Design, Designers, and Festival Coordinators - New Plays Festival

Prior to starting work on any Columbia Theatre production, please make sure to read and understand the duties and stipulations for general design work at Columbia and the specific design area as detailed below.

General Information for All Design Disciplines

  • The Theatre Program will only be responsible for department-approved designs that are received by their designated deadlines.
  • Columbia property may not be altered without express permission.
  • All items purchased by the production budget are the property of Columbia University after the production.
  • Current NYU and Columbia Theatre students may not be compensated for any work on thesis productions. They may be reimbursed for travel expenses out of the individual production budget.
  • NYU designers need faculty permission from NYU faculty to participate in our Lenfest productions.
  • Each design area has a Festival Coordinator (Scenic, Props, Costumes, Lighting, Sound/Video). This person is intended to be the liaison from your production to the staff throughout your process. They are there to coordinate the design ideas of the director/playwright/designer, within the parameters listed in each of the areas below.
  • Any orders being purchased and sent to Columbia should have the following address:

  • ATTN: Britta Kuhn (name of production/code)
    3280 Broadway
    Room 502
    New York, NY 10027

  • Please note: There are no deliveries of purchased goods available on the weekends.
  • Please do not ship anything directly to Lenfest.
  • Note that items shipped to Columbia may not be immediately accessible, as they must be distributed through Columbia’s internal delivery system. For items that are time sensitive, it is recommended that they be shipped to your personal address instead.

Important Locations

Design Disciplines

Scenic Design Deliverables

Scenic Coordinator: TBD

Festival Coordinator Duties include: 

  • Contact is: TBD
  • Helping with the implementation of the designer, director, and/or playwright’s vision, and acquiring what is needed for the production. 
  • Determining overall amount of scenery for the entire festival, so everything can be stored during rep process
  • Creating ground plans for all shows, and revise ground plans as designs progress 
  • Assisting playwright/director in collaborating with Production Resources
  • Supervising festival run crew & ATDs on executing changeovers 
  • Please note: The Festival Coordinators are only responsible for the actual elements of the play production (not rehearsal props or furniture). 
  • The Festival Coordinator will be present at the 1st Technical Rehearsal. They are not required to be at any other rehearsals. 

If a Scenic Designer is not hired for the production, the following parameters must be followed:

  • The director and/or playwright will indicate the specific design needs to the Scenic Coordinator.
  • The scenic budget is set at (or under) $400.
  • All scenic purchases will be sourced by the director and/or playwright and sent to Production Management for purchase.
  • The Scenic Coordinator will be available for 1 one-hour design meeting outside of scheduled Columbia production meetings.

Designer Attendance

  • Scenic Designer must be present on the first day of tech.
  • Scenic Designer must be present for all Columbia production meetings.

Resources

Drafting

  • All drafting must be turned in on time in Vectorworks format.
  • All scenic elements including scenery, furniture, paint elevations, adds or alterations must be drawn and submitted to the shop in Vectorworks format. The shop will not add/alter any element to the production that is not drawn in detail, on the GP and in elevation.  

Fire Safety

  • Exit signs may not be covered. Additional Exit Signs may be added for sight line issues, pending Technical Director approval.
  • There must be 42” egress to fire exit doors at all times during the production. No scenery, person, chair, or curtain may obstruct the exit.
  • All scenic elements must be flame proofed. Items built in the shop will be flame proofed by the shop and covered by the production’s material budget.
  • No flame, water features, fake snow, sand, dirt, glitter, confetti, or other small particles are permitted (venue & NYC law restrictions).
  • The use of carbon dioxide and/or liquid nitrogen (dry ice) is prohibited in accordance with requirements as set by the NYFD.

