Academic Affairs

Schumaker Prize

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Schumaker Prize

994 – Dean Meyer
1995 – Alexander Kain
1996 – Timothy T. Konrad
1997 – Wayne Fetter
1998 – Brian Harty
1999 – Lisa Wise
2000 – Jo-Ann Valdivia
2001 – Melissa Kussner
2002 – Svetlana Petkova
2003 – Heather Holzwarth
2004 – Ellie Etminan
2005 – Lauren Poppen
2006 – Joseph R. Haney
2007 – Alen Vrebac
2008 – Amy M Rich 2009 – Mohit Singh

Barrick Research Award

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Barrick Research Award Winners

1998 – Lisa Wise, Brian Schofield
1999 – Kari Ebens, Jo-Ann Valdivia
2000 – Melissa Kussner, Elizabeth Sweet
2001 – Svetlana Petkova, Shannon Widlowski
2002 – David Grover, Heather Holzwarth
2003 – Joshua Glovinsky
2004 – Nathan Sweeney
2005 – Erin Moller
2006 – Amy M. Rich
2007 – Amy M. Rich, Angela M. Snow
2008 – Megan E Hofstetter

Conklin Award

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Conklin Award

1995 – Christopher Aylward
1996 – James B. Dole, Wayne Fetter
1997 – Bradley Barrie, Lisa Wise
1998 – David Bogner, Aimee Stivers
1999 – David Bogner
2000 – Melissa Kussner
2001 – Jackie Guy, Svetlana Petkova
2002 – Adam Peck, Carie Swanson
2003 – Jerome Foss
2004 – Erin Moller
2005 – Joseph Haney
2006 – Alen Vrebac
2007 – Aaron M K Insko
2008 – Audra L Carlson
2009 – Audra L Carlson

Calculus Achievement Award

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Calculus Achievement Award Winners

1962 – Dennis J. Palmini
1963 – Carol J. Daley
1964 – Charles Silver
1965 – Carolyn J. Mattila
1966 – Michael L. Landes
1967 – James Curtis
1968 – Johannes Veldhuis
1969 – Kathleen Majcan
1970 – Patrick Shanahan
1971 – Kathleen Mokate
1972 – A. Scott Forsburg
1973 – William R. Paulson, Charles E. Ritzke
1974 – Diane J. Bundens
1975 – Jeffrey Klotz, John Morrissey
1976 – Herbert E. Borbe, Jr.
1977 – J. Scott Hudnall, Cynthia Kleindienst
1978 – Deborah J. Fredricks, Mark S. Zumhagen
1979 – James Harker, Donna Kmen
1980 – Patricia Novak
1981 – Susan Martin, Donna Mueller
1982 – Ellen Evans, Jayne Mariani
1983 – Brian R. Bowley, Wayne A. Martin
1984 – Randall A. Cook
1985 – Timothy A. Anderson, Dawn M. DeSousa
1986 – Andreas Lauer
1987 – Linda M. Abrahams, Tracey A. Kelleher
1988 – Nancy C. Casten, Tracey R. Winters
1989 – James K. Konrad, Karen I. Miraglia
1990 – Jon A. Johnson, David C. Wilson
1991 – Steven W. Siekerski
1992 – Carolyn S. Schauer, Eric Seger
1993 – Karen Hoover, Daniel C. Konrad
1994 – Tim Konrad
1995 – Jeffery Damon
1996 – Bradley Barrie
1997 – Jakob Krummenacher
1998 – Marcia Clinton
1999 – Tracie Knobeloch
2000 – Angela Valaisis
2001 – Heather Holzwarth
2002 – Jody Beilke
2003 – Zachary Cook
2004 – Erin Moller
2005 – Ashley Holzwarth
2006 – Angela M. Snow
2007 – Mohit Singh
2008 – Matthew D Brynteson
2009 – N/A

**Known as the Freshman Mathematics Achievement Award (1962 – 1989)

Master of Education in Urban Education

Workstudy Policies

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Students are eligible to apply for workstudy positions in costuming, scenery, box office, script library, choral library, and recruiting (*note- typically box office positions are awarded to non-departmental students due to time conflicts).  Applications for positions should be submitted one week prior to the beginning of the semester.  Workers will be selected on the basis of skills, experience, reliability, and initiative.  These positions are campus jobs and will be considered as such in terms of renewal and department recommendation.  Any student who meets the requirements for employment will be considered.  Payment for such jobs is handled through the Melissa Larson in Human Resources.  Any student who receives financial aid will be working for the Performing Arts Department under the work study program.

