUDENTS

In Fall semesters, the Performance jury is an in-person event held on the Wednesday prior to the start of final exams. The Performance student should arrive to the jury with a headshot, resume, and List of Ten. The student will then perform two selections of their choosing from their List of Ten. The faculty will then select a third piece from the student’s List, and the student will be expected to perform that piece. Each student’s List of Ten will vary somewhat depending on the  student’s specific interests and career goals. Please work with Dr. Sartwell to develop a List of Ten that makes sense for you. Students will receive scores and feedback on each individual performance piece as well as on their headshot and resume.

In Spring semesters, the Performance jury is a self-tape jury, with submissions due sometime between the last day of classes and the middle of finals weeks. Using a provided link, the Performance student should upload a resume, headshot, slate, and two pieces from their List of Ten. The student will receive feedback on each individual performance, their resume, their headshot, and the quality of their self-tape technique, including framing, lighting, sound, background color, etc.

The jury feedback forms for both in-person and self-tape juries are available on the Theatre Department Canvas page.
 

B.A. IN THEATRE (PRODUCTION) STUDENTS

The Production student should arrive at the jury with a resume* and portfolio**. The student will select two items from their portfolio to present. The faculty will then select a third item from the Portfolio, and the student will be expected to present. Each student’s Portfolio will vary somewhat depending on the student’s interests and career goals. Please work with Professor Braden Graves and/or Professor Ruth Dentel to develop a Portfolio that is specific to you. Students will receive scores and feedback on each individual Portfolio piece as well as resume.

*Resumes should be written specific to a production area. For example, if applying for a position as an assistant stage manager, the student should title and organize the information within the resume to reflect that position. It is common to have multiple resumes available to highlight areas of interest and competency.

**Portfolio examples may include: Examples of construction techniques; technical work original to production requirements; creative work original to production requirements; unrealized design work specific to a production area; realized design work specific to a production area; and awards and honors received for design and production work.
 

B.F.A. IN ACTING AND B.F.A. IN MUSICAL THEATRE STUDENTS (using catalog years 2017-2019)

All B.F.A. students are required to perform a Jury at the end of each semester. In the fall semester in-person jury, the student performs two contrasting monologues of his/her choice (musical theatre students perform a monologue and 16-32 bars from a song of their choice). The student then performs an additional monologue (or song, in some cases) of the faculty’s choice, selected from the student’s “List of Ten.” Students should bring headshot, resume, and list of ten to the fall jury. In the spring semester self-tape jury, the student should upload their resume and headshot and perform two pieces from their list of ten. Students will receive feedback on their pieces, their headshots, their resumes, and the quality of their self-taping technique.

B.F.A. students are expected to achieve the following minimum scores. If a B.F.A. student fails to receive passing scores for an end-of-the-semester Jury (see below), he or she will be placed on probation from the B.F.A. program. In the event that the student fails to receive passing scores on the subsequent semester’s Jury, he or she will be advised to switch to the B.A. track.

CLASS FALL SEMESTER SPRING SEMESTER
Freshman 2.0 2.5
Sophomore 2.75 3.25
Junior 3.5 3.75
Senior 4.0 4.0


 


 

SENIOR SHOWCASES & PROJECTS

Academic Information

SENIOR SHOWCASES (for B.F.A. students using catalog years 2017-2019)

All BFA students are required to perform a senior showcase as part of the requirements for their degree. BFA students will receive a “Senior Showcase Checklist and Informational Packet” at the beginning of their senior year to help them prepare for their showcase. All senior showcases are supervised by a faculty mentor. The student’s showcase must pass a faculty jury two weeks in advance of the showcase performance date. Students who would like to see the Senior Showcase Checklist and Informational Packet in advance of their senior year may request a copy from Dr. Sartwell.
 

SENIOR PROJECTS (for students using catalog years 2020 to present)

Students who are enrolled in the BA in Theatre, BA in Theatre (Performance), or BA in Theatre (Production) programs will be required to complete THE-499 as part of their core requirements. It is strongly recommended that THE-499 be taken in the fall or spring of the student’s final year at Belhaven.

The student must submit a Senior Project Proposal form no later than August 1 for fall semester projects and December 1 for spring semester projects. The student must have achieved an average of 4 on an end-of-the-semester jury prior to the semester in which the Senior Project takes place.

A student’s Senior Project might take one of several possible forms depending on the focused interest of the student. For example, a production major’s senior project might involve a primary design assignment for a departmental production. A performance major might perform a major role in a departmental play or musical, with accompanying scored script, analysis, and other preparatory work. Or a performance major might direct a one-act play in the department’s season.
A student interested in dramaturgy might act as production dramaturg for one or more productions for their senior project. There are many possibilities! Students are encouraged to work closely with their faculty mentors to develop a project proposal that complements the needs of the student and of the department.

All senior projects, regardless of focus, will contain a written component. In most cases, this written component will require the student to contextualize their work within a broader historical, artistic, and critical framework. More information about the written component of the Senior Project will be made available in the course syllabus.

 


 

RECOMMENDED READING LIST

Academic Information

The following list of plays and books has been compiled by the Belhaven University Theatre Department faculty. They represent only a few of the plays that an educated theatre artist should know. Please understand that this list is not  comprehensive. Theatre artists must always be reading plays and books.

NOTE: The categories are not showing up in this order on the website because they are in two columns and broken up differently. Would it be possible to have them listed still in this order but left to right? Ex: Ancient Greece on left, Ancient Rome on right, Medieval on left, Non-Western on right).
 

