Saint Sebastian Player
Guidebook
The Name Game ...
The Space .. ...
Script Selection: The Next Season ...
Submission form ...
The Annual Banquet (the Sebastians) .
Who Done It? The S.S.P. did! (murder mystery series) ..
Introduction
S.S.P. History by Jill Chukerman Test
In 1981, the St. Sebastian Parish located at the corner of Halsted and Wellington on Chicagos North Side, undertook a parish spiritual renewal program. As part of that program, a group of parishioners decided to fulfill the requirement for a large-group activity by staging the musical Godspell. The show was a great success, and two of the cast members, Libby Larkin and Jim Masini, wanted to find a way to keep alive the spirit and fun engendered by the production.
Toward that end, Larkin and Masini founded the St. Sebastian Drama Club. Its mission was to help unify the parish through the training of parishioners in rudimentary dramatic arts, the staging of theatrical productions with parish talent and the encouragement of dramatic expression in all areas of parish life.
A
working group of parishioners soon gathered under this banner and began
preparing for a first production. In May 1982, the group presented Youre A
Good Man, Charlie
Brown...and the rest, as they say, is
history.
Although that first season was produced exclusively by parishioners, the group realized as early as 1983 that they needed to avail themselves of outside resources in order to continue the growth and sustain the energy they desired. With that in mind, the group amended the charter that year to open membership to friends of St. Sebastian Parish. In November 1984, to reflect its increasing sophistication and growing community involvement, the group formally changed its name to the Saint Sebastian Players, also known as SSP.
The companys first six seasons generally consisted of a musical in the spring, a nonmusical play in the fall and a Christmas play or presentation in December, the latter frequently in conjunction with the St. Sebastian School. In 1988, the season expanded to three productions with the addition of a summer play. Other developments over the years have included productions of several audience-participation murder mysteries, written by SSP members and presented at outside venues as fund-raisers for the company.
In the summer of 1989, literally in the middle of a performance of The Night of January 16th, the St. Sebastian Church burned down. The play was being performed in the basement cafeteria of the adjacent school. One of the cast members, Rob McKersie, went outside to see if he could help. At great personal risk, he insisted on going into the burning, smoke-filled church to make sure that no one was inside. He pulled an unconscious man out of the building and still managed to make his entrance at the end of Act II, proving himself to be both a hero and a dedicated actor!
SSP finished its 1989 season as planned, but at the end of the year, the Archdiocese announced plans to close St. Sebastian Parish in June 1990. Given that decision, SSP decided to cancel its original plans for the 1990 season and instead present a farewell revival of Godspell. Meanwhile, St. Sebastian parishioners and members of SSP were searching actively for a new home. After some study and visits to surrounding parishes, the main body of parishioners decided to move to St. Bonaventure. SSP then accepted the invitation of St. Bonaventure to move there as well.
Due to the name recognition that the group already had achieved during eight seasons, and in testimony to the important role the St. Sebastian Parish played in its formation, the group decided to keep the name Saint Sebastian Players. SSP spent its first year at its new home renovating the basement space and performing murder mysteries to raise money. In 1991, the company opened its first three-play season at St. Bonaventure with Exit the Body, directed by SSP cofounder Jim Masini.
Shortly after moving to its new home, the company made an important decision regarding its public identity. The membership decided to stop calling itself a community theatre and instead identify itself as a not-for-profit non-Equity company. Since then, SSP has completed three additional seasons, running from April through November, at St. Bonaventure. Several productions have been reviewed by local critics, garnering considerable praise.
Each year, the company has worked hard to improve the technical aspects of its productions, expanding its lighting and set construction capabilities as quickly as it can raise the necessary funds. SSP also has instituted the annual Monologue Matchup, a competition/showcase for local actors, and is planning on producing its first latenight show in 1995 (see story on p.4). Audiences followed SSP to its new home and continue to grow each year. Today, with so many theatre companies coming and going, SSPs longevity is a true testament to its success. Surviving the loss of its original home, SSP literally rose from the ashes like the mythical phoenix stronger than before.
The St. Sebastian Players started out as The Drama Club. However that changed after the first year to The St. Sebastian Players. Who was St. Sebastian? What is he the patron saint of? Well it has nothing to do with theatre. St. Sebastian is the patron of archers, athletes, and soldiers. Also the patron Saint of Palma, he has the reputation for protecting believers from plague. He was reported to be a healer. His story follows on the next page.
So why the name? Well in the beginning the S.S.P. was an organization made up from St. Sebastian parishioners. Based at Halsted and Wellington the location proved to be great. Steppenwolf, and Victory Gardens, were in the area, along with numerous other companies. It was a young and energetic neighborhood and the S.S.P. was in the heart of it. In the next year the organization had to recruit from beyond the parish and stem out into the neighborhood. By that time the name was never a question.
Performances were held in the gymnasium of the St. Sebastian School. Rehearsals took place in different classrooms, the cafeteria, in the church, in the courtyard between the church and school, even in the basement of the church. It was a scheduling nightmare, working rehearsal and performance schedules in with mens basketball, volleyball, jazzercise, school functions, and parish events. Sometimes a rehearsal would start by meeting at the school entrance, then trying to find a vacant space to rehearse in.