If a student qualifies for employment but receives no form of financial aid, they will be paid on a payroll basis, when available.  Those working under the payroll system may seldom work more than 5 hours per week, according to university guidelines.  If an individual has a work-study position, s/he is not eligible for a payroll position as well.  The university deems this an “over award” and will not allow it.


  • Be punctual.
  • Clock in immediately upon reporting to work.
  • Work when scheduled.
  • Anticipated absences should be reported to the Designer and Technical Director in advance.  All absences must be made up during the week in which they occur.
  • Do not schedule any work period of less than 1/2 hour.
  • Be sure to clock out when dismissed.  Have the TD initial your time card or record sheet at the end of each work period.  Notify a supervisor of the status of your assignment before leaving the shop.
  • Store your time card in the appropriate place.  Your time card is your responsibility.  Do not remove your record sheet from the shop.
  • Check callboards daily.

If you do not follow the above guidelines, there will be repercussions. The first no-call, no-show will result in a verbal warning. The second no-call, no-show will result in a written warning filed with Human Resources. The third no-call, no-show will result in termination.

Payroll and Work-study Assistants holding Production Positions
In many cases, a student who has been granted a production position is also a work-study or payroll assistant.  In order to facilitate the method in which work-study hours, payroll hours, and production position hours are calculated, please study the following explanations:

  1. A student assistant holding a production position must also complete all work-study hours.  The hours required for a production position are separate from the hours required for a University work-study or payroll position.  Students are not allowed to delay or postpone work-study obligations in order to fulfill production position(s).
  2. Student work-study and payroll timecards are valid only if signed (initialed) by the Staff and/or Faculty member supervising the area.  Timecards will not be accepted for payment initialed by student supervisors.

It is very likely that the student will find it necessary to work above and beyond the requirements of both work-study and production class hours to successfully complete a production position.  As stipulated earlier, the faculty/staff supervisor makes the final determination regarding the completion of quality work.



  • Arrive prepared to work.  Report to Technical Director/Assistant Technical Director for an assignment.  DO NOT stand around waiting to be noticed.
  • Dress appropriately:
    • Wear grubbies.  Shop activities damage clothes.
    • Avoid loose-fitting clothing which may become entangled in equipment.
    • Avoid hazardous jewelry.  Cautious technicians remove all hand jewelry.
    • Tie back long hair.  It can become entangled in machinery
    • Wear hard-soled, hard-toed shoes.  Do not wear sandals or sneakers.
  • Leave personal items such as coats and books in the house, Green Room, or locker.
  • Do not begin a project until you thoroughly understand all instructions, then follow those instructions carefully.  If you are not sure, ASK.
  • Do not remove any tools, materials or equipment from the stage area without permission.  Check pockets for pencils, hardware, and tape rules before leaving.
  • Clean all tools and work areas before clocking out.  Participate immediately in shop and stage clean-up when instructed to do so.
  • Absolutely no smoking in the Scene Shop.  Beverage containers are not permitted on the power saws, on stage, or in the house.  Place empty beverage and food containers in the appropriate receptacles.
  • Be safe and courteous.
  • All supervisors will be asked to evaluate you according to attitude, contribution, dependability, and quality of work.  Keep these criteria in mind during all work periods.
  • Once in a while, during slow or down time, class projects may be worked on in the shop area.  However, be certain to check with the Technical Director before using any equipment or materials.