ANCIENT GREECE

  • Lysistrata, by Aristophanes
  • Oedipus the King, by Sophocles
  • The Oresteia, by Aeschylus
  • Medea, by Euripides

 

ANCIENT ROME

  • The Brothers Menaechmus, by Plautus
  • Phaedra, by Seneca
  • The Eunuch, by Terence

 

MEDIEVAL

  • Dulcitius, by Hrosvitha
  • Everyman, by Anonymous
  • The Second Shepherd’s Play, by Anonymous

 

NON-WESTERN

  • Snow in Midsummer, by Guan Hanqing
  • Shakuntala, by Kalidasa
  • Atsumori, by Zeami

 

1600-1800 ENGLAND

  • Doctor Faustus, by Marlowe
  • Duchess of Malfi, by Webster
  • Hamlet, by Shakespeare
  • The Merchant of Venice, by Shakespeare
  • A Midsummer Night’s Dream, by Shakespeare
  • The Country Wife, by Wycherley
  • The Rover, by Behn
  • The Way of the World, by Congreve
  • School for Scandal, by Sheridan
  • She Stoops to Conquer, by Goldsmith

 

20TH CENTURY EUROPE

  • Playboy of the Western World, by Synge

  • Good Person of Szechwan, by Brecht  
  • Betrayal, by Pinter
  • Cloud 9, by Churchill
  • Translations, by Friel
  • Six Characters in Search of an Author, by Pirandello
  • Blood Wedding, by Lorca
  • The House of Bernarda Alba, by Lorca
  • Waiting for Godot, by Beckett
  • The Bald Soprano, by Ionesco
  • Look Back in Anger, by Osborne
  • Arcadia, by Stoppard
  • Rosencrantz and Gildenstern are Dead, by Stoppard

 

20TH CENTURY NORTH AMERICA,
LATIN AMERICA, & SOUTH AMERICA

  • Angels in America, by Kushner
  • A Streetcar Named Desire, by Williams
  • The Glass Menagerie, by Williams
  • The Colored Museum, by Wolfe
  • Death of a Salesman, by Miller
  • Dutchman, by Baraka
  • How I Learned to Drive, by Vogel
  • Machinal, by Treadwell
  • M. Butterfly, by Hwang
  • Joe Turner’s Come and Gone, by Wilson
  • Fences, by Wilson
  • Our Town, by Wilder
  • A Raisin in the Sun, by Hansberry
  • Long Day’s Journey Into Night, by O’Neill
  • The Heidi Chronicles, by Wasserstein
  • Trifles, by Glaspell
  • Who’s Afraid of Virginia Woolf?, by Albee
  • Information for Foreigners, by Gambaro
  • The Children’s Hour, by Hellman
  • Glengarry Glen Ross, by Mamet
  • You Can’t Take It With You, by Kaufman/Hartx
  • Buried Child, by Shepard

 

20TH CENTURY AFRICA

  • Death and the King’s Horseman, by Soyinka
  • Master Harold and the Boys, by Fugard
  • Sizwe Bansi is Dead, by Fugard, Kani, & Ntshona

FRANCE

  • Le Cid, by Corneille
  • Phaedra, by Racine
  • Tartuffe, by Moliere
  • The Imaginary Cuckold, by Moliere
  • Triumph of Love, by Marivaux

 

GOLDEN AGE SPAIN

  • Life is a Dream, by Calderon
  • Fuente Ovejuna, by Lope de Vega

 

ITALY

  • Servant of Two Masters, by Goldoni

 

EARLY AMERICAN DRAMA

  • The Contrast, by Tyler
  • Fashion, by Mowatt
  • Uncle Tom’s Cabin, adapted by Aiken
  • The Octoroon, by Boucicault

 

19TH & EARLY 20TH CENTURY EUROPE

  • The Importance of Being Earnest, by Wilde
  • Arms and the Man, by Shaw
  • Ubu Roi, by Jarry
  • A Doll’s House, by Ibsen
  • Miss Julie, by Strindberg
  • The Cherry Orchard, by Chekhov
  • The Seagull, by Chekhov
  • Woyzeck, by Buchner
  • The Lower Depths, by Gorky

 

MUSICALS

  • Of Thee I Sing
  • Hamilton
  • Sunday in the Park with George
  • Showboat
  • Oklahoma
  • A Chorus Line
  • West Side Story
  • Carousel
  • Sweeney Todd
  • Assassins
  • The Band’s Visit
  • Next to Normal
  • Come from Away
  • Hadestown

 

21ST CENTURY

  • The Clean House, by Ruhl
  • August Osage County, by Letts
  • The Laramie Project, by Kauffman, et al
  • Topdog/Underdog, by Parks
  • Rabbit Hole, by Lindsay-Abaire
  • Doubt, by Shanley
  • Proof, by Auburn
  • Last Days of Judas Iscariot, by Guirgis
  • Bengal Tiger at the Bagdad Zoo, by Joseph
  • Metamorphosis, by Zimmerman
  • Sweat, by Nottage
  • The Wolves, by De Lappe
  • The Humans, by Karam
  • The Christians, by Hnath
  • A Doll’s House, Part 2, by Hnath
  • Silent Sky, by Gunderson
  • Red, by Logan
  • Disgraced, by Akhtar
  • Choir Boy, by McCraney
  • An Octoroon, by Jacobs Jenkins
  • Fairview, by Sibblies-Drury
  • Indecent, by Vogel
  • Cost of Living, by Majok
  • Water by the Spoonful, by Hudes
  • The Thanksgiving Play, by FastHorse

 

CRITICISM, ACTING, AND DIRECTING TEXTS

  • The Poetics, by Aristotle
  • Theatre of the Oppressed, by Augusto Boal
  • A Director Prepares, by Anne Bogart
  • The Empty Space, by Peter Brook
  • The Actor and the Target, by Declan Donnellan
  • Dramatic Criticism from Greeks to Grotowski, by Bernard Dukore
  • Theory/Theatre, by Mark Fortier
  • The Dramatic Imagination, by Robert Edmond Jones
  • Towards a Poor Theatre, by Jerzy Grotowski
  • The Republic, by Plato
  • An Actor Prepares, by Stanislavski


 


 

THE PRODUCTION SEASON

Production Policies

Each year, the Belhaven University Theatre Department presents four mainstage productions, including one musical. Mainstage productions are directed by faculty, guest directors, and/or select seniors who demonstrate interest and skill in directing. In a typical year, one or two productions will be directed by students. To be considered for a directing opportunity, outstanding rising upperclass students must submit a Proposal to Direct a One-Act form for the subsequent season. Please see the “Season Selection” section for more information.

In addition to the mainstage season, the department oversees a variety of second stage performances over the course of the year which may include events such as the 24 Hour Theatre Event, the Directing Class Festival of Shorts, Senior Showcases, Improv shows, and/or off-campus storytelling and community presentations.

