• The rehearsal period for Festival Productions is five weeks including the performance week. The rehearsal period for Readings is four weeks not including performance week. Directors wishing more than this amount must receive approval from the Director of Theatre.  

• For NPF 2026, productions will begin their 5-week rehearsal period during the week of March 30th. Start dates will be staggered to correspond with performance dates (e.g. the Monday show has its first day of rehearsal on Monday).  The Production Stage Manager will coordinate the scheduling of the First Day of Rehearsals.   

• Any gathering of the actors to work on the script is considered a rehearsal. A rehearsal report must be filed by both Productions and Readings for each rehearsal. 

• All rehearsal schedules must be shared with faculty advisors for review. 

• Two Build Nights will be scheduled for New Play Festival. We ask that rehearsal on these nights is limited to allow for attendance at build night. All University students involved in Festival are expected to participate in a build night. You must be tool qualified to use the shop equipment.  Community members cannot participate in Build Nights.  

• Festival Productions may rehearse up to 24 hours per week, including the tech/performance week.  

• Readings may rehearse a total of 20 hours for the entire rehearsal period. For readings, the 20 hours of rehearsal should be spread out over the period and used to develop the script, rather than concentrated in a block at the end of the period for the purpose of staging. For NPF 2026 rehearsals for the reading series may begin April 6th. 

• The workweek is Monday through Sunday.  

• During regular rehearsal weeks the company must have at least one full weekend day off each week (either Saturday or Sunday). During Festival week, productions must take the day off before load-in and tech.  

• There must be a minimum 12-hour break between the end of work on one day and the beginning of work on the next.  

• Rehearsals may not last longer than 3 hours a day Monday, 4 hours a day Tuesday through Friday, and 5 hours a day Saturday or Sunday. Rehearsal may begin at 8:00p on Mondays, at 7:00p Tuesday through Friday, and at 11:00a on weekends. Rehearsals must end by 11:00p. Productions wishing to rehearse longer than 5 hours on their weekend day must receive permission from the Director of Theatre prior to scheduling. The approval of longer rehearsals must be sent to the Production Stage Manager of NPF. 

• A Straight 6 (6-hour rehearsal call) may be scheduled with the permission of the Director of Theatre on either Saturday or Sunday, provided it constitutesthe full day of work, and a break of no less than 20 minutes is scheduled during the call.  

• Rehearsals on Saturday or Sunday may not begin before 11:00 am on weekends. Any requests to start a rehearsal prior to this time can be made to the Festival Production Stage Manager and the Director of Theatre. 

• A work call (including load-in and tech) may not be scheduled for longer than 5 hours before a 90-minute meal break is taken, unless a straight-six has been scheduled which would constitute the entire workday. The 90-minute meal break may be reduced to 1 hour with prior approval and a vote of the company.      

• Stage Management will track the weekly hours worked by the company in their daily reports.  

• No actor may be called to rehearse the day before the load-in/tech process begins. The weekly 24-hour clock will reset once the production has taken this required day off.  

• A work call (including load-in and tech) may not be scheduled for longer than 5 hours before a 90-minute meal break is taken, unless a straight-six has been scheduled which would constitute the entire workday. The 90-minute meal break may be reduced to 1 hour with prior approval and a vote of the company.      

• A Master Tech Week Schedule will be provided by the Production Stage Manager of NPF. Each Stage Manager will create a Tech Week Schedule for their individual production. The due date for the individual production’s tech week schedule will be listed in the deadlines appendix.   

• All technical rehearsals must end by 11:00pm. During technical rehearsals, notes and post rehearsal business must end by midnight. Shows working after midnight will lose the privilege of the stage lighting and the use of the light board and will instead be performed under work lights.  

• Actors may not be called before 7:00p, except on performance days.   

• During NPF individuals are limited to working no more than 8 hours in a 10-hour span of day except for load in day where the span of day is 12 hours (or 13 hours if the company approved the extension of the Q to Q by Secret Ballot). 

• Productions will have a total of three days in the performance space that will consist of the following:  

• 3-hour load in starting at 9:00am 

• 2-hour work notes session per department, no actors may be called 

• 2-hour tech/ Q to Q with actors (this may be extended to 3 hours with a Company-Wide Vote conducted by Secret Ballot)  

• 2-hour work notes session per department - each designer is limited to 2 hours of work in the space, no actors may be called 

• 4-hour dress Rehearsal with actors 

• 1-hour work notes session, no actors may be called 

• 4:30pm - Actors called for half-hour/performance prep 

• 5:30pm - Performance #1 

• Curtain down, meal break 

• 8:30pm - Actors called for Performance #2 

• 9:00pm Performance #2 

• Strike will follow Performance #2. Strikes must end by 12:30am for shows 1 through 3 and by 1:30am for the final strike on Friday of Festival Week.   