Tools and Equipment:

  • Use the correct tool for the job.  If you are not sure, ASK.
  • When an assignment is completed, return all tools to their proper storage area, clean and in good condition.  Clean up the work area.
  • Report broken or dull blades, bits, belts, bulbs, or equipment malfunction to your supervisor.
  • After painting, clean all brushes, rollers, sprayers, sponges, cans, buckets and other equipment and return them to the proper storage area.
  • Do not abuse tools.  Use tools for their intended functions only.
  • Do not stand directly behind or in front of any piece of power equipment while it is in operation.  Be particularly cautious of the radial-arm and table saws.
  • Do not reach across any piece of operating machinery.
  • Wear safety equipment while operating all power machinery.
  • Do not operate any equipment unless you are familiar with its proper operation.  If unsure, ASK.
  • Never attempt a two or three person job alone.  Ask for assistance.
  • Operate flying equipment only when instructed to do so.
  • Use proper warnings when operating fly equipment to notify those onstage.
  • Clear the area below the loading platform before loading or unloading arbors.
  • Do not carry loose items to the grid.
  • When reweighting in the grid, wear a harness. This is NOT an option.
  • Wear hard hats and dust protectors when instructed to do so.
  • Learn to react immediately to the warning “HEADS”.  This warning indicates danger from overhead.  Move out of the way immediately when someone shouts “HEADS”.
  • Do not spray paint in an unventilated area.  Use paper to protect floors, walls, and driveways from spray paint.


  • Check with your supervisor before using any construction materials and paint.
  • Always use partial pieces, opened paint, and used hardware before cutting, opening or installing new ones.
  • Return all unused materials to their proper storage places.  Close or cover paint cans.
  • Dispose of all scraps promptly.

Academic Programs

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  • To give students a broad-based performing arts education giving them flexibility to move around within the profession – to be adaptable
  • To make sure students understand the collaborative process – the ability to work well with others, to defend their artistic choices and to compromise when necessary for the greater good
  • To provide them the basic skills of set construction, costume construction, lighting and sound
  • To give them a solid foundation in the techniques of acting and directing
  • To give them a solid foundation in music theory and sight reading skills
  • To help them understand the historical background and significance of theatre, music, and musical theatre – understanding how they were shaped by the events of their time and how they commented on and illuminated those events
  • To make sure students understand how the liberal arts help to give resonance to their work in the performing arts and enhance their interpretive abilities
  • To further their abilities in appropriate writing and critical thinking skills
    To provide incentive for study abroad programs that will help to expand their world view in and out of their profession
  • To give them the knowledge and skills to teach others
  • To expose them, through field experience, to the finest works in professional theatre, dance and music
  • To understand the importance of giving something back to the university and the community
  • To provide a thorough background in the literature of theatre
  • To provide a thorough background in the literature of music
  • To prepare students for post-graduate education whether in an MA or MFA trackTo give students the training necessary to pursue a professional performance career


The following guidelines are expectations for all Performing Arts students:

