Theater and Organizational Overview

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Management Structure and Contact Information

Footlite Musicals is both a theater and an organization. The organization is comprised of a membership that is governed by a set of bylaws. The business of the organization is carried out by an elected board of directors. The bylaws of Footlite Musicals list as their main purposes:

  1. to produce musicals and/or other dramatic offerings
  2. to provide for education and training of persons interested in theater through practical experience and classes in the various phases of dramatic and musical theater.

A copy of our bylaws is available on Dropbox.

The Board of Directors

The Board of Directors (BOD) is composed of the organization’s officers (president, vice president, secretary and treasurer) and an odd number of at-large members, numbering between five and 11. The BOD is responsible to the membership of the organization for all fiscal matters, assuring the high quality of theatrical offerings, the safety of performers, technicians, all volunteers and patrons and the care and preservation of theater property and materials. Each production’s producer is, in turn, responsible to the BOD for the above-listed aspects.

2013-2014 Board of Directors

President: Keith Matters; Vice President: Zach Rosing; Secretary: Laura Cones; Treasurer: Susan Smith

At-Large Directors: Rich Baker, Michael Davis, Amy Jo Douglas, Scott Hainey, Bill Hale, Bob Harbin, Kathleen Horrigan, Dennis Jones, Curt Pickard, Trish Roberds, Linda Terrel

Full contact information for the BOD is posted in the office and available online on Dropbox.

To email the entire BOD, email board@footlite.org.

The Executive Committee consists of the president, vice president, secretary and treasurer. To email the entire Executive Committee, email exec@footlite.org.

Per the Footlite bylaws, there are four standing committees for the organization.

Development Committee

Development Committee (Updated 4/3/13)
Rich Baker and Laura Cones (chairs); Robin Bankhead; Christine Bizzell; Michelle Boswell; G. David Caudill; Carol Kirk; Joli Heaven; Marianne Malcolmnson; Keith Matters; Robin Montel; Matt Morris; Jan Rost; Linda Terrel

The Development Committee solicits monies from various sources, including grants, necessary for the continuation of the organization.

Nominating Committee

2013-2014 Nominating Committee
Scott Hainey; G. David Caudill; Evan Wallace; Ed Trout; Marianne Malcolmson

The Nominating Committee shall recruit eligible, qualified and interested persons to run for the BOD and as officers.

Committee members should promote Footlite membership to those individuals they think would be good candidates for our board. They must become members between June 30th and September 30th. Interested members should then submit a resume and their desire to be considered by December 31st. Footlite publishes information about this every year in December. There must be at least one candidate for each office.

The committee then meets after December 31st to compile its list of candidates and brief biographical information about each nominee. Pass this information along to the vice president for distribution no fewer than two weeks before the February election meeting.

The chairperson of the Nominating Committee will present the nominees and their qualifications at the meeting in February to elect officers and the Board.

Show Selection Committee

2013-2014 Show Selection Committee
Chair: Rich Baker (Updated 9/11/13)

The Show Selection Committee is responsible for proposing titles and production teams for all seven shows in our season. Details of the submission process are listed on our website at http://www.footlite.org/getinvolved/directing/ and are released yearly.

Qualifications for serving on the committee
  • Chaired by a board member
  • The committee may consist of other board members and Footlite members. No fewer than five voting members
  • The committee must consist of members qualified in a variety of theatrical areas (costuming, tech, finances, etc.)
  • Committee members are expected to read the scripts of the shows being seriously considered
  • Committee members may not be the director or producer of a show submission

A call for committee members goes out with the call for directors, usually in June. Applicants must specify what special expertise they bring to the process. The committee chair then asks the BOD for approval.

The committee is given all submissions after they pass through the BOD, which has the discretion to reject any proposal. The committee must offer an interview meeting with each production team being seriously considered and explain to the teams up front what the expectations of that meeting are. These meetings typically take place in October.

The committee sends back to the board a completed proposed season by the end of November.

Membership Committee

2013-2014 Membership Committee
Chair:

The Membership Committee recruits new and former members and retains current members.

Advisory Board

2013-2014 Advisory Board Members
Chair:

The Advisory Board is a collection of individuals who bring unique knowledge and skills that complement the knowledge and skills of the board members in order to more effectively govern the organization. The Advisory Board also may provide people of status, for example, retired CEOs, community leaders or major contributors.

