Rules & Bylaws

PROPOSALS

Directors are welcome to submit show proposals at any time during the year. RoM Theatre will consider all proposals and decide where they might fit within the future season. Directors are invited to propose titles and scope reports, along with a full script, typically by the end of the calendar year.

Scope Reports: A brief introduction to the director’s intentions/attractions to the play being proposed, followed by a careful breakdown of all design requirements, including number of female to male roles, estimated number of total costumes, elements required, and any special effects desired/in mind which may not be in the script, any expected additional or “unseen” special costs (royalties, coaches, musicians, additional cast members not in the script), and some description of perceived “marketability” as well as “community outreach” potential.

Once a proposal is selected, it is up to the director to give our Board complete information regarding royalties and number of scripts to be purchased.

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THE PRODUCTION TEAM

The Director may choose their Production Team for their respective show if a particular Designer or other team member has not already been tapped by RoM Theatre.

A typical Production Team shall consist of the following roles:

Director, Assistant Director, Stage Manager, Lighting Designer, Sound Designer, and Scenic Designer. 

These are subject to the needs of the particular show. Some roles may be excluded or absorbed by another Production Team member. RoM highly discourages taking on too many responsibilities, as this may cause too much work and stress for the individual.

RoM Production Team Responsibilities include (but certainly are not limited to):

1. Discussion with the RoM Board prior to the first production meeting to assist in preparation for the director’s first “concept” presentation.
2. RoM Production Team members should attend at least two early production meetings and give feedback and advice to the director on interacting with designers and technical concerns.
3. RoM Production Team members should attend regular “working” rehearsals, again to give the director feedback particularly on how they are communicating with their actors, and how they are adhering to their own schedule. The team should provide updates on progress of their respective duties within the production. All elements must be prepared in time for Load-In.
4. RoM Production Team members should attend at least one “run” – which may be an early dress rehearsal. Directors should determine when and how the RoM Production Team members attend and give constructive feedback.
5. RoM Production Team members also have post-show responsibilities – see “Closing Out”

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AUDITION ANNOUNCEMENTS

Audition announcements and informational meetings about upcoming productions should include (but not be limited to) the following:

1.   An accurate expected schedule for rehearsing, including show dates and potential for “pick up” rehearsals or any other special time commitments.
2.   A character list, describing specifics about each character
3.   Information on how or where to access a script
4.   E-mail contact for the director (for questions)
5.   The basic expectations or format for the audition
6.   A reminder that individuals already committed to production jobs in the same term must check with their other production team and director before auditioning to make sure there is no conflict. 

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PRODUCTION MEETINGS

The Production Manager for RoM schedules production meetings in consultation with directors and stage managers.  We have regular times “set aside” within the monthly schedule for production meetings: the second and fourth Sunday of each month, at 6:30pm. These dates may be flexible.

Directors are expected to make scripts available to the production team at least two weeks prior to the first production meeting.  (Please be aware that photocopying scripts under copyright may be a violation of law via the royalties contract. Ordering scripts should be an immediate priority for each director as soon as a season is confirmed.)

Directors are expected to bring to the first production meeting a rough idea of the rehearsal schedule. The Producer, Assistant Producer, or Production Manager will have set deadlines for the production process, which should be understood by the director and stage manager as they move into the production meeting process. Timely directorial decision-making is vital to designers as they develop their ideas and shops as they build from those ideas.  Directors are also expected to bring to the first production meeting a clear set of priorities, of stylistic aims, of the “mission” in terms of the production’s value to our students and the community.

Every director approaches the first production meeting differently, of course; each production will have very different needs in terms of theatrical development.

For the first meeting it is important that the director has thoroughly considered at least the questions they hope collaboration with designers and technicians may answer. It is often helpful if the director can outline functional/practical requirements as well as offer an “image bank” – focused not on illustrating how he or she wants the show to look, or end “product,” but on illustrating key questions, initial impulses regarding mood, atmosphere, ideas or themes from the play, and special interests regarding character. 

As designs develop, directors are expected to ask questions, to be part of a “give and take” that does not dictate design but offers strong direction to it, and avoids “micro-managing.”  Certainly for the conceptual phase of early production meetings, the director must lead the meeting.  In some cases, once the design is finalized and production meetings move on to technical problem-solving, directors may delegate leading the meetings to the Producer or Production Manager. – but such delegation should be made clear to the Production Manager.  Technical challenges often require the director to make a decisive commitment in one direction or the other.  Throughout, directors are expected to share in the need for flexibility, learning and making adjustments as things develop.

Prior to the first rehearsal, the Social Media Manager will provide the director and design team with a marketing and promotion schedule,  including online forms to collect biographies from the team. Please submit requested materials by these deadlines!  Usually just after confirmation of the season, the director and Visual Designer will meet separately from production meetings to determine basic design aims for the poster.

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CASTING

Auditions for Run of the Mill Theatre Productions are open to all members of the local community. Actors from outside the local region may be cast in roles requiring attributes or skills not found or expected in the normal pool, especially actors of particular age, ethnicity, or special ability. Ensure that all participants from outside the area are able to attend regular rehearsals.

With such RoM production team permission, directors may request a show of fewer than 3 roles or more than 10 roles.  We try to produce plays with no fewer than 3 roles, and no more than 8 roles. The RoM Board has determined the maximum cast size feasible is 12; exceptions may be acceptable on a case by case basis.

