The Production Guidelines of the Edinburgh University Theatre Company

This version adopted 21.09.2022

Table of contents
  1. 1. General
    1. 1.1 Shows
    2. 1.2 Show Classifications
    3. 1.3 Festivals
    4. 1.4 Festival Classifications
    5. 1.5 Definitions
  2. 2. Before the GM - proposals
    1. 2.1 What should your proposal include?
  3. 3. At the GM
  4. 4. After the GM - auditions and rehearsals
    1. 4.1 Immediate first steps
    2. 4.2. Rights
      1. Advice
    3. 4.3. Welfare
    4. 4.4. Auditions and casting
    5. 4.5. Rehearsals
      1. Rules for rehearsing in Bedlam:
      2. Rules for EUSA room use:
  5. 5. Before the show
    1. 5.1. Being in Bedlam
    2. 5.2 Questionnaires
    3. 5.3. Staffing
    4. 5.4 Get-ins
      1. Extended get-ins / get-outs
      2. Regular weekly events
      3. Occasional events
  6. 6. After the Show
    1. 6.1 Get-outs
    2. 6.2 Debriefing
    3. 6.3. Giving back to Bedlam
      1. 6.3.1. Maintenance
      2. 6.3.2. Debt
  7. 7. Practical advice
    1. 7.1 Publicity
      1. A couple of deadlines and timeline information:
      2. Bedlam will provide:
      3. What should your publicity include?
      4. What Publicity should you make?
      5. Other points
    2. 7.2 Show finances
    3. 7.3 Fundraising
    4. 7.4 Tech
    5. 7.5 Set
      1. Construction
      2. Consumables (including paint and wood)
    6. 7.6 Props and set pieces
    7. 7.7 Costumes
    8. 7.8 Archives
  8. 8. Contact us

1. General

Welcome to EUTC production guidelines! The production guidelines start with some general information and classifications, then walk you chronologically through the proposal and production process, and end with practical advice for productions. If you have any questions, please don’t hesitate to contact the Productions Manager (

1.1 Shows

Shows are theatrical performances (plays), or events with particular artistic merit. They are run by a show team who must follow the rest of these production guidelines as well as keeping regular communication with the Committee. As standard, the required roles for a show are:

  • Director. Responsible for both the practical and artistic side of the production, and has the final say over these decisions. Co-operates with the producer to ensure that the show happens.
  • Producer. Responsible for marketing, budgeting, fundraising and team management. Usually the point of contact between the production team and Committee. Co-operates with the director to ensure that the show happens.
  • Stage Manager. Responsible for general safety, and organising the things happening on stage: stage directions, props, set and costume (unless other roles like set manager or costume manager are involved). In charge of backstage during the show and supervises both the get-in and the get-out.
  • Technical Manager. Responsible for the technical side of the production: lighting, sound and projection.

1.2 Show Classifications

Regular Productions

These are regular slots available to propose for multiple times in a year.


Summary: Any show you want. Less financial risk, fewer resources. Can be good for new teams, or for more experimental ideas. Details
Budget £300 (with or w/out rights)
Performances 1 or 2
Proposed at GM Most GMs


Summary: Any show you want. Larger budget, longer run, higher profile. More resources mean it is more demanding on the production teams, but they can be bigger and bolder. Details
Budget £1320 (with or w/out rights)
Performances 4 to 5
Proposed at GM Most GMs

Supplementary Show

Summary: Whatever you want! Cannot clash with reserved event(s) or slot(s) without permission. Must make their budget back. Details
Budget Discuss with the Business Manager
Performances Discuss with the Business Manager
Proposed at GM All of them

Annual Productions

These are slots that are only available to propose for annually. The timescale, dates, and other details may be temporarily changed by the Committee depending on circumstances.

Friday Night Improv

Summary: A short comedic production every Friday Night. Details
Budget Discuss with the Business Manager
Date Every Friday
Performances Total of around 20
Proposed at GM GM #4 Semester 2

Freshers’ Play (Mandatory Event)

Summary: Summary: Freshers’ Plays can kinda be anything, but usually consist of creating ‘families’ out of people new to the society, and getting them to produce a 10 minute play each, from a given prompt, in about a week. Details
Budget Discuss with the Business Manager
Dates W2 Semester 1
Performances 4
Proposed at GM GM #4 Semester 2

Freshers’ Slots (3 available slots)

Summary: Freshers slots are 3 productions that get performed all in one night. The concept is a relatively easy but creatively free production proposed by teams mostly made of people new to the Society. Extremely low pressure, with a high level of support from the EUTC Committee Details
Budget £50
Dates W9 Semester 1
Performances 1
Proposed at GM GM #2 Semester 1


Summary: Administratively identical to a Mainterm show, except it’s a panto! Details
Budget £1320 (with or w/out rights)
Date W11 Semester 1
Performances 3 to 6
Proposed at GM GM #2 Semester 1

BFOP (Big Fuck Off Project)

Summary: The largest Bedlam show each year. The BFOP enjoys a longer than normal production timescale, a longer get-in process (the whole of Flexible Learning Week), and more profile. In every other way, it is administratively identical to a Mainterm show. Details
Budget £1520 (with or w/out rights)
Date W6 Semester 2
Performances 5 to 6
Proposed at GM GM #3 Semester 1

EUTC Fringe Slots (2 available slots)