The Advisory Board does not have authority to govern Footlite Musicals, that is, the Advisory Board cannot issue directives that must be followed. Rather, the Advisory Board makes recommendations and/or provides key information.

The Advisory Board is standing or ongoing, rather than short-term in nature.

Mission of the Advisory Board
  • To bridge between the organization and its constituents in the community;
  • To complement and strengthen governance of the board of directors; and
  • To advise from a wide range of specialized expertise and administrative experience.
Expectations

The Advisory Board will be composed of people with a genuine interest in Footlite and a desire to see it do well and grow. Advisory Board members will serve as a sounding board, a source of ideas and expertise, and give honest advice. They will be expected to meet, discuss, and advise. Above all, they will want to contribute to Footlite’s well being.

The BOD and relevant committees will prepare materials and distribute them to the Advisory Board ahead of time, as needed. Initial meetings may be planned around a question or problem.

Entr'acte

2013-2014 Entr'acte Members
Libby Buck;Payton Cole; Damon Clevenger; Kristin Cutler; Hannah Elizabeth; Ervin Gainer, Jr.; Stephen Matters; Chris Parker; Amy Roberds; Tara Roberds; Lauren Sobanski; Willie Tople; Evan Wallace

Entr'acte (formerly the Footlite Jr. Board of Directors) consists of nine to 11 members between the ages of 18 and 35. Entr'acte members help increase the membership of the theater, especially in their age group; plan social events at the theater for all members and our neighborhood; volunteer for various responsibilities at the theater during the year; help to raise funds for the theater; and create a new awareness of Footlite Musicals in the community.

Theater Operations

Marketing Committee

Marketing Committee (Updated 4/3/13): Scott Hainey, Zach Rosing

The Marketing Committee is responsible for the branding and publications of our theater. Specifically:

  • Footlite's logo and associated branding
  • Show logos and related artwork
  • Season Brochure
  • Season program cover
  • Building banners
  • All digital media including the website, lobby television and email newsletters

Any show developing publicity material on its own must seek approval of the Marketing Committee before releasing it.

Internet Manager
Internet Manager (Updated 4/3/13): Zach Rosing

The internet manager is responsible for maintenance of Footlite's website, Facebook and Twitter accounts, lobby television and email newsletters sent through constant contact. They may delegate individual responsibilities as necessary. Any theater news that needs publication should be sent to both the internet manager and the publicity manager.

Publicity Manager
Publicity Manager (Updated 4/3/13): Bill Hale

The publicity manager is responsible for all interaction with local press and reviewers. They send out press releases for each show to any interested local media. They are also responsible for writing or proofreading any releases or audition notices to be sent out.

Program and Advertisement Coordinator
Program and Advertisement Coordinator (Updated 4/3/13): Carol Kirk

The program and advertisement coordinator is responsible for collecting and distributing program ads, verification of specs and coordination with the treasurer for proper invoicing. They also help edit cast and staff biographies for content, consistency and length, along with other sections of the program. They work closely with Deputy Printing, which currently handles the layout and production of our programs.

Publicity Photographer
Publicity Photographer (Updated 4/3/13): Zach Rosing

In the absence of a preferred photographer, the publicity photography will handle the task of publicity photos for each show. Shows are free to use the services of another photographer for publicity photos but must first check with the committee so that we are maintaining standards for our photos.

The Publicity Photographer handles production photos for every show, typically the night before the benefit performance.

Curtain Speech Coordinator
Curtain Speech Coordinator (Updated 4/3/13): Ellie Sellars

The curtain speech coordinator is our liaison between your production and our voice-over artist. They will make sure a professional curtain speech is produced for your production, consistent with the rest of our season.

Business Manager

The business manager is responsible for any transaction that requires cash receipts or disbursements. Per the bylaws, most of these responsibilities are handled by the treasurer.

Duties include
  • Managing receipts: box office; donations; memberships; vendor refunds; rents
  • Managing disbursements: vendor bills; expense reports; rent
  • Purchasing: operations, capital acquisitions
  • Maintaining banking relations
  • Executing contracts
  • Preparing financial reports

Box Office and House Management

Box Office Manager
Box Office Manager (Updated 4/3/13): Bill Hale

TBA.

The box office manager coordinates the scheduling of box office workers. This is handled through the online scheduling website, SignUp Genius. Upon proper training, the box office manager can add you to the distribution list so that you may sign up to work a shift.

