"Chicago" Directed by Justin An
Article I: Name
Henceforth, the name of this organization will be Torn Ticket II, created through the merger of Top Hat and Tails and Torn Ticket in May 1982.
Article II: Statement of Purpose
A. To produce musical theatre at Tufts University.
B. To give each participating member an opportunity to learn and to be involved in the production of musical theatre.
C. To produce a minimum of three (3) shows per year, including two (2) major productions and one (1) Orientation Week production.
D. To maintain positive relations with Pen, Paint and Pretzels, the Department of Drama and Dance, the Music Department, and the Office of Campus Life.
Article III: Non-Discrimination Clause
Torn Ticket II abides by the TCU non-discrimination policy, which is as follows:
All members of the TCU shall be entitled to participate in any TCU-recognized organization without discrimination on the basis of race, color, religion, sex, gender identity and expression, national or ethnic origin, age, sexual orientation, disability, or an individual’s previous affiliations in criteria for membership, assignment of voting privileges, or rank, except as otherwise provided by federal or state law or university policy.
Article IV: Membership
Section 1. General Membership
Any Tufts student, graduate or undergraduate, who has participated in any capacity in a Torn Ticket II production or has attended a general meeting is considered a general member of the organization. These members are encouraged to attend meetings and to participate in present and future productions. General members are eligible to vote on workshop proposals and special events.
Section 2: Voting Membership
A. Voting membership will be determined immediately before any voting process. Voting membership will be retained until the voting member list is updated prior to the next (non-general) voting process. Once a student has become a voting member, he or she is henceforth considered a “returning” member, even if his or her membership lapses for one or more semesters.
B. Only voting members may vote on major proposals, orientation show proposals, board elections, constitution changes, and removal of a board member.
C. Voting Requirements
(i.) Members must be undergraduates paying the student activities fee.
(ii.) Members must have attended 60% or more of the general meetings thus far in the current semester.
(iii.) For voting on major proposals, members must have attended the proposal meeting.
(iv.) Members must have completed the necessary commitments, as outlined in Article III, Section 2, D.
D. Commitments
(i.) Returning members must attend a requisite number of meetings.
(ii.) New (first-time) members must complete two commitments.
c. A major commitment is defined as any service to the organization that requires a significant amount of time, for which the student is not monetarily compensated. Major commitments we are limited to: being a member of the cast, crew, production staff or pit orchestra of a production under the Pen, Paint and Pretzels umbrella, including the Department of Drama and Dance; serving on the executive board; serving on the run crew of a major production; or anything else that the board deems appropriate.
d. A minor commitment is defined as any non-major service to an organization under the Pen, Paint and Pretzels umbrella or the Department of Drama and Dance, for which the student is not monetarily compensated. Examples include putting up posters (with permission of the production’s producer) or ushering a show with free admission.
e. It is the sole responsibility of the member to submit his or her commitments at the time designated by the Secretary.
f. Voting membership may be based on a not-yet-completed commitment at the discretion of the Secretary. If, after voting, a member fails to complete his or her promised commitments, that member loses their membership status. The following semester they must complete another two commitments for membership.
Article IV: Voting Procedures
Section 1. Voting Procedure for Major Productions
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the voting members present, not including abstentions. All voting will be completed by ballot.
B. Major production voting may not occur without a quorum of two-thirds (2/3) of the entire voting membership present at the voting meeting.
C. Each Executive Board member must be present in order for a vote on any major production to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
D. Ballots for major production voting will list the shows being proposed, the option to vote for none of the shows, and the option to abstain from voting altogether. To vote for a show members will circle the show name.
E. If there are two or more proposals, and neither show nor the option "no to all shows" receives a simple majority on the first vote, then a second vote must be held. This second vote will include the two options, either two shows or one show and the "no to all" option, that received the highest number of votes on the ballot.
F. If voting results in a tie, further discussion may be necessary. Another vote will then be cast. If this vote is a tie, then the Executive Board will make the final decision with no abstentions allowed.
G. If the option “no to all shows” receives a simple majority, the Executive Board will construct a Board Show.
Section 2. Voting Procedure for Workshop Productions and Special Events
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the general membership in attendance at the voting meeting, not including abstentions. All voting will be completed by ballot.
B. Each Executive Board member must be present in order for a vote on any workshop production or special event to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
C. Ballots for workshop production voting will list the shows being proposed, the option to vote yes or no for each show, and the option to abstain from voting altogether. Each voting member may vote yes a maximum of two times.
D. If the first vote is a tie, further discussion may be necessary. A second vote will then be cast. If the second vote is a tie, then the Executive Board will make the final decision with no abstentions allowed.
Section 3. Voting Procedure for Orientation Week Shows
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the voting members present, not including abstentions. All voting will be completed by ballot.
B. Orientation show voting may not occur without a quorum of two-thirds (2/3) of the entire voting membership present at the voting meeting.
C. Each Executive Board member must be present in order for a vote on any Orientation Week production to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
D. Ballots for Orientation Week productions voting will list the shows being proposed, the option to vote for none of the shows, and the option to abstain from voting altogether.
E. If the first vote is a tie, further discussion may be necessary. A second vote will then be cast. If the second vote is a tie, then the Executive Board will cast the final decision with no abstentions allowed.
F. If there are more than two proposals and no one proposal receives a simple majority, the membership will re-vote on a ballot with the same format as above listing the two proposals that received the most “yes” votes.
G. If there are two or fewer proposals, and no one proposal receives a simple majority, the Executive Board will construct a Board Show.
Article V: Production Proposal Procedures
Section 1. Major Proposal Requirements
A. A major proposal for the Balch Arena Theater must include a director, musical director, producer, stage manager, technical director, scenic designer, scenic charge, costume designer, costume technician, lighting designer, master electrician, props designer, sound designer, and hair and makeup designer. Productions may also include a choreographer.