Summary: We get two slots in the programming of Bedlam Fringe; this is how you propose for them. One of the best ways to take a show to Fringe in a familiar environment with minimal pressure. Marketing and logistics at Fringe can be very different to term-time so it is a good idea to talk at length to relevant members of the Committee before proposing. Details
Budget Discuss with the Business Manager
Date August (Fringe)
Performances 1st is usually a month, 2nd is a week.
Proposed at GM AGM

1.3 Festivals

Festivals are not shows, but rather when the Committee delegates many of their responsibilities to a separate team (see Constitution articles 4C and 6C). The team will select and run shows and events during their given time, usually a week, either in the building or outwith. Festivals are proposed in the same way as shows. The required team members for a festival (who are all the Convenors) are:

  • Venue Manager, who is in charge of the general running of the festival, the building, health and safety, and delegating responsibilities to others.
  • Programmer, who selects the shows and events that will happen for the festival.
  • Marketing Manager, who coordinates and manages all the marketing for the festival.
  • Technical Manager, who runs the tech for the festival.
  • Box Office Manager (if the box office is planned to be used), who runs ticketing and other box office duties.
  • Cafe Manager (if the cafe is planned to be used), who runs the cafe.

The festival team can curate their program by any method they choose. They may also set prices, menus and marketing policies. Festival teams must maintain regular communication with the Committee, as the Theatre Manager still holds the licence during this time and still has their overall responsibilities. All budgets should be discussed with the Business Manager.

1.4 Festival Classifications

Welcome Week (Mandatory Event)

Summary: Welcome Week is when we try to get lots of freshers into the society. Details
Date Week 0 Semester 1
Length 1 Week
Proposed at GM GM #4 Semester 2

Give it a Go Week (Mandatory Event)

Summary: Give it a Go Week is the smaller counterpart to Welcome Week. It has more of a focus on engagement with new and existing members than the larger Bedlam Festival just a couple of weeks later. Details
Date Week 0 Semester 2
Length 3 days (or more)
Proposed at GM GM #3 Semester 1

Bedlam Festival (BedFest)

Summary: The Bedlam Festival is the largest event in the Bedlam Theatre Calendar. It is a celebration of theatre in all its forms and usually consists of trying to do as many shows and workshops as possible. Details
Date Week 2 Semester 2 (unless other specified)
Length 1 Week
Proposed at GM GM #3 Semester 1

Supplementary Festival

Summary: Whatever you want! Cannot clash with reserved or existing event(s) or slot(s) without permission. Must make their budget back. Details
Date Discuss with Committee
Length Discuss with Committee
Proposed at GM All of them

1.5 Definitions

Reserved and Supplementary Events

All EUTC events are either “Reserved” or “Supplementary”. The difference is described in the Constitution (clause 6A/4), but in short:

  • Reserved events: scheduled beforehand, with a pre-set budget and/or time slot. Most EUTC events are Reserved (Teatimes, Mainterms, Panto etc.). The Committee creates a calendar each year allocating certain times (usually whole weeks) to certain classifications. The slots in this calendar are then filled by the shows voted on at GMs.
  • Supplementary events: not scheduled, unspecified budget and timing. Supplementary events must work around Reserved events, and can’t clash with them without permission. It is recommended that supplementary events are presented to the Committee at least two weeks before the Editing Deadline. Examples include our long-running Candlewasters new writing showcase, sketch shows, and site-specific theatre outside Bedlam.

Mandatory Events

Mandatory events are something we want to happen every year. If a proposal for a mandatory event has not been selected at a GM by a sensible time, the Committee shall act as the production team until such a team has been selected (Constitution 6B/9).

2. Before the GM - proposals

The EUTC selects shows at General Meetings (GMs), open to all members, and usually held on a Wednesday. There are following deadlines to consider:

  • Proposals open. The Productions Manager will open proposals about two weeks before a GM, making clear what you can apply for (i.e. which classification, and how many slots for each).
  • Submission deadline (18:00, Monday 10 days before the GM). Submit your first draft. Please make it as complete as possible. Committee will offer you feedback and advice based on this draft.
  • Editing deadline (18:00, Monday 2 days before the GM). Complete your final draft. Committee approves proposals that meet the requirements of the Constitution (clause 6B/3).The rules are mostly common sense: don’t propose anything illegal or dangerous, name a member in each required role. That sort of thing. After Committee approval, proposals are released to the whole company.
  • If these deadlines are moved back, Committee will make that clear.

2.1 What should your proposal include?

Your proposal should introduce the show idea and demonstrate that you have thought about the relevant practicalities. Looking at old proposals ( is recommended for getting a feel of what is expected, but usually the proposal text is split up under broad headings like Plot, Direction, Set, Tech, Costume, Publicity and Fundraising. At the end of the proposal there are a number of simple questions to be answered (e.g. length of the show, cast breakdown, content warnings).

Your proposal must include:

  • Production team
    • Show proposals must include at least a director, a producer, a stage manager and a technical manager unless otherwise specified by Committee. For role descriptions see section 1.1. Everyone listed on the proposal must have an active EUTC membership.
    • Festival teams are different. See section 1.3.
  • A justifiable budget, passed by the Business Manager (
    • This includes both expenditure (what you plan to spend) and income (EUTC grant and your own fundraising targets).
    • Expenditure is usually split into Rights/Publicity/Tech/Set/Costume/Props/Admin, and a Contingency (10% of all the others combined).
    • By the Editing Deadline, your budget must have been approved by the Business Manager, regardless of what type of performance you are proposing.
    • Supplementary Events must make back their EUTC grant, preferably through their ticket sales, or as a last resort through retroactive fundraising.
    • If you’re proposing a show with an unconventional budget, it is a good idea to chat with the Business Manager before proposing.
  • Details on performance rights – your legal licence to perform.
    • Performing rights licence is your permission to perform the show publicly. You don’t need performance rights for original writing, or works out of copyright.
    • The method and timing of the application process vary between different licensing companies. Discuss rights with the Productions Manager in advance of the proposal.
    • If you’re doing a non-traditional show (e.g. live-streamed, pre-recorded), check that rights cover performances in the form you have chosen.
    • For more details, see section 4.2. Rights.