House Manager

The house manager coordinates and ensures the smooth operation of the front of the house (lobby; auditorium; restrooms and concession area). They also oversee the following: crowd control; opening and closing the building and house; patron welcome; directions; ticket collection; program distribution; seating and concessions. The house manager deals with all customer concerns or problems, including emergencies. The house manager also serves as liaison/supervisor/coordinator among various parties including volunteer ushers; production staff; concession and custodial staff. Volunteer ushers are secured by the Wellington Group.

Duties include
  • Pre-open preparation of lobby, restrooms and house
  • Coordinating house opening/show/intermission timing with the box office manager and the stage manager
  • Managing operations of the front of the house
  • Managing concessions
  • Coordinating and supervising of volunteers
Desired qualities/skills
  • Exceptional skills in working with people
  • Pleasant and professional demeanor
  • House management experience preferred but not required.
Time Commitment
  • 12-14 hours during each weekend of the run of the show, depending on the length of the show and the number of shows scheduled.
  • It is preferred that the House Manager is available to work all shows during a run or season, but volunteers for individual performances are also needed.

The box office manager coordinates the scheduling of house managers. This is handled through the online scheduling website, SignUp Genius. Upon proper training, the box office manager can add you to the distribution list so that you may sign up to work a shift.

Specific details and responsibilities for house managers may be found in the House Manager Manual section of the Production Manual.

Benefit Performance Coordinator
Benefit Performance Coordinator (Updated 7/17/13): Tisa Davis

The benefit performance coordinator arranges our final dress rehearsal benefit performance with an invited audience typically from our senior citizen community.

Facilities Manager

Facilities Manager (Updated 4/3/13): Keith Matters

The facilities manager is responsible for the maintenance and improvement of the entire facility.

Duties include
  • Overseeing all areas related to building maintenance, including landscaping; HVAC; alarms and security; construction and building maintenance
  • Overseeing repairs
  • Maintaining vendor contracts
  • Overseeing outside contractors
  • Following purchasing procedures established by the business manager (regarding quotes, billing, etc.)

Volunteer Coordinator

Volunteer Coordinator (Updated 4/3/13): Amy Douglas

The volunteer coordinator is responsible for oversight of the volunteer program.

Duties include
  • Volunteer recruitment
  • Volunteer placement/matching
  • Acting as liaison between staff and volunteers
  • Volunteer recognition
  • Maintaining an updated volunteer database (including our constant contact email blast list)
  • Volunteer training (where needed)
  • Volunteer retention
Desired qualities/skills
  • Computer literate
  • Able to communicate effectively on the phone and in writing
  • Professional presence
Position Requirements
  • Identify program priorities and expectations
  • Keep appropriate volunteer records and track volunteer activity
  • Identify resources that increase effective volunteer programs

Our Facilities

The Hedback Community Theater, home of Footlite Musicals, is located at 1847 N. Alabama Street, Indianapolis, IN 46202. The box office phone number is 317-926-6630. Our website is www.footlite.org.

Access to Building

The stage door is operated by a keypad entry system. The facilities manager will provide codes to each cast. It can be locked open by holding the crash bar down, inserting a hex key (attached to a string by the door) into the small hole next to the crash bar, and turning to the right. During rehearsals, it is the responsibility of the producer (or their delegate) to make sure the building is locked at the end of the evening. During the actual production, this responsibility moves to the stage manager.

The facilities manager will demonstrate the proper way to unlock and lock the shop door.

The front doors should not be used during the rehearsal process.

Keys to the costume and sound storage areas and combinations to the prop room and piano barn are provided by members of the respective committees.

The Stage

Dimensions and Specifications

Floor dimensions
  • The stage is 61 feet wide from the fly rail on stage right to the stair well on stage left
  • The stage is 34 feet deep from the main curtain to the back wall
  • It is 3.5 feet from the main curtain to the lip of the orchestra pit
Proscenium dimensions
  • 34 feet wide
  • 16 feet tall
  • a false proscenium may be available to decrease the width by up to 2 feet per side and height by 2 feet
Stage work lights

TBA.

Lighting

TBA.

Sound

Sound Coordinator (Updated 4/3/13): Zach Rosing

Footlite owns a 40-channel Allen & Heath GL4000 audio mixing console. This board includes a MIDI patch system. We also have an older Mackie SR24.4 and another smaller Mackie board. The majority of our equipment is stored in a large metal locker on stage left. The sound coordinator will provide the sound designer a key to this cabinet. Instruction manuals for our equipment are in a binder underneath the sound board.