  • ALL theatre arts majors (both B.A. and B.F.A. candidates) must participate in ALL main stage productions. Exceptions will be made only with prior approval of the performing arts faculty.
  • B.A. candidates must maintain a 2.0 GPA; B.F.A. candidates must maintain a 3.0 GPA in the major and 2.0 overall.
  • All B.F.A. candidates must audition for each main stage production (play or musical).
  • Students are expected to exhibit professional conduct at all times. The faculty and staff view the production season as a professional theatrical experience, and we strive to maintain an environment that is built on respect and benevolence. Fellow cast members, crew, production team, design team, and directors all deserve the same respect that that would be in an employee-employer situation. Any comments regarding assignments and workloads should be directed to your immediate supervisor, who will make every effort to solve the problem, explain the conditions, or pass the request along to the appropriate personnel. Legitimate concerns will be examined and dealt with. Please remember, the strength of our department is based upon mutual trust, so bellyaching, belittling, bullying, and backstabbing only undermines the common goal we are working toward. So save the drama for your mama!
  • Students must report for all calls for rehearsals and productions at least 15 minutes prior to the starting time. (Example: a rehearsal is called for 7pm. The participating student must be in the rehearsal space at 6:45 pm ready to begin at 7pm. If the stage crew is called for 5:30 pm then the student must arrange to be in the space by 5:15 pm). If there is a problem in meeting this requirement the student should speak with the stage manager and the director.
  • The use of cell phones is strictly prohibited during classes, rehearsals, and productions.
  • Proper clothes, including shoes are required for all dance classes and rehearsals. Dance clothes should be form fitting (no loose, baggy pants or shirts) and other rehearsal clothing should be appropriate for the show (rehearsal skirts if necessary, etc.) Avoid any clothing with big buttons, snaps, or zippers. Do not wear heavy or loose-fitting jewelry to class or rehearsal, as this is dangerous. Hair should be securely fastened; no gum; no hats. Please do not show up to rehearsals without proper foot attire. i.e. No flip flops or army boots!
  • Once cast in a show, students are not allowed to change their appearance without consent of the director and the designers. This includes coloring hair, cutting hair, visible piercing, etc. If in doubt, ask!
  • Academics are of utmost importance, and students must work hard to manage workload and prioritize studies and homework. Resources are available for students who need academic or time management assistance. A student placed on academic probation by the university may be dropped from the program if academic probation continues for more than two consecutive semesters.


Performing Arts faculty will serve as academic advisors to the majors in this department. Currently, Prof. Rennerfeldt is a First Year Advisor and will assist first year students with scheduling and registering. Students may be assigned to another advisor within the department during or prior to the sophomore year. The academic advisor’s purpose is to assist the student in planning his/her course of study and in registering for courses. Advisors are here to assist; they are not responsible for ensuring that all requirements for graduation are met. This is the responsibility of the student. Students are expected to take ownership of his/her academic course of study and should become fully aware of departmental requirements (for a specific major and minor) and all-university requirements. There are checks and balances in place to assist you and your advisor in this process. Academic advising usually begins in early October during the fall semester and early March during the spring semester, although you may schedule an advising appointment with your advisor at any time. If a problem arises with your advisor, contact the Department Chair. You are free to change advisors; however, you must have the approval of the new advisor before the switch can be made. Remember, the final responsibility for planning, enrolling, completing, and succeeding in your academic program remains with you.


Self Service is your personal academic resource for your life at Rockford University. Self Service provides our learning community at Rockford University with “anytime, anywhere” access to key information services. Self Service provides students with real-time access to their academic records, including their class schedules, grades, and unofficial transcripts. Students can, review their billing statements and financial aid summary. Self Service also provides an outlet for students and faculty to interact regarding coursework.

For questions concerning problems connecting to Self Service, please contact the Help Desk at 815.226.4127 or For all other issues please contact the Student Administrative Services (SAS) office at 815.226.4062 or



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Senor Seminar/Project is required for graduation by every major field of study offered by Rockford University. The purpose of the senior seminar is for a graduating student to demonstrate knowledge of theatre both in dramaturgy and performance. The purpose continues with identifying the values of performance for the society at large and the utilization of theatrical skills in the mounting of a production/performance. The students’ evaluation of their process and product will demonstrate their ability to think in a critical manner. This seminar will demand the student draw from all of their studies in the liberal arts as well as their training in theatre.

The Senior Seminar B.F.A. Acting/Directing and B.F.A. Musical Theatre:
A student will be responsible for developing a one person show to be presented for the public.