As the years passed and the organization grew. It was obvious that there were more theatre people than parishioners in the players. Although the organization was made up of outsiders the S.S.P. had become a family in themselves and felt a loyalty to the name. After all, the group had given of themselves and built a company and a reputation. The company continued to grow and with newer members with no sense for the history of the group the name kept coming up in membership meetings. It was preceived the name St. Sebastian Players kept the press away, and grouped us in an undesirable classification. After discussion it was agreed to hear alternative names for the organization. Everyone was charged with coming up with new names and they did. However after all the names were presented nothing excited or pleased the membership, so it was decided to continue as The St. Sebastian Players.
After the church burnt and was closed, the parish was combined with St. Bonaventure. The S.S.P. was given the unused basement of St. Bonaventure as its performance area. The first report on the space was from Jim Masini who saw the possibilities immediately. He reported back to the membership that there was a lot of work ahead, but the S.S.P. had a home. The name of the organization came up once again after the move to St. Bonaventure. Again no one proposed any better suggestions. There was also a new bond to the name as the only reminder of the closed parish. It was agreed to continue with the name the St. Sebastian Players.
By the way who is the patron Saint for actors? St. Genesius! His tale follows as well.
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Sebastian was named captain in the praetorian guards by Emperor Diocletian, as did Emperor Maximian when Diocletian went to the East. Neither knew that Sebastian was a Christian. When it was discovered during Maximian's persecution of the Christians that Sebastian was indeed a Christian, he was ordered executed. He was shot with arrows and left for dead, but when the widow of St. Castulus went to recover his body, she found he was still alive and nursed him back to health. Soon after, Sebastian intercepted the Emperor, denounced him for his cruelty to Christians, and was beaten to death on the Emperor's orders. Saint Sebastian was venerated at Milan as early as the time of St. Ambrose and was buried on the Appian Way. He is patron of archers, athletes, and soldiers, and is appealed to for protection against plagues.
[He is patron saint of athletes because of his physical endurance and his energetic way of spreading and defending the Faith. Sebastian is also patron to all soldiers. He entered the Roman army under Emperor Carinus in 283 in order to defend the confessors and martyrs of his day without drawing attention to himself. His efforts kept the Faith of Marcus and Marcellian firm during their persecutions, right up to the time of their martyrdom. He was declared patron of plague sufferers of his reported cures of those afflicted with many diseases.] |
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Feastday: August 25Patron of actors |
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3rd. Century. During a stage performance before Emperor Diocletian in Rome, the actor Genesius portrayed a catechumen about to be baptized in a play satirizing the Christian sacrament. In the midst of the ceremony he was suddenly converted to Christianity. When presented to the Emperor, he declared his Christianity. Enbraged, Diocletian had him turned over to Plautian, prefect of the praetorium, who tortured him in an effort to force him to sacrifice to the pagan gods. When Genesius persisted in his faith, he was beheaded. Though the legend is an ancient one, it is no more than that. Genesius is the patron of actors. Feast day is Aug. 25. ©1997 Catholic Online. All Rights Reserved. |
In 1991 The SSP moved to the basement of the St. Bonaventure Church. After a clean up and rehab the organization mounted its first season. In 1995 under the direction of Rob DeBock the company built the tech booth permanently separating the theatre and the lobby. On the previous page is a fold out diagram of the finished space. The descriptions below collate with the numbered areas on the theatre floor plan.
Area 1: The Greenroom: This is the actors dressing room. Both the male and female performers share this room. There is no bathroom within the greenroom. The washrooms are close by but they are unavailable to the talent when the house opens 30 minutes prior to curtain. At places call the talent will be given a potty break before taking places. This area is also used for storage of platforms, lumber and other large pieces in the SSP stock. The SSP does not have exclusive use of this space so every attempt is made to keep it clean and clutter free.
Area 2: The Costume Room: This is a very small room that has had an elevated platform installed into it to expand storage capabilities. This also was designed and implemented by Rob DeBock. The SSP has a small stock of costumes that are all stored in this space. Small jewelry, hats, and other costume pieces are kept here as well. There is also assorted curtains and fabrics housed in the upper loft of this room.
Area 3: The Stage: This is the main performing area of the St. Sebastian Players. We have produced sets that have spilled into other parts of the space but primarily all shows are presented on stage. There is access to the stage from a door downstage left and right. There is a backstage access upstage left, performers can exit the greenroom and go down
the backstairs to make upstage entrances. There is no access to offstage right without constructing masking flats on stage for unseen crosses. The dimensions of the stage are 30 feet wide by 24 deep. Generally platforms are added to the front lip for additional space. To date we have never extended the stage thrust beyond 8 feet.
Area 4: Storage Attic: Just behind and off right of the stage is a crawl space that the SSP has cleared for a storage space. Most of our mediums to small furniture pieces are stored in this space. There is no easy access to this room. The entrance is elevated and one must use a ladder to enter the room. As well as furniture the room also stores many cardboard boxes of props and set dressings. Wall moldings, and foam brickwork has also been stored in this area. Day with Santa supplies such as Christmas trees, lights, and decorations are kept here as well.
Area 5: Light Board: This area is also known as the kitchen. It is the backstage area and is the home of our lighting patch panel and dimmer board. The patch panel, dimmer board, the electrical boxes in the ceiling of the theatre, as well as the video monitoring system were installed and wired by Rob DeBock. This area is where the lighting technician runs the lights during performances. A television monitor sits atop the dimmer board so that the technician can view the stage. The monitoring system also runs in the Greenroom for off stage talent to view the production. A utility sink, refrigerator, counter, and cabinets are located in the off stage area kitchen. There is also a prop shelf area for production props. Most paint brushes and rollers can be found by the utility sink.