The proposal forms can be found here:

3. At the GM

At the GM, the proposing team will generally introduce themselves and will be given three minutes to pitch their proposal to the room. Most teams choose to do this by going through their proposal a section at a time but you can do it however you like. Questions will then be opened up to the floor, followed by production merit and preference votes. For a detailed explanation of the process by which show proposals are selected, please see Articles 5A, 5B, 6A and 6B of the EUTC Constitution. Talk to the Productions Manager if you need help preparing. On the day, you can ask the Chair of the GM to talk you through it.

4. After the GM - auditions and rehearsals

4.1 Immediate first steps

  • Depending on your licensing agreement, arrange rights for your show. See section 4.2. Rights
  • Arrange auditions with the Production Manager. See section 4.4. Auditions
  • Shows must nominate two welfare contacts before rehearsals begin. We recommend having a welfare contact for the cast, and a separate one for the crew, both of whom must have suitable emotional distance from the rest of the other welfare contacts.
  • Show teams must make a concerted effort to get at least three members of their team Duty Manager trained. The Front-of-House Manager ( and the Theatre Manager ( will run regular sessions to facilitate this and have discretion to require more than three team members be DM trained on larger teams. This is not applicable for online shows. See section 5.1 Being in Bedlam.
  • Show teams must start sending a representative to Company Meetings every Monday night.

4.2. Rights

Rights are your legal licence to perform. The method and timing of your application process vary between different licensing companies, so find out what is required by the licensing company that holds the rights for your show. It’s a good idea to do this even before proposing. Talk to the Productions Manager for advice. If your piece is out of copyright or original writing by an EUTC member, you will not need rights!

  • For original writing by an EUTC member, the writer must approve the choice of Director and Producer by emailing the Committee.
  • All original writing must be sent to the Library after your final performance:


  • Published versions of the script should include details of who to contact about rights, usually a company like Concord Theatricals. EUTC has an account for most licensing companies - please contact Marketing Manager ( for access.
  • You will need to inform the rights company of the length of your run.
  • Some playwrights will not allow any changes to the script, others may allow a certain amount; check this to avoid hassle later.
  • To avoid paying too much, stress that it is an amateur production, by a non-profit making theatre company, in a student theatre with a capacity under 100.
  • Check that the playwright is VAT registered as we can claim the VAT back.
  • You can ask actors to buy their own copy of the script. If you are going to photocopy them, you should do it yourself and collect money from each cast member to pay for it.

4.3. Welfare

  • You are required to nominate two welfare contacts before rehearsals begin, agreed by the cast and crew. Traditionally, the Stage Manager is one. Each welfare contact should have enough distance from the other, personally, that any cast and crew members should feel comfortable speaking to one of them about any matter arising with them.
  • The Productions Manager and/or the EUTC’s three core welfare contacts (President, Committee-elected and Company-elected) will liaise with show welfare contacts and advise them of their roles.
  • Members of cast and crew can go straight to the three EUTC welfare contacts to raise concerns, and do not need a specific reason to do so. Refer to Articles 3A and 3C of the Constitution and to the Welfare Agreement on the website for further details.
  • There is also an online complaints form which can be used if an individual doesn’t feel comfortable going through the channels listed above.

4.4. Auditions and casting

Immediately following the GM, the Productions Manager will arrange a suitable time and place for auditions to be held, in conversation with the relevant show teams.Show teams should provide their own audition material and a short show blurb to auditions. Should an actor audition for multiple shows and get cast in more than one of them, it is at the discretion of the actor which part they accept.

We encourage inclusive audition and casting practices regarding gender, ethnicity, sexuality, disability, accent etc. Think about why you are casting and what kind of requirements and wishes you have for each role and why. Who might be at disadvantage to audition and how you might address that? What kind of prejudices and expectations you might hold and how could they affect your audition and casting choices? It is not expected that you have a solution for everything, but it is a good idea to talk about these things with your production team before auditions and casting. If you have any questions, talk to the Liberation Representatives (inclusivity and diversity in casting) or the Productions Manager (practical questions).

PUBLICITY NOTE: Cast and production team lists are due within a week of your show being cast. See the Publicity section (7.1) for more.

4.5. Rehearsals

This section was reviewed by the Secretary, who can be contacted at

Rehearsals in Bedlam and EUSA buildings (Teviot and Pleasance) will be available to every show team, given that we have access to those places. Priority will be given to shows that will perform sooner. There is a “EUTC Room Bookings 2021/2022” Facebook group for producers, used to organise rehearsal rooms. Show teams should inform the Secretary of their preferred rehearsal times. To request additional rehearsal space, email the Secretary at detailing which rooms you would like, the date, time, and what show team/project it is for. Extra rehearsal spaces in university buildings can also be booked by any University of Edinburgh student via MyEd. Should you require assistance on how to do so, contact the Secretary. If you have a small cast, rehearsing in flats (or any other space you can find) might be a good idea. You can also hold rehearsals online, e.g. via Zoom or Teams. Please follow current COVID-19 regulations in rehearsals.