• There must be a 5-minute break after 55 minutes of work or a 10-minute break after 80 minutes of work. Rehearsals may not last longer than 5 hours without a 90-minute break, however the company may vote to reduce this break to 60 minutes.  

• There must be a minimum 12-hour break between the end of work on one day and the beginning of work on the next (e.g. if you rehearse until 11:00 pm Friday you can’t call the cast until 11:00 am Saturday). 

• Actors cast in a mainstage, gallery, or workshop may not begin rehearsal on a new play production while in rehearsal, tech, or performance of that show. Following the closing, actors are required to take a full 2-day rest period before beginning rehearsal for a new production.  

• Students cast in multiple productions may not rehearse more than 24 hours in a week and must have one full weekend day-off each week.  Readings who double cast with a production must work around the production schedule.  

• Deputy Election: Each production shall elect a deputy from the cast at the first rehearsal. The deputy will assist in the enforcement of departmental rules and will act as an advocate for the cast during the production process.  The deputy should report concerns to the Stage Manager. If the problem cannot be solved at that level, it should be reported to the Production Stage Manager, and then to the Director of Theatre. 

• Social Media Candid and Spontaneous Photo and Video Vote: The Company must take a secret ballot vote on if they will allow spontaneous photos and videos to be taken during the rehearsal process that would be used on social media to help advertise the show and create excitement and interest regarding the production.  Prior to any media being posted permission must be obtained of all in the parties captured in the media and the director of the production.  Note: This policy does not apply to scheduled marketing photos and videos where the company receives prior notice.  

• If a show involves staged intimacy “The University of Iowa Department of Theatre Classroom and Rehearsal Intimacy Guidelines” must be distributed (if they haven’t already been at the Intimacy/Consent Workshop) along with supporting documentation. 

• Emergency Information Form: Stage Managers are encouraged to collect Emergency Information from the company using an “Emergency Information Sheet”.  These forms should be kept in a secure location and only used for emergencies. When the production ends the forms should be shredded. If you would like to receive a template of an Emergency Information Sheet, please contact the Production Stage Manager or their assistant. 

• Sexual Harassment Policy: The Department of Theatre Arts fully supports and endorses the sexual harassment policy of the University of Iowa.  Additionally, the faculty and staff recognize that the practical study of theatre arts presents special challenges for the participants that extend beyond the classroom.  In the process of creating theatrical productions, we play many different roles and work with many different people in circumstances that frequently require great intimacy. It is important that everyone understand that the principles outlined in the University’s policy be fully honored in this process while respecting the requirements of rehearsal and performance.  Whether the compromising or hostile behavior comes from faculty, staff, graduate or undergraduate students, individuals should immediately report the incident to a faculty or staff member without fear that doing so will jeopardize their position in the department or future participation in departmental productions.  For more information and instructions about reporting please see the University of Iowa Policy on Sexual Harassment.  

• Conflicts: Prior to auditions, the Production Stage Manager, in consultation with the Director of Theatre, the DEO and the Production Director, will post a comprehensive list of dates affecting the productions that are casting. The dates include first rehearsals, technical rehearsals, dress rehearsals, performancesand closing dates.  The list will also draw attention to dates that may coincide with days of religious commemoration and University holidays. It is the actor’s responsibility to check their schedule before auditions and note all conflicts in the conflict survey. The production’s rehearsal and performance schedule will take all bona-fide conflicts into account. In agreeing to accept a role, the actor agrees to the rehearsal, tech, and performance schedule. In casting the actor, the Team Leader agrees to all conflicts listed in the conflict survey. Any new conflicts must be presented to the director and stage manager for approval. If an actor has an evening class that conflicts with rehearsal, the actor must attend class. Rehearsal does not qualify as an excused absence from other University classes. During tech week, an actor with an evening class may request a letter from the Department acknowledging their participation in a production and ask for an excused absence. It is up to the class instructor whether an excused absence is granted. 

• A rehearsal or performance report must be filed for each day of rehearsal/performance. It is the Team Leader’s responsibility to email the report by 9:00am the following day. Please include the show title in the subject line of the email. Attach the report to the email and include the text in the body of the email. The report needs to be e-mailed to the faculty and staff on the Distribution List.  

• You may meet with the Festival Production Stage Manager to discuss rehearsal and performance report formats. 

• Rehearsal Reports must contain the following information: 

• Rehearsal and performance spaces must be left clean and tidy. All furniture and props must be returned to their proper place. Trash must be thrown away. All trash adjacent to the Alan MacVey Theatre (Hallway, Greenroom, Dressing Rooms, and Booth) must be emptied into the loading dock dumpsters each night. (A key to the shop can be checked out from Katie McClellen for this purpose.) Windows must be closed and lights switched off. 

