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

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

Request for a Letter of Acknowledgement of Involvement in a UI Departmental Production

Fight & Intimacy Breakdown

Electrics Equipment Request Form

House Management Info Sheet

Open Flame Request

Props Inventory & Request Form

Production Equipment Check-Out Form

Projection Request Form

Sound Equipment Request Form

Audio/Video Inventory

Revised August 21, 2024

More information about copyright and tools, such as charts and videos, that can help you better understand copyright may be found in the University of Iowa Music and Copyright Guide.

Performing Arts at Iowa Music Options for Productions

Music Requiring a License

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 any Performing Arts at Iowa productions including live performances, livestreamed performances, and/or recorded performances from the start of the show to the end of the show. This applies to any ticketed or free performance that the general public is invited to attend. For further questions regarding rights holder information and help in determining copyright status, please contact Katie Buehner (katie-buehner@uiowa.edu) in the Music Library.

Please see the University of Iowa’s Global Music Rights License Agreement.

Collaborate with a Musician or Composer

Artists may also choose to collaborate with musicians and/or composers to create new music for their work. It is best practice to have a written record of your agreement when working with the musicians and/or composers.

Public Domain, Free Licenses, or Royalty-Free Music

If you do not have a budget for your production, artists may use music that is in the public domain or that is royalty/license-free. 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 include:

• Cafe Music BGM Channel (https://www.youtube.com/user/cafemusicbgmchannel)
• Indie-Folk Central (https://indiefolkcentral.com/)
• Dig.ccMixter (http://dig.ccmixter.org/)
• Freeplay Music (https://freeplaymusic.com/)
• Hooksounds (https://www.hooksounds.com/)
• Internet Archive's Netlables Collection (https://archive.org/details/netlabels)
• soundFORmovement.com (Michael Wall)
• freemusicarchive.org
• pond5.com
• bensound.com

Please carefully review the information on these sites for proper use and attribution. When you submit your program information to marketing, please be sure to include all notes for crediting the music.

*Theatre Galleries and Workshops are required to use royalty/license free music. Please refer to the Theatre Gallery and Workshop guidelines for further information.

Obtaining a License

Faculty and/or staff: will be responsible to initiate contact & secure licensing with rights holders. 

Students: please send Jason Millsap at jason-millsap@uiowa.edu the following information and he will initiate contact with the rights holder: 

• Title of recording & Artist
• Publisher (if known)
• Approved budget
• Project title
• Brief synopsis
• Usage (context of the scene it will be used in)
• Duration (how much of the recording do you intend to use)

The amount of time it takes to obtain a license will depend on the publisher or rights holder, so it is recommended that you begin the process as soon as you have decided to use that music in your work. Sometimes this process can take several months.

Associate Company Manager, Jason Millsap at jason-millsap@uiowa.edu is available to support you during this process. Please reach out to him with any questions.

Please see licensing email templates to assist you as you begin to reach out to the publisher or rights holder.

Please see copyright agreement template to assist you once the publisher and/or rights holder has given permission for the music's use in your production.

If you do not obtain the license for your music, you will not be able to use that music as part of your work in the performance. Please allow yourself enough time to initiate a backup plan.

Rights Holders Databases:

• https://repertoire.bmi.com/. 
• https://www.ascap.com/ace/#/
• https://globalmusicrights.com/catalog

Payment

Some productions in the Performing Arts at Iowa have budgets to support the payment of licensing music. Before you begin the music selection process, it is recommended that you determine if there is a budget available for your work. Licensing budget questions should be referred to the Production Director, Briana Maxwell at briana-maxwell@uiowa.edu.

Artists are strongly encouraged to use one of the free options mentioned above. 

For licensing payments:

Please send licensing invoice to Associate Company Manager, Jason Millsap at Jason-millsap@uiowa.edu to process payment. Only invoices will be accepted to process licensing and copyright payments.

Licensing contracts are not created, or signed, by anyone outside the Purchasing Office, purchasing-contracts@uiowa.edu.

Additional Resources

UChicago Fair Use Checklist

Copyright Term and Public Domain in the United States (Cornell)

Licensing Email Templates and Final Agreement

Grand Rights: Live Performance Email Template

The University of Iowa [name of Department] is interested in performing [title of music] in the production of [name of production] on [date(s) of performances] held in [name of venue]. This attendance [may or may not] be recorded for archival purposes [outline educational purpose of archival recording]. Anticipated attendance for the event is [# of people]. 

The University of Iowa would like to secure a license for grand performance rights for this live performance. Please let us know the terms of the license and any other information you may require in order to provide a license and cost structure for obtaining rights. Payment will be made after receipt of invoice from vendor.

Thank you for considering this request.

Grand Rights: Live Performance + Streaming Email Template

The University of Iowa [name of Department] is interested in performing [title of music] in the production of [name of production] on [date(s) of performances] held in [name of venue]. This attendance [may or may not] be recorded for archival purposes [outline educational purpose of archival recording]. Anticipated attendance for the event is [# of people]. The UI would also like to [live stream or re-broadcast] this event on its locally managed streaming server.