Glasses and coffee cups are kept in the cabinets, and silverware as well as batteries, food dye, and dishrags are kept in the drawers under the counter. The circuit breaker master switch for the house lights is also found in this area. The center section of house lights are controlled at the two entrances to the theatre, but house left and house right can only be activated from the circuit breaker. You will notice on the diagram that this room shows 2 stair units at the stage entrances. Again thanks to Rob DeBock an actor no longer has to exit the stage and navigate stairs immediately off stage as Rob built a stage level platform in this room for actors safety.
Area 6: The Tech Booth: Our most recent addition and renovation to the theatre is the tech booth. This is the stage managers office during the run of a production. All sound equipment and the video camera for the monitoring system are set in this space. This is also the tool storage room. Assorted screws, nails, wire, hooks, clips, anything needed to build a set can be found in the shelving system above the desk in the upper level of the booth. The lower level was intended for additional storage, but we run into regulatory violation if we use this area. The tool area is on the floor level and to ones right as they enter the tech booth. If you take a tool from this area please return it to the same place you got it.
Area 7: Storage Room: This room is very small but does store some flats, stage doors, chair rail and other wood trim.
Area 8: Storage Room: This is yet another small room used for storage. This room has a couple of metal cabinets that contains old records, stereo equipment, and other misc. props. This is considered a prop closet.
Area 9: Electrical Room: If you are looking for a light bulb, or a stage lamp, or a prop lamp, or electrical cable, or garbage bags, this is the room to look in. Most anything to do with lighting is housed in this small room. It is also our recycle center. One will find a couple of blue bag recycling bags for glass or aluminum cans in here.
Area 10: Audience Entrance: This is the main entrance to the theatre. Just down the stairs from the Marshfield entrance to the church, and past our box office. The box office is midway between the 2 flights of stairs. The box office is referred to as the office. The answering machine is kept here as well as the companies history, membership-meeting minutes recording many years back. Left over playbills and posters. This space also is used as our paint closet. In the back of the room is a shelving unit that contains paint.
Area 11: The Stage Door: This is the main entrance to the theatre for members and cast. It is just off the parking lot off of the alley off of Diversey. It is close to the Greenroom and stairwell to the basement theatre entrance as opposed to lobby entrance.
Area 12: Ladies Room: The ladies washroom.
Area 13: Mens Room: The Mens washroom. Both washrroms are closed to the cast when the house opens 30 minutes prior to curtain.
Board meetings generally take place in the lobby of the theatre. There is a concession stand located in the lobby as well. The area on the floor plan along the sides of the theatre that are referred as temporary moveable seating is a curtained off area of the theatre which is suppose to be cleared during the run of a production.
St. Sebastian Player Production
History
1982
Two for Christmas
1983
A Funny Thing happened on the Way to the Forum
The Butler Did It
1984
Bye Bye Birdie
Arsenic and Old Lace
1985
The Fantasticks
The Mousetrap
The Best Christmas Pageant Ever
1986
She Loves Me
Harvey
1987
Two by Two
I Remember Mama
1988
Side by Side by Sondheim
Picnic
How the Other Half Loves
1989
The Roar of the Greasepaint, the Smell of the Crowd
Night of January 16th
Room Service
1990
Godspell
1991 The S.S.P. moves to St. Bonaventure
Exit the Body
Patterns
Frankenstein
1992 2001
The Diary of Anne Frank Much Ado About Nothing
Crimes of the Heart Holiday
Blithe Spirit Elvicula
1993 2002
Last of the Red Hot Lovers A Shayna Maidel
Bus Stop The Women
The Runner Stumbles
1994 02 - 03
Double Exposure Studies in Sherlock
Dear Friends Twelfth Night
The Hound of the Baskervilles Independence
1995 03 - 04
Youre A Good Man, Charlie Brown You Cant Take It With You
Wait Until Dark The Caine Mutiny Court Martial
Elvicula The Rivals
The Burning Man
04 - 05
1996 Wyrd Sisters
The Heidi Chronicles Pippin
The Miss Firecracker Contest Merry Vives of Windsor
All My Sons
05 - 06
1997 Days of Wine and Roses
Social Security Necessary Targets
The Water Engine 6Rms Riv Vu
The Cemetery Club
06 - 07
1998 Lion In Winter
The Odd Couple and The Odd Couple The Plays the Thing
Crossing Delancey One Flew Over the Cuckoos Nest
The Heiress
1999
As You Like It
The Diviners
Ten Little Indians
2000
The Importance of being Earnest
Time Changes Everything
Lend Me A Tenor
St. Sebastian Player Production Historical Archive
The St. Sebastian Players make a video tape archive of each production. If you wish to view any of these tapes feel free to contact Rocky Hagloch to arrange to get the VHS tape. You may find it interesting to see some of your theatre companies past work.
Script Selection, The Next Season:
Perhaps the most important contribution a member can make to the organization is participating in the play selection process. Every member may submit up to 3 scripts per year for consideration for the next season. The thought behind the submissions should be, If I were the artistic director of this company these are the productions I would recommend for the next season. When a member is willing to take ownership of the organization and bring forward scripts that they feel would represent the company in the most positive light as well as offer challenges and growth to the membership, they are fulfilling their duty.