• Lobby furniture may not be used for rehearsals or performances. Classroom furniture may not be moved to another room. 

• Prop and Wardrobe Cabinets are available, on a first come first serve basis, to be checked out from Katie McClellen, Scheduling & Facilities Manager. Please see Keys for more information regarding cabinets. Arrangements to clean out and return all cabinets must be made within 48 hours (2 working days) of the close of a production.   

• Limited storage space is available for some props and scenic elements at the Props Manager and/or Technical Director’s discretion. 

• Under no circumstances is food or drink allowed in any control booth. Violations will result in a fine of $25.00 charged to your production. The Team Leader is responsible for enforcing the Department rules concerning no eating, drinking, or smoking in classrooms or theatres during rehearsals. In addition, rehearsal spaces must be left clean and orderly. Failure to do so can result in loss of privileges to use space and equipment. 

• Note any temperature problems in your daily rehearsal/performance report. There is no localized control of the temperature in the performance spaces. In case of a temperature emergency (no heat or air conditioning at all), call FM@YourService at 319-335-5071. If you call FM@YourService, note the emergency and the time of your call in your daily report. 

• Anything in need of repair should be noted in the daily rehearsal/performance reports. 

• The Ghost Light must be set in place and turned on following each rehearsal or performance. If the light is not functioning, a work light must be left on. This must be reported in the nightly rehearsal report under the Electrics/Lighting section. 

• The Theater must be cleared of all equipment including ladders and tech tables before the Custodial Staff will clean the space. This must be done the NIGHT before opening as the Custodial Staff begins work at 4:00am.   

• The door to the Scene Shop will be locked before 8:00am and after 5:00pm Monday-Friday and on the weekends. If you need access to the shop for any reason, please arrange it with either the Scenic Design Coordinator or by contacting Katie McClellen.  

• Each week the stage managers should send the Production Stage Manager their room requests by midnight on Thursday for the following week. Make sure to note any special needs, run throughs, or other circumstances. The NPF Production Stage Manager is responsible for all room scheduling for Festival. Please be sure to list alternate choices for a rehearsal space. Scheduling priorities are (1) classes; (2) Mainstage Departmental productions; (3) class projects, NPF productions; (4) Workshops, NPF Readings, Labs, and other Department supported events, and (5) non-departmental events. The NPF Production Stage Manager and Director of Theatre will consult if there are conflicting priorities. Teams are encouraged to discuss their weekly scheduling needs with productions they share spaces with.   

• Note that rooms cannot be assigned to projects. You may not be able to rehearse in the same place each time, and you may need to work without spike tape or with minimal floor taping done in several spaces.  

• Before taping in any rehearsal space or theatre, you must get permission to do so from the Festival Production Stage Manager. Taping out in a space does not indicate that a production has priority of it. Only spike tape and glow tape may be used on the classroom/theatre floors. Minimal Spike tape is available free of charge from the Production Stage Manager. If a production needs significant amounts of spike tape it can be purchased with the assistance of the Department Production Stage Manager. At strike for your production any tape, including rehearsal taping in any space, glow tape, and spikes on the floor of the theatre must be removed. 

• Each production is guaranteed three days in the performance space: Load-In, Tech, and Performance. Additional days in the space are dependent on the calendar and should be split equitably between the productions using the space.  

• When working in the theatre spaces the ghost light must be set in place and turned on following each rehearsal. If the light is not functioning, a work light must be left on. This must be reported in the nightly rehearsal report. 

• There will be no work allowed in the building between 12:00am – 8:00am. Strike must be completed by 1:30am. 

• The Festival Production Stage Manager (or the stage manager on duty) will be responsible for unlocking and locking the performance spaces during Festival week. Individual productions will not need to check out keys. Please see the Festival Production Stage Manager with any access needs.  

• Keys for props and/or wardrobe cabinets can be checked out to productions on a first come first serve basis (please see Facilities for more information). Only one key for a cabinet is available for each production and is the responsibility of the Team Leader or individual who checks out the cabinet. Spares are not available. For your convenience, a lock box is available on the slip stage next to the Tech Director’s office to provide a secure place to share the key between team members and to store the key in the Theatre Building. The code for the lock box can be received by contacting the Scheduling and Facilities Manager or the Production Stage Manager.  Arrangements must be made for the cleaning of the cabinets and return of the keys by 48 hours (2 working days) following the close of a production. 

• Security is an important consideration for our building. To safeguard the theatres and their equipment, all production spaces must be locked whenever not in active use. This includes securing both doors and windows in the Alan MacVey Theatre control booth.   

• The Theatre Building is unlocked from 8:00 a.m. to midnight, seven days a week. No work on productions is permitted after midnight. If you arrive for a rehearsal and the building is locked, you--or someone from your production team—should inform Campus Safety (319-335-5022) that the building is locked. A member of the production team must stay near an outside door to admit other cast or crew members. Do not under any circumstances prop open locked exit doors.  Note the Theatre Building may be locked at times due to university events that utilize the nearby parking lots.  