A student will:

  1. B.F.A Acting/Directing: Select a deceased historical figure who has faced a moment of crisis or had a turning point in his or her life requiring a decision that effected a change in history OR Select a playwright, genre or time period of playwrighting that effected the nature of theatre itself. 30–45 minutes in length.
    B.F.A. Musical Theatre: Select a specific person, topic or theme that allows you to showcase yourself and the skills you have acquired in acting, voice and movement. 30–45 minutes in length.
  2. The choice of the one person show must be approved by the faculty director of the BFA Acting/Directing degree.
  3. A comprehensive production timeline is established by the entire faculty.
  4. The student is responsible for every aspect of the production: •research and writing
    •designing: lighting, set, props, sound( there are restrictions set by the department)
  5. A date will be announced for a preview of the performance by the faculty. If the preview goes well then the student may proceed to the final performance. If the preview reveals the student is not on track for a final presentation, then a second preview is scheduled. At that time the faculty will observe the students implementation of their suggestions from the first viewing. The faculty will decide if the student will be allowed to present in the scheduled series of one person shows. If the student is pulled from public performance then the student will present the senior seminar to the senior level acting class. The result of this action will be an automatic reduction in the final senior seminar grade.
  6. A daily journal is required. The purpose is to help the senior student see the day-by-day process of the development of the work. The student should begin the journal by exploring the various ideas they have for the senior seminar. It allows the student an opportunity to express the problems and the frustrations of the process. This document is the journey of the project. It assists with the collection and examination of ideas. It documents the progress of imagination and creativity.
    •The journal will be collected at various points throughout the rehearsal period by the
    BFA Acting/Directing Director for review
    •At the conclusion of the final performance the journal is collect for review.
  7. The students will not write a twenty page paper, a requirement for the BA degree, but they must document their research with a detailed bibliography due the day of performance (examples of this will be provided.)
  8. A five page assessment paper is due five days after the last performance. The assessment paper is the same structure as the assessment papers written in the all of the acting/directing classes from freshman to senior year.


Notes specific to the BFA Acting/Directing Senior Seminar:

  • Selection of the performance space is subject to approval by the faculty and availability. The faculty director of the seminar/project will be the liaison to the faculty at large in the choice of performance space.
  • Props, costumes and set subject to approval of the faculty. The faculty director of the seminar/project will be the liaison to the faculty at large in the choice of necessary performance items.

The Senior Seminar B.A. Theatre (non-performance):
Students will select a topic of your choice on which you can write and in-depth analytical paper of 20 pages in length. The paper cannot be totally a research paper. The student must use the research that is presented to draw their own conclusions.

Students must submit a:

  • Thesis proposal
  • Outline
  • Introduction
  • Annotated bibliography
  • Draft of a rough section
  • Draft of the entire paper


The Senior Seminar B.A. Music:
Music majors have three choices for their Senior Seminar project, which is to be completed in their final semester at Rockford University. Senior Seminar may be taken prior to the final semester if the student is double majoring in something else. Students may opt to write a research paper or perform a senior recital or lecture recital in conjunction with a shorter paper. The Senior Seminar is required for all graduates of Rockford University, regardless of major, and represents the culmination of your collegiate studies.

Research Paper
For students whose emphasis is not performance, he/she may opt to write a research paper on the topic of his/her choice (in consultation with Professors Hendry and/or Adams). Requirements are the same for the “Senior Seminar B.A. Theatre (non-performance)” listed above.


Senior Recital
For students with a performance emphasis, the Senior Seminar will consist of a full recital along with a 10-page paper about the music and composers on the recital and a journal documenting the process and preparation for the recital.

Senior Recital guidelines:

  • A full recital is no less than 50 minutes of music, but no more than 60 minutes of music.
  • Recital repertoire should be selected in consultation with your private lesson instructor.
  • Recital selections should include a minimum of four different languages (including English). Exceptions may be made in rare cases.
  • Recital date and location must be booked within the first four weeks of the semester preceding the recital. For instance, an April recital should be booked no later than the end of the September prior, and an October recital should be booked by the middle of February of that year.
  • A pre-recital showing will be presented by the student and the accompanist at least three weeks prior to the recital. All music MUST be memorized at the showing. This date should be booked within the first two weeks of the semester of the recital.
  • The department will contribute $300 to the cost of an accompanist for the recital. This should include the pre-recital showing, the dress rehearsal, the final performance, and 5 additional hours of rehearsal. Additional rehearsal time is encouraged, but the cost will be the responsibility of the student.