B. A major proposal for Cohen Auditorium (or a space other than Balch) must include a director, musical director, producer, stage manager, and sound designer. Any other production staff positions are highly encouraged but ultimately optional.
a. If no director approaches the board, see Article V Section 5 on board show procedure.
b. If a music director, stage manager, or producer, is not found by the time of proposals, the proposal may not move forward. Proposals will either be postponed or cancelled at the discretion of the board.
c. If a TD and set designer are not found by the time of proposals, then the set reverts to workshop status, using rehearsal blocks and/or furniture stock. This becomes the responsibility of the Director and Stage Manager, or Technical Administrator.
d. If a Scenic Charge is not found by the time of proposals, the responsibilities of this position fall to the Set Designer. This position may be filled post-proposal, but the Set Designer must be prepared to assume these responsibilities should a Scenic Charge not be found.
e. If a Costume Designer and Costume Technician is not found by the time of proposals, then the show will revert to workshop status, where costumes will be drawn from actors’ closets and/or Hayes House. This will be the responsibility of the Stage Manager and Director, or Costume Coordinator.
f. If a costume technician is not found by the time of proposals, then the responsibilities of this position fall to the costume designer.
g. If a Lighting Designer and Master Electrician are not found by the time of proposals, then the show will revert to workshop status, using lights up and lights down.
h. If a Props Designer is not found by the time of proposals, then the Director and Stage Manager will assume responsibility for collecting, creating, or ordering props.
i. If a Choreographer is not found by the time of proposals, then movement will be the responsibility of the director.
j. If a Hair and Makeup Designer is not found by the time of proposals, these design aspects become the responsibility of the actors with guidance and feedback from the Director and Costume Designer. This position may be filled post-proposal, but the director and Costume Designer must be prepared to assume these responsibilities should a Hair and Makeup Designer not be found.
k. If a Sound Designer is not found by the time of proposals:
(i.) If the proposal is for the Balch Arena Theater, then the actors will not have mics and the pit is recommended to consist of no more than a keyboard and a percussionist.
(ii.) If the proposal is for Cohen Auditorium, then the proposal may not go forward.
B. A week before the proposal interested directors must approach the board with a thorough understanding of their show’s rights agreement and the price quote from TCU. The director must present this information and obtain the board’s approval in order to propose. At the proposal meeting this information will also be made available to the membership.
C. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least two (2) songs from the show.
D. A show is ineligible for production by Torn Ticket II if it has been produced within the last five (5) years and performance rights were purchased.
E. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
F. The proposal process will proceed as follows:
a. Copies of the written proposal must be handed out to the membership during the proposal meeting.
b. At the first meeting, each proposal will have fifteen (15) minutes to make a presentation to the membership.
c. Following all presentations, there will ten (10) minutes per proposal for questions. Any general member may ask questions.
d. After the final question or the expiration of the allotted time, whichever is first, all directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
e. The Executive Board shall determine the length of the discussion.
f. Any director and/or proposer may be called back in for further questions at any point.
g. Following the completion of discussion the meeting will be adjourned.
Please refer to Article IV, Section 1 for voting procedures.
Section 2. Workshop Production Proposal Requirements
A. A workshop production must include a director, producer, musical director, and stage manager. The production staff may also include a technical coordinator.
B. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least one (1) song from the show.
C. A show is ineligible for workshop production by Torn Ticket II if it has been produced within the last four (4) years.
D. Zero (0), one (1), or two (2) workshops may be produced in a semester.
E. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
F. The proposal procedure will be held in one meeting.
a. Directors will have up to fifteen (15) minutes to present their proposal.
b. After the presentation, ten (10) minutes will be allowed per show for questions.
c. The directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
d. The Executive Board shall determine the length of the discussion.
e. Any director and/or proposer may be called back in for further questions at any point.
f. Five (5) minutes will then be allotted for questions of any proposal.
g. After the allotted time for questions, a vote will occur. Please refer to Article IV, Section 2 for voting procedures.
Section 3. Orientation Week Production Proposals
A. A proposal must include a director, musical director, producer, stage manager, and technical coordinator.
B. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least one (1) song from the show.
C. A show is ineligible for production by Torn Ticket II if it has been produced within the last five (5) years.
D. An Orientation Week production should be a one act musical or a two-act musical shortened to approximately one (1) hour in length, preferably with a small cast and simple technical requirements.
E. The production must first be approved by Torn Ticket II, and then will be subject to approval by the Orientation Committee. If the Orientation Committee does not approve the production, an alternate production will be selected by the same voting procedures.
F. There must be an Orientation Week production. If no individual proposes an Orientation production, the Board Show procedure should be followed.
G. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
H. The proposal procedure will be held in one meeting.
a. Directors will have up to fifteen (15) minutes to present their proposal.
b. After the presentation, ten (10) minutes will be allowed per show for questions.
c. The directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
d. The Executive Board shall determine the length of the discussion.
e. Any director and/or proposer may be called back in for further questions at any point.
f. Five (5) minutes will then be allotted for questions of any proposal.
g. After the allotted time for questions, a vote will occur. Please refer to Article IV, Section 3 for voting procedures.
Section 4. Special Events
A. Torn Ticket II may produce one special event each school year as a fundraising event for a charity first approved by the Executive Board and then by the general membership through the workshop proposal process.
B. A special event proposal must include: an executive producer, a director, a musical director, a stage manager, and is encouraged to include a lobby designer.
C. The budget for the special event shall be determined by the Torn Ticket II Treasurer and the Executive Board. The budget shall not exceed the budget of any workshop production produced that semester.
D. Proposals for special events should happen the meeting following workshop proposals in either semester.
E. Proposals will be voted on by the general membership. Please refer to Article IV, Section 2 for voting procedures.
Section 5. Board Shows
A. The Board Show procedure is necessary if no proposals are presented or accepted for Major Productions or Orientation Productions.
B. In this event, the Executive Board has the responsibility to select a show and production staff through the following procedure.