Scenic Design Stipulations

  • The Columbia staff is not able to build anything for the festival, but can provide simple alterations to stock items (jacks, legs, etc.). 
  • The scene shop and tools may only be used by individuals that are certified. 
  • If there is a new build for the show, the production will be responsible for providing the labor for the initial install on load-in day.
  • Budget - It is recommended to not budget more than $400 on scenic design, unless you are purchasing new furniture with your budget.
  • Time - We have 90 minutes to load-in each set from a blank stage on the first day of your production week. The turnover from one show to the other in rep cannot be more than 30 minutes. The scenic design will need to reflect this ability.
  • Space - When the production is off of the stage in a repped week, it will need to fit in a
    8'w x 6'd x 8’h space backstage. This includes binned prop storage.
  • You may use all scenic stock items available (inventory on the Google Drive). Stock scenery (flats, platforms, stairs, etc.) may not be altered. This includes applications of texture (joint-compound, stucco, etc.) or alterations in size/function.  If alterations are required to stock scenery, the production will be charged for the material and labor required to replace the stock element.
  • Black legs and under balcony masking may be removed - in collaboration with the other production in rep. Both shows will need the same soft goods setup. Scrim, Cyc, Bounce, and lighting booms may not be removed.
  • Any scenic element on which an actor may stand, walk, jump or sit upon that does not normally function in this manner must be drawn and included in the submitted design. For example, a chair used as a ladder, a table used as a dance floor or a bed used as a surf-board would all require drawings and notes. 
  • Scenic elements (platform, staircases, extensions, etc.) with an elevation of 48 inches or greater must include a guard-rail on all open sides.
  • Given time constraints, the painting of the floor will not be possible.
  • There is not a live piano at Lenfest, and there is not one available to move to Lenfest. An electric keyboard is, however, available upon request.
  • There is no flyloft at Lenfest, so rigging is limited to static hang and simple pulley systems only for items under 20 lbs. All proposals are subject to the approval of the Technical Director.
  • Smoke, Haze, & Fog: The use of chemical smoke and fog, including mineral oil, is strictly prohibited.
  • The use of carbon dioxide and/or liquid nitrogen (dry ice) is prohibited in accordance with requirements as set by the NYFD.
  • No flame, water features, fake snow, sand, dirt, glitter, confetti, or other small particles are permitted (venue & NYC law restrictions).
  • All scenic elements must meet the standards for flame proofing as set by NY State and City law.
  • All scenic elements, including soft goods, must be at least six inches away from all theatrical lighting instruments. This is required even of elements that are inherently flame proof.
  • Inclined playing surfaces (including raked stages, ramps, mounds, etc.) shall not exceed a slope of ¾” per linear foot without specific approval by faculty and staff. 
  • House seating (chairs, risers, stairs, etc.) may not be used in the scenic design.
  • The theatre’s architectural walls, doors, railings, etc. may not be altered in any way.
  • There is no spray painting in the Lenfest building. We have a spray booth in the scene shop in Nash.
  • Please see “Lenfest Center for the Arts Rules” section below, for additional guidelines.
  • The structural build of your design is at the purview of the Technical Director.  Where there is conflict over structural integrity and aesthetics, the structural integrity will take precedence.  The Technical Director will confer with the designer if such a conflict arises so that the design may be amended to ensure structural and design integrity.

 

Props Designer Deliverables

Props Coordinator: Britta Kuhn

Festival Coordinator Duties include: 

  • Contact is: [email protected]
  • Helping with the implementation of the designer, director and/or playwright’s vision, and acquiring what is needed for the production. 
  • Acquiring props that are needed for the production (i.e. Production Resources visits or Amazon purchases, making sure that everything gets to the venue in the proper timeline, returning goods to the proper owners after strike)
  • Determining overall amount of props for the entire festival, so everything can be stored during rep process.
  • Anticipating changeovers between shows.
  • Please note: The Festival Coordinators are only responsible for the actual elements of the play production (not rehearsal props or furniture). 
  • The Festival Coordinator will be present at the 1st Technical Rehearsal. They are not required to be at any other rehearsals. 
  • The Props Coordinator will not be present at strike.
    • They will provide each production with a copy of their PR checkout forms and/or a list of other props. 
    • During strike, it is the responsibility of the production to check that each prop from the list is accounted for and place them into their production’s designated rolling bin.