Play selection is a long process, and has gone through changes throughout the years. In the begging plays were chosen one at a time. After the finish of a production the membership would meet and decide what their next production would be and then produce it. When the S.S.P. moved to selecting a season of plays a committee was formed and read all the plays. The committee would then come to a membership meeting with a proposed slate for approval. One year the slate was rejected and further development had to be done to the process as the committee felt they had wasted a lot of their time only to be rejected. Next the membership was assigned the task of picking the season and would vote yeah or nay on the submitted scripts in a democratic election, which also was further, developed to our current method.
Although the St. Bonaventure parish has no dictates on this organization we remain respectful of our home and have created guidelines for ourselves to follow in selecting plays for future productions.
They are:
1) Avoid excessive adult language and strong sexual content.
a) The S.S.P. avoids the F word and a script
containing it will either be
rejected or agreed to change the word to something less
insulting.
b) The S.S.P. will not produce plays that require nudity.
2) The script should offer opportunities for company members on as well as off
the stage.
3) Please take into consideration the physical and technical capabilities or
limitations if you will of our theatre.
A submission form must accompany each script. The member must have the physical script to submit to the membership. The form must be filled out in its entirety and turned in with the script for consideration. Once the submissions from the membership is complete all plays will be kept in a common area at the theatre. For the next few months it is the responsibility of each member to check out the submitted scripts to read and review.
The next step is to narrow the field of submissions. The membership will be given a ballot sheet of all the submitted scripts. Each member will then rank all the plays from 1 to however many submissions received. 1 should be the members choice of most desirable to produce. All the ballots will be tallied and the top 6 scripts (receiving the lowest score) will then go to the board of directors for the final selection. At the next board meeting the board will then vote in the same manner as the membership to select the top 3 scripts. Those 3 scripts shall be announced as the S.S.P.s next season.
The biggest drawback of this process is, not all members submit scripts. Also not all members read all of the scripts submitted. However the submission information sheet has helped to at least inform the membership on the scripts they will be voting on. It is also likely that a member will lobby other members for support of the scripts they themselves have submitted. This is encouraged as at least the member feels strongly about their submissions and is willing to take a risk to get their scripts approved, in doing so the membership becomes better educated about the script.
The next page is a copy of the play submission form that needs to be filled out and accompany each script. It is designed to inform and educate. It is also designed to make the member really think about the script that they are about to submit. In the form the member is asked why they feel the S.S.P. should do this show. Hopefully the answer will be more insightful than, "This is a really good play and I have always wanted to do it." Remember, selecting a new season is a commitment to the organization, you are insuring this companies longevity and reputation.
Name of play____________________________________________________________
Author__________________________________________________________________
How much time passes in the story of the play? _________________________________
Theatrical genre __________________________________________________________
Number of roles: Male _______ Female ______ Children ______
Is doubling of roles possible?: Yes/No
Any special casting challenges? (use the reverse side to elaborate)
Sets: Total number ______ How many interiors? _____ How many exterior? _____
Describe locations of sets:__________________________________________________
Any special set challenges? (use the reverse side to elaborate)
Costumes: Era _____ any special costume challenges? (use the reverse side to elaborate)
Props: How many? 0-25 ____ 26-50 _____ 51 or more _____
Any special prop challenges? (use the reverse side to elaborate)
Any other special technical challenges required by the script? (use the reverse side to elaborate)
Brief synopsis of the play (use reverse side if necessary__________________________ ____________________________________________________________________
________________________________________________________________________
The strongest reasons why I think SSP should do this show: ________________________________________________________________________ _______________________________________________________________________
In consideration of the play selection guidelines, as stated in SSP Bylaw 7,does the play:
Offer opportunities for company members on and off stage____________________
Take our church location into consideration and avoid excessive adult language and strong adult content ____________
Take into consideration the physical and technical capabilities of our space?______
Submitted by:
(name/phone number)___________________________________________________
The St. Sebastian Players is dedicated to being a company that nurtures to the growth and development of its members. Where there is interest from a member to try new things the organization would like to support and assist that member as they move into a new area. One such area is production director. The S.S.P. has in the course of its history welcomed many first time directors. Some with critical success, some not, but most all that have asked were given the opportunity.
Again, in the beginning and for the first few years the company had to solicit directors for its productions. Generally the solicitation was to people who had previously worked with the organization in some manner. As the membership grew with not only actors but directors as well, soliciting was no longer necessary. The company found itself receiving offers from the membership to direct the productions. Occasionally two or three members showed interest in the same production. At this point the written proposal became the leading resource in selecting a director. How does the S.S.P. select a director? Who makes that selection? What should a person do that's interested in directing?
The elected officers select directors for each upcoming production. Anyone interested in directing an SSP production should write a proposal and submit it to the Secretary of the organization. The Secretary will notify the officers of the proposal or proposals and distribute a copy to each officer. The officers will review the proposals and then meet to discuss the proposal and the prospective director. If necessary the officers may invite the candidates in for an informal interview. Collectively the officers will decide which proposal they would like to see produced and notify the director.
Included on the next page is a written proposal that has been submitted to the organization to direct. The proposal should include the directors concept of the play. It should list his/her character analysis, as well as any themes they wish to convey. Time period and setting should be described, as well as any costume concepts or concerns. A rough rehearsal schedule is not required but is suggested. If the rehearsal process is going to be broken into rehearsing french scenes the director should give the scene breakdown. Most importantly if the director wishes to deviate from the script and go in a different direction that should be described in detail, as well as the reasoning behind the change. In all the more prepared and organized the candidate appears to be the better the chances of being selected.