 


 

SEASON SELECTION

Production Policies

Each fall, the faculty and staff meet to begin the season selection process for the following academic year. After several weeks of meetings and discussions, the faculty will submit a proposed season to the Provost and President for approval. The decision for which shows to submit for production is based on numerous factors, including:

  • A rotation of theatrical styles and genres
  • The skill levels of and opportunities for the current enrollment of theatre students
  • Thematic value for the university community
  • Scheduling and Budget
  • The production feasibility of a given show


In all decisions, the theatre faculty strives to provide theatre students with production opportunities that will best serve them as well-rounded theatre artists.

Students are encouraged to get involved with season selection by offering suggestions for which plays and musicals they would like to see included in the following season!

  • Students who wish to suggest a particular play or musical for the following season should submit a Season Suggestion Form using the link on the Theatre Department Canvas page. Deadline for submission is the Friday following Fall Breather.
  • Upperclass students who wish to be considered for a directing slot in the following season should submit a Proposal to Direct a One-Act form to the Administrative Assistant no later than the Friday following Fall Breather.
  • Periodically, faculty and staff will request student feedback and input on season selection via surveys.

     

 

AUDITIONS

Production Policies

All full-time traditional undergraduate Belhaven University students are permitted to audition for Belhaven theatre productions, regardless of major or minor.
 

AUDITION SCHEDULE

The Theatre Department holds two auditions during the academic year:

  • The first is held at the beginning of the fall semester in August and is used to cast all productions to be presented in the fall semester.
  • The second audition is typically held at the beginning of the spring semester and is used to cast all productions in the spring semester.


Auditions will be publicized through department communications, via email, social media postings, and callboards.
 

AUDITION REQUIREMENTS

For the general auditions, students will sign up for an individual slot (either on the callboard or electronically) and prepare an audition that adheres to the specific guidelines indicated for that semester’s audition. Specific guidelines will be communicated in advance via email, social media postings, and/or callboards.

  • In semesters in which no musical will be performed, students will typically be asked to perform 2 contrasting monologues. In semesters in which a musical will be performed, students may be asked to perform a monologue and a song.
  • In semesters in which a musical will be performed, an accompanist will be provided at the audition. Please bring sheet music. A capella singing or singing with a recording will not be acceptable. A dance audition may also be required for some  productions.
     

CALLBACKS

Following the general audition, directors will hold callbacks for their respective plays.

While the directors will endeavor to complete the casting process in a two-day period, there may be a need to extend callbacks for a third day.

The final cast list will be posted on the primary department callboard and be distributed to all auditionees via email.

Except in rare circumstances, students will not be cast in more than one production per semester.

 

Please make every effort to read the scripts and/or be familiar with the production before you audition!

 

IMPORTANT NOTE ABOUT AUDITIONS:

BFA students (Acting and Musical Theatre) and BA Theatre (Performance) students MUST audition and must be available for casting in any of the semester’s productions. B.A. Theatre (Production) students, minors, and non-majors will be given the opportunity on their audition form to select which of the semester’s shows they are auditioning for. All students who audition, regardless of their major, will be given the opportunity on the audition form to indicate if there are specific roles they are unable or unwilling to accept. Once cast in a role, the student is expected to accept the role. Once casting is complete, if a role must be declined, an actor drops out or is dismissed from production, that student will forfeit the opportunity to perform on the Belhaven stage for one calendar year. Similarly, if a student is assigned to a technical position and has to be replaced or withdraws, he or she will not be able to audition for the main stage during the following semester. Exceptions may be made in cases of severe illness or emergency; a doctor’s note or other documentation will be expected.

 


 

CASTING POLICY

Production Policies

Casting is a complex and difficult process. A director can spend hours putting together the right combination of people for the cast. A number of factors can go into the director’s decisions:

  • physical characteristics (height, age)
  • physical ability and skills (i.e., dance, combat, acrobatics)
  • vocal quality
  • the individual actor in relation to the actors being considered for roles that interact with the character for which the individual actor is being considered
  • talent and performance capability
  • the actor’s track-record of attendance, attitude, and direct-ability
  • the need for individual actors to receive a performance opportunity as part of their major
  • the schedule and availability of the actor
     

While it is difficult to accept that you can’t control many of the factors that go into casting decisions, it is a reality of the theatre business. If you are not on the cast list, don’t assume that you had a “bad” audition, or that the director just doesn’t like you, or that you have no talent. Instead, consider making an appointment with the director(s) to ask for feedback on your audition. While auditions are open to all full-time traditional undergraduate Belhaven students, the Theatre Department honors its commitment to provide performance opportunities for its performance majors. As such, casting preference will usually be given to students who are declared theatre majors.

Because of the specific skill set required for musicals, operas, and some plays, the Theatre Department reserves the right to cast outside of the department when necessary. On rare occasions, the department may invite community members and/or guest artists to audition.

 


 

TYPICAL PRODUCTION SCHEDULE

Production Policies

A detailed schedule for each production will be published and posted either on that production’s specific call board in the theatre hallway or on a digital callboard; it will also be made available to all production staff and cast via email, or other declared  communication methods. However, please note that all schedules are tentative.

 


 

REHEARSALS

Production Policies

Rehearsals for productions are held Monday, Wednesday, and Friday between the hours of 3:00 and 6:00pm and Tuesdays and Thursdays between 6:00 and 10:00pm. Saturday rehearsals, when scheduled, will be between the hours of 10:00am and 4:00pm. Beginning two Mondays prior to opening night, all Monday, Wednesday, and Friday rehearsals will shift to the hours of 6:00 to 10:00pm. Technical and dress rehearsals will have a different (and longer) schedule. Some exceptions are to be expected but must be posted at least 24 hours in advance. If you wish to be cast in productions, make every effort to ensure that you are available during the hours indicated on the production schedule!!!

Once you are cast, you will be expected to attend every rehearsal for which you are called. Each director (and /or stage manager) will develop a rehearsal schedule specific to the production. Rehearsal schedules will be distributed electronically. Be sure you understand the schedule!
 

REHEARSAL GUIDELINE

  • Be on time!