The University of Iowa would like to secure a license for grand performance rights for this live performance and stream. Please let us know the terms of the license and any other information you may require in order to provide a license and cost structure for obtaining rights.  Payment will be made after receipt of invoice from vendor.

Thank you for considering this request.

Grand Rights: Live Performance + YouTube Email Template

The University of Iowa [name of Department] is interested in performing [title of music] in the production of [name of production] on [date(s) of performances] held in [name of venue].  This attendance [may or may not] be recorded for archival purposes [outline educational purpose of archival recording]. Anticipated attendance for the event is [# of people].  The UI would also like to post a video recording of this performance to the University of Iowa Department of Dance YouTube channel. The UI would consider both limited (e.g., 1,000 views or one year, whichever is reached first) or perpetual licensing terms as options, cost dependent.  Payment will be made after receipt of invoice from vendor.

Thank you for considering this request.

Synch and Performance Final Agreement - once owner has agreed to use of music

Synch and Performance Agreement Template

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.

Groundplan

Rep Plot

Magic Sheet

Lighting Inventory

Seating Configurations

Groundplan (8.5 x 11)

Groundplan (11 x 17)

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.

A copy of the Department of Theatre Arts Intimacy Guidelines is available here for faculty, staff, and students.

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.

The Performing Arts at Iowa Marketing and Engagement Best Practices aligns with the Performing Arts Industry standards as it relates to Video Calls, Photo Calls, and Engagements while simultaneously supporting the Performing Arts at Iowa consent-based practices utilized in the Department of Dance, Department of Theatre Arts, and School of Music Opera.

In this document, Production Activity is defined as all related activities to a production produced by the Department of Theatre Arts, Department of Dance, School of Music Opera, and the Performing Arts Production Unit. This includes auditions, production meetings, production shop operations, staging rehearsals, production install, tech rehearsals, dress rehearsals, performances, and strike.

• Archival photos are the photos taken by a photographer during the dress rehearsal process of a Theatre Arts production. The intent of these photos is to document the final product of the show and showcase the work of the designers, technicians/shops, cast, and director. They are made available on the Department of Theatres SmugMug for students and faculty to use for portfolios/websites which is an integral tool in Marketing their work for future professional opportunities. Additionally, archival photos may also be used for pre-performance marketing and post-performance storytelling on social media, websites, and in print/online publications. Any marketing efforts that extend past this standard usage will need further approval, which will be requested by the marketing team.
• Archival photos must be scheduled through the Theatre Arts Production Stage Manager. The intention of the photo call must be clear in the initial request, for example where and how the photos will be used. Any use of photos that goes beyond the original intention must receive appropriate approval and be coordinated through the Theatre Arts Production Stage Manager.
• Archival photos are ideally taken at the final dress rehearsal of a production. If a photographer is unavailable for that date, an alternate dress rehearsal may be selected with the Theatre Arts Production Stage Manager.
• For any photo call, the performers and team members that will be present must receive a minimum of 24 hours’ notice. This notice must come from the production’s Stage Manager. The notice may be in writing (i.e. on a daily call and/or tech schedule, in an email) or verbal (i.e. announced at the beginning or end of a rehearsal).

• Archival or any video footage must align with the production’s licensing agreement. A copy of the licensing agreement may be obtained from the Associate Company Manager.
• Archival video requests must be made at least four weeks before the production’s opening and must be made to the Director of Theatre and Theatre Arts Production Stage Manager.
• Archival video may only be used for archival purposes unless otherwise stated in the production’s licensing agreement.
• Performers and team members must have at least two weeks’ notice for archival video.

• Photo and video calls (press, marketing, etc.) other than archival, must be scheduled and coordinated through the production’s Stage Manager for all production activities. The intention of the photo or video call must be clear in the initial request, for example where and how the photos or video will be used. Any use of photos or video that goes beyond the original intention must receive appropriate approval and be coordinated through the Theatre Arts Production Stage Manager.
• For any photo or video call, the performers and team members that will be present must receive a minimum of 24 hours’ notice. This notice must come from the production’s Stage Manager. The notice may be in writing (i.e. on a daily call and/or tech schedule, in an email) or verbal (i.e. announced at the beginning or end of a rehearsal).
• If the photo or video call is to take place outside of rehearsal hours and/or the rehearsal room, then it must be coordinated through the Theatre Arts Production Stage Manager.

The Company should 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 by all 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. 

PHOTOGRAPHY AND SOCIAL MEDIA SAMPLE BALLOT

• Taking photos during the rehearsal process can help us to advertise the show and help to create interest and excitement about the work we are doing. 
• We are therefore seeking permission from you now to take spontaneous photos and videos during the rehearsal process. 
• Prior to any posting on social media all parties involved should be notified and give consent for its use. 

Please no photography or video once we move into the theatre until the 1^st photo call.