Lecture Recital
Some students may choose the Lecture Recital format, which is the presentation of a full recital with lecture, a five-page paper documenting the student’s research, and a journal documenting the process and preparation for the lecture recital. This may interest students who have a specific interest in a certain composer or a certain style or type of music.

Lecture recital guidelines:

  • At least 30 minutes of music, and the entire recital should not last longer than 1 hour and 15 minutes.
  • Recital topic and repertoire should be selected in consultation with your private lesson instructor.
  • Recital selections should include a minimum of two different languages.
  • All other guidelines are consistent with the senior recital guidelines above.


In the Spring, each sophomore student will have an informal review of their progress during the previous two years. The student’s strengths and weaknesses, future goals, and progress in the degree track will be discussed. Since most classes include an ongoing dialogue between students and professors, the sophomore review should be regarded as a continuation of those conversations. This is not a panel review but a simple conversation with the director of the student’s degree track.


For BFA Music Theatre students the juries will serve as the review with a corresponding feedback session. For BFA Acting/Directing students, the final project for 10-line Acting course (THEA 215) will serve as the review with a corresponding feedback session. BA students will have a short interview/portfolio presentation with a corresponding feedback session. For non-traditional students who transfer into the department, reviews will be discussed on an individual basis. If the review is to be productive for the student it must be open and frank. The purpose of the sophomore review is to help each student make the most of the remaining two years of educational opportunities.


Each graduating student with in the Performing Arts Department will set up an appointment with the Department Chair and one other faculty member of choice in order to assess his/her tenure and experience in the Performing Arts Department at Rockford University, and to discuss immediate and long-range career goals and plans.



Performing Arts Scholarship
The Performing Arts department recommends awards based on talent and potential. Awards are computed as a part of the student’s overall aid package. Prospective students must apply to the university and audition on or before May 1 to be considered for a Performing Arts Scholarship.

Vocal Collective Scholarship
Up to $2,500, for year-long participation in the Vocal Collective, a select, mixed choral ensemble of about 15 singers. For more information, please see “Music Program” section.

Hognander Endowed Scholarship
Gertrude Lund Hognander Scholarship for Leadership in Music and the Performing Arts, established in 2004, is named for Alumna Gertrude Lund Hognander, Class of 1937, and provides funds for a full-time student of any year who participates in music or the performing arts programs at Rockford University, demonstrates personal initiative, leadership and teamwork, and is an engaged and positive contributor to one’s school, community and/or performing arts group.

Margaret E. Everett Music Scholarship
This scholarship was established in 1994 by the estate of Miss Everett, a 1919 graduate of Rockford University, to provide music scholarships for students demonstrating need.

Leonard Bernstein Award
Established by Mr. Bernstein after his 1966 commencement address to the university, the award is presented to the student who has made the greatest contribution to the performing arts at Rockford University, as judged by the performing arts faculty.

Bill Stiles Award
The Bill Stiles award was created in memory of Bill Stiles, a Performing Arts/Acting major and 1989 graduate of Rockford University, who passed away in 2000. The award is the Performing Arts Department’s highest acting honor and is based on a body of work. The award can go to a junior or senior. Recipients’ names are engraved on a plaque which is on display in the Clark Arts Center loggia directly under a photograph of Bill.


Students who receive departmental scholarships and/or awards may be called upon to participate above and beyond normal expectations. These additional duties could include, but are not limited to: additional productions positions, recruiting duties, special projects, etc.


Scheduling conflicts are common in a busy department like ours. Faculty and staff work extremely hard to avoid these conflicts as much as possible. From time to time, however, conflicts will still occur- conflicts between production work and a student rehearsal, or between music ensemble performance and a main stage rehearsal, for instance. Occasionally, faculty or staff may be unaware of the conflict. These can typically be worked out, but only if the student notifies the appropriate faculty members immediately. This is the student’s responsibility. The best way to facilitate this is to mark any and all obligations on the conflict sheet, which is filled out at the beginning of the production and given to the Stage Manager. Do NOT wait until the last minute to tell the Theatre Arts or Music supervisor of the conflict; bring this to the attention of the appropriate faculty members as soon as you are aware of the problem. Failure to do so may result in a failed class, a lowered grade, or withdrawal of audition privileges for a semester.