Oscar Wilde's The Importance of Being Earnest
Although this comedy was written over 100 years ago I find it very fresh and timeless. Wilde explores the theme of romance and his keen observances are still valid today. What men and women will do to attract those of the opposite sex are as fresh today as when the play was written.
In real life Mr. Wilde struggled with his identity. This is a theme that is common in many of his works. In TIOBE is someone different because of his or her name? Is the character of Jack less desirable because his identity is unknown? Or more desirable when known? Who we are or appear to be is a dominant theme of the play. Both Jack and Algernon change their identities to get want they want. They also create fictitious identities so that they may do things in their life that may not be done otherwise (e.g. Bunburying). Another theme explored is wealth and how important it was and is. Lady Bracknell questions Jack on his finances and places great emphasis on choosing a husband based on wealth. Mr. Wilde pokes fun at the love for money theme.
Another theme explored by Mr. Wilde is his views on marriage. His comments are made in a gentle yet truthful way. Why and who we marry is a question that has plagued generations.
COSTUMES
The costumes of the play should be of high quality to reflect the social stature of the characters. They should be as authentic as possible.
MUSIC
The pre-show music and the music during scene changes and between acts should be light and airy. Perhaps chamber music or a light flute solo.
PACING
Although every line is almost a laugh line, the show must be properly paced. Actors must hold for laughs when necessary, but this show should move swiftly. The urgency of the situations requires immediacy not suited by long pauses. However, rest assured that the play will not be rushed so that the audience will be able to enjoy the subtleties and delicacies.
PROGRAM NOTES
Many people are familiar with quotes of Mr. Wilde and dont know they are
attributable to him. I would like to insert in the stagebill a list of his most famous quotes for the audience to ponder.
The Importance Of Being Earnest (TIOBE) is, in my humble opinion, Oscar Wildes greatest work. A drawing room comedy or comedy of manners it is somewhat farcical in nature. Almost every line is a laugh line. The play requires actors who are able to handle the stylized language and have the comedic timing to convey the humor to the audience. The cast of nine and a brief description of my view of the characters follow;
· John (Jack) Worthington: 29 years old, somewhat roguish in nature. Searching for his identity in many ways. Does not have social standing of Algernon.
· Algernon Moncrieff: Somewhat younger than Jack. Upper class. Passionate. Tends to overdress.
· Lane (manservant) 50 to 80, very proper English servant. Pessimistic in nature.
· Cecily Carden: 18 years old; tall for her age; attractive; Jacks niece.
· Gwendolen Fairfax: somewhat older than Cecily: Algernons cousin; Afraid of her mother.
· Lady Bracknell: Algernons aunt; Gwendolens mother. 50 ish, cold, crusty and bossy.
· Miss Prism: Cecilys governess; Teacher type who loves knowledge for the intellectual pleasures. Age 35 to 50
· Rev Canon Chasuble D.D.: Slightly older than Miss Prism. Very priestly on the outside with fires underneath.
· Merriman: Butler type similar to Lane.
All characters should be able to speak in the standard British dialect associated with upper class.
While written in three acts, TIOBE should be performed in two acts to suit the tastes of modern audiences. I envision the first two acts being merged into one act.
The set should convey the two different locations. The play starts out in Algernons flat in London. It should be luxurious in every way to convey his societal position. It should also convey Algernons flamboyant nature.
The play then shifts to the garden of a country house outside England. This set does not have to be elaborate. Since we are incorporating this into our Act I we will not be able to make it elaborate.
Our Act II takes place in the drawing room of our country house. The details of the set depend on the budget and how smooth the transition can be made from our Act I. I think that many of the items from Algernons flat can be used in Act II.
POSSIBLE RISKS
Although I am a purist and believe in following the script closely, I must admit the following has crossed my mind as I ponder the play. Would it be advisable to set the play in the present? That would certainly make set design, set decoration and costuming a much easier task.
Should this play be done without British accents? It may be difficult to find nine actors who can present a consistent dialect.
Would cross gender casting work? Certainly Lady Bracknell is the most masculine character in the play. Do the servants (Lane and Merriman) have to be played by men? Although these are possibilities, as a neophyte director I would not make these changes without the consent of the Board.
In 1996 it was decided that the organization needed to nurture to the playwrights in the group. New works need to have a forum to be worked out in, seen in, and heard in. The S.S.P. had just produced its first full-length original script with overwhelming success. There were concerns however regarding subject matter of the new scripts. That needed to be discussed and guidelines needed to be created to clarify the procedure for submissions.
When a playwright has a new work that they wish to have a staged reading for they must do the following.
· Seek out an officer of the S.S.P. to present the work to.
· The officer will present the piece to the board of directors.
· The board will ask for a producer from the membership, which could be the playwright.
· A date will be set for the reading that fits into the S.S.P. schedule.
· The playwright will incur all costs such as press mailings, and invitations to the reading. The playwright must also arrange for audition notices or arrange to find actors on their own.
· The name St. Sebastian Players shall not be promoted or used in any publicity of the reading.
· The playwright may only invite up to 100 guests.
· The S.S.P. will not promote a staged reading to its mailing list.
· There shall be no charge (admission) to the staged reading.
· There will only be a minimalistic set and lighting, no flats, or scenery.
· The S.S.P. shall make available all sound equipment if it is crucial to the reading. The playwright must accept all responsibility for the operation of the equipment
· Props & furniture may be used from the S.S.P.
· The performance space will be made available the week before the reading only. If extra rehearsal is required it must occur someplace other than the theatre.