If a Props Designer is not hired for the production, the following parameters must be followed:

  • The director and/or playwright will indicate the specific design needs to the Props Coordinator.
  • If purchases are required, the Props Coordinator must be given a budget line to acquire them.
  • All props must be sourced from Columbia’s PR stock or purchased online (Amazon is preferred, but not required).
  • A final props list is due 10 days prior to Load In. Anything added after that time will not be the responsibility of the Props Coordinator.
  • Any consumables or perishable items will need to be purchased and replenished by the production itself.

Props Design Stipulations

  • Student Stage Managers, Producers, and/or Directors may not act as Props Designer, unless express permission is given by the head of their respective concentration. 
  • The maximum volume for props for each production is 3 @18 gallon prop bins.
  • When the production is off of the stage in a repped week, all production items will need to fit in a 8'w x 6'd x 8’h space backstage. This includes the binned prop storage.
  • NYC law prohibits the use of any prop weapon or firearm without a licensed prop. You can obtain a licensed weapon through https://www.thespecialistsltd.com/. There are costs associated. 
  • Please decide an internal “Props Cut Off” date prior to the rehearsal process starting. 
  • The Festival Props Coordinator will not be present at strike.
    • They will provide each production with a copy of their PR checkout forms and/or a list of other props. 
    • During strike, it is the responsibility of the production to check that each prop from the list is accounted for and place them into their production’s designated rolling bin.

Production Resources (PR) / Truck Manifest

  • Production Resources is Columbia's in-house collection of Props, Furniture, and Costumes.
  • Please see the Production Resources Page for details, including how to make appointments and check out items.
  • If you would like to set up a weekly standard PR appointment, please contact [email protected], and we can offer you an appointment at the same time and same day every week. If you select this option, you must show up on time and cannot make additional appointments throughout the week.
  • Props that are used in rehearsal must be delivered back to Nash-PR by end of day Sunday, prior to your load in date. 
  • All props must be selected and properly checked out in person by the Thursday prior to the Monday load in week, at 1pm. Please plan visits to PR accordingly. This is to ensure that the props make it on the truck manifest in time.

Suggested Prop Sources

Materials for the Arts
https://www.mfta.org/

  • Recipients may visit the MFTA warehouse for supplies by appointment only. 
  • You may make an appointment to visit MFTA through the Director of Production. Please email the names of the shoppers (up to 2) and the contact information (name, phone, email) of the lead shopper to [email protected].
  • All items procured at Materials for the Arts are owned by Columbia, not the production or any of its members.

Production Resource Center
Columbia’s Prop, Furniture, & Costume storage (please see PR Rules listed on the Production Resources Page)

Academic Storage
An informal stock of props & costumes available at the Nash Building (3280 Broadway, 5th Floor).

  • Academic Storage is open from 9:00 am to 10:00 pm, Monday through Friday. Weekend hours may vary.
  • All items MUST be returned to Academic Storage at the end of each rehearsal day to be used for other classroom projects and rehearsals. 
  • Items in Academic Storage are for rehearsals only and must stay at Nash. 

Costume Designer Deliverables and Deadlines

Costume Coordinator/Costume Shop Manager: Rachel Dozier-Ezell

Festival Coordinator Duties include: 

  • Contact is: [email protected]
  • Helping with the implementation of the designer, director and/or playwright’s vision, and acquiring what is needed for the production. 
  • Overseeing costume load in, wardrobe crew and show runs
  • Placing all online orders and manages costume budget
  • Helping advise the costume design, setting up measurements, fittings, and doing all alterations, setting up for tech, coordinating tech time for any special effects or costume choreography (such as liquids, makeup, blood, on stage changes, presets, and backstage or quick changes)
  • Coordinating costume pieces for technical rehearsals and runs, as well as requesting fittings and updating progress of the show, and setting up dressing room assignments in .
  • Assisting collaboration with Production Resources (Columbia stock) and setting up of costume racks
  • Training festival crew on executing changeovers
  • Please Note: The Festival Coordinators are only responsible for the actual elements of the play (for example, not full rehearsal costumes). 
  • We have costume pieces that can be used for informing specific character staging (shoes, skirts, corsets) during the rehearsal process. These can be checked out through the Costume Coordinator.
  • The Festival Coordinator will be present at your 1st Technical Rehearsal. They are not required to be at any other rehearsals. 