In order to reduce the possibility of conflicts, students and faculty involved in independent performance projects should consult the Performing Arts Department calendar when scheduling rehearsals and performances. In both scheduling and use of spaces, main stage productions take precedence over student activities, independent performance projects, and Three-Penny productions.


Handbook Extras

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A variety of special workshops will be presented each year for the students. These workshops will vary each semester depending upon the needs of the student body. The department tries to offer workshops each year in dance and theater, as well as in music. Workshops or master classes are lead by respected industry professionals from Chicago and beyond, and topics include but are not limited to performance, diction, auditioning, stage etiquette and Actor’s Equity Association. Attendance and participation of all students is expected and should be given great priority in your schedule.

All Performing Arts students are enrolled in the class Performing Arts-Field Experience (PFMA 100) each semester. This class gives students the opportunity to experience the best the arts communities of northern Illinois and southern Wisconsin have to offer. At least three times each semester, we take students to a variety of dance, music and theatre events.

Past events include: Steppenwolf Theatre productions with Gary Sinse and John Malkovich, Damnation of Faust and Sweeney Todd at the Lyric Opera of Chicago, Dracula at the Milwaukee Ballet, Chicago Symphony Orchestra performing Beethoven’s 9th Symphony, the pre-Broadway productions of the Death of a Salesman and Mary’s Zimmerman’s The Odyssey, Aida and The Producers, August: Osage County and The Addams Family with Nathan Lane and Bebe Neuwirth.

Regent Players is a representative student organization whose highest purpose is to support and expose the performing arts (through theatre, music and dance) to the Rockford University campus and nearby communities. We as a club focus on the importance of providing an additional learning environment for interested students to explore the performing arts outside of a classroom setting. Membership is open to any and all students at Rockford University who show interest. All one needs to do to become a member of Regent Players’ is attend 75% of scheduled Regent Players meetings and participate in most of the events (such as fundraisers, service projects and club activities that are planned throughout the year). Regent Players officers are elected at the end of each school year for the upcoming year. Regent Players works closely with the Rockford University Performing Arts Department and is able to exist because of the support and guidance from every member of the Performing Arts faculty. Some past/planned events include our annual Cabaret, semi-annual New York trip, themed dance shows, a participatory viewing of The Rocky Horror Picture Show, volunteering at Rockford’s “On the Waterfront” and a complete makeover of our theatre’s greenroom.

For more information about Regent Players, contact the current club president.


These requirements are designed to help the theatre student address specific needs that arise with certain responsibilities.  These requirements should set the groundwork for technical positions.

As each production is different, new needs may arise from specific problems.  With an advisor’s help and this document, many problems can be addressed that can occur with theatre  production.  This document is intended to help create a positive learning experience with production positions.

Please note that all PA students are encouraged to apply/request a production position, not just students in Theatre Production course (THEA 103/303). If you are not enrolled in THEA 103/303, we can potentially offer other credit compensations (through the form of Studio problems THEA 394 or Independent Study THEA 491).