(i.) The Executive Board will ask for nominations or self-nominations for possible directors in the scheduled proposal meeting if no proposals are presented, or in the major voting meeting if no proposals have passed.
(ii.) Nominated directors that are present at the meeting will be asked immediately if they accept the nomination. Nominated directors that are not present at the meeting will be contacted via phone or email and asked if they accept the nomination.
(iii.) The Board will select a director from the group of nominated directors that accepted their nomination.
(iv.) The Board will then select four possible shows to produce.
(v.) The director will then select two of the Board’s suggested four shows to propose to the membership.
(vi.) The Board and the director will collaborate to create a production staff.
(vii.) In a general meeting, the director will present the two proposals to the membership, following the voting procedures in Article IV, Section 1 or Article IV, Section 3, which are the voting procedures for major productions and Orientation productions, respectively.
(viii.) All scheduling for the above process is left to the discretion of the Executive Board.
Article VI: The Executive Board
Section 1. Eligibility and Executive Board Duties
A. Executive Board Officers must be Tufts University undergraduates and must be able to serve from June to June concurrent with the normal academic year.
B. The Executive Board has the responsibility to make executive decisions in the event of an emergency. Five (5) of the six (6) Executive Board Officers must be present to make any such decision.
Duties of the President
1. To be responsible for all actions of Torn Ticket II as an organization.
2. To coordinate all actions of Torn Ticket II and to preside over all meetings.
3. To act as a liaison between the general membership, the administration, and faculty of Tufts University.
4. To call emergency meetings when necessary.
5. To oversee the Treasurer in financial planning for Torn Ticket II.
6. To stay in close communication with the Treasurer before, during and after each production.
7. To maintain contact with all Executive Board Officers.
8. To schedule weekly meetings of the Executive Board.
Duties of the Vice President
1. To act as president in the President’s absence.
2. To promote a sense of community within the membership. Organizing social events and activities that foster a sense of inclusion in the organization.
3. To be responsible for Torn Ticket II outreach to the greater Tufts community.To lead advertising ventures on all Torn Ticket II auditions and opportunities. To additionally coordinate digital advertising with the Media Archivist through Torn Ticket II social media.
4. To be the second TCU signatory on purchases.
5. To act as liaison between Torn Ticket II and other student organizations.
6. To maintain contact with Executive Board Officers, especially the President, and to assist the President as needed.
Duties of the Production Manager
1. To keep the costume storage and shop clean and organized.
2. To keep inventory of costumes, tools, set pieces and props before, during and after each production.
3. To advise and assist the set, props, make-up, and costume designers, as well as the technical, lighting, and sound directors of all productions.
4. To coordinate the use of all technical materials for any and all Torn Ticket II purposes.
5. To be ultimately responsible for the upkeep and the purchase of new equipment.
6. To attend all production staff meetings of the current major production and to conduct its mandatory post-mortem.
7. To advise the production staff of the workshop productions, for which a post-mortem is strongly recommended.
8. To maintain contact with Executive Board Officers.
9. To put together production staffs and ensure that production staff members follow each position’s timeline laid out in the production staff handbook.
10. The Production Manager is primarily responsible for finding a complete production staff for a production, with aid from the Director and the rest of the Board when necessary. Directors are encouraged to seek out production staff members on their own if they wish; however, they must first notify the Production Manager before officially extending them a position.
11. To renew access to the Aidekman 75 closet storage space with the Balch Arena Box Office Manager.
12.
Duties of the Secretary
1. To maintain all Torn Ticket II attendance and voting eligibility records.
2. To record all minutes of all general meetings and distribute them to the membership as well as to the Media Archivist to be posted on the Torn Ticket II web page.
3. To provide weekly reminders of meetings to all general members.
4. To make a copy of this constitution available to all general members.
4.To send out periodic emails to the alumni to keep them informed as to what the organization is producing this semester.
5. To maintain contact with Executive Board Officers.
6. To maintain a thorough knowledge and understanding of the constitution. To ensure that the constitution is being respected and upheld in all endeavours.
Duties of the Treasurer
1. To keep a detailed and accurate account of all Torn Ticket II transactions.
2. To be ultimately responsible for all loans, appropriations and official budgets.
3. To maintain contact with the Student Activities Budget Coordinator, the Senate Treasurer and the Council V Chairperson of the TCU Senate, and to understand the procedures of the Senate Treasury.
4. To help the Media Archivist keep records of past budgets.
5. To give a financial report concerning the organization in conjunction with the final report of the producer on any production.
6. To advise and assist the producer of each show on budget-related responsibilities.
7. In the event that a designer is unwilling or unable to spend his or her personal funds to purchase items for a production, the show’s producer must consult with the Executive Board immediately to discuss alternative payment options. This may include obtaining cash advances from TCU for production staff members with large budgetary concerns. Ultimately, it should be the producer’s responsibility to ensure the designer has sufficient funds available.
8. To maintain contact with all Executive Board Officers.
Duties of the Media Archivist
1. To acquire, save and organize programs, budgets, newspaper articles, posters, photographs, any available scripts and/or scores, and any other artifacts or memorabilia for each production.
2. To maintain the Torn Ticket II web page and all relevant social media.
3. To act as the curator and librarian of the Torn Ticket II archives and library, including records of each year’s budget.
4. To act as the agent through which all members of the Tufts community may borrow library and archive files.
5. To actively acquire and keep records of all Torn Ticket II alumni information and maintain contact with them using any medium, at least once a semester.
6. To be responsible for all organizational publicity.
7. To be responsible for updating sources of advertisement in order to aid in the publicity of future productions and of the organization.