If a Costume Designer is not hired for the production, the following parameters must be followed:

  • The designer, director, and/or playwright will indicate the specific design needs to the Costume Coordinator.
  • The designer, director, and/or playwright must provide costume tracks, research boards, and a costume pieces list. They are responsible for their initial pulls, any in-person purchasing, and rentals. 
  • No more than 10 cast members. 
  • Minimum $50 per character budgeted for a head-to-toe look.
  • All clothing must be pulled from stock, performer closets, or purchased online (Amazon is preferred, but not required)
  • A representative from the production must be available to be present at fittings with the Costume Coordinator. (i.e. the director, playwright, or designer- the person as the acting designer)
  • A finalized costume design is due 1 week prior to tech. No changes or adds after this date.

Costume Design Stipulations

  • All clothing must be pulled from stock, performer closets, or purchased online (Amazon is preferred, but not required).
  • The costume shop will not be responsible for in-person purchase. They will place all online purchases.
  • There are no more than 10 people per cast.
  • There are no full costume builds. But costume crafts or small costume pieces can be presented to the shop for consideration, if time and labor is available. Please reach out to discuss design needs. 
  • The designer, director, and/or playwright must provide costume tracks, research boards, and a costume pieces list. They are responsible for their initial pulls, any in-person purchasing, and rentals. 
  • The Costume Coordinator will be present for all fittings, and facilitate all alterations. Alterations are only for safety, repairs, and fit- and not design based. (i.e. no frankensteining clothing, or adding to a costume piece to rebuild it). The shop will perform alterations after the clothing options have been approved for stage by the director and playwright. 
  • Productions have full access to Production Resources (PR) and the Columbia Costume stock. Please coordinate with the Costume Coordinator for costume pull appointments at least 2 days prior to desired appointment.
  • Columbia University Costume Property may not be altered without permission of the Costume Shop Manager.
  • Renting of costumes outside of Columbia PR stock is not permitted. 
  • Renting of costume from performer's closets is allowed, but a waiver must be filled out when clothing is handed over to the costume shop. 
  • There will be a Costume Concepts meeting the week before fittings. At this meeting, This meeting is to discuss any ideas or needs related to costumes. Discuss protocols, PR rentals, costume shop support, laundry, dressing rooms, and resources.
  • Fittings happen the week before tech, between the hours of 10am-6pm. The Costume Coordinator will schedule these fittings. Each performer will have one one-hour fitting.
  • Alterations will happen the week before tech.
  • Dressing room assignments allow no more than 5 performers in the small dressing room and no more than 7 performers in the larger dressing room. Dressing rooms are shared with the production in rep. During the first day of tech the costume coordinator will review how dressing rooms are shared.
  • There will be 1 wardrobe crew member assigned to run tech and performance and maintain and launder costumes. All major repairs will go through the costume shop. The costume shop will do laundry changeover Monday-Friday.
  • Pre-strike by the production cast & crew includes:
    • Hanging/storing of costumes properly
    • Cleaning the dressing rooms
    • Removing all personal items
  • Full strike for costumes will happen the Monday following performances, by CU Staff. 

Production Resource Center (PR) is Columbia’s prop, furniture, & costume storage and is your in house source for your costume needs. As with other design departments you may not take items without first having been checked out with PR. Please contact Rachel Dozier-Ezell and she will help direct you where items will be stored throughout PR and the Costume Shop. 

Lighting Designer Deliverables

Lighting Coordinator/Master Electrician: Holly Ko

Festival Coordinator Duties Include: 

  • Contact is [email protected]
  • Designing and focusing the New Plays Festival repertory light plot.
  • Coordinating with each production to implement their deck additions to the rep plot. 
  • Staffing and overseeing electrics crew as needed to implement deck additions to the festival plot
  • Scheduling lighting programmers to program cues (as specified by the lighting designer) during your tech.
  • Please Note: In the case of no lighting designer, the lighting programmer will be available to program preset-based lighting cues during your tech. In this instance, the programmer will not be responsible for generating a plot or attending any pre-tech meetings. There will be preset looks available and the programmer will be able to modify the looks and create cues as requested by your director.