All our equipment is permanently installed. Groups needing to run sound onstage (for example, the Cabaret production) must make special arrangements for equipment.

Speakers

The mixing console is connected to two sets of speakers for the house, two JBL JRX125 speakers that act as the mains (on the left channel of the board) and two JBL JRX112M speakers that act as fills for the first several rows (on the right channel of the board). Each channel passes through a Behringer Ultragraph Pro FBQ3102 graphic equalizer.

We have two dedicated monitor channels, each run with cables with Speakon connectors, and two JBL JRX112M speakers. Each channel passes through a Behringer Ultragraph Pro FBQ1502 graphic equalizer. We also have an older pair of speakers with TRS connectors, but they are of a lesser quality.

We own two vintage Altec Lansing Voice of the Theatre speakers. One is housed on top of a lighting platform and is occasionally connected for special effects. We have one spare amplifier that can power any of these speakers.

There is a monitor in the light booth for hearing the sound system output. Instructions are on the wall for adjusting the volume.

Microphones
  • 10 Shure SLX wireless microphone systems (AA batteries)
  • A varying number of Shure WL-93 elements
  • 2 Shure UC wireless handheld SM58 microphones (One of them may be damaged, but Shure no longer will service it.)
  • 1 Audio-Technica handheld microphone
  • 2 small condenser microphones
  • 2 Crown PCC-160 floor microphones
  • 6 Audio-Technica U853R hanging choir microphones
  • 3 or 4 microphone stands and clips

A box in the sound cabinet contains any spare batteries, mic tape, condoms and other microphone accessories we may have.

With proper notice, we can easily rent eight additional microphone systems at very reasonable rates.

When a microphone element dies, please do not throw it away. Return it to the sound coordinator.

It is up to the discretion of the sound designer whether or not to place condoms on microphone packs. It is your responsibility to keep the packs dry if you have an actor who tends to perspire heavily.

Snakes and Cables

A 12-channel XLR snake runs from the sound board to the organ location with enough extra slack to make it to certain on-stage locations. Three XLR cables have been run permanently to the sound board for hanging mics on the first electric. An additional three cables have been connected to place mics in other locations but these cables must connect to the snake.

One line of an abandoned in-wall snake is sometimes connected between AUX 10 on the sound board and a Stage Left position for effects purposes, but this isn't a reliable connection.

We have a variety of XLR and TRS cables in the sound cabinet. Some of these XLR cables are new with a lifetime warranty at Guitar Center. If ones dies, do not throw it away.

Effects and Compression
  • 2 Alesis 3630 Compressor/Limiter
  • DigiTech S200 Dual-Engine Multi-Effect Processor
  • Behringer Virtualizer 3D FX2000 Multi-Effect Processor
Computers

We own an older Dell computer permanently in place at the sound board. It has internet access and can be used for basic sound effects with freely available cueing software.

There is also currently an Early 2009 Mac Mini running Mountain Lion and QLab. This QLab installation includes the Pro Bundle, allowing QLab to talk to the MIDI interface of the mixing console.

Piano Monitor

A small Behringer sound board on stage left controls two small white speakers on both sides of the stage. This is used for the piano/keyboard monitor connection, when attached, and has a 1/8" input for an MP3 player. There is also a CD player at this location. This is the preferred system to use during the rehearsal process.

Fly System

TBA.

Motorized Rigging System

TBA.

Orchestra Pit

TBA.

Communications and Monitoring

Footlite has a ClearCom partyline intercom system with 7 wired belt packs at the following locations:

  1. Stage left
  2. Stage right
  3. Orchestra pit (daisy-chained through SL)
  4. Sound board
  5. House right spot
  6. Light board operator (daisy-chained through HR Spot)
  7. House left spot (daisy-chained through HL Spot)

A call button indicator light is at the sound board for alerting the Sound Board Operator during a performance.

The sound designer is responsible for setting up the belt packs. Additional XLR cables can be used to extend the reach of the belt packs. All belt packs and headsets (with the exception of the sound board location) should be removed after a show and locked in the sound cabinet. With the exception of any extensions, all XLR cables used with the ClearCom system are to be left in place.

Television monitors are placed in the dressing rooms and green room, and a fixed camera is focused on the stage. The audio for the feed comes from this camera. Televisions must be set to Channel 3.