    • The scheduled rehearsal time is the time to begin work. Arrive early enough to warm up and get any rehearsal props, costumes, or rehearsals required to start the scene.

  • Be prepared!

    • Bring your script and a pencil to every rehearsal

    • Bring something to read or work on quietly when you are not on stage.

  • Be a team player!

    • Pay attention to instructions

    • Be quiet when you are not onstage

    • Don’t gossip

    • Be mentally present at rehearsal, not distracted by outside strife.

  • Respect the process of producing theatre!

    • Always respond to a note with “Thank you”

    • Receive the director’s notes and feedback graciously, even if you disagree

      • Ask to speak with the director after rehearsal for clarification

    • Never give an acting note to another actor

    • Never accept an acting note from another actor

    • Check props and costume pieces prior to the start of rehearsal

    • Don’t touch props that aren’t yours

    • Turn your cellphone to SILENT. (No sound, not even vibrate) If cellphones or other electronic devices begin to interfere with the rehearsal or production process, the stage manager and/or director reserve the right to hold on to the device until the end of the rehearsal or performance.

  • Be the kind of person other people want to work with.

  • Any student who is an RA or is participating in extra-curricular activities such as cheerleading or other athletics, must make themselves available-exclusively-to the production on which you are working beginning two weeks prior to opening night; no exceptions. These students must also make themselves available for every performance; no exceptions.

     


 

SAFE PRACTICES: MOVEMENT, FIGHT CHOREOGRAPHY, & INTIMACY

Production Policies

BU Theatre endeavors to support and maintain safety through adhering to recommended practice in Movement, Fight Choreography, and Intimacy through employing appropriately certified individuals and reserving specific rehearsal periods for the development thereof.

 


 

THEATRE PRACTICUM

Production Policies

Theatre Practicum is the heart and soul of our production season at Belhaven Theatre! Students are required to enroll in Theatre Practicum (THE-Pxx) for a total of 6 semesters. In Theatre Practicum, theatre students perform production and/or  performance roles in the department’s mainstage season. It is hard work to produce plays, and Theatre Practicum is the way students receive academic credit for their participation in the production season.

Following the semester’s audition process, each student who is enrolled in Theatre Practicum will be notified of their Practicum assignments for that semester’s shows. Each student is typically given two practicum assignments for each semester in which they are enrolled in the course: a primary production assignment and a secondary production assignment.

Example practicum assignments include the following:

Participation in the CAST of a production
Participation on the CREW of a production
Participation in the BOX OFFICE/HOUSE MANAGEMENT team for a production
Participation on the DESIGN team of a production
Participation in one of the shops (30 hours for primary assignment or 15 hours for secondary assignment)


Remember that each student enrolled in Theatre Practicum will be assigned two of the above. Efforts will be made to rotate students through various Practicum assignments to ensure breadth of experience and knowledge of the production process.

 


 

THEATRE PRACTICUM ASSIGNMENT JOB DESCRIPTIONS

Production Policies

A job description exists for each Practicum assignment. These job descriptions are located in the document library of the departmental email group. Job descriptions are also available in the Practicum Assignment Job Descriptions section of the Time Log binder located in the Green Room and are also available to download from the Theatre Department Canvas page.

 


 

TECH WEEK

Production Policies

In most theatres, tech week is notoriously difficult. But solid planning, preparation of expectations, and patient attitudes can go a long way toward completing a successful tech week with both professionalism and grace. Tech week is made up of a series of specific rehearsals and activities designed to integrate all technical elements into the production. Here are some terms that we will be using during tech week:
 

PAPER TECH

Paper tech involves the director, stage manager, lighting designer, sound designer, and the costume or scene designer if the show involves complicated or numerous quick changes or scene shifts. Paper Tech is a step-by-step going-through of all cues  and special requirements needed in the production, in a meeting, without executing any of the technical or performance events. All cues are finalized and noted in the stage manager’s script, as a preparation for Dry Tech. Following paper tech, designers may coordinate with the stage manager to begin to integrate lighting and sound elements into rehearsals.
 

DRY TECH

A Dry Tech is a rehearsal without actors. The designers and area heads will run through each of their components, fixing problems as they go. This will involve executing all lighting, sound, scene shift, projections or any other cues - just without the actors. This rehearsal is a good way to prep for the Cue-to-Cue rehearsal.
 

TECHNICAL REHEARSAL

A technical rehearsal typically takes place the Saturday prior to Opening Night. It consists of 3 components.

  • COSTUME REVIEW/QUICK CHANGE REHEARSAL

Costume Review/Quick Change Rehearsal is a time for the costume designer to work with dressers and actors to coordinate costume and quick-change processes for the show. Typically, this session happens on the Saturday morning prior to  opening night. For certain productions, a makeup workshop will be held in conjunction with this session to instruct actors on makeup application techniques and hair styling. All actors, dressers, and pertinent designers are required to attend. A possible 3-4 hour work period for costume crew may follow.

  • CUE-to-CUE

In this part of the technical rehearsal, the technical crew will have the opportunity to rehearse their light, sound, and special effect cues. All actors are required to be in attendance, running the production as directed by the stage manager. In most cases, this will involve running lines prior to and up through the execution of a cue. If the cue is not executed to the satisfaction of the director and designers, or if adjustments need to be made in lighting and sound levels, the cue will be repeated until it is executed as envisioned. Patience is the key to a cue-to-cue rehearsal. Actors must be tolerant of errors and be prepared to repeat entrances, exits, and other important moments involving cues so that the technical crew can learn their role in the
production. Actors have had weeks of rehearsal - this is the one rehearsal for the technical crew to finalize all of their assignments and practice technical changes. Actors are expected to remain quiet during periods of discussion and clarification. Actors should not “help the crew” unless requested to do so. Actors should also remain in the vicinity of the stage so that if the cue is to be run again, it can be done so quickly.

  • RUN WITH TECH

Run with Tech follows the Cue-to-Cue session. In the Run with Tech, the stage manager is able to practice the coordination of the calling of cues within a complete run of the show. Actors and crew should expect that the show might need to be stopped so that a cue can be repeated and/or fixed. Again, patience is imperative in this portion of the rehearsal.
 