· There shall only be one performance of the reading
· There shall be no nudity in the reading.
· The playwright must accept all responsibility for the cleanliness of the theatre, and the return of all materials after the reading. The theatre must be in the same condition after the reading as it was prior to the reading.
GUIDELINES
Any member may submit a proposal to do a project over the SSP down
time (November - February) understanding that January would be taken up with the
Annual Banquet. This is not to be a full-scale production but rather an
experimental, performance art, musical venue, one-man piece, or other arts based piece.
The agreement would be as follows:
A written proposal shall be submitted to any Board member who will bring the proposal to the Board of Directors for consideration.
If approved a date will be set by the board for the project. The board holds the right to refuse any request.
The written proposal should include:
1. A description of the project and the desired date of production.
2. Reason for submission (why the member wants to do the project)
3. Staffing or personnel requirements of the project ie: director, technical support, PR,
house personnel. (A Board Member must act as the producer of the project).
4. What role the member wishes to hold, performer, director, musician. Etc.
5. A list of desired personnel for the project.
6. Members of the St. Sebastian Players may only submit projects. This is not an avenue for a friend of a member. However if the member wishes to serve as the director of the project they may use any talent or personnel they feel comfortable with. However the board must approve of technical support outside of the general membership.
7. The member must be responsible for any and all royalties associated with the project. The member may recoup their investment from the ticket sales from the project. However all profits from the project will go to the St. Sebastian Players and/or St. Bonaventure Parish.
8. Set pieces may be used but no major construction will be allowed for the project. The furniture, platforms, lighting, sound equipment, costumes, and props of the St. Sebastian Players may be utilized but must be replaced if damaged and returned to their appropriate place at the end of the project.
9. The theatre space of the St. Sebastian Players will be available for a ONE-WEEK period including the weekend of performance. The week shall run from Sunday to Sunday.
10. Performances may be one night only to three or four. However the project will not exceed the allotted week period.
11. In consideration of the play selection guidelines, as stated in SSP Bylaw 7, the project must be subject to the same in respect to taking our church location into consideration and avoid excessive adult language and strong adult content. Additionally there shall be no nudity involved in any project.
The member must accept all responsibility for the cleanliness of the theatre, and the return of all materials after the project. The theatre must be in the same condition after the project as it was prior.
In 1993 in an attempt to bring more actors into our theatre, increase our visibility, and possibly bring in additional funding the S.S.P. created the monologue match-up. The idea was based on Rock and Rolls Battle of the Bands competitions. Actors would compete against each other by performing monologues for a panel of judges. The judges would be solicited from different theatre companies and casting agencies. It was the intent to get as many Artistic Directors, directors about to cast an upcoming production, and area casting agents as possible. The more judges on the panel the better the opportunity to promote the event, as well as a higher visibility for the actors to be seen by as many companies as possible.
The event has had up and down results. One year brought in over 50 actors, another never reached 20. The pre-registration process has been the hardest obstacle to overcome. Having tried a number of different procedures, the major area of concern was actors that pre-register and not show up for the event. An attempt to get the actors nonrefundable registration fee up front assured their participation. However getting the word out in a timely fashion has also proved to be challenging.
The event originally was thought to be a fundraiser, however now falls under special events. The emphasis then changed to break even and not lose money. The major contributing factor is the number of contestants is limited due to the time constraints of the evening. However it is a good promotion for the company so we continue to sponsor the event.
Following are the steps and requirements of the event.
· The date is set for the event by the board.
· A group of judges has to be solicited and secured for the event. Many members work on this detail, contacting old friends or cold solicitations are made to other theatre companies and casting agencies.
· Details of how to handle pre-registration or registration must be addressed.
Ψ Actors are given a single time period to pre-register such as 10 6 on the Saturday before the event. With this scenario volunteers are needed to be at the theatre to register the actors throughout the day.
Ψ Actors can phone in their pre-registration over a longer period of time. With this scenario phone calls will have to be returned and an up front registration fee will not be collected.
Ψ Actors could mail in their registration along with their fee. With this scenario phone calls would have to be placed to inform actors of receipt of registration and information given as to check in the night of the event.
· A flyer naming the judges and registration process is created and a mailing to our actors mailing list, as well as acting studios, and perhaps local schools is sent out.
· A press release is written and issued about the event. As well as certificates made up for each winner. Certificate needs to be signed by the S.S.P. President.
· Box office cash needs to be received from the S.S.P. Treasure. From the box office intake the cash awards need to be gathered and placed in envelopes and given to the emcee for the winners presentation.
· Volunteers are secured for the night of the event. The following are needed.
Ψ Registration desk and box office cashier
Ψ Master of Ceremonies
Ψ S.S.P. representative judge, usually the director of our next production
Ψ Time keeper
Ψ Host to the judges, gets a meal for the judges and water for the green room where the judges are sequestered.
Ψ 2 Registration assistant to arrange judges packets ( arrange actors headshots in order of appearance in the competition, one for each judge)
Ψ Concession staff
· The winners names need to be filled in on the certificate and given to the emcee for the presentation of the cash award and certificate.
The Annual Banquet (the Sebastians)
In 1996 honoring 15 years of theatre in Chicago the S.S.P. membership decided to celebrate and have an anniversary dinner. After discussion it was decided to have funny or theme related awards such as, the most kissed actress on stage, creepiest performer, etc. A variety of video montages were created to celebrate and relive memories from the past seasons. Speakers shared humorous, as well as serious stories from productions. The response was well received and a new tradition started.