Rules for rehearsing in Bedlam:

  • Please refer to the section 5.1 Being in Bedlam.

Rules for EUSA room use:

  • Do not book a room directly with EUSA under the EUTC’s name. Please ask the Secretary instead.
  • If allocated a room, use the room. It is EUSA policy that if the room is found unoccupied during our room booking slot, the society might not be able to book EUSA rooms in the future.
  • Leave the room in the state that you found it. All chairs/tables should be put back in the same way that they were found in, and all rubbish should be completely cleared away. If the society gets any complaints about rooms not being left as they were found or rooms going unused, the show teams responsible may lose access to them.
  • If you are allocated a room and no longer want/need it:
    • More than 1 week before the booking:
      • Contact the Secretary or offer it up on the EUTC Room Bookings Facebook group. If no one takes it, the Secretary will offer it up to other societies or cancel the booking.
    • More than 24 hours before the booking:
      • Contact the Secretary and they will find another use for it as above, but they cannot cancel it with EUSA.
    • Less than 24 hours before the booking:
      • Contact the Secretary and they will try to find another use for it as above, but it is likely that the room will have to be babysat. This literally means having someone sit in it for the duration of the slot. If you can’t find someone, the Secretary will be able to help.

5. Before the show

5.1. Being in Bedlam

This section was reviewed by the Theatre Manager, who can be contacted at

The Bedlam Theatre is the home to the EUTC and is very likely where your show will be performed. Important concepts to note are:

  • The person in charge of the building at any time it is open is called the Duty Manager, who is someone who is trained to open, close, just manage the building in nearly all situations. There must always be a duty manager in the building while it is occupied_._
  • There are three types of keys mentioned:
    • DM Keys (Duty Manager), which are to be kept in the building at all times, and open the various locks around the building. They do not grant access.
    • Committee keys, which are generally held by Committee members, and allow access to the building as well as other places for staffing and their duties.
    • SM Keys (Stage Manager), which your Stage Manager will get from their get-in to their get-out and will grant access to the building.
  • To get access to the building you will either need to talk to your Stage Manager, or ask a Committee Member with at least 24 hours notice.

Duty Manager Training:

  • Duty Manager (DM) Training allows you to be a Duty Manager.
  • It covers opening, locking up, fire, and other procedures for the Bedlam Theatre. It is arranged regularly by the Theatre Manager and if completed allows members to be in the building by themselves/staff as a DM.
  • At least three members of your production team must get DM training as soon as it is practical. This will help with get-ins/rehearsals/show nights/staffing later on.

There is a Bedlam Theatre health and safety folder, maintained by the Theatre Manager. This can be found in the Office. Some key points are:

  • Practise Common Sense, please.
  • If your show involves any stunts, stage combat or other things likely to result in injuries, you must notify the Theatre Manager during your first week of rehearsals.
  • Record any accidents in the accident book, and report them to the Theatre Manager. The accident report/near miss book can be found in the Office
  • There is a First Aid kit behind the cafe. You must tell the Theatre Manager if you use any first aid supplies. Otherwise the box will not get restocked
  • Only people who have been trained how to do tasks should attempt to do them. This is especially true of anything potentially dangerous, eg. use of power tools, rigging, building flats, etc. If you are unsure of anything, speak to the Theatre, Set or Tech Managers.

5.2 Questionnaires

This section was reviewed by the Theatre Manager, Set Manager and Technical Manager.

Questionnaires are forms that your show team are required to fill out by 18:00 on the Monday before your Get-In. They are read by members of the Committee so they can support your show. Questionnaires are located at the bottom of your show page on the Bedlam website, and will usually go live a week before they are due. Questionnaires will only show if you are listed as a member of the show team. There are 4 questionnaires:

  • Tech Manager Questionnaire (TMQs)
    • This is where you list everything that is going to be done tech-wise.
    • It is read by the Tech Manager.
    • Your tech manager will fill it out.
  • Stage Manager Questionnaire (SMQs)
    • This questionnaire is about anything stage or set related.
    • It is read by the Set and Theatre Managers.
    • Your stage manager (and set manager if you have one) will fill it out.
  • Costume Manager Questionnaire (CMQs)
    • This concerns anything and everything related to costumes.
    • It is read by the Wardrobe Manager.
    • Your costume manager (or stage manager if you don’t have one) will fill it out.
  • Producer Questionnaire (PQs)
    • This is about the show details, including run time, ticketing, and publicity.
    • This will also include any content warnings, talk to the Front-of-House Manager if not sure about this. There is now a specific list to choose from and a form to fill out. You will be contacted about this if it is not on your PQ.
    • It is read by the Front-of-House and Marketing Managers.
    • It will be filled out by your producer(s).

If you need help to answer your questionnaire, or are unable to complete your questionnaire by the deadline, please contact the relevant Committee member before the deadline.

5.3. Staffing

This section was reviewed by the Front-of-House Manager, who can be contacted at

Staffing is a part of Giving Back to Bedlam (see section 6.3.) but you need to start thinking about it before your own show happens. It is recommended that you sign up to staff as soon as possible. Please talk to the Front-of-House Manager if you have any questions. Please also see the new Front-of-House (COVID-19) policy (more information in section 6.3.)

