WORKSTUDY POLICIES

WORKSTUDY
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.

HOURS

• 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.

SCENE SHOP GUIDELINES

General:

• 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.

Materials:

• 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

• Departmental Goals
• Professional Standards
• Academic Advising
• Self Service
• Senior Seminar
• Sophomore Reviews
• Senior Exit Interviews
• Awards/Scholarship Criteria
• Expectations of Scholarship/Award Recipients
• Scheduling Conflicts

DEPARTMENTAL GOALS

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PROFESSIONAL STANDARDS
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.

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ACADEMIC ADVISING
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.

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SELF SERVICE
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 support@rockford.edu. For all other issues please contact the Student Administrative Services (SAS) office at 815.226.4062 or sas@rockford.edu.

Read more:
https://selfservice.rockford.edu/selfservice/Home.aspx

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SENIOR SEMINAR
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)
   •rehearsal
   •performance
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.

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SOPHOMORE REVIEWS
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.

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SENIOR EXIT INTERVIEWS
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.

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AWARDS/SCHOLARSHIP CRITERIA

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.

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EXPECTATIONS OF SCHOLARSHIP/AWARD RECIPIENTS
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.

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SCHEDULING CONFLICTS
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.

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HANDBOOK EXTRAS

WORKSHOPS AND MASTERCLASSES
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.

PERFORMING ARTS TRIPS
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
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.

PRODUCTION POSITION RESPONSIBILITIES

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).

STAGE MANAGER 

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.

WARDROBE SUPERVISOR

• 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

ASSISTANT DIRECTORS / ASSISTANT DESIGNERS / ASSISTANT STAGE MANAGERS
To assist the Directors/Designers/Stage Manager with whatever duties are needed to complete the responsibilities to the show.

MASTER ELECTRICIAN

• 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

PROPS

• 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

SCENIC ARTIST

• 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

PRODUCTION POSITIONS

Production positions and crew assignments are posted following casting each term. Students are asked to submit production position and crew preferences to the Technical faculty/staff one week after casting is posted. Positions are then assigned by the technical staff. Assignments are made by the Technical Director (TD) and Costume Supervisor. Although students’ preferences and conflicts are taken into account, the final decision rests with the Technical staff.

In assigning production crews, the goal is that each student will experience all major productions areas (scene, lights, costumes, and props) during his/her degree program.

STRIKE
ALL Performing Arts students involved with the production (cast and crew) and students enrolled in production class (THEA 103/303) are required to attend strike.

THE TECHNICAL DIRECTOR IS IN CHARGE OF ALL MAINSTAGE STRIKES.

Strike schedule is posted by the Technical Director. When a production ends with a Sunday matinee, strike will begin within 30 minutes of the end of the show and will continue until the stage and all preparation areas are clean and ready for the next production. As posted in advance, some show strikes will occur the evening of the day following the final performance. NO STUDENT MAY LEAVE STRIKE UNTIL DISMISSED BY THE TECHNICAL DIRECTOR (not your area supervisor).

MUSIC

The Music Program at Rockford University operates within the Performing Arts Department and offers one degree, the Bachelor of Arts in General Music. This major consists of core requirements and supporting requirements in addition to the General Education requirements for a B.A. degree (these may be found in the university catalog). The Music Program also supports those students who are pursuing the B.F.A. degree in Musical Theater Performance.

In addition to courses intended for music majors and/or musical theater majors, the Performing Arts Department also offers a number of courses and opportunities for students who are interested in music but do not wish to pursue it as a major. We’ll look at those opportunities first, and then turn to guidelines and requirements for our majors.