• When your production closes, return all keys no later than 48 hours (2 working days) after your final performance. Keys are to be returned to the Scheduling & Facilities Manager. They are not to be passed from one production team to another. The Team Leader will be charged for lost keys, even if the Team Leader is not directly responsible for their loss.  

• Prior to rehearsals beginning and no later than the end of the first week of rehearsal any production that will involve stage violence or stunts must contact Paul Kalina to schedule a consultation. If stage violence is added to a production during the rehearsal process Paul Kalina should be contacted immediately. Once the moments have been staged, they shall be rehearsed as instructed and no changes may be made without input from Paul Kalina.  

• Stage weapons are only permitted after consultation and approval from Paul Kalina. Please complete the Weapon Request Form on the Online Callboardto facilitate approval. 

• The production team is responsible for any weapons that they check out. If they are lost, stolen, or damaged due to neglect, the Team Leader will be billed for the replacement. 

• The team member that checked out the weapon(s) must arrange the return with Paul Kalina within 2 business days of the show closing.  

• Pyrotechnics are not permitted in any theatre production or space. 

• There can be no nudity in Festival productions, filmed or live onstage.   

• All productions with intimacy should speak to the Director of Theatre prior to the beginning of rehearsal to determine what training or outside support the production may need.  

• For shows with moments of staged intimacy, all members of the production must receive and sign the Department Intimacy Agreement and attend the Consent Workshop (once per academic year). See TRAINING for more information. 

Updated 2/15/2026

SCENERY 

• For Productions: Limited stock scenery may be available, at the Technical Director’s discretion.  Mainstage scenic and storage needs take priority. Only approved scenic elements may be used and a check out form must be filled out prior to any items being pulled. The Team Leader is financially responsible for all scenic elements checked out to the show. Each item must be returned to its original location, in its original condition. If items are altered, damaged, or not properly put away, fines will be appropriately assessed with a 2-hour minimum work call at the standard shop labor rate (see Appendix A).   

• Two Build Nights will be scheduled for New Play Festival. A staff member from the shop will be present to help organize and the festival scenic designers are required to attend.  We ask that rehearsal on these nights is limited to allow for people to volunteer for build night. All University students involved in Festival are expected to participate in a build night. You must be tool qualified to use the shop equipment. Community members cannot participate in Build Nights.  

• Stock scenery may not be altered in any permanent fashion; all painting must be approved. Any prop, scenic, or paint supplies used in the build or load in of the production must be recorded and will be charged to the show. Any tools, supplies, or equipment damaged (i.e., paintbrushes) will also be charged to the show. Once construction begins, no additions to the ground plan will be permitted unless approved by the production staff. Please meet with the Technical Director early in the design process to discuss the ideas for the scenic design. The shop staff are here to help you figure out what is possible.  Please bring:  

• The initial concept sketch and/or groundplan 

• Any Initial elevations 

• List of stock items you want to use. 

• List of items you intend to build. 

• The Technical Director will help you figure out: 

• If the design is achievable within Time and Money budget 

• A construction method that is achievable 

• Any special rigging needs 

• A general build schedule 

• Scene Shop Involvement 

• The scene shop will dedicate 12-16 hours of shop time to each show. This is reserved for more complicated set pieces or metal work. 

• Any scenery not able to be produced during that time frame is the responsibility of the designer to achieve during build nights and off hours. 

• The designer is required to be present at the top of those days to set priorities 

• The shop Staff will procure all materials needed for the build of the shows. 

• All rigging must be approved by the shop staff. 

• Groundplans and other data for the Alan MacVey Theatre and Room 172 can be found on the Gallery & Workshop Page of the Online Callboard. The groundplan for David Thayer Theatre will be provided to the design team(s) with the seating plan and rep plot. 

• Any Festival Production is welcome to contact Jason Simms (jason-simms@uiowa.edu) to discuss their scenic design ideas and discuss the NPFProduction process. Construction advice and logistical support is offered by the Technical Director and Scene Shop Foreman. All Festival Productions are encouraged to keep Jason, The Scene Shop Staff, DOT, and the NPF PSM informed about their production, especially as it relates to the construction timetable and load-in. 

• A scene shop staff member will be present at all load-ins and strikes for the festival shows.  All rigging must be overseen by shop staff. Post install, and pending any concerns, the set will be approved for use by the staff member present at the end of load in. 