  • Assigned staffing weeks for each production will be assigned by the Front-of-House Manager (FoH).
  • All members of a production must staff. This includes Director(s), Tech Managers, Stage Managers, Producer(s), tech operators, and the cast. This is not limited to those listed on the proposal form. Those involved in a Teatime show must staff one slot each, and those involved in a Mainterm show must staff two slots each.
  • There are five staffing slots that need to be filled by each production; Duty Manager, Box Office, Indoor Hall Keeper, Outdoor Hall Keeper and Café. The responsibilities of each position are detailed in the Staffing Guidelines.
  • Signing up to staff can be done online through the Bedlam website:
  • Staffers must be in Bedlam an hour and a half before the performance or as specified on the staffing sign-up page.
  • The show team will be notified when they must sign up for staffing, with at least a 2 week notice. This is usually the Friday before the first showing.
  • If you find yourself unable to staff the slot you signed up for, you can request to swap your slot, provided you give at least 24 hours notice. Otherwise, you’ll need to find someone to replace you.
  • People staffing when it is not required of them are able to be removed from staffing slots as long as at least 24h notice is given.
  • If either a Teatime or a Mainterm production chooses to have an additional performance, it is the producer’s responsibility to find staffers for that performance.
  • It is the producer’s responsibility to find staffers for all supplementary events taking place in Bedlam unless another agreement is reached with the Front-of-House manager.

5.4 Get-ins

A get-in is the time that is allocated for your play to rig and focus your lights, and prepare the stage for your show. Get-ins start on Saturday at 2pm for Mainterm productions or Sunday at 2pm for Teatime productions.

  • A get-in can be very hectic. You must plan ahead for it. Coordinate with the teams before and after you to work most efficiently.
  • You must fit the Improverts rehearsal at 18:00-20:00 each Sunday into your plan. This involves clearing the stage as much as you can and being quiet for the duration (good time to get some supper). If this isn’t possible you must contact the Improverts’ producers at least a week in advance as they have a regularly booked rehearsal and so take priority.
  • If you wish to store props, wood, or anything else in Bedlam for your show before the get-in, please talk to the Set Manager.

Extended get-ins / get-outs

You may request for more time for your get-in or get-out at a Company Meeting. Normally, an extended get-in starts at 09:00 Saturday, but can start earlier. To qualify:

  • It must be requested at least 2 weeks before your first performance.
  • There must be an obvious requirement for it.
  • It must not conflict with any other show or event, or any conflict must have been agreed to. You don’t get one automatically. It is your responsibility to find out and talk to all shows or events that may be affected before the meeting. Consult the production schedule or ask Committee if you are unsure.

Regular weekly events

  • 21:00-23:30 Friday - Imps show
  • 12:00-14:00 Saturday - Imps workshop
  • 12:00-14:00 Sunday - Maintenance
  • 18:00-20:00 Sunday - Imps Rehearsal

Occasional events

  • General Meetings (Wednesday Afternoons)
  • Candlewasters, and other Supplementary shows. (Usually Friday-Saturday)
  • Lock-in (Saturday Nights)

6. After the Show

6.1 Get-outs

This section was reviewed by the Set Manager, who can be contacted at

A get-out is the time that is allocated for your show to undo all the changes that you have made to the theatre. It must be completed by 12:00 the day after your final show, unless you request an extension. The latest a get-out can be extended to is 18:00 the Sunday following your last performance, with the consent of all show teams which might be affected and approval from Committee. This includes the Improverts who have a regular Sunday rehearsal from 18:00-20:00 on Sunday.

Remember that everything that you have used must be reverted to how you found it unless otherwise stated by the Technical Manager, Set Manager, Theatre Manager or Wardrobe Manager this may include but it not limited to the following:

  • Tech:
    • All fixtures taken down from the rig and put away in the correct places
    • All gels removed from lanterns and filed away in the correct places
    • All cables taken out of patch
    • DMX, XLR, Extensions and any other wires coiled neatly and put in their proper homes
    • Electrical tape taken off of the rig
    • Any domestic fixtures also put away where you found them (before buying any new domestic fixtures please check with the technical manager that they are suitable to be used and with the set manager that there is a place to store them after the show)
    • All mics and sound equipment put away properly
    • Make sure the desks, patch and all other power sources are turned off
  • Props:
    • All props must be taken to the prop return box
    • If you show makes use of fake firearms please refer to section 7.6 of the production guidelines, Theatre Manager and Set Manager for how to move these items appropriately
    • If you bought props specifically for the show these should be put in a place agreed with the Set Manager before buying them
  • Set:
    • For set pieces that were bought for the show should have been cleared by the set manager and had a place for them agreed on. Please put them there
    • Return other set pieces to their original places
    • Anything you have constructed should be fully dismantled (unless otherwise agreed with the Set Manager) and the wood taken to the wood store / scrap pile as appropriate
    • All tools should be returned to their proper place in the workshop and locked away
    • If the stage, back wall, balcony, conversion kit or flats have been painted these need to be painted back to the original Flints black unless otherwise agreed. Consult with the Set Manager on the best way to do this.
    • If the stage conversion kit has been used during the production the stage needs to be put back to its original position.
  • Costume:
    • After your show, take costumes home to clean and dry them.
    • After that, please contact the Wardrobe Managers to arrange the return of items.

Everyone involved in the show, whether a part of the prod team, an actor or part of the crew should be a part of the get-out. For information on extended get-outs and get-ins, see Section 5.4.