• Private Voice Lessons
• Student Recitals
• Studio Class
• Juries
• Music Theory Placement Exam
• Music Ensembles at Rockford University
• For Music Majors Only

PRIVATE VOICE LESSONS
Rockford University is proud to employ some of the finest musicians in Northern Illinois to teach private lessons to our students. Whether you’re interested voice, piano, guitar, violin, flute, percussion, trumpet, or any other instrument, you’ll find a professional of the highest caliber ready to teach you. Students may register for one or two credits of private instruction. A one-credit lesson provides you twelve 30-minute lessons over the course of the semester, and a two-credit lesson provides you with twelve 60-minute lessons during the semester. The $200 per credit lab fee helps to maintain the practice rooms and tune the pianos. Practice rooms are intended only for students that are enrolled in private lessons through the university.

Students who have registered for private lessons will be notified during the first week of classes and given contact information for his/her teacher. Private lessons begin during the second full week of classes, so you and your teacher will have a few days to make initial contact and set up a lesson time. If you are not notified of your teacher, or if you are unable to reach your teacher by the end of the first full week of classes, please contact Prof. Martha Dahlberg, Music Program Coordinator at 815.226.4148 or mdahlberg@rockford.edu.

When you register for voice lessons for the first time at Rockford University, you may be asked to attend a Voice Orientation meeting before you are assigned a teacher. You will be asked to sing something (a prepared song or even “Happy Birthday”) and answer a few questions in order to help the faculty select the best teacher for you.

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STUDENT RECITALS
Student recitals occur four times each semester at 4:00 pm on Mondays in Maddox, Cheek, or Fisher Chapel. One of the four recitals is a “Classical Only” recital. All Performing Arts majors are required to attend at least three of the four recitals. Music majors and musical theater majors are required to perform on at least two recitals per semester. First year students must perform on at least one recital during the first semester at the university and must also perform on at least one Studio Class (see below).

Songs performed on recital must be from memory, with the exception of songs from oratorio. (Oratorio arias should still be well learned; and while the music may be used on recital, eyes should not be buried in the music during the performance.) All music should be well rehearsed with the accompanist. It is customary to acknowledge audience applause by bowing at the end of a performance, after which the performer should also acknowledge the collaborative pianist (accompanist), who should also bow.

Students should notify Professors Adams and/or Dahlberg via e-mail by 5:00pm on the Friday preceding the recital if they wish to perform on Monday’s recital. Please indicate the following in your e-mail to Timm or Martha: song, show or opera the song is from (if applicable), and composer(s) or arranger (please check the spelling!). Most musical theater pieces have a lyricist and a composer, so be sure to include both first and last name of the songwriters in the e-mail.

Recitals are formal affairs, so students should be dressed in business or audition attire when performing. Our department should always be a safe place to perform, so the utmost courtesy and respect should be given the performers.

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STUDIO CLASS
Studio class is a wonderful opportunity to perform for and listen to students within your own voice or piano studio. Each teacher will schedule his/her own studio classes throughout the semester, although they are generally held on Mondays at 4:00 pm. This is a chance to perform songs that might not be fully polished and to garner feedback from your peers prior to performing on a recital or at an audition. Each teacher will have his/her own studio class requirements and protocol, so please refer to your MUSC 134 or 334 syllabus for more information.

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JURIES
What an unfortunate name! Juries are a wonderful opportunity to demonstrate to the faculty the progress you have made during the semester. This is a chance to get essential feedback from faculty members other than your private lesson teacher, and the department considers them to be an important part of your musical and theatrical growth.

• Juries are required for the following students:
• Musical Theater Performance majors
• Music majors
• Students enrolled in 300-level private lessons

What is a jury? At the end of each semester, the students listed above will be assigned a jury time on a given date. At the jury, the student will select a song from the songs that he/she prepared during the semester to perform for the faculty. Typically, the faculty will then request one more song to be performed by the student. Simple as that!

