January 19th

Home Is Where the TV Is: Production Equip. Req., Load In/Tech Schedule, Schedule Safety Walk

All Black Affair: Marketing Info (1/17), Lighting/Sound/Prod. Equip. Req

Ten Minute: Budget, Stage Combat/Intimacy

January 26th

Home Is Where the TV Is: Virtual Lobby (1/23), HM Report (1/23), Strike Plan

All Black Affair: Virtual Lobby (1/30), HM Report (1/30), Strike Plan

Ten Minute: Groundplan, Scenic Art, Marketing Info (1/24), Light/Sound Request

West Illinois Glass House: Budget, Stage Combat/Intimacy Updates

February 2nd

Home Is Where the TV Is: Reconciled budget sent to Bryon Winn

Ten Minute: Production Equip. Req., Load In/Tech Schedule, Schedule Safety Walk

West Illinois Glass House: Groundplan, Scenic Art, Marketing Info (1/31), Light/Sound Request

The Obituary: Budget, Stage Combat/Intimacy Updates

February 9th

Ten Minute: Virtual Lobby (2/6), HM Report (2/6), Strike Plan

West Illinois Glass House: Production Equip. Req., Load In/Tech Schedule, Schedule Safety Walk

The Obituary: Groundplan, Scenic Art, Marketing Info (2/7), Light/Sound Request

February 16th

Ten Minute: Reconciled budget sent to Bryon Winn

West Illinois Glass House: Virtual Lobby (2/13), HM Report (2/13), Strike Plan

The Obituary: Production Equip. Req., Load In/Tech Schedule, Schedule Safety Walk

February 23rd

West Illinois Glass House: Reconciled budget sent to Bryon Winn

The Obituary: Virtual Lobby (2/20), HM Report (2/20), Strike Plan

Sincerely, Not Seriously: Budget, Stage Combat/Intimacy

March 1st

The Obituary: Reconciled budget sent to Bryon Winn

Sincerely, Not Seriously: Groundplan, Marketing Info (2/28), Light/Sound Request

March 8th

Sincerely, Not Seriously: Production Equip. Req. Load In/Tech Schedule, Schedule Safety Walk

SPRING BREAK (Mar. 10-17)

March 22nd

Sincerely, Not Seriously: Virtual Lobby (3/19), HM Report (3/19), Strike Plan

TBD Reading (Olivia): Marketing Info (3/20), Groundplan, Production Equip. Req., Schedule Safety Walk, Advisory Signs, Strike Plan, Virtual Lobby (3/26)

March 29th

No Meeting

Sincerely, Not Seriously: Reconciled budget sent to Bryon Winn (3/29)

All production team members for galleries, workshops, and special projects should read through the Guidelines.

Hardcopies may be requested from Samantha Goblirsch-Paradis, PSM.

In case of an emergency, accident, or any instance in which there is blood exposure, University Public Safety should be contacted by dialing 911.  Because of liability issues, students who administer medical care do so at their own risk.  Students should also make appropriate efforts to notify their supervisor and if an incident occurs in rehearsal, note it in the report.  All accidents should be reported by completing this form from UI Risk Management and sending it to Katie McClellen.

These regulations are established to encourage a healthy balance between the needs of departmental productions and the academic and personal needs of students.

Should exceptions need to be made, they require prior written consent of the Director of Theatre.

  • Prior to auditions, the Production Stage Manager (Sam Goblirsch-Paradis), in consultation with the Director of Theatre (Bryon Winn), and the DEO (Mary Beth Easley) will post a comprehensive list of dates affecting the productions that are casting. The dates include first rehearsals, technical rehearsals, dress rehearsals, performances, and 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 his or her schedule before auditions and note all conflicts on the audition form. 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 schedule.
  • The rehearsal period for full-length productions is six weeks, including tech week. Directors wishing more than this amount must receive approval from the DOT (Director of Theatre).
  • Rehearsals will not be held during University vacations, with the following exceptions: Sunday evening after Thanksgiving; Tuesday before the beginning of second semester (one week before classes); and Sunday at the end of Spring break. The DOT must approve these exceptions. When approved, the maximum rehearsal call is six hours out of seven and a half, or a straight six hours.
  • During tech, performance, and strike: actors may not rehearse a second production while they are rehearsing or performing in another.
  • No members of the production team – including actors, stage managers, and technicians – may be called for rehearsal more than 24 hours per week. During the last five days before opening they may be called no more than 30 hours. The week is Monday through Sunday.
  • Prior to tech week, the company must have at least one weekend day off each week. A full day shall be 24 hours in addition to the regular 12 hours required at the end of each work day. No actor may be called to rehearse the day before the first technical rehearsal.
  • Rehearsals may not last longer than 4 hours a day Monday through Friday, or 6 hours a day on Saturday and Sunday. Rehearsal normally begins at 8:00 on Monday, 7:00 Tuesday through Friday, and not before 10:00 am on weekends.
  • 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. (The company may vote to reduce this break to 60 minutes.) There will be a minimum of 12 hours break between the end of work on one day and the beginning of work on the next.
  • All rehearsals, except technical rehearsals, must end no later than 11:00. Technical rehearsals – including notes and post rehearsal business – must end no later than midnight.
  • Any student who, a week in advance, is asked and agrees to participate in any way in Playwrights Workshop, is excused from rehearsal until 8:00 or the end of the reading.
  • Technical rehearsals may last no longer than 8 out of 10 hours (a majority vote of the company may make the break shorter than two hours).

The Theatre Arts Department 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 theatrical production 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 withoutfear 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 at http://www.uiowa.edu/~our/opmanual/ii/04.htm

At the beginning of each semester a consent and intimacy workshop is offered for all actors cast in upcoming productions and anyone who will be in the rehearsal room (directors, playwrights, stage managers, etc.). If you're a Team Leader and would like to include staged intimacy in an upcoming production, please reach out to the PSM, Samantha Goblirsch-Paradis and/or the Director of Theatre, Bryon Winn to get information and submit an intimacy breakdown.

The slides from the consent workshop are available here for faculty, staff, and students to reference as needed. Any questions about the content of the slides or about consent and intimacy in production may be sent the the PSM, Samantha Goblrisch-Paradis or the Head of Stage Management, Melissa Turner.