6.2 Debriefing

  • You must attend the Monday Company Meeting after the last performance of your show to report to the Company.
  • This is your chance to talk about what worked or didn’t and for you and Committee members to raise and discuss any problems.

6.3. Giving back to Bedlam

When you take part in a show at Bedlam Theatre, you make use of our lovely building and facilities. We’re entirely student-run, and the building is entirely staffed and managed by students. To ensure fairness, we require anyone taking part in a show to ‘give back’ to the society. For Teatimes this means doing a staffing slot and turning up to maintenance on the Sunday after you show. For Mainterms this means staffing twice and turning up to maintenance. For anything else please confirm your staffing obligation with the Front of House manager. See section 5.3. for Staffing.

6.3.1. Maintenance

This section was reviewed by the Theatre Manager, who can be contacted at

  • The Sunday after your get-out all cast and crew must attend maintenance at 12:00. If you cannot attend maintenance, contact the Theatre Manager (the night before at the latest) to make alternate arrangements to make up for this.
  • Failure to attend maintenance for your show will place you ‘in debt to the Company’, please see Article 7C of the Constitution.

6.3.2. Debt

  • On the rare occasion that people don’t sign-up to staff their slots/turn up to maintenance in good time, and without a good excuse, we use a system called Debt to enforce this requirement.
    • There are two types of Debt: Maintenance Debt and Staffing Debt, which are administered by the Theatre Manager and the Front-of-House Manager respectively.
    • Debt is cleared by performing the maintenance task or staffing the required FoH slot(s). Alternatively consult Article 7C of the constitution for the full information regarding Debt.
    • You can find out your Debt status through the website.

7. Practical advice

7.1 Publicity

This section was reviewed by the Marketing Manager, who can be contacted at

A couple of deadlines and timeline information:

  • Cast and production team lists are due within a week of your show being cast
  • You should submit a poster design to the Marketing Manager at least 2 weeks beforehand for an A0 poster to be made for the front of Bedlam.
  • Your show will be made public on the Bedlam page and EUSA site two weeks before opening night
  • If not done as a part of the Producer Questionnaire, you must send your show blurb and Facebook event cover to the Marketing Manager at least 16 days before opening night so your Facebook and EUSA event can go up in time.

Bedlam will provide:

  • A Facebook event for your show (which producers will be made admins of)
  • An A0 poster in the red boxes outside Bedlam
  • Access to Bedlam’s Instagram and Tiktok on the week of the show
  • Bedlam will post trailers/cast lists on the Facebook page
  • Bedlam’s Facebook page’s cover photo will be changed to your show’s publicity the week of the show

What should your publicity include?

As always, if you have any specific questions don’t hesitate to get in touch with the Marketing Manager. As a guide, please follow these rules:

  • You must get all publicity checked and approved by the Marketing Manager before use. This includes posters, flyers, trailers, cast lists and press releases. Please allow time for changes to be made if asked to make them.
  • The phrase: “The EUTC presents” or “The Edinburgh University Theatre Company Presents”
  • Correct ticket prices, (if you are unsure what there are contact the Front-of-House manager at FoH@bedl​​
  • The relevant Bedlam Theatre/EUTC logo (See the Bedlam wiki)
  • Any specific requirements of your rights agreement

What Publicity should you make?

Cast and Production team lists:

  • An artistic list announcing the cast and production team of your show
  • Drums up interest in the show early on
  • Make sure to make one for cast and one for production team, or to include them both in one
  • It is worth thinking about these straight away as they are due within a week of casting


  • You need to design a poster to go outside of Bedlam
  • Most people will hear about shows through social media, so we advise you limit the number of posters you print to prevent waste
  • They should include all of the design elements listed above
  • You need a EUSA stamp to put up posters in university buildings. These can be obtained in the Potterrow Societies office or on the reception desk in Teviot. You are limited to 20 posters by EUSA.
  • Don’t put posters up over official EUSA event posters as they will be removed
  • You’re more than welcome to put up posters around Bedlam
  • Ask before you put them up in coffee shops, hairdressers etc.
  • Allow proper time for printing


  • We strongly advise against using flyers as they’re not very effective and very unsustainable
  • The Front-of-House Manager won’t allow flyers to be left in Bedlam due to commitment to sustainability
  • If you still want to use flyers they need to include the basic design elements listed above and be approved by the marketing manager

Facebook page/event cover photos:

  • These are to be sent to the marketing manager at least 16 days before the show opens so that they can update the Facebook pages and make an event.
  • Dimensions:
  • Cover photo for the Bedlam page: 820 x 312 px
  • Event cover photo: 1920 x 1080
  • These need to include the basic design elements above


  • These are a great way to advertise your show!
  • Although they don’t need to have anything on them, headshots caption need to include:
  • The EUTC presents “Title of Show” by Author of the Show
  • The dates and times
  • The ticket prices
  • The location
  • A link to the facebook event or EUSA ticketing website

Other points

  • Getting the press in for interviews, previews, or reviews will help sell the show. Get information out early, typically as soon as possible but at least two weeks before the show. Keep reminding the press about the show.
  • Programmes are expensive and can be a drain on resources, but can help to enhance your audience experience and make good souvenirs. If you do want to produce them, they must include ‘Edinburgh University Theatre Company Presents’ and the relevant Bedlam Theatre/EUTC logo.
  • EUTC Wiki Marketing Resources is a great page that expands on the points highlighted in this section, including extra information about the Bedlam Instagram and TikTok accounts.