Beginning with the first Technical Rehearsal, ALL crew (stage crew, board ops, dressers, etc.) MUST wear black clothing from neck to foot. This is the proper attire for all crew members and, even though you may not be seen, you will be required to dress in this manner. If you show up to rehearsal or a performance not in proper dress, you will be asked to change.
 

FIRST DRESS REHEARSAL

Dress rehearsals should be run as if the show were in production. Sometimes we call this “show conditions.” Typically, the first dress rehearsal takes place on the Monday of Performance Week.
 

FINAL DRESS REHEARSAL

The final dress rehearsal is typically held the night prior to opening. At the director’s discretion, there may be invited audience members to this rehearsal, as a preview test audience.
 

ADDITIONAL RULES FOR TECH WEEK AND PERFORMANCES

  • Cell phones must be turned OFF during all rehearsals and performances. There is no need for any actor or crewmember to be texting, surfing the internet, or making phone calls during the tech, dress, or performance process. We have a reliable communication system to communicate between areas of the theatre. If you have an emergency in your family and need to stay in touch, you must alert the stage manager and director.
  • Absolutely NO ONE may be backstage, in the dressing rooms, or in the Theatre office during technical/dress rehearsals or performances unless they are a member of the cast, crew, or faculty.

     

 

ARCHIVAL PHOTO CALL

Production Policies

Archival Photo Call is an opportunity for the department to properly archive the production in photographs that will be used for university publications and be made available for portfolio and professional use.

Archival Photo Calls for shows  running two weekends will typically be held early in the week between performance weekends. For shows running only one weekend, the call will typically be held after the Thursday night performance. In this  case, the photo call will begin promptly fifteen (15) minutes after the final bow or curtain of the performance. Students with family or friends at that evening’s performance should make them aware of Photo Call, and arrange to meet them at
another time, so as not to delay the process.

All actors, student designers, and crew are required to attend photo call. The Director and Stage Manager will run the photo call. Actors, student designers, and crew should listen carefully for instructions and move quickly. Patience is  appreciated.

  • NO photo call held on a performance day may last longer than ninety (90) minutes.
  • The Stage Manager must keep strict time during the photo call.

     

 

BOX OFFICE POLICY

Production Policies

All Belhaven students, faculty, and staff receive complimentary tickets to Belhaven University Theatre productions. Additionally, all immediate family members of Belhaven students, faculty, and staff receive complimentary tickets. For the purposes of the box office, “immediate family” refers to parents, siblings, and offspring. In cases where a grandparent or aunt/uncle lives with the family as a parental figure, that family member will be considered immediate family. Please note
that family complimentary tickets are not guaranteed without an advanced reservation.

Because the theatre department is already providing free tickets for students’ families, student performers, crew, and designers do not receive additional complimentary tickets to give away.

Tickets can be reserved by emailing boxoffice@belhaven.edu or by seeing the Administrative Assistant in person during office hours to make your ticket reservations. The department accepts payment in the form of cash, check, or credit card.

 


 

SOCIAL MEDIA POLICY

Production Policies

SHARE AWAY!

Belhaven University Theatre Department will create Facebook and Instagram posts pertaining to each production. We encourage all students to liberally share these posts on their own platforms.
 

KEEP IT POSITIVE

When updating your status regarding rehearsals and the production, please be aware of the public image created by language regarding the production or the production process. Be careful in stating frustrations, as social media posts regarding the production will already begin to color the potential audience’s impression of the performance they will eventually come and see.
 

PHOTOS, VIDEOS, ETC

You are welcome to take pictures during the production process for your own archives, but unless you are specifically asked to do so by the Chair of the Theatre Department, do not post such photos on any social media outlet. Photos of incomplete design elements, or inconsequential moments begin to dilute the impact of the production for the potential audience. If you have a photo that you think would be fun to share with the masses, please forward it to the Administrative Assistant, who may post the photo to the department’s official social media outlets.

Prior to closing of the show, students may only share photos and/or videos that have already been shared by the department itself. Following closing night, students are permitted to share any of their own photos taken during the production run (opening night through closing night).

 


 

PRODUCTION STRIKE

Production Policies

Attendance at production strike is required for the following individuals:

  • Everyone enrolled in Theatre Practicum
  • Everyone in the cast including non-majors
  • All departmental work-study students
  • Theatre faculty and production staff


Production Strike takes place on the Monday evening following the final performance of the production. Please plan accordingly.

Please wear appropriate clothing and footwear to the theatre so that you may participate safely in the strike.

 


 

PRODUCTION & REHEARSAL GUIDELINES FOR RAs, ATHLETES, & STUDENTS PARTICIPATING IN OTHER EXTRA-CURRICULAR ACTIVITIES

Production Policies

Students who are RAs will need to be organized, proactive, and communicative as they balance RA responsibilities with their theatre major. Any student who is an RA must adhere to the following guidelines and expectations.

  • RAs should reach out to their RD prior to auditions to obtain a list of key dates and obligations related to their position as an RA. These dates/obligations should then be clearly stated on the student’s audition form and conflict sheet.
  • RAs must email their RD within the first week of the semester notifying them of the following rehearsals and performances which the student will be required to attend regardless of RA duties:
    • Rehearsals held in the last two weeks before opening night
    • All tech rehearsals
    • All performances
    • Archival Photo Call
  • In the early weeks of the rehearsal schedule leading up to the two-weeks before opening, RAs are expected to fulfill all RA responsibilities. Please make every effort to set a duty night that does not conflict with standard rehearsal times. Additionally, please make every effort to schedule RA meetings at a time that does not conflict with rehearsals or a time that is later than 9:00pm.


Students who are participating in athletics, cheerleading, band, or any other extra-curricular activity will need to be organized, proactive, and communicative as they balance their participation in the other area with their responsibilities as a theatre major. Students who fall into this category must adhere to the following guidelines and expectations.