DOCUMENTARY VIDEO SAMPLE BALLOT

The Office of Performing Arts and Engagement will be joining us a few times throughout the rehearsal process for Fierce to create a video about the creation of the production. Below is information shared with us by the team about the project (insert scope and purpose of documentary video recording)

**Please note that you will be notified of all filming for this project no later than 24 hours before the scheduled time of filming**

• Each team member and performer are responsible for submitting their materials for the Virtual Lobby. If they fail to do so by the set deadlines, they acknowledge that their information may be incomplete and/or excluded.
• The production’s Stage Manager is not responsible for ensuring the Virtual Lobby materials are received by Marketing but can help share information and/or send reminders.
• Information that is collected for the Theatre Arts Virtual Lobby (bios, headshots, etc.) can be coordinated through the production’s Stage Manager two ways:
  • The Stage Manager can provide a contact sheet with all cast, crew, and team members email addresses for the Marketing Manager to use to contact those that can submit materials for the Virtual Lobby.
  • The Marketing Manager can share a drafted email with all the information regarding the collection of materials for the Virtual Lobby and the Stage Manager can forward it to the cast, crew, and appropriate team members.

Office of Performing Arts and Engagement Guests:

• All engagement guests must be approved by the Department’s DEO and Director of Theatre / Director of Dance Production / Opera Director and include a proposed schedule of their engagement. Once approval is received and a schedule is agreed upon, the visit must be coordinated with the Theatre Arts / Dance, Opera Production Stage Manager and the production’s stage manager.
• All parties in the rehearsal room and/or Theatre will be notified a minimum of 1 week in advance of Guest’s attending a rehearsal and or production.
• Transportation to rehearsals and/or any production related activities is not the responsibility of the production staff or production students.

Department of Dance, Theatre, and School of Music Guests:

• All requests to utilize Performing Arts Guest Artists in marketing/promotional materials or events must be made in writing at minimum 48 hours prior to the engagement and signed by the artist to be attached as an addendum to the original Letter of Agreement. Please coordinate with the Associate Company Manager on all requests. Once received the Associate Company Manager will liaise with the artist and confirm availability & acceptance.
• All engagement guests must be approved by the Department’s DEO and Director of Theatre / Director of Dance Production / Opera Director and include a proposed schedule of their engagement. Once approval is received and a schedule is agreed upon, the visit must be coordinated with the Theatre Arts / Dance, Opera Production Stage Manager and the production’s stage manager.
• All parties in the rehearsal room and/or Theatre will be notified a minimum of 1 week in advance of Guest’s attending a rehearsal and or production.
• Transportation to rehearsals and/or any production related activities is not the responsibility of the production staff or production students.

CLAS, Hancher, and the Office of Performing Arts and Engagement CONTACTS

Mary Beth Easley, Chair, Department of Theatre Arts

Mary-easley@uiowa.edu

Rebekah Kowal, Chair, Department of Dance

Rebekah-kowal@uiowa.edu

Tammie Walker, Director of School of Music

Tammie-walker@uiowa.edu

Eloy Barragán, co-Director of Dance Production, Department of Dance

Eloy-barragan@uiowa.edu

Rob Cline, Communications Director, Office of Performing Arts and Engagement (OPAE)

Rob-cline@uiowa.edu

Abbigail Cote, Director of Opera, School of Music

Abbigail-cote@uiowa.edu

George de la Peña, co-Director of Dance Production, Department of Dance

George-delapena@uiowa.edu

Aaron Greenwald, Programming and Engagement Director, Hancher Auditorium and OPAE

Aaron-greenwald@uiowa.edu

Anna Kahn, Graphic Design Coordinator, OPAE

Anna-kahn@uiowa.edu

Jenn Knights, Marketing and Communications Manager, OPAE

Jenn-knights@uiowa.edu

Briana Maxwell, Production Director, Performing Arts at Iowa

Briana-maxwell@uiowa.edu

Jason Millsap, Associate Company Manager, Dance, Music, and Theatre Arts

Jason-millsap@uiowa.edu

Miriam Ochs, Programming & Engagement Coordinator, OPAE

Miriam-ochs@uiowa.edu

Samantha Paradis, Production Stage Manager, Department of Theatre Arts

Samantha-paradis@uiowa.edu

Cayla Rasmussen, Digital Communications Coordinator

Cayla-rasmussen@uiowa.edu

Kayla Schindler, Marketing Manager, OPAE

Kayla-schindler@uiowa.edu

KatyBeth Schmid, Production Stage Manager, Department of Dance and SOM Opera

Catherine-schmid@uiowa.edu

Jason Smith, Photography & Video Specialist, OPAE

Jason-smith-2@uiowa.edu

Bryon Winn, Director of Theatre, Department of Theatre Arts

Bryon-winn@uiowa.edu

Zoë Woodworth, Brand & Design Director, OPAE

Zoe-woodworth@uiowa.edu

Photo & Video Release Form