Lighting Programmers: TBD

Lighting Programer Duties include: 

  • Helping with the implementation of the designer, director and/or playwright’s vision, and acquiring what is needed for the production.
  • Focusing added deck specials and safely securing any cabling for deck practicals.
  • Assisting in the documentation of added deck units for each production.
  • Being present for the entirety of the tech process. 
  • Please Note: The programmer will not be at performances. A designated light board operator will be provided by production. The light board operator will be trained on the lighting console prior to performances.
  • The Lenfest Technical Supervisor will aid in any lighting changeover needs between shows in rep. They will follow the documentation provided by the programmer. 

If a Lighting Designer is not hired for the production, the following parameters must be followed:

  • The director and/or playwright will indicate any specific design needs to the Lighting Programmer.
  • The Programmer will not be responsible for generating a plot or attending any pre-tech meetings.
  • There will be preset looks available and the programmer will be able to modify the looks and create cues as requested by the production.

Lighting Design Stipulations

  • The theater has a robust rep plot in place, which will be supplemented to create a festival plot for your production. 
  • The festival plot contains both incandescent and color-changing, LED units (Colorsource Spots, S4 Lustr II’s, Color Force 72’s, Desire D60’s), as well as two moving specials (I-Cues with DMX Iris).
  • The festival plot contains all components of a standard lighting system (front light, back light, side light, foot lights, template wash, pre-focused specials, cyclorama wash). It is sufficient to provide lighting washes in all of the theater’s playing areas, as well as specials on most parts of the stage. 
  • For drawings of the festival plot, please refer to the CU Theatre Program Production Folder for drawings and tech specs. 
  • Columbia will provide a lighting programmer for all tech rehearsals. Hours for the lighting programmer will be determined by Production Management.
  • Due to the quick turnaround between shows, the festival plot must remain the same throughout the entirety of the festival. Units in the festival plot CANNOT be moved, gelled, refocused, repurposed, struck, or re-channeled. 
  • Each show is allowed to add no more than 3 units (Source 4 Incandescent, Colorsource Spot, etc.) or practicals (desk lamp, Christmas lights, etc.) to the deck. No units or practicals may be added overhead. Only 6 circuits are available for deck adds. The circuits are located upstage left, downstage left, upstage right, downstage right, and downstage center. 
    • Please note that practical units that require additional considerations (LED Tape with Decoder, Fluorescent that need dimmer capabilities) may limit the number of practicals that can be supported per production.
  • The Lighting Coordinator will ensure that any additions to the deck are installed and functioning prior to tech. 
  • The added units will be focused at the top of tech with your designer and a member of the production team. There is no designated focus time prior to tech hours.
  • On the 1st day of tech, the added deck units must be solidified (placed, secured, and focused). Adequate paperwork must be generated to ensure a successful turnover. 
  • The programmer can assist in the documentation of the added deck units.
  • Unless express permission is granted by the Lighting Coordinator/Master Electrician, the lighting rig and board may not be used without the presence of the programmer, master electrician, or technical supervisor. 
  • It is highly recommended that shows in rep with each other share a Lighting Designer.

 

Sound and Video/Projection Designer(s) Deliverables

Sound & Video Coordinator: Jacob Robinson

Festival Coordinator Duties include: 

  • Contact is: [email protected]
  • Helping with the implementation of the designer, director and/or playwright’s vision, and acquiring what is needed for the production.
  • Loading in/setting up audio/video elements
  • Running audio during technical rehearsals
  • Overseeing/Coordinating the pre-show announcement plan with the production.
  • Anticipating changeovers between shows (striking/placing audio elements)
  • The Festival Coordinator is only responsible for the actual elements of the production (nothing pre-load in, such as equipment, sound cues, or speakers for rehearsal). 
  • Please Note: The Sound & Video Coordinator will not be at the performances. PSM will run cues from the A/V control computer in the booth. 
  • The Sound & Video Coordinator will not be responsible for any recording.