• For Festival productions, work is allowed in the scene shop and the prop/paint shop during the regularly scheduled hours, 8 am – 12 pm and 1 pm – 5 pm, Monday through Friday, beginning April 8th. Exceptions to those hours will be posted in advance. An appointment must be made with the Department Technical Director, and a shop staff member must be present in the shop. Stage Management and Design TAs are not authorized to supervise work in the scene, prop, or paint shop. The Scene Shop Staff will provide limited build support for the Festival Productions (outlined above).  This must be arranged in advanced with the Scene Shop Technical Director and Scene Shop Supervisor.  

• Material from scrap racks may be used by Festival productions. The Technical Director or Scenery Supervisor will indicate the available materials during tool qualification sessions. This material is free of charge. However, material used that is not from the scrap racks must be purchased by the show. The proper way of reporting this is to fill out the material used data sheet next to each of the lumber and plywood racks. This material will be billed to the Festival shows at purchase price. It is the responsibility of each show to estimate materials needed for their production, check with the shops to see if the materials needed are in stock and available and arrange to procure materials needed prior to planned build events. 

• All NPF team members MUST be tool qualified. Unless you are employed by the department as a scene shop laborer, you must re-qualify on power tools each year. Tool Qualification for NPF 2026 will take place on Friday, April 17th from 3:00 pm – 5:00 pm in the Scene Shop, TB 182. If you have qualified for the year, you do not need to re-qualify for Festival. A list of those people and the tools on which they are qualified is on file in the scene shop office.  

• The Tool Cart may be taken out of the shop for assembly and rigging of scenery. It is to be returned and put away whenever not in use. Power tools (other than screw guns and pneumatic staplers) are NOT to be used for scenery construction in any of the performance spaces. 

• Anyone working on the production is responsible for safe operation of the shops and equipment. If, in the judgment of the Technical Director, Scene Shop Supervisor, Lead Carpenter, or other production staff member, you are using the shop in an unsafe manner, they may ask you to change what you are doing. If you persist, the Technical Director or Scene Shop Supervisor may ask you to leave or may close the shop to you and your production.  

• For all productions: If scene shop employees clean any area or equipment left messy by a production, the Team Leader is charged a fee for the labor. This includes, but is not limited to debris, furniture, or props left in any shops, rehearsal spaces, performance spaces, or hallways; and tools, materials, or equipment left abandoned at the end of the workday. The fee will be at the standard shop labor rate (see Appendix A) with a 2-hour minimum call. All scenery and shop supplies must be returned during strike following the last performance unless special arrangements are made with the Technical Director in advance. 

• The week that the scenic art plan is due, the Scenic Designer must meet with Joan Newhouse to review their design – plan on meeting for at least 30 minutes. Regardless of whether it is a simple approach or a more complex treatment, a formal meeting must be scheduled in advance by emailing joan-newhouse@uiowa.edu. 

• It is expected that the Scenic Designer will explain the design to Joan (bring the ground plan, sketches, paint elevations and/or research to explain your design) and they will discuss paint techniques, materials they are planning on using (or can be used for free in the shop) and a detailed schedule of when they intend to paint (plan on providing a copy to Joan). If the Scenic Designer has not worked in the Paint Shop before, there is a discussion about appropriate use of the shop, including safety, proper use of personal protective equipment, tool clean up, storage, and appropriate action in case of spills or accidents.    

• This meeting helps the Scenic Designer know what resources are available (materials that may be available for free and time/space that is available to work in) and helps Joan know what is going on in the Paint Shop throughout the semester. 

• The Team Leader or Stage Manager should be aware that the discussion between the Scenic Designer and Joan has occurred. If there are any issues that impact the overall aesthetic of the production that still need to be resolved, the information should be brought to the Friday morning NPF meeting. 

• Any paint projects that need layout space must be scheduled in advance with Joan; this includes when and where the work will be laid out, what techniques and materials will be used, and when the work will be picked up.  

• The Paint Shop typically works from Monday through Friday (8a – 5p) including academic breaks; however, there are times when the Paint Shop works outside of that time and (more often) there are large projects that are stored in the Paint Shop over the weekend. You are not allowed to move scenery from other productions to clear space for your production. 

• New Play Festival shows are encouraged to work OUTSIDE of the Paint Shop hours. 

• The University has a strict policy about materials used on campus. Regarding donations, they can only be accepted and used in the Department if you have a hard copy of the SDS for the donated material and Joan approves the donation. There are some products that are widely available in the open market that we simply do not use any more at the University, due to their potential health and safety consequences. 

• If a production uses materials on the shelves or from storage that are not allowed, that production will be charged the full replacement cost, at the Paint Shop’s discretion. 

• No work can be done in the Paint Shop alone. If it is discovered a production has broken this rule, that production will be banned from both the Paint Shop and Scene Shop until strike. 

• All scenery needs to be able to pass fire safety tests when there is live flame.  

• For Festival productions, work is allowed in the paint bay during the regularly scheduled hours, 8AM-12PM and 1PM-5PM, Monday through Friday. Evening/Weekend hours must be arranged through the Joan Newhouse (Staff Charge Artist for Performing Arts Production Unit, joan-newhouse@uiowa.edu). 