8. To make the constitution available to all general members.
9. To maintain contact with all Executive Board Officers.
Section 2: Executive Board Voting Procedure
A. Elections will be held in the latter half of the spring semester.
B. In the event that a seat is vacated during the term, an election will be held at the following scheduled meeting.
C. Positions will be elected in the following order: President, Vice President, Technical Administrator, Treasurer, Secretary, Media Archivist. Each position will be filled according to the following procedure:
a. All positions must be nominated. Self-nomination is acceptable.
b. All nominations must be seconded.
c. Nominations must be accepted or declined in person, or in writing. If accepted, all candidates will have an opportunity to present themselves to the organization after all nominations have ended. Nominees not present may submit a presentation.
d. Members will then have the opportunity to question the candidates.
e. Once the discussion is closed, candidates will leave the room while the remaining members discuss the candidates’ qualifications.
f. Once the discussion has ended, the nominees may return, and a vote will occur.
g. If more than two candidates are nominated for a position, and no candidate receives a simple majority of votes, a second vote will occur between the two candidates that received the most votes, according to standard voting procedures.
D. To remove an officer from his or her position, the procedure below must be followed to determine legitimate reason.
a. The Board must present a written list of reasons for removal to the voting membership at a general meeting.
b. After reading the proposal, a simple majority vote will be taken to decide whether there is a legitimate reason for an impeachment proceeding.
c. The impeachment proceeding must take place within the next two meetings as described below.
(i.) A two-thirds (2/3) quorum of voting members must be present.
(ii.) The Board will present arguments for and against removal to the voting membership at a general meeting.
(iii.) There will be no discussion after the arguments.
(iv.) Following the arguments, a vote will occur. A two-thirds (2/3) majority is needed to remove any Executive Board Officer.
Article VII: Finances
Section 1. Torn Ticket II Organizational Budget
A. Torn Ticket II is a TCU Senate-Funded organization. Each spring, a budget will be submitted to the Allocations Board (ALBO).
B. The budget will be drafted by the Treasurer and will be approved by a unanimous vote of the Executive Board before submission to ALBO.
C. The budget will include an organizational budget for the year and funding for:
(i.) The rights, rentals, technical costs and advertising for the major productions;
(ii.) Workshop/experimental productions;
(iii.) Stock upkeep;
(iv.) General interest meeting food and advertising.
Section 2. Workshop/Orientation Production Budgets
A. The Executive Board will maintain final approval as to the specific amount of funding that will be allocated.
B. The budget for the Orientation production will be provided by the Orientation Committee.
Section 3. Payment of Cast or Crew of a Show
A. No money will be paid to performers or staff except by special arrangement with the voting membership following consultation with the Student Activities Budget Coordinator and the TCU Treasurer.
Section 4. Reimbursement of Personal Funds
A. In order to be reimbursed for money spent on a production, itemized receipts should be given to the Producer of each show.
B. The Producer will make copies of all receipts for his/her own records and submit the originals to the Torn Ticket II Treasurer.
C. For all non-show purchases, such as supplies for Hayes House or food for general interest meetings, receipts should be submitted to the Treasurer.
D. The Treasurer should submit all receipts to the TCU Treasury within 2 weeks.
E. In no case will a member of the organization bring a receipt directly to the Senate Treasurer.
F. Any receipts not given to a Producer or the Torn Ticket II Treasurer by the end of the semester shall be considered null and void, and will not be paid.
Section 6. Donations
A. It is strongly suggested that the Producer of each show solicit donations to the show from the parents of the cast, crew and pit orchestra and from any university departments or local businesses that are relevant to the content of the show.
B. All donation checks should be made out to "Trustees of Tufts College" and addressed to the Producer of the show at the Balch Arena Theater Box Office. The Producer will make copies of all checks and then submit them to the Treasurer.
C. The Treasurer will submit all donation checks to the TCU Treasury within a reasonable time.
D. In no case will a member of the organization bring a donation check directly to the Senate Treasurer.
Article VIII: Audition Scheduling and Protocol
Section 1.
A. Auditions will be held at a time determined by the production staff, as advised by the Board, with consideration given to any other scheduled theatrical auditions.
B. Auditions for major productions must be held after auditions for Department productions. Casting for major productions must be completed after casting for Department productions.
C. It is suggested that the production staffs of both major and workshop productions discuss coordinating auditions and callbacks with the production staff of the current Pen, Paint and Pretzels major or workshop productions. All coordination decisions must be completed prior to auditions.
D. Auditions are open to any active member of the Tufts community.
Section 2. Build Hours Requirement
Article IX: Torn Ticket II Equipment
A. All current musical directors and pit conductors are able to use the Torn Ticket musical equipment for rehearsals and performances. Musical directors of concurrent major and workshops are expected to coordinate equipment use with the other musical directors.
B. The Vice President of Technical Administration will be the holder of the keys to the equipment storage cabinet, and has the discretion to release the keys to musical directors and pit conductors.
C. Current musical directors and pit conductors are responsible for the organization of the equipment cabinet and the care of all objects in the cabinet, and are also responsible for notifying the Board if objects are broken, stolen, or missing.
D. The Board is responsible for replenishing the cabinet if any objects are broken, stolen, or missing, or if any new equipment is needed by the organization.
E. Use of the Torn Ticket musical equipment outside of Torn Ticket performances, activities, and rehearsals can only occur with the permission of the Board.
Article X: Amendments
A. This constitution may be amended by a two-thirds (2/3) majority vote.
B. An amendment must be presented in writing to the voting membership in a general meeting at least one week prior to voting.
C. All amendments must first be approved by the Torn Ticket II membership prior to TCU Judiciary approval.
Henceforth, the name of this organization will be Torn Ticket II, created through the merger of Top Hat and Tails and Torn Ticket in May 1982.
Article II: Statement of Purpose
A. To produce musical theatre at Tufts University.
B. To give each participating member an opportunity to learn and to be involved in the production of musical theatre.
C. To produce a minimum of three (3) shows per year, including two (2) major productions and one (1) Orientation Week production.
D. To maintain positive relations with Pen, Paint and Pretzels, the Department of Drama and Dance, the Music Department, and the Office of Campus Life.