If a Sound Designer is not hired for the production, the following parameters must be followed:

  • The director and/or playwright will indicate the specific design needs to the Sound Coordinator.
  • If purchases are needed, the Sound Coordinator must be given a budget line to acquire them.
  • The director and/or playwright will be responsible for all sound content creation and sourcing any music for preshow/intermission. Youtube or Spotify links will not be accepted.

Video/Projection design will only be possible if an approved Video/Projection Designer is hired through the production. 

Sound Design Stipulations

Columbia will rig speakers & a repertory sound system. Drawings are available in the Google Drive.

  • Rep plot speakers cannot move or be refocused.
  • No additional hanging speakers are permitted.
  • 2 additional moveable deck speakers are available for use.
  • 4 wireless handheld microphones and 4 adjustable mic stands are available for use. Sound inventory is available in Google Drive.
  • The program will supply a computer to run sound, equipped with QLab 4.
  • At the first day of tech, please provide a Flash Drive or Google Drive Link of all Music/Sound files and a completed sound cue sheet. No CDs, Spotify playlists, YouTube links, etc.
  • Columbia has an agreement in place with ASCAP and BMI that allows the use of music in their catalogs without paying additional rights. SongView is the easiest way to search both catalogs. Rights must be secured separately to use any music or recordings that are not owned by ASCAP or BMI.
  • Cue Sheet template can be found here
  • Cue Sheet Sample found here
  • Design should be focused in scope to provide music and effects necessary to compliment the play. Any live instruments, vocals, or extraneous effects may require the hiring of an audio engineer from the production budget.
  • The Sound Designer is responsible for interfacing with the creative team and sound coordinator, content creation, sourcing sound effects, and building a QLab file for tech.
  • In the event a sound designer is not hired, the production is still responsible for creating and sourcing sound effects and music. The festival coordinator will program a QLab file with provided sound materials, based on a completed cue sheet.
  • Pre-show announcements are mandatory.  The pre-show announcement must happen in the performance space, within 10 minutes of the start of the performance, and be audible.
    • You may pre-record this or do it live. 
    • It must be audible, after the house has closed, and with the audience seated.
    • Language example: (The language about exit doors is the only part required). "Hello and welcome to _______________. Please take a moment to identify the nearest exit. For the safety of our actors, no photography is allowed. Please use this opportunity to silence your phone. Most importantly: enjoy the show.” 
    • There is a stock pre-show announcement available for use.
    • Please submit any variance of this language to the Production Manager/Director of Production for approval, before recording. 

Video/Projection Design Stipulations

  • Columbia will hang a repertory projector system that is focused to cover the width of the cyc. 
  • Projector specs and drawings available in the Lenfest Flexible Performance Space Inventory Google Drive.
    • Rep plot projectors cannot move or be refocused.
  • The program will supply a computer to run video, equipped with QLab 5. Projections must be programmed through QLab 5.
  • Cameras and additional projectors may be rented through the Film Program Equipment room with requisite training. The production is wholly responsible for the management and care of this equipment.
    • The video system only allows two (2) cameras or additional projectors per production.
    • Added projectors are only permitted on the deck with no rigging.
  • No onstage televisions or specialized use of prop video is permitted.
  • On the first day of tech, please provide a Flash Drive or Google Drive Link of all video files and a completed cue sheet. No DVDs, YouTube links, etc.
  • Cue Sheet Template can be found here
  • Cue Sheet Sample found here
  • The Video Designer is responsible for interfacing with the creative team/staff, content creation, sourcing video content, and building a QLab file for tech.
  • Depending on the level of video design scope, additional help (paid for from the production budget) may be required.
  • The production is responsible for creating and sourcing any video or projected content in Qlab, including supertitles, photo montages, or video backdrops. PowerPoint or Keynote files will not be sufficient.