Jury Guidelines:

1. Students will be assigned a jury time at least two weeks in advance of jury day, which is usually during finals week at the end of each semester. Times will be e-mailed to students and will also be posted outside Timm’s office and Martha’s office. It is imperative that students check their final exam schedule to be sure their jury does not conflict with another final. Students must communicate any conflict with his/her jury time within 48 hours of the jury e-mail or posting. Any conflict should immediately be communicated to a. your teacher and b. Martha Dahlberg (MDahlberg@rockford.edu).
2. Students will fill out a Repertoire Sheet in advance of his/her jury. The student will list all songs and performances that were worked on during the semester. There is a place for “prepared” songs (songs that are ready for performance) and “songs worked on” (not ready for performance and thus, not subject to selection by faculty members). The student will make several copies of the Repertoire Sheet to bring into the jury with him/her (the specific number will be indicated at the time of the jury posting).
3. Please dress up for your jury! Business or audition attire is mandatory (ask a faculty member, if you have questions). You will make a much better impression at your jury if you look and feel your best. This will also give you a psychological advantage.
4. An accompanist will be provided for the jury and for one 15-minute rehearsal prior to the jury. Students will be notified when the sign-up sheet for rehearsal with the accompanist is posted. Rehearsals will be scheduled at the convenience of the accompanist in the two weeks prior to juries. Additional rehearsal time is encouraged, but must be paid for by the student.
5. Student will provide a Xerox copy (back to back and three-hole punched) of each song that might be performed at the jury for the accompanist on the day of the rehearsal or beforehand (preferred).
6. All songs performed at the jury must be memorized. An exception will be made for arias from oratorio, for which the student may use a music stand or hold the score. Oratorio arias must still be very well learned, and the score should be used only for an occasional glance.
7. Bear in mind that performance at a jury should not be a fully staged or choreographed number. Songs from musicals should not be performed in the full context of the show. Minimal movement is recommended and encouraged.
8. Preparation is the key to a successful jury! All songs should be memorized at least two weeks in advance of the jury. Foreign language pieces should be memorized weeks in advance of the jury. If you have memorized your song within the last week of the semester, it’s very unlikely that you will remember all the lyrics and notes under the pressure of the actual jury. Inform your performance, which means know the song inside out, and practice, practice, practice!

It’s unfortunate that these 10-minute showcases are called “juries” because it puts such a negative spin on the whole ordeal. Please consider this an opportunity to shine rather than a time to be judged. Keep in mind that faculty members are rooting for you and very much want you to succeed. Keep your mind on your objective, remain in the moment, and envision yourself successfully completing your songs.

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MUSIC THEROY PLACEMENT EXAM
Music Theory placement exam will be given to all incoming music majors and musical theater majors during the first few days of class each fall semester. This exam will help the faculty know how best to advise you in your music theory coursework. Music minors may opt to take this exam if they are unsure whether or not they need Fundamentals of Music before taking Music Theory. It would be a good idea to brush up on your music theory before this test, but there’s no need to be nervous. This will give you an opportunity to test out of Fundamentals of Music, if you already have some theory/music reading background. Scoring poorly on this exam will not penalize you in any way.

Music Theory requirements

Music Majors
Music Theory I (MUSC 102) and Aural Skills I (MUSC 104)
Music Theory II (MUSC 103) and Aural Skills II (MUSC 105)
Music Theory III (MUSC 202) and Aural Skills III (MUSC 204)
Music Theory IV (MUSC 203) and Aural Skills IV (MUSC 205)

Music Minors
Music Theory I (MUSC 102) and Aural Skills I (MUSC 104)
Music Theory II (MUSC 103) and Aural Skills II (MUSC 105)

Musical Theater Performance Majors
Music Theory I (MUSC 102) and Aural Skills I (MUSC 104)

For students with little or no theory background, the following courses may be required before registering for Music Theory I:

• Group Piano for Beginners (MUSC 131), offered each fall semester
• Fundamentals of Music (MUSC 101), offered each spring semester
• Piano Lessons I (MUSC 132), offered each semester. The focus of this course is not necessarily music theory, but if you have some knowledge of reading music already, this would be a good refresher course.

The music theory placement exam will include the following topics.