  • Prior to auditions, the student should contact their coach and/or relevant director to obtain a list of key dates and obligations related to the extra-curricular activity. Examples include sporting events, concerts, mandatory practices, etc. These dates/obligations should then be clearly stated on the student’s audition form and conflict sheet at the time of auditions.
  • Within the first two days of the semester, the student must email the Theatre Chair to declare the key dates and obligations for their extra-curricular activity or sport (see above)
  • By the first Friday of the semester, the student should be aware of their casting and practicum assignments. At this time, the student must email the coach and/or relevant director to notify them of their non-negotiable theatre obligations for the semester. These obligations are detailed as follows:
    • The student who is acting in a production will be expected to attend all rehearsals beginning two weeks before opening night. The student will also be required to be available for every performance. There is no exception to this, even if it means the student will be unavailable for a sporting event, concert, or similar event with the extra-curricular activity.
    • The student who is working as a designer, board op, run crew, or similar position will be expected to attend all rehearsals beginning one week before opening night. Board ops and run crew will also be required to be available for every performance.
  • In the early weeks of the rehearsal schedule leading up to the two-weeks before opening, students are expected to clearly communicate with both their coach/director and their theatre director/stage manager to develop a schedule that will best serve both the theatre production and the sport/extra-curricular activity.

     

 

GENERAL SUGGESTIONS FOR A HEALTHY LIFE IN THEATRE

Caring for Heart, Mind, Soul & Body

It is wise for theatre students to pay attention to their hearts, minds, bodies, and souls. Regardless of specialization within theatre, individuals are more likely to succeed if they have strength, endurance, and strong habits of spiritual and emotional health.

Actors require a strong, flexible body and a healthy voice. Theatre technicians must be able to lift, balance, stretch, and carry. As such, the theatre faculty strongly encourages students to

  • Eat well
  • Exercise regularly
  • Warm Up and Stretch prior to rehearsal and/or work
  • Drink plenty of water
  • Get adequate sleep
  • Don’t smoke!
  • Stay up-to-date on vaccinations including flu, Covid-19, and other infectious diseases.


In addition to caring for their bodies, all humans, including theatre artists, are wise to take time to practice healthy habits when it comes to the mind and the soul.

  • Make it a priority to find a local church/faith community
  • Spend time in prayer and/or meditation
  • Practice emotionally healthy approaches to your craft
  • Don’t be afraid to ask for help!


If you have questions about how to cultivate healthy practices and find balance in your daily life, please speak to your academic advisor or to one of our faculty or staff, who will be happy to assist you in finding the right resources for you.

 


 

HEALTHCARE INFORMATION

Caring for Heart, Mind, Soul & Body

If a student has a fever, he or she should not attend class or rehearsal to avoid spreading illness to others in the department. In all cases, the ill student should email professors to let them know that he/she won’t be in class. The student should email, text, or call the stage manager to communicate that he/she won’t be in rehearsal. If you are vomiting or your fever lasts more than a day, PLEASE seek medical attention before returning to class or rehearsal.

The following is a list of several of the excellent health service providers located near campus.

  • Baptist Medical Center is a full-service emergency care facility providing emergency services 24 hours a day. It is located at the intersection of N. State Street and Poplar Ave. Call 601-968-1000 for information.
  • TrustCare Urgent Care Clinic is a walk-in medical clinic located near the Kroger store on I-55N Frontage Road. Hours vary. Call 601-487-9199 for information.
  • University of Mississippi Medical Center is a full-service hospital and training ground for future doctors and nurses. It is located less than a mile away at 2500 North State Street.
  • For uninsured students: UMC suggests that students who do not have insurance or who have international insurance go to the Federally Qualified Health Center at the Jackson Medical Mall, located at 350 W. Woodrow Wilson Ave, about 3 miles from campus. The FQHC is federally subsidized and staffed by UMC physicians. It provides quality care but will be less costly for uninsured patients. Call 601-982-8467 for information.
  • St. Dominic’s is a full-service hospital and emergency care facility located at 969 Lakeland Dr. in Jackson. Call 601-200-2000 for information.


Belhaven University recommends, but does not require, the bacterial meningitis vaccine for incoming residing students. There has never been a case of meningitis at Belhaven and the disease is very rare, but the University is concerned that students be protected. The vaccine costs approximately $130 and can be administered at the Mississippi Department of Health, just a short drive from campus.

Flu shots can be obtained at many local pharmacies, including Walgreens and Kroger.

 


 

COUNSELING SERVICES

Caring for Heart, Mind, Soul & Body

Professional counseling services are available on campus for all full-time traditional students during the academic year through our Campus Counselor. The Campus Counselor’s office is located on the second floor of Cleland Hall. Appointments can be scheduled by calling 601-965-1428 or by emailing counselor@belhaven.edu. A short-term model of counselling (4-6 sessions) is used in order to best serve the greatest number of students. The first appointment is free. Sessions two through six are $5 each. Subsequent visits are $40. Confidentiality Guaranteed: The campus counselor complies with all standard confidentiality laws. Information is only disclosed to the university as required by law for the safety of the client or other persons.

In situations where immediate attention is required, please seek help through Baptist Hospital in addition to notifying the campus counselor and, if necessary, security.
 


 

ACADEMIC SUPPORT

Caring for Heart, Mind, Soul & Body

The Office of Student Care strives to facilitate the development and success of those students needing assistance of guidance in their adjustment to the academic program of Belhaven University. The office is located in the Think Center, on the first floor of the Library. The Student Care staff seeks to help students set and achieve academic goals by helping with: study skills, time management, discovering learning styles, note-taking, and providing information about tutoring
services. Contact 601-968-8865 or email studentcare@belhaven.edu for assistance.

 


 

SAFETY GUIDELINES

Caring for Heart, Mind, Soul & Body

Safety Guidelines are clearly posted in all departmental shops. Additionally, safety standards and expectations will be clearly communicated to all students at the beginning of a course or practicum assignment.

At all times, students and workers must wear appropriate clothing, shoes, and personal protection equipment (PPE) while working in the shops.

 


 

FIRST AID STATIONS

Caring for Heart, Mind, Soul & Body

There are six first aid stations located in the theatre facilities within the Center for the Arts.