Article III: Non-Discrimination Clause
Torn Ticket II abides by the TCU non-discrimination policy, which is as follows:
All members of the TCU shall be entitled to participate in any TCU-recognized organization without discrimination on the basis of race, color, religion, sex, gender identity and expression, national or ethnic origin, age, sexual orientation, disability, or an individual’s previous affiliations in criteria for membership, assignment of voting privileges, or rank, except as otherwise provided by federal or state law or university policy.
- The only circumstances which necessitate one or more exceptions to Tufts’ nondiscrimination policy are if Student Religious Groups choose to abide by religious doctrine which specifically requires any further leadership criteria–such as ones that might be based on gender, sexualorientation or other categories–they must be explicitly stated, justified, and reviewed by the University Chaplaincy if used in Student Religious Group constitutions and applications for recognition (and re-recognition) by the TCU Judiciary.
Article IV: Membership
Section 1. General Membership
Any Tufts student, graduate or undergraduate, who has participated in any capacity in a Torn Ticket II production or has attended a general meeting is considered a general member of the organization. These members are encouraged to attend meetings and to participate in present and future productions. General members are eligible to vote on workshop proposals and special events.
Section 2: Voting Membership
A. Voting membership will be determined immediately before any voting process. Voting membership will be retained until the voting member list is updated prior to the next (non-general) voting process. Once a student has become a voting member, he or she is henceforth considered a “returning” member, even if his or her membership lapses for one or more semesters.
B. Only voting members may vote on major proposals, orientation show proposals, board elections, constitution changes, and removal of a board member.
C. Voting Requirements
(i.) Members must be undergraduates paying the student activities fee.
(ii.) Members must have attended 60% or more of the general meetings thus far in the current semester.
(iii.) For voting on major proposals, members must have attended the proposal meeting.
(iv.) Members must have completed the necessary commitments, as outlined in Article III, Section 2, D.
D. Commitments
(i.) Returning members must attend a requisite number of meetings.
(ii.) New (first-time) members must complete two commitments.
c. A major commitment is defined as any service to the organization that requires a significant amount of time, for which the student is not monetarily compensated. Major commitments we are limited to: being a member of the cast, crew, production staff or pit orchestra of a production under the Pen, Paint and Pretzels umbrella, including the Department of Drama and Dance; serving on the executive board; serving on the run crew of a major production; or anything else that the board deems appropriate.
d. A minor commitment is defined as any non-major service to an organization under the Pen, Paint and Pretzels umbrella or the Department of Drama and Dance, for which the student is not monetarily compensated. Examples include putting up posters (with permission of the production’s producer) or ushering a show with free admission.
e. It is the sole responsibility of the member to submit his or her commitments at the time designated by the Secretary.
f. Voting membership may be based on a not-yet-completed commitment at the discretion of the Secretary. If, after voting, a member fails to complete his or her promised commitments, that member loses their membership status. The following semester they must complete another two commitments for membership.
Article IV: Voting Procedures
Section 1. Voting Procedure for Major Productions
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the voting members present, not including abstentions. All voting will be completed by ballot.
B. Major production voting may not occur without a quorum of two-thirds (2/3) of the entire voting membership present at the voting meeting.
C. Each Executive Board member must be present in order for a vote on any major production to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
D. Ballots for major production voting will list the shows being proposed, the option to vote for none of the shows, and the option to abstain from voting altogether. To vote for a show members will circle the show name.
E. If there are two or more proposals, and neither show nor the option "no to all shows" receives a simple majority on the first vote, then a second vote must be held. This second vote will include the two options, either two shows or one show and the "no to all" option, that received the highest number of votes on the ballot.
F. If voting results in a tie, further discussion may be necessary. Another vote will then be cast. If this vote is a tie, then the Executive Board will make the final decision with no abstentions allowed.
G. If the option “no to all shows” receives a simple majority, the Executive Board will construct a Board Show.
Section 2. Voting Procedure for Workshop Productions and Special Events
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the general membership in attendance at the voting meeting, not including abstentions. All voting will be completed by ballot.
B. Each Executive Board member must be present in order for a vote on any workshop production or special event to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
C. Ballots for workshop production voting will list the shows being proposed, the option to vote yes or no for each show, and the option to abstain from voting altogether. Each voting member may vote yes a maximum of two times.
D. If the first vote is a tie, further discussion may be necessary. A second vote will then be cast. If the second vote is a tie, then the Executive Board will make the final decision with no abstentions allowed.
Section 3. Voting Procedure for Orientation Week Shows
A. All votes will be passed by a simple majority, which is defined as 50% plus one of the voting members present, not including abstentions. All voting will be completed by ballot.
B. Orientation show voting may not occur without a quorum of two-thirds (2/3) of the entire voting membership present at the voting meeting.
C. Each Executive Board member must be present in order for a vote on any Orientation Week production to occur. Executive Board members that are not present may submit their vote via electronic means to the Secretary or Media Archivist during the time of the meeting.
D. Ballots for Orientation Week productions voting will list the shows being proposed, the option to vote for none of the shows, and the option to abstain from voting altogether.
E. If the first vote is a tie, further discussion may be necessary. A second vote will then be cast. If the second vote is a tie, then the Executive Board will cast the final decision with no abstentions allowed.
F. If there are more than two proposals and no one proposal receives a simple majority, the membership will re-vote on a ballot with the same format as above listing the two proposals that received the most “yes” votes.
G. If there are two or fewer proposals, and no one proposal receives a simple majority, the Executive Board will construct a Board Show.
Article V: Production Proposal Procedures
Section 1. Major Proposal Requirements
A. A major proposal for the Balch Arena Theater must include a director, musical director, producer, stage manager, technical director, scenic designer, scenic charge, costume designer, costume technician, lighting designer, master electrician, props designer, sound designer, and hair and makeup designer. Productions may also include a choreographer.