The following year Father Dan Montalbano, who was the pastor of St. Sebastian, as well as an actor who had performed in a few productions with the company, unexpectedly passed away. The company wanted to honor him in some way. It was decided to create an award in his name to be presented to someone who supports the company but is not a member. With the creation of the Fr. Dan Montalbano award the company turned to a more serious theme for the banquet and presented acting awards to cast members from the previous season.
In the first year of the Sebastians the membership had to compile a list of audience members who had attended all three productions. Once the list was completed the patrons were contacted and asked to select a favorite performer from each nominated category. The directors from each production were asked to select the nominee or nominees for each category from their cast and respective productions. A video tribute honoring Fr. Montalbano was created as well as a multimedia presentation to accompany each presenter and award category. The membership also decided to honor a member of the company with the S.S.P. Company Award. The reaction was overwhelming by those in attendance. The format has remained the same over the years
The criteria for the awards are as follows:
Acting awards:
Simply Stunning Performance, male and female leading character.
Nominated by the director of the production
Voted on by qualified audience members (saw all 3 productions)
Smashing Supportive Performer, male and female supporting character.
Nominated by the director of the production
Voted on by qualified audience members (saw all 3 productions)
Sweetly Satisfying Production, best production
Voted on by qualified audience members (saw all 3 productions)
S.S.P. Company Award. (Technical or company related award)
Open Nominations come from the membership.
Ballot distributed to the membership of all nominees for final vote
Father Dan Montalbano Award: (given to a supporter of the company that is not a member, F.O.S.S.P. friend of St. Sebastian Players)
Open Nominations come from the membership.
Ballot distributed to the membership of all nominees for final vote.
The Barry Cunanne Award: (given to a company member considered member of the year)
BOARD MEMBERS ARE NOT ELIGABLE
Open Nominations come from the membership
Ballot distributed to the board members of all nominees for final vote.
The annual banquet takes place after a season has closed. It is a recap as well as a celebration of the previous season. Company members present the awards for each category. It requires a producer and committee to put together this event. Producers are solicited from the membership from the board and volunteers fill out the committee. It is an ongoing special event/fundraiser that is intended to develop and hopefully grow in the coming years.
When the S.S.P. moved from St. Sebastian to St. Bonaventure there was a lot of work to be done. The new space that had been given to the S.S.P. was far from ready to open a production. A scout troop had previously occupied the space. There were junked and scrapped bicycles, books, tents, trash, and more trash piled in the center of the space. The walls had not been painted in years, and the coat that was visible was blistered and peeling. Dust and dirt were the two things that there was an abundance of.
First everything had to be cleared and the space cleaned. A dumpster was ordered and placed in the parking lot beside the church. Piece by piece everything was hauled out and stored or trashed. Next the walls and ceiling needed to be scraped, and then painted. There was also the small issue of where to store the materials that the S.S.P. had acquired over the past 9 years at St. Sebastian. The company president David Andrasko was a driving force and was determined to open a production within a year. In the meantime the S.S.P. also needed to raise funds for the renovation, and so relied on the one thing it knew best, performing.
Company member Jonathan Hagloch had recently been commissioned by a party planner to write and develop an audience participatory murder mystery for a corporate client. Rocky looked to the membership to fill out his cast. The event was such a success that the company decided to organize a fundraiser based on this mystery to their own mailing list. Held at Ann Sathers Restaurant the S.S.P. taped into a new venue. During the year of the renovation the S.S.P. was approached by The Discovery Center to become its murder mystery troupe. All proceeds went to the company and the renovation needs and the company continued to perform even though the theatre was not ready for an audience.
The murder mystery has served the company well. It has been a fundraiser, as well as a demonstration of good will to the parish of St. Bonaventure. For several years the S.S.P. has written and produced a murder mystery for the parish. Donating time, talent and all proceeds from the event to the parish. The S.S.P. has also had the honor of touring mysteries. New Years Eve of 1993 the S.S.P. was hired by the city of Pontiac Illinois to perform a mystery as part of First Night, a non-alcoholic event. The company has also performed in Restaurants, and clubs around the Lakeview neighborhood.
If you should have the opportunity to talk about the murder mystery series or even sell a mystery to a company or organization, included you will find a brief description as well as cast requirements for some of our mysteries. Some mysteries are more difficult to organize than others so be sure there is enough time to pull the show together. Pricing varies and should be presented to the board for further coordination. Generally cost will run between 350 to 500 dollars.
It is also important to note that the scripts are only partially written and improve is essential to the entertainment and success of the production.
This is a letter that Jill Chukerman Test sends out to interested parties who are considering a mystery.
The Saint Sebastian Players currently have nine original audience-participation murder mysteries in our repertoire. Following are the titles and brief synopses:
The Case of the Blue Note Bully
Though the Blue Note nightclub is popular, its owner is not! When he
ends up dead one night, there is a lineup of suspects: the singer, who
wants out of her contract and the owner?s advances; the comedian, who
fights for the singer?s career at the expense of his own job; the
producer, who wants to sign the singer to a recording deal but can?t get
past her contract; and the secretary, who carries a torch for the owner.
Murder Take One or Who Shot the Commercial?
A director is shooting a commercial in a restaurant and must cope with a
temperamental star and other quirky characters. Tempers flare inevitably
into murder and the diners must solve the crime.