• Only brushes purchased for the Gallery/Workshop Series may be used for painting. Paint brushes and tools that belong to the Paint Shop may not be used without special permission from Joan Newhouse. 

• Reminders about the use of the paint shop:  

• Any artist working in the paint shop must be tool qualified.   

• Appropriate personal protection equipment must always be used.  

• The Paint Shop must be left in the same or better shape than when you arrived.  

• All scenery needs to be able to pass fire safety tests when there is live flame.  

• The Lighting and Sound Department will not be responsible for the set up or strike of the workspace for any NPF Production or Reading. 

• For all productions: The Rep Plot in the David Thayer Theatre and Alan MacVey Theatre must not be moved or refocused. Barrel adjustments, template additions, and color changes are allowed. 

• A copy of the standard plot is available from the Electrics Supervisor and on the Online Callboard. All light plots, inclusive of instrument schedules, channel hookups and preliminary cue sheets, must be approved by both the Lighting Faculty and the Electrics Supervisor one week prior to hang. Failure to do so may result in production delays for your project. 

• Gobos and a selection of frames are available in Room 184A. All equipment pulled MUST be recorded on a sign out sheet provided in Room 184A. Make sure to note the condition of any used gobos, as those gobos not returned or returned damaged will be charged to the production (approximately $11.00 each). Gel may be purchased out of your show budget. There will be no cash sales of any type. Full sheets of gel are available from the Electrics Supervisor at $7.00 per sheet, regardless of how many cuts you make from them. 

• Replacement lamps for normal burnouts in the Alan MacVey Theatre are stored in a gray steel cabinet on the gallery at the rear of the house in the theatre. There is a lamp sign out sheet on the grey steel cabinet. When replacing a lamp, please indicate lamp type, wattage, date, your name, and the production name. You will not be charged for normal lamp burnouts; this is strictly for inventory tracking. Please notify the Electrics Supervisor if there are no replacement lamps in the cabinet. Any electrics equipment other than the theatre's normal lighting instrument inventory, cable and supplies must be obtained through the Electrics Supervisor. Time for obtaining these items must be scheduled in advance with the Electrics TA, Gabby Johnson(gabriella-johnson@uiowa.edu). Check with the Electrics Supervisor or Electrics TA for times when the TA is available to check out equipment. All pulling of equipment must take place during those hours. No exceptions will be made. When you are done pulling your equipment, you must be signed out by an Electrics staff person. At that time, you will arrange a time to return your equipment. 

• Fog or haze machines must be requested through the Electrics Supervisor. To use the fog and haze machines, you must arrange to have the fire alarms turned off. A request must be made to Katie McClellen, Scheduling & Facilities Manager, at least 7 business days before your first use of fog or haze. Also, the Fire Department charges a fee for this service, so you will need to pay $75 from your production budget. For more information, please see the “use of theatrical smoke, haze, and open flame” section.  

• Instruments are not to be moved from one theatre to another without prior approval of the Electrics Supervisor. Requests for additional fixtures must be submitted with the light plot and approved by the Electrics Supervisor. Additional fixtures must be checked out with the same process as gel and templates. Copies of the rep plot are available from the Electrics Supervisor. If you do hang additional instruments, they must be returned to storage locations during strike. Light cues for each show should be stored to removable media each evening before the board is turned off. Each show is responsible for providing its own media. 

• At strike, collect all gear to be returned at your scheduled time. Those items that were checked out from other locations should be returned within twodays of strike as scheduled with the Electrics TA. Instruments should be struck and returned to storage positions with the barrels and shutters in all the way. Strike all cable and make sure that the catwalks and grid are clean and tidy. Strike any floor mounts and return to storage. Clean the booth so it is ready for the next production. The standard rep plot needs to be restored during strike. All other instruments need to be returned to their storage locations. If the standard hang was used for the production simply strike color and gobos, leaving the instruments hung and plugged in.   

• The fact that the Rep Plot might not have been restored when you loaded in should be noted, but it does not absolve you of the responsibility to restore it after your production. If the plot was not restored to rep condition when your show loads in, report this to the Electrics Supervisor and include how long it took you to restore to rep conditions. If any instruments are to be carried over from one show to the next an itemized list requesting those items to remain must be provided and approved at the production meeting prior to Strike/Load In.  

• If the Rep Plot is not restored during your strike, the restoration will be done by staff at the standard shop labor rate (see Appendix A) with a two-hour minimum call. If there is no time between productions for the shop to restore the Rep Plot and the next production needs to restore the plot before they can load in, the previous show will be charged for the time that was lost in restoring based on shop rates. 

• When you return your equipment to Room 184A, it is your responsibility to return all equipment to its proper location (this includes re-filing cut gels).  