The television in the lobby will also show the activity on the stage. The audio for this feed comes from the sound system.

Monitors are placed on each side of the stage for the actors to see the conductor if desired. A camera needs to be focused on the conductor and is not left permanently connected. Note that because of the nature of the technology, there is a split second delay on these monitors. Additional monitors can be placed in the wings as necessary. Please contact the Sound Committee if you require use of the camera.

First Aid

A first aid kit is available in the hallway leading to the board room, just outside and to the left of the door, on the top of a filing cabinet. Ice is available in the freezer in the kitchen.

The Auditorium

The auditorium contains 280 seats available for sale. Two are handicap locations.

Exits are at the rear of the auditorium through the lobby. A marked emergency exit on house left leads directly outdoors. An exit on house right leads to the lobby atrium.

Temperature controls are located throughout the building. The air conditioning/heating system is programmed. Please do not touch the controls of any of the thermostats. If there is an issue with heating or cooling, please contact the facilities manager and notify them of the situation.

Controls for the auditorium house lights are located on the light board.

Emergency lighting is controlled automatically.

Scene Shop

TBA.

Dressing Rooms and Green Room

Footlite has two large dressing rooms in the basement, usually divided as one for females and one for males. Each dressing room has toilets and a sink. The rooms have mirrors, lights, chairs and a hanging rack. Do not hang clothes over the light fixtures because the light bulbs may can heat up and cause a fire.

The green room is between the two dressing rooms. Actors need to speak softly in the green room during a performance, as sound filters up to the stage.

The cream-colored chairs are for use in the dressing rooms. Please do not move them to other areas of the theater. The red-colored chairs are for use in the pit only.

Props and Costumes

A prop storage room is located between the Coke Room and the shop. A combination padlock secures the door. Props are located there, in the little house, on the third floor of the North Building and at other locations around the building.

Board Room

There is a printer/copier in the office that is only available for use associated with Footlite.

We own a small Proxima video projector.

Box Office

TBA.

Kitchen

TBA.

Lobby

TBA.

The North Building

The North Building, also called the Pearson Building, was built in 1896 and is a contributing structure to the Herron-Morton Historic Preservation district. This makes it eligible for historic preservation funding (The Hedback Theater is not). The first floor is a 65-seat theater and storage space leased by Footlite to Epilogue Players. Epilogue uses the restrooms off Footlite's lobby for their audiences.

The upper two floors can be accessed from the light booth and are used for storage of costumes, some props, and Entr'acte event properties.

Out Buildings

  • The Barn, located directly across the driveway from the scene shop’s double doors, houses flats, doors and door frames, stair units and other modular set construction materials.
  • The Little House, located to the north of the barn, stores most of Footlite’s furniture and large props (such as luggage, trunks, etc.).
  • The Garage, located in the gravel lot to the south of our main building, is used for long-term storage of large and heavy set pieces including a style bridge, large wagons, stair units, and the stage ramp when not in use.

The little house has its own lock, kept on a master key ring. Contact the facilities manager for this key. The other out buildings are not locked.

The Annex

Footlite rents rehearsal space from McGuire Scenic, which we refer to as "The Annex." It's located at 1835 N. New Jersey St., directly behind our main building, across our parking lot to the east. This space contains a dance floor, tables, chairs and restrooms and may be used for auditions, rehearsals and prop storage. Contact the facilities manager for this key.

Other areas of the landlord's property are accessible from our rented space, but they are not for our use. Please be respectful, and do not wander beyond our main room or the small hallway leading to the restrooms. There are motion sensors throughout the rest of the building, which can trip an alarm if you're in a location you shouldn't be.

Encore Association

Footlite Musicals is a member of the Encore Association. The Encore Association is comprised solely of nonprofessional theater groups in which no one is paid, which operate on a nonprofit basis, offer open auditions and admission to the general public. The Encore Association is governed by a board of directors comprised of representatives of each participating theater. The board of directors hosts an annual awards ceremony in the fall recognizing excellence from the previous theatrical season. These awards are decided by a committee of judges who apply, are accepted by the board, view productions and select nominees. The judges then announce the winners at the annual awards ceremony.