  1. Scene Shop
    1. First Aid kit is located at the SE corner of the scene shop
    2. Contains first aid supplies
    3. Eyewash station
  2. Costume Shop/CFTA 154
    1. First aid kit is located at the SE corner of the costume shop, near the washing machine
    2. Contains first aid supplies
    3. Eyewash station
  3. Makeup Classroom/CFTA 155
    1. First aid kit is located by the door
  4. CFTA Office Suite
    1. First aid kit is located in the Props Storage Room
    2. Contains first aid supplies
    3. Contains medicine, such as ibuprofen, aspirin, pepto bismol, etc.
  5. Classroom CFTA 151
    1. First aid kit is located on the cinderblock wall behind the classroom door
    2. Contains first aid supplies
  6. Flex/Blackbox Theatre
    1. First aid kit is located on the north wall near the spiral staircase.

       

 

IN CASE OF AN INJURY

Caring for Heart, Mind, Soul & Body

In the event of an injury, use first aid stations to provide immediate care. Alert a faculty or staff member immediately.

If additional medical attention is required, the injured student will be taken to a local urgent care clinic or hospital. If immediate medical attention is necessary, call 911! Be sure to call the university’s security office as well - 601-968-5900. Using a campus phone, you may dial 5900 to reach security directly.

IN ALL CASES, an “Accident Report” form must be completed and signed following the incident. This form is available from the Administrative Assistant or Stage Manager. The Department Chair must be notified when an Accident Report has been submitted.

 


 

DRUG AND ALCOHOL POLICY

Caring for Heart, Mind, Soul & Body

The Theatre Department complies with the University’s policies on drugs, alcohol, and smoking as stated in The Kilt, the university’s student handbook.
 

DRUGS AND NARCOTICS

The University supports the federal and state laws with regard to drug use, possession, and distribution. No controlled substance shall be sold, possessed, or used on or off the University campus, in any of its facilities, or in a facility used by an organization recognized by Belhaven. Any person selling, possessing, or using controlled substances shall be subject to penalties, which may include immediate dismissal from the University.

Students who show up for classes, rehearsals, shop hours, and/or performances under the influence of a controlled substance will be referred to Campus Security. Additionally, students who show up for production-related activities under the influence of drugs and/or alcohol may be removed from their production responsibilities for the duration of the given production.
 

ALCOHOL

Students or guests may not sell, possess, or consume alcoholic beverages on campus, on the premises of any organization granted recognition by Belhaven, or at any University-related event. This includes athletic, music, or recreational events, on or off campus. Possession of empty containers on campus is considered possession of alcohol. When law allows for the consumption of alcohol, students are expected to exhibit the highest standards of Christian principles and
behavior at all times.

Students who show up for classes, rehearsals, shop hours, and/or performances under the influence of alcohol will be referred to Campus Security. Additionally, students who show up for production related activities under the influence of drugs and/or alcohol may be removed from their production responsibilities for the duration of the given production.
 

TOBACCO

In the interest of promoting a healthy living environment for all of the University community, the use of tobacco in any form is prohibited on the campus, including buildings, parking lots, lawns, and sidewalks, as well as at all University-sponsored events. Prohibited products include, but are not limited to cigarettes, cigars, chewing tobacco, snuff, and pipe tobacco.

Students are hereby warned that drug, alcohol, and tobacco violations may result in a ban from participation in productions, on-stage or off-stage.

 


 

THE CENTER FOR THE ARTS

Facilities

The Center for the Arts (CFTA) is located at 835 Riverside Drive. The Center for the Arts houses the theatre department, the music department, and the university’s weekly chapel services. The following rooms fall under the care and purview of the theatre department. Please note that many students refer to the building as the CFA, shortened from CFTA.
 

FACULTY AND STAFF OFFICES

CFTA 145 - Office, Braden Graves
CFTA 146 - Office, Ruth Dentel
CFTA 147 - Office, Administrative Assistant
CFTA 148 - Office, Jeff Young
CFTA 150A - Office, Elissa Sartwell
CFTA 150C - Office, Technical Director
 

CFTA 150 SUITE - A suite of small offices and rooms lined with glass windows. It is made up of the Green Room, Dr. Sartwell’s office, Self-Tape Studio, the Technical Director’s office, the props storage room. It also has access to the Design Lab and the Blackbox Theatre.

CFTA 150 Suite:
150 - Lobby/Green Room
150A - Office, Elissa Sartwell
150B - Props Room
150C - Office, Technical Director
150D - Self-Tape Studio


GREEN ROOM - The central lobby area of CFTA 150 serves as the department’s Green Room.

This is a shared space, available for students, faculty, and staff. While it is expected that the Green Room will function as a break room of sorts, it will be important for those visiting in the green room to respect those who might be working in adjoining spaces. Please “read the room” and adjust noise levels accordingly.


CFTA 150B - The Props Room - A storage room and workspace for departmental props

The Technical Director, scenic designer, props designer, and certain shop workers will have access to the props room. Unless students have been given a props-related production assignment or are entering the props room to retrieve an item at the request of a faculty or staff, students should not have any need to enter the props room. The refrigerator located in the props room is not available for student use. The Technical Director is responsible for maintaining  organization and cleanliness in the props room. The Technical Director has the authority to implement additional organizational or cleaning procedures if they become necessary.


CFTA 150D - Self-Tape Studio - This room is specially designed and equipped with appropriate lighting for use as a space in which to record self-tape auditions.

The Self Tape Studio can be used by any theatre student or faculty/staff member who is preparing a self-tape audition. The Self Tape Studio must be reserved in advance of use. To make a reservation, please consult with the department’s Administrative Assistant at least 24 hours prior to the desired filming time. A camera is available for checkout with a $20 refundable deposit. Each person who uses the space must leave it in the same condition in which it was found. All equipment must be turned off or unplugged. Faculty and staff reserve the right to deny access to students who are unable to use the space responsibly.
 

CLASSROOMS AND WORK SPACES

CFTA 151/153 - Classroom

151/153 is used for classes, rehearsals, coaching sessions, and meetings. It is typically unlocked throughout the day. Each person who uses the space must leave it in the same condition in which it was found. Do not sit on the tables.