7.2 Show finances

This section was reviewed by the Business Manager, who can be contacted at

  • You must stick to your budget. Any overspend that has not been approved will not be reimbursed. Remind all crew that they are not to spend ANY MONEY without the producer’s say-so and that they MUST give you a receipt if they want to be reimbursed.
  • Any budget increases or changes must be proposed at a Committee Meeting, consulting with the Business Manager.
  • Invoices for any expenses should be placed in the Business Manager’s pigeonhole in the Bedlam Office, or emailed to the Business Manager at Or, by arrangement, messaged to the Business Manager directly on Facebook - although email is preferred. This is the same for any receipts for reimbursements. Remember to include name and bank details for each receipt. Make sure the Business Manager knows what needs to be paid urgently (such as rights), as well as keeping them up to date on your expenditure and general direction of the show - do not hesitate to ask questions!
  • Anything you purchase with your show budget (like furniture, paint etc) will be added to the EUTC’s general stock after your run.
  • Any tech hires must be approved by the Technical Manager.
  • Bedlam’s alumni group, Friends of Bedlam (FoB), can offer grants to partly fund parts of your show. The application form is on the Budget Resources section of the wiki.
    • FoB will only fund up to 50% of a project. FoB is interested in funding projects that have long term value to the company.
    • Grant applications must be brought to a committee meeting to discuss it before you can send it to FoB.

See EUTC Wiki Budgeting Resources for more. You can also talk to the Business Manager for advice.

7.3 Fundraising

This section was reviewed by the Business Manager, who can be contacted at

Fundraisers must be proposed at a Committee meeting. You should give Committee as much notice as possible. Committee can reject a fundraiser if it clashes with another EUTC event, or if there is insufficient evidence to vote on it. To propose a fundraiser you should explain the following:

  • What you are intending to do.
  • How and where you are intending to do it.
  • A time and a date.
  • How much you are intending to fundraise.
  • You cannot spend any fundraised money without it first being given to and checked and deposited by the Business Manager . Examples of fundraisers include bake sales, dances, raffles and music nights, but can take almost any form. If you’re stuck for ideas, talk to the Social Events Manager.

7.4 Tech

This section was reviewed by the Technical Manager, who can be contacted at

  • Your show’s technical manager must complete the tech manager’s questionnaire (TMQ) at the latest by the Monday of the week before your performance. This questionnaire should include documentation of rig plans, a Get-in plan, DMX runs and any planned changes to set up of the tech in the theatre. Points to note:
    • Any planned hires should be run through the EUTC Technical Manager two weeks in advance of the questionnaire deadline.
    • You should seek the advice of the Technical or Theatre Managers regarding health and safety and building regulations.
    • It might be useful for your show’s technical team to meet with the EUTC Technical Manager, to go through anything they are unsure about in the runup to show week.
  • To ensure your Get-in is run efficiently, talk not only with your set-building colleagues, but also the tech teams before and after you. Your rig plans might have a lot in common.
    • It is imperative that everyone that might be going up a ladder be ladder trained by the EUTC Technical Manager. A list will be kept by Committee to ensure that safe working practises are maintained. Ladder training will be run at the beginning of each semester, and on an ad hoc basis thereafter.
    • It is strongly encouraged that you make an event on Facebook in the Bedlam Techies group to promote your Get-In to encourage people to come along
  • The technical rehearsal (or tech run) usually falls on the Monday evening of show week, this is a very important time to ensure that the tech for the show is all set up and programmed to a sufficient standard before the dress rehearsal.
    • It is important that the whole show team and cast understand that this is the tech team’s time and they are in charge.
    • The EUTC Technical Manager will be on call for the tech run, dress run and first night for any issues the tech team may have. Their contact details are displayed in the tech box.
  • Any gels cut for the show must be labelled correctly (as shown in a poster above the gel cutting station by hard patch) and returned to the correct file at the end of the show run. If you cut gel from the rolled gel storage make sure to roll it back up tightly and place it back in the correct slot for the next person to use.
  • Get-out must be completed on the last night of the show. There is a checklist to ensure nothing is forgotten. A copy should be in the tech box, but there is also a copy here.
  • If any equipment is faulty or breaks during the Get-In or run of the show, please report it. If something breaks during your run, don’t panic, but please inform the Technical Manager ASAP so that they can try and resolve the situation.

See EUTC Wiki Tech Resources for more.

7.5 Set

This section was reviewed by the Set Manager, who can be contacted at


This generally boils down to:

  • If you are not sure, ask the Set Manager.
  • Clean up after yourself
  • Building things needs to be safe.
    • Do not use tools that you have not been tool trained on. Tool training can be arranged easily with the Set Manager with enough notice.
    • Do not use power tools in the building past midnight without permission from the Set Manager
    • Do not use power tools if you are alone in the building, always make sure someone else is around
  • Built things need to be safe and legal.
    • If cardboard, paper, or polystyrene is to be used in set construction it must be passed by the theatre Manager and treated with the necessary Flamebar flame retardant (N5, S3, or SIWA2). Bedlam may not have stock of these if you do not get in contact with the Theatre Manager in time (≥2 weeks before Get-In).
    • All built things may be inspected by the Set Manager or Theatre Manager. If your construction is somehow classified as unsafe, your production may be suspended until it is rectified (see Constitution Article 6D).