B. A major proposal for Cohen Auditorium (or a space other than Balch) must include a director, musical director, producer, stage manager, and sound designer. Any other production staff positions are highly encouraged but ultimately optional.
a. If no director approaches the board, see Article V Section 5 on board show procedure.
b. If a music director, stage manager, or producer, is not found by the time of proposals, the proposal may not move forward. Proposals will either be postponed or cancelled at the discretion of the board.
c. If a TD and set designer are not found by the time of proposals, then the set reverts to workshop status, using rehearsal blocks and/or furniture stock. This becomes the responsibility of the Director and Stage Manager, or Technical Administrator.
d. If a Scenic Charge is not found by the time of proposals, the responsibilities of this position fall to the Set Designer. This position may be filled post-proposal, but the Set Designer must be prepared to assume these responsibilities should a Scenic Charge not be found.
e. If a Costume Designer and Costume Technician is not found by the time of proposals, then the show will revert to workshop status, where costumes will be drawn from actors’ closets and/or Hayes House. This will be the responsibility of the Stage Manager and Director, or Costume Coordinator.
f. If a costume technician is not found by the time of proposals, then the responsibilities of this position fall to the costume designer.
g. If a Lighting Designer and Master Electrician are not found by the time of proposals, then the show will revert to workshop status, using lights up and lights down.
h. If a Props Designer is not found by the time of proposals, then the Director and Stage Manager will assume responsibility for collecting, creating, or ordering props.
i. If a Choreographer is not found by the time of proposals, then movement will be the responsibility of the director.
j. If a Hair and Makeup Designer is not found by the time of proposals, these design aspects become the responsibility of the actors with guidance and feedback from the Director and Costume Designer. This position may be filled post-proposal, but the director and Costume Designer must be prepared to assume these responsibilities should a Hair and Makeup Designer not be found.
k. If a Sound Designer is not found by the time of proposals:
(i.) If the proposal is for the Balch Arena Theater, then the actors will not have mics and the pit is recommended to consist of no more than a keyboard and a percussionist.
(ii.) If the proposal is for Cohen Auditorium, then the proposal may not go forward.
B. A week before the proposal interested directors must approach the board with a thorough understanding of their show’s rights agreement and the price quote from TCU. The director must present this information and obtain the board’s approval in order to propose. At the proposal meeting this information will also be made available to the membership.
C. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least two (2) songs from the show.
D. A show is ineligible for production by Torn Ticket II if it has been produced within the last five (5) years and performance rights were purchased.
E. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
F. The proposal process will proceed as follows:
a. Copies of the written proposal must be handed out to the membership during the proposal meeting.
b. At the first meeting, each proposal will have fifteen (15) minutes to make a presentation to the membership.
c. Following all presentations, there will ten (10) minutes per proposal for questions. Any general member may ask questions.
d. After the final question or the expiration of the allotted time, whichever is first, all directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
e. The Executive Board shall determine the length of the discussion.
f. Any director and/or proposer may be called back in for further questions at any point.
g. Following the completion of discussion the meeting will be adjourned.
Please refer to Article IV, Section 1 for voting procedures.
Section 2. Workshop Production Proposal Requirements
A. A workshop production must include a director, producer, musical director, and stage manager. The production staff may also include a technical coordinator.
B. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least one (1) song from the show.
C. A show is ineligible for workshop production by Torn Ticket II if it has been produced within the last four (4) years.
D. Zero (0), one (1), or two (2) workshops may be produced in a semester.
E. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
F. The proposal procedure will be held in one meeting.
a. Directors will have up to fifteen (15) minutes to present their proposal.
b. After the presentation, ten (10) minutes will be allowed per show for questions.
c. The directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
d. The Executive Board shall determine the length of the discussion.
e. Any director and/or proposer may be called back in for further questions at any point.
f. Five (5) minutes will then be allotted for questions of any proposal.
g. After the allotted time for questions, a vote will occur. Please refer to Article IV, Section 2 for voting procedures.
Section 3. Orientation Week Production Proposals
A. A proposal must include a director, musical director, producer, stage manager, and technical coordinator.
B. A proposal must contain a written statement, including, but not limited to, a basic explanation of the show and the qualifications of the production staff. The proposal must include at least one (1) song from the show.
C. A show is ineligible for production by Torn Ticket II if it has been produced within the last five (5) years.
D. An Orientation Week production should be a one act musical or a two-act musical shortened to approximately one (1) hour in length, preferably with a small cast and simple technical requirements.
E. The production must first be approved by Torn Ticket II, and then will be subject to approval by the Orientation Committee. If the Orientation Committee does not approve the production, an alternate production will be selected by the same voting procedures.
F. There must be an Orientation Week production. If no individual proposes an Orientation production, the Board Show procedure should be followed.
G. Any deviation from the above requirements may be approved by a unanimous vote of the Executive Board.
H. The proposal procedure will be held in one meeting.
a. Directors will have up to fifteen (15) minutes to present their proposal.
b. After the presentation, ten (10) minutes will be allowed per show for questions.
c. The directors and musical directors will be asked to leave the room before discussion can begin. Determining which members of the production staff that remain in the room is left to the discretion of the Executive Board.
d. The Executive Board shall determine the length of the discussion.
e. Any director and/or proposer may be called back in for further questions at any point.
f. Five (5) minutes will then be allotted for questions of any proposal.
g. After the allotted time for questions, a vote will occur. Please refer to Article IV, Section 3 for voting procedures.
Section 4. Special Events
A. Torn Ticket II may produce one special event each school year as a fundraising event for a charity first approved by the Executive Board and then by the general membership through the workshop proposal process.
B. A special event proposal must include: an executive producer, a director, a musical director, a stage manager, and is encouraged to include a lobby designer.
C. The budget for the special event shall be determined by the Torn Ticket II Treasurer and the Executive Board. The budget shall not exceed the budget of any workshop production produced that semester.