CFTA 152 -Design/A-V Lab & Classroom

This classroom and lab space contains design tools and equipment for departmental productions, design classes, and other student projects This room is also used for certain departmental and/or production meetings. A sign is posted on the door indicating available times for students to use the space. Students wishing to use this room must first receive equipment training from Braden Graves. Following each use, the space must be left in the same condition in which it was found. Faculty and staff reserve the right to limit access to students who are unable to use the space responsibly.


CFTA 155 - Makeup classroom and women’s dressing room

The makeup classroom and women’s dressing room is a small classroom and dressing room used to support the department’s production season. The room features 6 lighted makeup stations as well as a flammables cabinet for storing hair and makeup supplies. Each person who uses the space must leave it in the same condition in which it was found. Do not sit on the tables. During performances, the Stage Manager and Wardrobe staff have the authority to assign cleaning jobs as needed to ensure the space remains safe and clean.


CFTA 157 - Men’s dressing room

The men’s dressing room is used to support the department’s production season. The room features 4 lighted makeup stations. Each person who uses the space must leave it in the same condition in which it was found. Do not sit on the tables. During performances, the Stage Manager and Wardrobe staff have the authority to assign cleaning jobs as needed to ensure the space remains safe and clean.

Reserving Rehearsal Rooms for Monologue and Scene Work

  • Students are encouraged to take advantage of available rehearsal spaces for work on classroom scenes and monologues. When not in use for classes or production purposes, rooms 151, 153, 155, and 157 can be reserved for scene/monologue work. Students should refrain from rehearsing scenes and monologues in hallways and public spaces.
  • Students should use the Room Reservations binder located outside the Administrative Assistant’s door to reserve rooms/times. A room is not considered “reserved” if it is not officially reserved in the binder.
     

SHOPS

CFTA 154/156 - The Costume Shop/Wardrobe Storage

The costume shop/wardrobe storage rooms feature 4 large work tables, several sewing machines and sergers, a supply of dress forms, a portion of the department’s costume stock, and laundry equipment for wardrobe maintenance. It is used for costume-related classes, constructing and modifying costumes for departmental productions, and maintaining costumes during production. A restroom with shower is also located in this room and is available for use backstage during productions. During performances, students may pass through this space as a passageway between dressing rooms and the theatre. Use of the costume shop is limited to costume-related work study and practicum students, students enrolled in costume course. Student actors may be requested to attend a costume fitting in the costume shop. The space is managed by Professor Ruth Dentel.


The Scene Shop

The scene shop contains the department’s construction equipment and paint supplies. Students must be trained by Braden Graves or the department’s TD prior to using the scene shop. Safety guidelines are clearly posted and must be followed at all times. The scene serves the department’s production season and production-related courses. The scene shop is not available for personal use or projects. The scene shop is overseen by Braden Graves and the TD, and they have the authority to grant or deny permission to use the space.  


The Grid

The Blackbox Theatre features a state-of-the-art tension wire grid. The grid is regularly inspected by a nationally recognized rigging inspection company. Use of the grid is limited to lighting, sound, and rigging-related work study and practicum students, and students enrolled in certain theatre production courses. The technical director maintains the organization of equipment in the grid.
 

THE BLACKBOX THEATRE

The Blackbox Theatre is located in the Center for the Arts. It is a well-equipped blackbox theatre that seats between 90 - 200 patrons, depending on how the seating and stage are arranged. Because the Blackbox serves as the department’s primary performance venue, a classroom, a scene-shop, and a venue used by outside groups, it is imperative that the space be treated with respect and consideration for others. Food and drink (other than water in a sealable container) MAY NOT be consumed in the Blackbox.

  • Following a class
    • Return any classroom furniture, cubes, or props to the appropriate location
    • Remove any papers or trash
  • Following a rehearsal
    • Return all props and furniture to the appropriate location
    • Check to make sure furniture has been marked by spike tape before stowing furniture
    • Remove any papers or trash
  • Following shop hours
    • Return all tools and equipment to the scene shop
    • Sweep the floor and remove any debris
    • Ensure that the stage floor is clear for rehearsal and/or classes
    • If a scenic element is not yet safe to use and cannot be moved to another location, it must be clearly labeled as unsafe to use
       

Reserving the Blackbox Theatre

  • Requests to reserve the Blackbox theatre should be made via email to Dr. Sartwell and the Administrative Assistant..
  • Note that the request itself does not guarantee a reservation. If you do not receive confirmation of your approved reservation, you may not use the space.
     

Stage Manager’s Booth

  • The stage manager’s booth is located along the scene shop wall of the Blackbox theatre. The booth includes an ETC lighting console, a Behringer sound board, and other lighting and sound equipment and computers. During productions the stage manager calls the show from the booth, and board ops run the lights and sound. Permission from Braden, TD, or the stage manager is required for a student to be in the booth. All equipment must be covered with dust protectors when not being actively used.
     

STUDENT LOCKERS

Each student is assigned a locker, located opposite Rooms 151, 153, and 155. Locker assignments are made by the Administrative Assistant. Students may choose to use a padlock or not. The department is not responsible for any items that are stolen from students’ lockers. It is incumbent upon each student to ensure that their locker is not negatively impacting the space. (In other words, don’t let food spoil in your locker, don’t use your locker to store dirty laundry, and be mindful that your locker does not offend the eyes or noses of those around you!)

 


 

BARBER THEATRE

Facilities

Barber Theatre is an intimate 125 seat theatre located in the basement level of Hood Library. Barber is one of the department’s two primary performance venues and is used for smaller-cast plays and student-directed works. Barber is also used for some theatre classes. Food and drink (other than water in a sealable container) MAY NOT be consumed in Barber Theatre.

The fire exit corridor MUST be kept clear, and the fire exit door must not be blocked in any way.

  • Following a class
    • Return any classroom furniture, cubes, or props to the appropriate location
    • Remove any papers or trash
  • Following a rehearsal
    • Return all props and furniture to the appropriate location
    • Check to make sure furniture has been marked by spike tape before stowing furniture
    • Remove any papers or trash
  • Reserving Barber Theatre
    • If you are interested in reserving Barber for a rehearsal or class project, your request must be emailed to Dr. Sartwell and the Administrative Assistant.
    • Note that the request itself does not guarantee a reservation. If you do not receive confirmation of your approved reservation, you may not use the space.