1. Circle of fifths
2. Pitch identification
3. Major and minor key signatures
4. Time signatures
5. Major scales
6. Minor scales (natural, harmonic, melodic)
7. Intervals
8. Triads
9. Chord analysis (I, IV, and V only)
10. Keyboard familiarity (finding pitches on the piano, playing a major scale)

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MUSIC ENSEMBLES AT ROCKFORD UNIVERSITY

Regent Singers (MUSC 243) is a mixed (SATB) performance ensemble that performs a wide variety of choral music ranging from the Renaissance to Contemporary and from classical literature to folk songs and spirituals. Much of the music performed by Regent Singers is a cappella, although there is occasional piano accompaniment and even collaboration with chamber orchestra. The culmination of each semester’s preparation is a final performance at the Winter or Spring Performing Arts concert. Meets MWF 12:00 – 12:50 each semester.

The Vocal Collective is a highly select mixed vocal ensemble that numbers 12 to 20 singers and sings everything from Renaissance polyphony to jazz. Established in 2004, this scholarship group learns music quickly and performs often, usually a cappella. The ensemble serves as an ambassador for the university, performing at university functions and representing Rockford University at community events such as sports games, corporate events and city gatherings. Members of the Vocal Collective often tour during spring break and past tour destinations have been Florida, Minneapolis, and Chicago. Auditions for the Vocal Collective occur during the first week of classes each fall semester and are open to all students.

Women’s Ensemble (MUSC 242) is open to all women on campus. A wide variety of music written for treble voices is studied and performed, including arrangements of pop/jazz/show tunes. The culmination of each semester’s preparation is a final performance at the Winter or Spring Performing Arts concert. Meets T-Th, 12:00 – 12:50 most semesters.

The Gospel Choir (MUSC 241) is OPEN TO ALL STUDENTS and brings to Rockford University the tradition of gospel music in American culture. Led by Adjunct Professor Charles Matlock, this performance ensemble explores the rich repertoire and performance practice found in the gospel tradition and exists in part to preserve and affirm the African American culture in the city of Rockford. Meets Thursdays, 6–8 p.m. most semesters.

Opera Workshop (MUSC 24) is offered every other year in the spring, and offers students the opportunity to explore the classical side of the ever-popular marriage between music and theater. The course addresses the preparation, study and performance of representative scenes from the opera repertoire. The semester’s work culminates in an Evening of Opera Scenes, which are fully staged.

Opera Ensemble (MUSC 276) will be occasionally offered during semesters that Opera Workshop is not offered and when there is interest to do so. Focus will be on learning and performing duets, trios, quartets, and larger ensemble pieces from the operatic literature without a staging component.

Band (MUSC 276) at Rockford University is fairly new and growing. Led by trumpet-player extraordinaire Kurt Boucek, this ensemble plays a variety of styles from jazz and popular arrangements to Dixieland and classical music. They also serve as the university Pep Band, performing at football and basketball games.

The RC Music Club is a student-directed rock band that rehearses once a week and performs on campus at the Lion’s Den. This band plays covers as well as original music from members of the band and the club’s sponsor, Prof. Matt Flamm.

Student musicians with more advanced playing experience are encouraged to audition for the pit orchestra for the two full-scale musicals produced each year by the Performing Arts Department. These are paid positions, providing modest compensation, and require a nine or 10-day commitment for rehearsals and performances.

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FOR MUSIC MAJORS ONLY

Audition
Prospective music majors must audition and demonstrate an acceptable level of proficiency or aptitude in the major applied area of study (voice, piano, strings, etc.). Please prepare two contrasting selections on your primary instrument and be ready to discuss your desire to study music at Rockford University.