During auditions/rehearsals:

  • Consult Stage Manager’s Handbook on file in the Technical Director’s Office
  • Suggested purchase of Daniel Stern’s, Stage Management and Paul Carter’s, Backstage Forms
  • Set up times/spaces for rehearsals with Box Office Manager
  • Tape out set on rehearsal space floor
  • Run rehearsal/audition
  • Maintain SM supply box and return to Stage Manager’s booth when duties are completed
  • Keep production prompt book
  • Find rehearsal equipment (props/costumes/sound/furnishings) with help from appropriate design/production team member
  • Keep rehearsal equipment (props/costumes/sound/furnishings)
  • Set up costume fittings
  • Attend all production meetings (when possible)
  • Generate daily rehearsal reports
  • Distributes rehearsal reports electronically to all members of the Production Design Team daily
  • Collect bio/headshots
  • Give night class conflicts to Technical Director at least one week before technical rehearsals

During tech/performances:

  • Set tech schedule with assistance of design team (typically “10 of 12”)
  • Run tech rehearsal (including paper tech & dry tech)
  • In charge of all tech running crews and actors
  • Create run crew sheets
  • Keep sign-up sheets/daily log
  • Open and lock up all areas
  • Run performances
  • Generate performance reports
  • Oversee maintenance of the show
  • Attends strike and takes attendance of all constituents when the Technical Director determines that strike is concluded.

It is important that a stage manager keep information flowing.  S/he is at the heart of all communication.  Prompt delivery of daily rehearsal reports/notes is necessary to be effective.


  • Consult with designer and shop supervisor three (3) weeks before opening about wardrobe needs (pull t-shirts, shoes, etc.)
  • Write costume inventory with designer for each character.
  • Contact crew and arrange attendance during tech week.
  • Assist in shop with labeling and general pre-performance preparation as needed (check with supervisor daily beginning two [2] weeks before opening).
  • Supervise crew
  • Check all wardrobe and pre-sets ½ hour before actor call. Iron/steam costumes as necessary.
  • Attend strike and be responsible for the return of all items to stock, all dry cleaning and laundry.

RUNNING CREWS (lighting/sound/stage/costumes/props)

  • Must be ready to work at call time (arrive early…if you are on time, you are late).
  • Must attend appropriate run-throughs to know the show.
  • Must attend all tech rehearsals.
  • Must attend all performances and strike.
  • Must wear black clothing.
  • Must not leave call until directly released by the stage manager.
  • Must attend crew meeting prior to the run of the performances.

All duties of running crews will be assigned by the stage manager after discussion with designers and director.

Example Duties:

  • Sweep and mop the stage prior to performance
  • Place all properties and set dressing
  • Sound check and headset placement
  • Laundry/ironing
  • Dimmer check

To assist the Directors/Designers/Stage Manager with whatever duties are needed to complete the responsibilities to the show.


  • Checks with TD for start date of production process at the top of the term
  • Generates appropriate paperwork from the designers light plot
  • Ensure that all the lighting instruments work before hang and focus
  • Runs hang and focus of lighting instruments
  • Give list of all necessary supplies to TD one week before work call
  • Move dimmers from one theatre to another
  • Must attend all work calls and tech rehearsals/strike.
  • Supervises dimmer check prior to every performance


  • Checks with TD for start date of production process at the top of the term
  • Discusses needs of production property design with Scenic Designer and Director.
  • Gets budget figure from the Technical Director
  • Records expenditures daily as instructed, turns in receipts to Technical Director on a weekly basis (money will not be reimbursed with out receipt. Must use a tax exempt form.)
  • Assists the Stage Manager in pulling all rehearsal props.
  • Oversees the finding or building of all properties to Scenic Designer’s specifications.
  • Supervises the construction and load-in of all properties.
  • Generates running plot and organize prop tables
  • Must attend all production meetings (when possible)
  • Must attend all technical rehearsals and strike.
  • Assists the Stage Manager in maintaining the show during performance


  • Checks with TD for start date of production process at the top of the term
  • Discusses painting and textural needs of the production with the Scenic Designer
  • Does color and technique samples for Designer
  • Coordinates time and space requirements with the Technical Director, sometimes daily
  • Supervises the painting of all scenery and appropriate properties
  • Attends production meetings as necessary
  • Finishes all paint calls early enough to ensure wet paint will not damage costumes
  • Attends the last hour of each Tech/Dress rehearsal to obtain notes from the Scenic Designer
  • Maintains the show through performance by touching-up any damaged areas of sets or properties
  • Maintains and records inventory of all paint products