D. Proposals for special events should happen the meeting following workshop proposals in either semester.
E. Proposals will be voted on by the general membership. Please refer to Article IV, Section 2 for voting procedures.
Section 5. Board Shows
A. The Board Show procedure is necessary if no proposals are presented or accepted for Major Productions or Orientation Productions.
B. In this event, the Executive Board has the responsibility to select a show and production staff through the following procedure.
(i.) The Executive Board will ask for nominations or self-nominations for possible directors in the scheduled proposal meeting if no proposals are presented, or in the major voting meeting if no proposals have passed.
(ii.) Nominated directors that are present at the meeting will be asked immediately if they accept the nomination. Nominated directors that are not present at the meeting will be contacted via phone or email and asked if they accept the nomination.
(iii.) The Board will select a director from the group of nominated directors that accepted their nomination.
(iv.) The Board will then select four possible shows to produce.
(v.) The director will then select two of the Board’s suggested four shows to propose to the membership.
(vi.) The Board and the director will collaborate to create a production staff.
(vii.) In a general meeting, the director will present the two proposals to the membership, following the voting procedures in Article IV, Section 1 or Article IV, Section 3, which are the voting procedures for major productions and Orientation productions, respectively.
(viii.) All scheduling for the above process is left to the discretion of the Executive Board.
Article VI: The Executive Board
Section 1. Eligibility and Executive Board Duties
A. Executive Board Officers must be Tufts University undergraduates and must be able to serve from June to June concurrent with the normal academic year.
B. The Executive Board has the responsibility to make executive decisions in the event of an emergency. Five (5) of the six (6) Executive Board Officers must be present to make any such decision.
Duties of the President
1. To be responsible for all actions of Torn Ticket II as an organization.
2. To coordinate all actions of Torn Ticket II and to preside over all meetings.
3. To act as a liaison between the general membership, the administration, and faculty of Tufts University.
4. To call emergency meetings when necessary.
5. To oversee the Treasurer in financial planning for Torn Ticket II.
6. To stay in close communication with the Treasurer before, during and after each production.
7. To maintain contact with all Executive Board Officers.
8. To schedule weekly meetings of the Executive Board.
Duties of the Vice President
1. To act as president in the President’s absence.
2. To promote a sense of community within the membership. Organizing social events and activities that foster a sense of inclusion in the organization.
3. To be responsible for Torn Ticket II outreach to the greater Tufts community.To lead advertising ventures on all Torn Ticket II auditions and opportunities. To additionally coordinate digital advertising with the Media Archivist through Torn Ticket II social media.
4. To be the second TCU signatory on purchases.
5. To act as liaison between Torn Ticket II and other student organizations.
6. To maintain contact with Executive Board Officers, especially the President, and to assist the President as needed.
Duties of the Production Manager
1. To keep the costume storage and shop clean and organized.
2. To keep inventory of costumes, tools, set pieces and props before, during and after each production.
3. To advise and assist the set, props, make-up, and costume designers, as well as the technical, lighting, and sound directors of all productions.
4. To coordinate the use of all technical materials for any and all Torn Ticket II purposes.
5. To be ultimately responsible for the upkeep and the purchase of new equipment.
6. To attend all production staff meetings of the current major production and to conduct its mandatory post-mortem.
7. To advise the production staff of the workshop productions, for which a post-mortem is strongly recommended.
8. To maintain contact with Executive Board Officers.
9. To put together production staffs and ensure that production staff members follow each position’s timeline laid out in the production staff handbook.
10. The Production Manager is primarily responsible for finding a complete production staff for a production, with aid from the Director and the rest of the Board when necessary. Directors are encouraged to seek out production staff members on their own if they wish; however, they must first notify the Production Manager before officially extending them a position.
11. To renew access to the Aidekman 75 closet storage space with the Balch Arena Box Office Manager.
12.
Duties of the Secretary
1. To maintain all Torn Ticket II attendance and voting eligibility records.
2. To record all minutes of all general meetings and distribute them to the membership as well as to the Media Archivist to be posted on the Torn Ticket II web page.
3. To provide weekly reminders of meetings to all general members.
4. To make a copy of this constitution available to all general members.
4.To send out periodic emails to the alumni to keep them informed as to what the organization is producing this semester.
5. To maintain contact with Executive Board Officers.
6. To maintain a thorough knowledge and understanding of the constitution. To ensure that the constitution is being respected and upheld in all endeavours.
Duties of the Treasurer
1. To keep a detailed and accurate account of all Torn Ticket II transactions.
2. To be ultimately responsible for all loans, appropriations and official budgets.
3. To maintain contact with the Student Activities Budget Coordinator, the Senate Treasurer and the Council V Chairperson of the TCU Senate, and to understand the procedures of the Senate Treasury.
4. To help the Media Archivist keep records of past budgets.
5. To give a financial report concerning the organization in conjunction with the final report of the producer on any production.
6. To advise and assist the producer of each show on budget-related responsibilities.
7. In the event that a designer is unwilling or unable to spend his or her personal funds to purchase items for a production, the show’s producer must consult with the Executive Board immediately to discuss alternative payment options. This may include obtaining cash advances from TCU for production staff members with large budgetary concerns. Ultimately, it should be the producer’s responsibility to ensure the designer has sufficient funds available.
8. To maintain contact with all Executive Board Officers.
Duties of the Media Archivist
1. To acquire, save and organize programs, budgets, newspaper articles, posters, photographs, any available scripts and/or scores, and any other artifacts or memorabilia for each production.
2. To maintain the Torn Ticket II web page and all relevant social media.
3. To act as the curator and librarian of the Torn Ticket II archives and library, including records of each year’s budget.
4. To act as the agent through which all members of the Tufts community may borrow library and archive files.
5. To actively acquire and keep records of all Torn Ticket II alumni information and maintain contact with them using any medium, at least once a semester.
6. To be responsible for all organizational publicity.
7. To be responsible for updating sources of advertisement in order to aid in the publicity of future productions and of the organization.