• If you have problems other than lamp burnouts, please report difficulties to the Electrics Department by email, be as descriptive as possible or schedule a time to meet with Electrics Personnel. All repairs will be made during Electrics Shop work hours. NO REPAIRS ARE TO BE DONE BY ANYONE OTHER THAN ELECTRICS PERSONNEL.   

• Board operators are to be trained by the lighting designer. 

• The headsets available for the David Thayer Theatre and Alan MacVey Theatre are stored in the Theatre’s booths along with the cables and equipment needed for their operation. You must make an appointment with NPF Production Stage Manager to learn about how to install and use the system. If you need additional headsets, they may be requested on your Electrics Request form and will be granted based on Department availability. 

• Productions will be charged $75 to turn off the fire sensors. 

• Productions using theatrical smoke or haze may not have any open flame of any kind due to the need to deactivate fire sensors.   

• Low lying atmospherics cannot be used when an actor's head will be within two feet of the stage floor. 

• Productions wishing to use theatrical smoke, haze, or open flame of any type must receive special permission from the Director of Theatre, Technical Director, and the Electrics Supervisor.  Theatrical smoke or haze is available for productions only and must only utilize Department equipment. All uses of theatrical smoke, haze, or open flame must meet local fire code regulations. Training on the use of the smoke/haze units must be completed prior to checking out the units from the Electrics Representative. 

• If your production requires theatrical smoke or haze you must make special arrangements with the Scheduling & Facilities Manager, Katie McClellen, to disable the building’s fire sensors. You may not even test a smoke or haze machine before doing this. If the fire alarms sound (which will happen with a small amount of smoke in the air) the building is evacuated, and the Fire Department is called. A false alarm is very expensive and will be charged to your production. Requests to disable the fire sensors must be submitted at least 7 business days prior to first use.  The request must contain the following information: 

• Production 

• Team Leader Contact Information 

• Type of Smoke and/or Haze Device and its location in the performance space 

• Each day and time block that the device(s) will be used. Include warm-up time and time for the smoke/haze to dissipate. Please list all uses of the smoke/haze on a single request. 

• Any project interested in projection must fill out a projection request form at least four weeks before the performance date.  

• Use of projection and/or video is at the discretion of Director of Theatre and is based on the demonstrated abilities of the designer. 

• There is a permanently mounted 14K Panasonic projector mounted in the MacVey Theatre catwalk. Approximate image size 22’ wide by 14’ high. 

• There is a Mac Studio Computer with QLab Video, Isadora, and Keynote Software and a Dell Computer with PowerPoint Software. 

• Additional resources that can be requested include: a Pixera License Key for the Dell Computer, a Watchout 6 Media Server with the Dell Computer, a 7K or 8K Projector, cameras, or small displays. 

• 7K and other lamp-based projectors cannot be used with haze. 

• Designers are responsible for training their own board-ops.  

• A rep sound plot will be provided in the David Thayer Theatre and in the Alan MacVey Theatre.   

• Standard Equipment available in each Theatre are: 

• Additional speakers, microphones, and other equipment may be checked out through the Audio/Video Representative. Use of additional equipment is based on availability and discretion of the Audio/Video Supervisor. All plans beyond using standard equipment must be discussed with and approved by the Audio Supervisor at least one week prior to load in. Moving equipment from one theatre to another is not allowed.  

• Wireless Headset Microphones are not available. Two Wired Microphones on stands are available on request.  

• Only qualified personnel having successfully completed the Department’s Sound Design classes may use the Sound Studio recording/editing facilities. Team leaders for productions without personnel trained on editing equipment may bring their own playback device and plug into the DI Box/Aux Cable (3.5mm/headphone connection provided).  

• Recordable material must be purchased by the production. This can be accomplished by contacting the Audio Supervisor to purchase the medium for the production. See the Audio Supervisor if you need to buy recordings; those too are charged to your production account and become part of our Department’s library. Every ProTools workstation has a large digital sound effects library. There are also a few music CDs available for use by productions. They may not be removed from the sound studio. 

• Productions utilizing sound must provide a dedicated Sound Board Operator (SBO). This individual must be provided by the Team Leader and need not have previous experience running sound. A Sound Mixer is not available for Festival Productions.  

• The SBO must complete an hour training session with the Audio/Video Representative, Supervisor, or Audio Engineer prior to the beginning of Tech Rehearsals. Please reach out to schedule SBO training at least one week before your first tech rehearsal. Only those having completed training may operate any of the sound equipment. Failure to follow this rule will result in the loss of the ability to use the Department’s equipment for the production.   

• After tech rehearsals and/or performances, all microphones and other sound equipment used onstage or in the house must be struck each evening and locked up in the booth.  