Special Requirements for Music Majors

• All entering first-year music majors must take the Music Theory Placement Exam. See “Music Theory Placement Exam” above.
• All music majors must attend three out of four student recitals each semester. See “Student Recitals” above.
• All music majors must participate in a department-sanctioned ensemble for a minimum of five semesters.
• All music majors must be enrolled in private lessons each semester they are taking classes on the Rockford University campus. Exceptions may be made for two of those semesters for extenuating circumstances:
  • A minimum of four credit hours of private instruction must be in the same
    applied area (voice, piano, etc.)
  • A minimum of four credit hours of private instruction in the major applied
    area must be at the 300 level.
  • All music majors will be evaluated in performance at the end of each
    semester of private instruction in the major applied area. See “Juries” above.
• All music majors must demonstrate a basic proficiency in piano by successful completion of the piano proficiency examination no later than the end of their junior year. See “Piano Proficiency” below.

Piano Proficiency
Music majors are required to pass a piano proficiency exam before graduating. This is an important part of your growth as a musician. Because keyboard skills are so essential to almost any career in music, it’s imperative that students prepare early for this important exam. Piano teachers are prepared to assist with this preparation as a part of your private piano lessons (MUSC 132 or MUSC 332).

The piano proficiency exam consists of the following:

1. Each student will be required to present a piece of his/her choice from memory. This should be at grade 2 difficulty or above.
2. Each student will be required to play two major scales and two minor scales (one harmonic and one melodic) of the committee’s choosing (see preparation suggestions below)
3. Each student will be required to harmonize a melody in two different ways
   • with chord notation (lead sheet: C, F, G7, etc.)
   • with Roman numeral notation (I, IV, V, etc.)
4. Perform transposition of Amazing Grace in key of committee’s choice (F, G, or B-flat)
5. Sight read one selection of the of the committee’s choice.

Preparation for the Piano Proficiency

1. Technique:
   • Prepare all major scales, hands together, two octaves: minimum speed: 80/note; up to 5 flats and 4 sharps
   • All harmonic and melodic scales; single hands, two octaves; up to 4 flats and 3 sharps
   • All major and minor cadences, hands alone, (I, IV, V7, I)
2. Harmonization:
   • Simple melodies with a chord lead sheet
   • Simple melodies with a Roman numeral lead sheet
   • Transpose Amazing Grace into keys F, G, B-flat
3. Sight playing:
   • Be able to sight read at an appropriate skill level.
4. Repertoire:
   • Grade 2 difficulty or above

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GENERAL POLICIES

• • • Drug and Alcohol Policy
    • Hazing Policy
    • Non-Smoking Policy
    • Sexual Harassment

DRUG AND ALCOHOL POLICY

Rockford University has a detailed and explicit Alcohol and Substance Policy. That policy is published on the university’s website and in the Student Handbook (and briefly stated below). All students must comply with the university’s published policy. Although cigarettes are not an illegal drug, they are detrimental to your vocal and overall health and highly discouraged by the vocal faculty.

It is the policy of Rockford University to promote a campus environment that is free of drug and alcohol abuse. In order to ensure a safe, secure and healthy environment for its community and to comply with its obligations under the federal Drug-Free Schools and Communities Act, Rockford University prohibits students from unlawfully possessing, using, consuming, purchasing, distributing, manufacturing, dispensing, or selling on the University’s premises or as a part of any of the University’s activities: 1) illicit substances; 2) drug paraphernalia; 3) lawful controlled substances, except as medically authorized and used in accordance with their prescriptions; and 4) alcohol.

Both State law and Rockford University policies prohibit the purchase, possession and/or consumption of alcohol by any person under the age of 21 (twenty-one). Under strict supervision, alcohol may be served at approved events. Any individual or recognized group sponsoring an event associated with Rockford University must obtain approval before an event when alcohol will be available.

Federal and state laws, and Rockford University policy, prohibit the sale, re-sale, possession, use or distribution of any controlled substances or prescription medication. The sole exceptions to this policy are (1) the use of prescribed medications by the patient for whom the medication was prescribed where such medication is used only as directed by the physician who prescribed the medication; and (2) the sale and/or dispensing of prescription medications by healthcare professionals within the scope of their licenses to do so and in accordance with the law. Students found in violation of this policy are subject to serious University disciplinary action (suspension or dismissal) and arrests under the state and federal laws.