Additional permission (from relevant people, at least 2 weeks in advance) must be sought for:

  • Constructing anything that is not a free-standing structure for use on stage (Set Manager).
  • Drilling or screwing into the stage (Set and Theatre Managers, will always be discourage)
  • Attaching anything other than fixtures to the rig (Tech Manager)
  • Building or painting anywhere other than the stage or the workshop, especially the café and other Front-of-House areas (FoH and Theatre Managers)
  • Modifying or decorating anywhere not on the stage, like the Front-of-House areas or auditorium walls (FoH and Theatre Managers)
  • Any construction designed to be walked on that is higher than 600mm (Set and Theatre Managers)
  • Any change to the layout of the Bedlam stage and seating plan (generally requires Conversion licence from the Council, coordinate with Committee).
  • Any set piece or piece of technical equipment being placed in the auditorium walkways or somewhere which could obstruct fire escape routes (Set and Theatre Managers)

Consumables (including paint and wood)

  • No production is entitled to Bedlam’s stock of materials, at any time. While Teatimes and Fresher’s Slots productions may work with the Set Manager on justifiable use, all other productions must purchase all materials and consumables for their productions. This includes all wood, screws, paint, and tape for their production. These productions can only use Bedlam’s stock of materials in extraordinary cases with permission from the Set Manager.
  • Paint
    • It is encouraged to paint the stage and back wall, but they must be painted back to Flints Black afterwards. Please talk to the Theatre Manager before painting other areas, including other surfaces of the auditorium.
    • Please talk to the Set Manager before painting anything from the set or props store.
    • Paint is found in the paint cupboard. Please ask before using any paint as it may be reserved for a future production. Please seek permission before using unusual types of paints such as gloss paint, UV, glow in the dark, thermochromic etc.
    • Clean up after you have finished! This includes returning and cleaning all the paint brushes and trays that you have used.
  • Wood
    • Wood found in the wood scraps box in the workshop is free to use for any production.
    • Wood found in the timber store on the stage right balcony cannot be used without permission from the Set Manager.

See EUTC Wiki Set Resources for more.

7.6 Props and set pieces

This section was reviewed by the Set Manager and the Theatre Manager who can be contacted at and

The Props Store is the Crypt. Some important rules:

  • No glass or ceramics are allowed on stage, unless with explicit verifiable written permission from the Theatre Manager.
  • Please don’t modify or paint any props without permission. If something breaks, please tell the Set Manager.
  • Please return props to the Props Return box just outside the crypt. Please return set where you found it (neatly).
  • You cannot (without permission from the Set Manager) remove any items physically from Bedlam. This includes EUTC shows that may have photoshoots or be held entirely outside Bedlam.

Almost anything you can see in Bedlam can be used in your play. However, if it is not part of the props or set store, you must ask permission from the relevant Committee member:

  • Box Office, Cafe, and Kitchen, ask the Front-of-House Manager
  • Tech box and tech store, ask the Tech Manager
  • Workshop, ask the Set Manager
  • Ogg Office, ask the Archivist
  • Library, ask the Librarian
  • Anywhere else, ask the Theatre Manager.

You must speak to the Theatre Manager if you plan to do any of the following:

  • Smoking is not allowed anywhere in the building, including herbal cigarettes. Electronic Cigarettes are legal on stage but make sure to isolate first.
  • Lasers need permission from the Council. This can take up to two months to come through.
  • Fire/pyrotechnics need permission from Fire Scotland. This can take some time so speak to the Theatre Manager well in advance.
  • Firearms need permission from Police Scotland. This can take some time so speak to the Theatre Manager well in advance. Firearms should never be used backstage or on the balconies, nor pointed at the audience, as is guidance by Police Scotland.

See EUTC Wiki Stage Resources for more.

7.7 Costumes

This section was reviewed by the Wardrobe Manager, who can be contacted at

  • If you want to borrow any costumes, contact the Wardrobe Managers. Shows from other societies or projects may be required to pay a deposit/fee.
  • The Wardrobe Managers can give advice on what we have and organise when you can be let into the building.
  • When looking through Wardrobe please be mindful as to the state you leave it in; the Wardrobe Managers are not there to clean up after other people.
  • Please contact Wardrobe Managers to arrange the return of items.
  • The walkway in the Wardrobe area is a fire exit and so must be kept clear.
  • All costumes must be washed/dry cleaned before returning them. Garments can be altered depending on the circumstances, please discuss with the Wardrobe Managers first or your show team will be billed for a replacement garment.
  • If any costumes get damaged, let the Wardrobe Managers know to discuss replacement or repairs.
  • If you need any costumes we don’t have at Bedlam, ask the Wardrobe Managers as they may have suggestions.

See EUTC Wiki Costume Resources for more.

7.8 Archives

This section was reviewed by the Archivist who can be contacted at

The Archives Subcommittee helps remember things, get in touch if you want:

  • Help recording your show
  • Help recording a timelapse of your get in
  • To see old recordings or timelapses

Archives will also get in contact with you about photos of your show or left over marketing material, to preserve it for the future.

8. Contact us

If it all gets too much or you have any questions don’t hesitate to ask. The Committee is here to help you.

If you are unsure who to talk to, the Productions Manager should be able to point you in the right direction, or you can pop into a Company/Committee meeting on a Monday evening.

Useful emails:

All other Committee emails can be found on the main Bedlam website ( Please tell the Productions Manager when you have read this so they can be super proud of you.

Copyright © Edinburgh University Theatre Company. Bedlam Theatre, Edinburgh, EH1 1EZ, Scotland.