Politics Can Be Murder
Congressman Tensin?s wife and some of his close friends have whipped up
a surprise birthday party for him, highlighted with a special ?cocktail?
he?s supposed to drink. But who becomes the ?ghost? voter?
Dial AM for Murder
Join WSSP?s live broadcast as controversial Don Kole and Dave Furnace
heat up the airwaves. Special guest ex-pro linebacker Ric Cronin is
scheduled to appear. But note this warning: Don and Dave just might kill
someone with laughter! (Like much of today?s AM radio, some material
might be inappropriate for younger or more sensitive listeners.)
You Bug Me To Death
Dr. Katherine Mitchell, renowned naturalist, is holding court with her
professional cabal, the friends and associates who have helped her get
to where she is today. The problem is: will she still be there tomorow
after this group gets done with her?
Lend Us A Tenor? Ours Is Dead
Dan Williams wasn?t such a bad guy. Sure he was no Billy Ray Cyrus, but
that was no reason to stick a knife in his ?achy breaky heart.? Join us
for sex, lies and audiotape as we sift through the clues of a chorus
member murdered before he had a chance to make it to rehearsal.
Murder in the Rectory (or, One Less Cross to Bear)
Monsignor Mario Maladetti has come to St. William from the Vatican to
investigate the sudden discovery of a supposedly ?true? relic of the
church?s namesake. He doesn?t get to check out the relic for long before
he becomes one himself. Who could do such a thing to a man of the cloth?
Murder For Fire
The newly promoted Barney Phife has been imported from Mayberry to try
to restore some order to Chicago?s streets. However, his first case has
him a little ?hot under the collar.? He can?t understand why somebody
would burn down a perfectly good store just to settle a score.
As Long As You Both Shall Live
If you laughed at Tony & Tina?If you solved Shear Madness?Then you will
adore this decidedly different kind of wedding, one where lives are
joined?and then ended! You may be singing ?Here comes the bride? but
trying to figure out who killed the groom!
Each of these shows works well in a restaurant or dinner setting. Each
typically involves a combination of scripted and improvised material,
but the real fun is the degree to which the audience gets involved in
solving the crime.
Associate Membership Letter-
ASSOCIATE MEMBERSHIP IN THE
ST. SEBASTIAN PLAYERS
Congratulations on your fine work and thank
you for spending part of your career with us at the St. Sebastian Players.
The SSP is structured into 4 levels of
membership. The officers, the board of directors, the company members and the
associate membership. The officers are: Me (Rocky) president, Steve Walanka vice
president, Jill Chukerman Test secretary and Jim Masini treasurer. The board
consists of the officers and John Oster director of audience development, and
Ray Sanders director-at-large.
What we OFFER an associate member of
the SSP is the following:
An associate may submit one script to be
read and considered for our upcoming season.
An associate may submit a proposal to
direct an SSP production.
An associate may submit an original script
to a board member for consideration of the SSP playwright program.
An associate my submit a script to a board
member for consideration of a Sebastian Studio Project
An associate may serve as technical
director, set designer, costume designer or crew head for any SSP production.
An associate is eligible for an associate
of the year award given out at our annual banquet
An associate member is
not required to attend our monthly board meetings but is welcomed to do so.
An associate will receive by email the
minutes of our monthly board meetings.
An associate is invited to all SSP callback
auditions.
What we REQUIRE of an associate
member of the SSP is the following:
Pay dues of $20.00 (that covers your dinner
at the annual banquet).
Respond to urgent email requests from the
board.
What we EXPECT of an associate member
of the SSP is the following:
An associate should be willing to volunteer
for casinos and other fund-raisers as they come up throughout the year.
An associate should be willing to volunteer
for production crew work or staff needs for SSP productions.
An associate should be willing to volunteer
for special Player and parish events.
Note: An associate is not a voting member
of the SSP.
I hope that you will seriously consider
applying to be an associate member of our company. If you have any questions
please feel free to contact me or any member of the board. If you are interested
please let a member know. Upon ratification by the board I will notify you of
your acceptance and you will then be required to pay your dues, upon receipt of
which you will be an associate member of our company.
Jonathan "Rocky" Hagloch
President
Saint Sebastian Players
Theatre Company
The S.S.P. Website is maintained by John Oster. If a member has anything they feel should be on the website they should submit it to John via E:Mail. He will contact the member regarding the posting .
In the late 80s then company member Doug Wilson decided the S.S.P. need a look to identify itself. Together he and company member Jonathan Hagloch designed the S.S.P. logo. Borrowing from the Greek muse masks joined with ribbon halos and ribbon letters forming S.S.P. the first logo was approved.
In the mid 90s company member Rob DeBock felt the logo needed to be cleaned up, polished, and given a more professional look. Below are the two logos Rob created as both a banner headline, and letterhead format for the company.
BANNER / HEADLINE
LETTER HEAD
The Anniversary Look
Beyond 25
Additionally the SSP is a member of the League of Chicago Theatres
According
to his legend, Sebastian was born at Narbonne, Gaul. He became a soldier
in the Roman army at Rome in about 283, and encouraged Marcellian and
Marcus, under sentence of death, to remain firm in their faith.
Sebastian made numerous converts: among them were the master of the
rolls, Nicostratus, who was in charge of prisoners and his wife, Zoe, a
deaf mute whom he cured; the jailer Claudius; Chromatius, Prefect of
Rome, whom he cured of gout; and Chromatius' son, Tiburtius. Chromatius
set the prisoners free, freed his slaves, and resigned as prefect.