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HAZING POLICY

Rockford University has detailed and explicit hazing policies. Those policies are published on the university’s website and in the Student Handbook (and briefly stated below). All students must comply with the university’s published policy.

Rockford University prohibits hazing by members of the University community. Hazing is any situation created on, or off, campus that affects any member of the University community which:

• • • Produces mental or physical discomfort for a person or group.
    • Produces embarrassment, harassment or ridicule of a person or group.
    • Puts an individual or group in danger of injury.
    • Violates Illinois Revised Statutes, Chapter 144-Universities, etc., Section 221 which states:
      • Whoever shall engage in the practice of hazing in this state, whereby anyone sustains an injury to his person there from, shall be guilty of a Class B misdemeanor; or Section 222.
      • The term hazing in this act shall be construed to mean any pastime or amusement, engaged in by students or other people in schools, academies, Colleges, universities or other educational institutions of this state, whereby such pastime or amusement is had for the purpose of holding up any student, scholar or individual for the pastime of others.

The following are examples of hazing activities according to the above statement. These examples are not intended to be all-inclusive, merely representative of behavior or actions that are defined as hazing: paddling in any form; creation of excessive fatigue; physical and psychological shocks; engaging students in public stunts and buffoonery; morally degrading or humiliating games and activities; late night or early morning sessions which interfere with scholastic activities or deprive persons of the opportunity for sufficient sleep; forcing or coercing persons to consume alcoholic beverages or unusual substances, such as unprepared food, in any amount; any requirement which compels an individual to participate in any activity which is illegal, perverse, indecent or contrary to the individual’s moral values or religious beliefs; any other activities which are not consistent with the policies, regulations and codes of the University.

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NON-SMOKING POLICY
All classroom buildings on the Rockford University campus are smoke free; which includes Maddox Theatre and the Cheek Theatre. Smoking is prohibited throughout these buildings.

Rockford University has adopted a Smoke Free policy. The smoking of tobacco products in all buildings, including residence halls, owned or operated by the University is prohibited. Smoking is prohibited within the spectator areas at all sporting events and in all areas within Sam Greeley Field. Finally, smoking is prohibited at campus events and activities, unless there is a designated smoking area.

Smoking is allowed in designated areas outside buildings.

The proper disposal of all waste tobacco products is required at all times.

Violations of this policy may result in disciplinary action and/or removal from the premises.

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SEXUAL HARASSMENT

Rockford University has detailed and explicit sexual harassment policies. Those policies are published on the university’s website and in the Student Handbook (and briefly stated below). All students must comply with the university’s published policy.

As an educational community dedicated to a belief in the inherent dignity and worth of each individual, Rockford University will not tolerate any form of sexual harassment within the university community or by trustees, faculty, staff members or students as representatives of Rockford University or by others officially representing the university.

Sexual harassment is illegal under federal and state statutes. More importantly, it is a violation of the most basic ethical, personal, and professional standards of our university community. The ability of the university to carry out its mission is undermined when any member of the community, male or female, is subject to unsolicited and unwelcome sexual overtures or conduct, either verbal or physical. In both obvious and subtle ways, the very possibility of sexual harassment is destructive to individual students, faculty, staff, and the academic community as a whole.

Therefore, it is the policy of Rockford University to forbid and condemn sexual harassment in any form and to seek appropriate discipline and redress in every instance. Each member of the university community has the obligation to report and prevent sexual harassment and to participate in the judicial process to the fullest extent possible.

NOTE: The Sexual Harassment Officer (SHO) for Rockford University referred to in this document is:
Robert Evans – Colman 103 – phone: 226-4175

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FACULTY AND STAFF CONTACT INFORMATION

Faculty Contact Information

Staff Contact Information

Adjunct Faculty Contact Information