8. To make the constitution available to all general members.
9. To maintain contact with all Executive Board Officers.
Section 2: Executive Board Voting Procedure
A. Elections will be held in the latter half of the spring semester.
B. In the event that a seat is vacated during the term, an election will be held at the following scheduled meeting.
C. Positions will be elected in the following order: President, Vice President, Technical Administrator, Treasurer, Secretary, Media Archivist. Each position will be filled according to the following procedure:
a. All positions must be nominated. Self-nomination is acceptable.
b. All nominations must be seconded.
c. Nominations must be accepted or declined in person, or in writing. If accepted, all candidates will have an opportunity to present themselves to the organization after all nominations have ended. Nominees not present may submit a presentation.
d. Members will then have the opportunity to question the candidates.
e. Once the discussion is closed, candidates will leave the room while the remaining members discuss the candidates’ qualifications.
f. Once the discussion has ended, the nominees may return, and a vote will occur.
g. If more than two candidates are nominated for a position, and no candidate receives a simple majority of votes, a second vote will occur between the two candidates that received the most votes, according to standard voting procedures.
D. To remove an officer from his or her position, the procedure below must be followed to determine legitimate reason.
a. The Board must present a written list of reasons for removal to the voting membership at a general meeting.
b. After reading the proposal, a simple majority vote will be taken to decide whether there is a legitimate reason for an impeachment proceeding.
c. The impeachment proceeding must take place within the next two meetings as described below.
(i.) A two-thirds (2/3) quorum of voting members must be present.
(ii.) The Board will present arguments for and against removal to the voting membership at a general meeting.
(iii.) There will be no discussion after the arguments.
(iv.) Following the arguments, a vote will occur. A two-thirds (2/3) majority is needed to remove any Executive Board Officer.
Article VII: Finances
Section 1. Torn Ticket II Organizational Budget
A. Torn Ticket II is a TCU Senate-Funded organization. Each spring, a budget will be submitted to the Allocations Board (ALBO).
B. The budget will be drafted by the Treasurer and will be approved by a unanimous vote of the Executive Board before submission to ALBO.
C. The budget will include an organizational budget for the year and funding for:
(i.) The rights, rentals, technical costs and advertising for the major productions;
(ii.) Workshop/experimental productions;
(iii.) Stock upkeep;
(iv.) General interest meeting food and advertising.
Section 2. Workshop/Orientation Production Budgets
A. The Executive Board will maintain final approval as to the specific amount of funding that will be allocated.
B. The budget for the Orientation production will be provided by the Orientation Committee.
Section 3. Payment of Cast or Crew of a Show
A. No money will be paid to performers or staff except by special arrangement with the voting membership following consultation with the Student Activities Budget Coordinator and the TCU Treasurer.
Section 4. Reimbursement of Personal Funds
A. In order to be reimbursed for money spent on a production, itemized receipts should be given to the Producer of each show.
B. The Producer will make copies of all receipts for his/her own records and submit the originals to the Torn Ticket II Treasurer.
C. For all non-show purchases, such as supplies for Hayes House or food for general interest meetings, receipts should be submitted to the Treasurer.
D. The Treasurer should submit all receipts to the TCU Treasury within 2 weeks.
E. In no case will a member of the organization bring a receipt directly to the Senate Treasurer.
F. Any receipts not given to a Producer or the Torn Ticket II Treasurer by the end of the semester shall be considered null and void, and will not be paid.
Section 6. Donations
A. It is strongly suggested that the Producer of each show solicit donations to the show from the parents of the cast, crew and pit orchestra and from any university departments or local businesses that are relevant to the content of the show.
B. All donation checks should be made out to "Trustees of Tufts College" and addressed to the Producer of the show at the Balch Arena Theater Box Office. The Producer will make copies of all checks and then submit them to the Treasurer.
C. The Treasurer will submit all donation checks to the TCU Treasury within a reasonable time.
D. In no case will a member of the organization bring a donation check directly to the Senate Treasurer.
Article VIII: Audition Scheduling and Protocol
Section 1.
A. Auditions will be held at a time determined by the production staff, as advised by the Board, with consideration given to any other scheduled theatrical auditions.
B. Auditions for major productions must be held after auditions for Department productions. Casting for major productions must be completed after casting for Department productions.
C. It is suggested that the production staffs of both major and workshop productions discuss coordinating auditions and callbacks with the production staff of the current Pen, Paint and Pretzels major or workshop productions. All coordination decisions must be completed prior to auditions.
D. Auditions are open to any active member of the Tufts community.
Section 2. Build Hours Requirement
- When accepting a role in a Torn Ticket Show, cast members must agree to attend at minimum four (4) hours of build or paint hours as scheduled by the Stage Manager.
- Production staff is not required to attend build hours but is strongly encouraged.
Article IX: Torn Ticket II Equipment
A. All current musical directors and pit conductors are able to use the Torn Ticket musical equipment for rehearsals and performances. Musical directors of concurrent major and workshops are expected to coordinate equipment use with the other musical directors.
B. The Vice President of Technical Administration will be the holder of the keys to the equipment storage cabinet, and has the discretion to release the keys to musical directors and pit conductors.
C. Current musical directors and pit conductors are responsible for the organization of the equipment cabinet and the care of all objects in the cabinet, and are also responsible for notifying the Board if objects are broken, stolen, or missing.
D. The Board is responsible for replenishing the cabinet if any objects are broken, stolen, or missing, or if any new equipment is needed by the organization.
E. Use of the Torn Ticket musical equipment outside of Torn Ticket performances, activities, and rehearsals can only occur with the permission of the Board.
Article X: Amendments
A. This constitution may be amended by a two-thirds (2/3) majority vote.
B. An amendment must be presented in writing to the voting membership in a general meeting at least one week prior to voting.
C. All amendments must first be approved by the Torn Ticket II membership prior to TCU Judiciary approval.
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