For the sake of assessment, audition forms must all have the same set of survey questions, which include rehearsal availability, known conflicts, special experience, allergies, physical restrictions, and requested pronouns.

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AUDITIONS AND REHEARSALS

Auditions are scheduled by the RoM Board in consultation with the Director. Auditions may not always be possible to slate in the theatre space. We encourage the use of public libraries which provide space at no charge. Directors must be responsible for reserving the appropriate space at least two weeks in advance of the dates.

Rehearsal periods, including Tech/Dress week, should not extend beyond 10 weeks.  Typically, our productions rehearse for 8 weeks. 

Directors (or Stage Managers) must give the RoM Board and the Production Team a complete cast list with current contact information within the week following the posting of their cast list.

Rehearsals for RoM Theatre productions are subject to the availability of the director, stage manager, and the cast. Most rehearsals, however, are scheduled between 6:00PM and 10:00PM.  Directors and stage managers are responsible for making sure actors and crew have rehearsal schedules that are followed at least in basic time commitments. For example, RoM directors shouldn’t be adding rehearsals at the last minute or keeping actors past 10:30PM (the exception may be for Tech/Dress rehearsals). This is primarily to safeguard our volunteers’ personal time and to encourage good rest habits. 

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SAFETY

For productions requiring extensive movement or dance, the director is typically designated to lead warm-ups devised by the director or choreographer.  Stage managers and directors should see to it that these warm-ups are a routine limited to an agreed upon time frame.  Actors who are ill or injured should be allowed to “sit out.”

All staged combat, with and without weapons, should be choreographed and well-coached by someone with expertise in this area. Even a basic “slap” can do real harm. Initial play proposals and the earliest production meetings should lay plans for the specific stage-violence needs and a proposal for safety while staging these moments.

A first aid kit will be provided to the stage manager and should be present for all rehearsals. In the event of serious injury, the director is responsible for notifying the RoM Board and staying in close contact with the actor’s progress.

Stage managers will supervise with assistants the sweeping of floors and setting of props.  Stage Managers also call breaks or at least hold their directors to them!  For a three-hour rehearsal, a minimum of one 10 minute break mid-way through the rehearsal is mandatory. For every additional 45-minutes beyond a three-hour rehearsal, a five minute break must be scheduled. Except during Tech Week, rehearsals may not be held for longer than 4.5 hours on a given day.

IMPORTANT: The director must allow the cast to secretly vote for a Cast Liaison at the first read-through, or whenever all members are present. This member of the cast will be the point of contact between the cast at large and the RoM Producer. It is their responsibility to be a trustworthy person to communicate grievances or concerns anonymously so that no single member feels targeted. The cast Liaison will be voted on without the director present. Once a consensus is made, the director will be informed. Please alert The Board of this decision. The Liaison will be expected to touch base with The Board once a week to ensure safety measures are being followed by all during the rehearsal process.

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THE ARTIFACTORY

Unless otherwise decided by RoM, all productions will take place at The ArtiFactory, located at 120 N. Dubuque st. in Iowa City, IA. We are expected to abide by their rules and expectations. The Production Manager or Producer will provide details to the team before they take the space.

The minimum seating allowed for audience members is 40. This does not include seats for ushers, the director, or actors. The maximum seating allowed for audience members is 60. This may be dependent on the layout of the performance space decided by the director and their team. The production team should determine the seating arrangement at least five weeks before opening. The seating arrangement will be drawn as part of the Scene Designer’s floorplan.

Fire, occupancy, and A.D.A. regulations must be adhered to when determining the seating arrangement. They include, but are not limited to the width of open pathways to the exits, acceptable sightlines of exit signs, width of seating rows and aisles, and placement of wheelchair access areas. These regulations are usually not an issue.

The Producer will approve the seating arrangements and make the final determination of whether scenic elements or furniture are unsafely placed in egress paths.

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TECH WEEK

Traditionally, the first technical rehearsal is held on the Monday of opening week. At that time light, sound, video, scenic and effect cues are specifically incorporated into the production. If not already completed, props should be done by this time. The designers are responsible for having their work and crew ready for the first day of tech. Your cast should be informed of the expectations for this week.

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DRESS REHEARSALS AND PERFORMANCES

RoM productions typically have a run of four dress rehearsals leading to opening night. Call times must be determined by both the director and designers, but must give ample time for stragglers and for the cast to don their makeup and costumes.

RoM will provide a photographer and/or videographer to take shots during dress rehearsal for marketing and promotional needs; this is typically scheduled on the Wednesday or Thursday of tech week. Please warn your cast so they can be camera ready.

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COMPLIMENTARY TICKETS

For each production there is a definite limit to “comps” being issued, as approved by the Exec. Producer. RoM typically provides a unique code for each participant which will give them one  ticket for purchase online. If another volunteer outside the cast and production team has assisted with painting, set construction, and the like, then they may be eligible for a comp. 

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STRIKE

Strike will immediately follow the final performance, which is typically Sunday afternoon. Actors should be reminded to help clean up the dressing room and green room spaces immediately following the closing performance. Everyone involved is expected to lend a hand with strike and reset the space to how we received it.