• For strike, any additional equipment must be returned to Room 204. If you cannot access Room 204, please notify the Sound Supervisor so they can retrieve it.   

• Please restore the booth to a clean and tidy state, ready to be used by the next production.  Turn off all monitors. Anything left in the booth that does not belong will be thrown away. 

• THERE IS TO BE NO FOOD OR DRINK IN ANY OF THE BOOTHS. Violations will result in a fine of $25.00 charged to your production. 

• FOR OTHER PRODUCTIONS AND READINGS: Sound is limited to what you can create or locate yourself, played on a personal device or the 172 soundsystem. 

• PLEASE NOTE: Any performance with dramatic elements, such as acting, sets, or choreography requires grand performance rights and publisher approval for music and/or recordings under copyright and must be licensed on a work-by-work basis. This would include music that is being used in Performing Arts at Iowa productions including live performances, livestreamed performances, and/or recorded performances. This applies to any ticketed or free performance that the general public is invited to attend. Festival Productions and Reading must use music that is in the public domain or that is royalty/license free except for preshow, intermission, and post show if there are no performative elements involved in those moments. Keep in mind that some compositions are public domain, but the recordings may not be. Some good resources for free licenses or royalty-free music can be found here. See the Production Manager, Briana Maxwell, for more detailed information.   

• If shop personnel must clean any area, booth, or studio or return equipment to storage, the Team Leader is charged at the standard shop labor rate (see Appendix A) with a 2-hour minimum call. Team Leaders will also be charged for lost, stolen, or excessively damaged equipment. 

• David Thayer Theatre: A Seating Plan will be provided for all productions with a specified number of seats.   

• Alan MacVey Theatre:  All productions in MacVey Theatre must seat 138.  

• Room 172:  For Readings and other productions in Room 172, the maximum room capacity is 70, including cast and production personnel. Chairs in rows must be attached to each other.  Both exits must be accessible to audience members. Please refer to Appendix C for the seating configuration used for NPF. See the Scheduling and Facilities Manager to access the chair storage location. 

• Some basic rules for seating in all performance spaces are: 

• Two fire exits must always be clearly marked with illuminated signs.   

• 54” exit aisles leading to each door and through each door to an exit out of the building must be kept illuminated and clear of any obstacle, i.e., tables, chairs, cables, rugs, or curtains. 

• A patron must not have to cross more than seven seats to get to an aisle (no more than 14 seats in a row IF the row has aisles on both sides).   

• Aisle width serving seating on one side may be no narrower than 36”, an aisle serving seating on two sides may be no narrower than 42”. 

• There must be 36” from the front edge of the front seat to any obstacle in the playing area (3’ to the front row armrest if the seats automatically retract as in the Alan MacVey Theatre). 

• There are several other fire and safety code restraints. The Technical Director can advise you on meeting these restraints.  

• Admission is free for UI students, but they must have a ticket; non-students must purchase tickets. Only one ticket per student, per show, will be allowed. Cast reservations may be made for out-of-town guests only and will be held until 10 minutes before curtain. Faculty will receive two comps for each production.  

• It is possible for someone outside of the department who has made a major contribution to the show to receive a comp ticket, but it must be approved by the Scheduling and Facilities Manager, Katie McClellen, and the Chair of the Theatre Arts Department, Mary Beth Easley. 

• All Festival productions will be staffed by a departmental House Manager who will handle all front-of-house duties. The Team Leader and Stage Manager should work with the House Manager to clarify procedures regarding the time of house opening before the first performance - each Productions’ Stage Manager will submit a House Management form to the Facilities Manager 24 hours before their first performance.  

• Due to the potential for sold out performances, all non-claimed tickets will be released at curtain time. This includes already purchased tickets.  

• All audience members must come through the front doors of the theatre. No production personnel may admit audience members to the theatre through backstage doors. Ticket revenues lost to patrons that “sneak in” may be charged to the Team Leader. 

• Audience members may not enter the theatre with food or drinks. Audiences may not smoke, nor may they take photographs or video during a performance.  

• If any of the following elements: strobe lights, smoking, theatrical smoke and/or haze, gunshots (or other loud noises), profanity, sexual or violent situations – are in the performance, a disclaimer sign should be posted outside the theatre. The Team Leader or Stage Manager should fill out the House Management Show Information Sheet, located on the Online Callboard, to document necessary warnings and any other front of house needs for their production. Any disclaimer signs required will be posted and provided by Front of House.  

• There is to be no seating on the galleries and catwalks in Thayer Theatre and MacVey Theatre. Such use is illegal. These areas are to be used strictly for lighting, sound and effects, and in rare instances where permission is granted in a production meeting, for actor entrances and exits. In Thayer Theatre, all entrances to these areas should be locked before each performance. Persons may not be seated in individual, unattached chairs, or in aisles. This is a violation of fire code.