Encore's rules and regulations govern certain aspects of our productions. They are all listed on Encore's website at http://www.encoreassociation.com in the Judge's Info section. Some of the highlights include:

  • No one connected with the production will be paid for services/mileage/etc.
  • If double casting of role(s) is involved, the 'Best Production' and those actors' categories will not be judged or be eligible for awards, as it alters the presentation.
  • A rising star production is judged only when the entire cast is 18 years or younger, and awards are given to best male and female roles only.
  • A director or producer must fill out the director's notes before a judge views a production. These forms are located on Encore's website and in Footlite's Board Room.
  • Ethics forbid anyone from the production to contact a viewing judge during the year. Any inquiries or concerns should be filtered through the theater's Encore representative.
  • Judges are not allowed to discuss any productions they have viewed during the year.
  • An Encore judge must see the entire show. If the show has started, and they are late, they are not allowed to view and must reschedule another date.
  • Encore judges are not adjudicators. They do not critique a show but express their opinions on what they believe to be award-worthy as excellence in community theater.

Footlite's Young Adult Production is not subject to Encore rules.

Tickets

All ticket sales at Footlite are now handled by Brown Paper Tickets. Purchase tickets online at http://www.footlite.org/boxoffice or by calling Brown Papers Tickets at 1-800-838-3006.

Additional ticket polices and procedures, including season ticket sales, can be found on the Box Office webpage at http://www.footlite.org/boxoffice.

Standing Rules and Conventions

Dancing is not permitted in the lobby on the carpeted section. It is damaging to the carpet and can cause injuries to the dancers.

Pianos may not be rolled onto the carpeted section of the lobby. It damages the carpet.

Footlite is a smoke-free facility.

No bare feet or open-toed shoes (such as flimsy flip flops) are allowed backstage or in the scene shop for safety reasons.

Parking for rehearsals is in the paved parking lot. Parking for company members for all performances is in the gravel/grassy lot to the south of the building, leaving the paved lot available to our patrons.

Should a show be elected to participate in a state, regional or national theatrical competition, Footlite Musicals Inc., will pay registration fees for all members of the company. However, additional costs relating to costumes, sets, transportation, etc., must be covered by the company through separate fundraising devoted to this purpose.

Children under the age of 10 must be under the direct supervision of an adult at all times. Although Footlite is a family theater, and families are welcome on both sides of the curtain, unattended children can be a major distraction to performers and technicians and are at considerable risk for injury.

Order of Priority for Facilities and Rentals

The following order of preference has been established when multiple shows need to use the theater at the same time:

  • The show in progress has first priority for stage use, backstage storage and scene shop use.
  • Rentals to non-Footlite organizations will be given first priority for the period of their rental. However, such rentals may not be made to be in conflict with a show that is in or will be in active rehearsals at the time of the proposed rental. Dates for rentals will be given to the producer of any show that will be in rehearsal at that time.
  • The show in active rehearsal for the next time slot has second priority on the stage and first priority on other rehearsal areas (basement, green room, the annex, lobby, board room).
  • Any special function (fundraising, social events, etc.) may use any of the facilities but must schedule around the above.

Code of Conduct

We want everyone to feel welcome and safe here at Footlite. Our Code of Conduct is based on the Golden Rule and applies to each and every person involved in our productions and our organization: Treat everyone as you wish to be treated, with respect and consideration.

Conflict Resolution

An essential part of maintaining a friendly and comfortable environment at Footlite Musicals is to ensure that members and individuals with concerns are encouraged to come forward with the knowledge that the BOD will:

  1. Consider and investigate, as appropriate, allegations of behavior that may breach this code of conduct or other Footlite Musicals policies;
  2. Take all reasonable steps to provide protection for members and individuals who make disclosures in good faith regarding conduct that is inconsistent with this code; and
  3. Follow the appropriate procedures depending on the issues/concerns raised.

The following steps are to be followed in attempting to resolve concerns under the Footlite Musicals code of conduct. It should be noted that minor or isolated breaches of the Code may not warrant action but, as part of a pattern of behavior, may be viewed more seriously.

  1. Speak directly to any member of the BOD about the incident;
  2. Put concerns in writing to the BOD at 1847 N Alabama St, Indianapolis, IN 46202 or via email to board@footlite.org. Receipt of the letter will be acknowledged by the BOD via phone or email to the complainant. The letter of complaint will be slated for discussion at the next BOD meeting or via special session at the Board’s discretion. Both parties will be invited to share their concerns with the BOD as needed.

Emergencies

If there is a medical, building or other emergency during a rehearsal or production, make sure the president and/or vice president are contacted immediately.