Event Logistics (Collaborative Events)

Please fill out and submit this form as soon as your event reservation has been made.

Note - submission of this form does not constitute reserving a facility for your event. If you have not received a confirmation of your reservation, please contact the Performance Events Coordinator at concert@lclark.edu.

All fields marked with asterisk (*) are required.

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For students presenting a non-degree recital, please submit your Major Teacher and/or Faculty Advisor.
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Please indicate date(s) and time(s) of your performance(s)
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Please indicate date(s) and time(s) of your rehearsal(s)
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Please state the time the doors will open to let the audience into the performance space
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What set-up equipment will you need?*
Please check all that apply
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What A/V equipment will you need?*
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Please specify.
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Please note: Additional costs apply. Outside organizations and recitalists will pay the recording engineer directly on the night of the performance, unless otherwise instructed. If you have any questions about this, please contact the Performance Events Coordinator.
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Please note: This is a static recording, no guarantee of pan or zoom, and no post-production editing.
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If “yes”, the Performance Events Coordinator will reach out to you to discuss if that is an option for this event. Please note that livestream is not available for external organizations, but the Performance Events Coordinator can discuss your options with you.
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(Reminder: Student recitals are never ticketed events.)
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Example: Resonance Ensemble presents their concert, “Back in the U.S.S.R” on March 2nd at 7:30pm in the Agnes Flanagan Chapel. This concert, in conjunction with Yale Union (YU) as part of A Shostakovich Festival sponsored by Friends of Chamber Music, will include thrilling music by Shostakovich, Pärt, Ligeti, Prokofiev, and many other composers affected by the U.S.S.R. Under the oppressive Soviet regime’s strict musical censorship, composers found different ways to cope: by writing rousing nationalist propaganda, subtly subversive works in “musical code” to sneak past the censors, or oppositional music that endangered their lives or forced them into exile.