Volunteer Handbook THE NAPLES PLAYERS

Volunteer Handbook

THE NAPLES PLAYERS

Second printing June 2009 THE NAPLES PLAYERS Sugden Community Theatre • 701 5th Avenue South, Naples, FL 34102-6662 Administration 239-434-7340 • Fax 239-434-7772 • Box Office 239-263-7990 www.naplesplayers.org

THE NAPLES PLAYERS VOLUNTEER HANDBOOK

TABLE OF CONTENTS

Mission and History of The Naples Players ....................................................................... iv TNP Membership Benefit Summary ................................................................................... 1 Volunteer & Membership Application Samples ............................................................. 2-4 Volunteer Recognition ............................................................................................................ 5 Volunteer Commitment ......................................................................................................... 6 Ethics and Conduct ................................................................................................................. 6 Performance Evaluations ........................................................................................................ 6 Adult Education ....................................................................................................................... 7 KidzAct, Youth Theatre of The Naples Players .................................................................. 7 Volunteer Job Descriptions ............................................................................................... 8-48 Actor Understudy ......................................................................................................... 8 Ad Hoc Committee ...................................................................................................... 9 Assistant Director ........................................................................................................ 10 Assistant Stage Manager ............................................................................................ 11 Audition Assistant ....................................................................................................... 12 Backstage or Running Crew ..................................................................................... 13 Costume Constructor ................................................................................................. 14 Costume Designer ...................................................................................................... 15 Dance Captain ............................................................................................................. 16 Director, Board of Directors ...................................................................................... 17 Dresser .......................................................................................................................... 18 ETC… Committee ...................................................................................................... 19 ETC… Play Reader, Director or Producer .............................................................. 20 Hair and Makeup Designer ...................................................................................... 21 KidzAct Classroom Assistant .................................................................................... 22 Librarian and/or Archivist ......................................................................................... 23 Light Board Operator ................................................................................................. 24 Lighting Designer ....................................................................................................... 25 Mailing Crew ............................................................................................................... 26 Makeup Artist .............................................................................................................. 27 Membership Committee ........................................................................................... 28 Nominating Committee ............................................................................................ 29 Office Assistant ............................................................................................................ 30 Performer ...................................................................................................................... 31 Play Selection Committee ......................................................................................... 32 Producer and Assistant Producer ............................................................................. 33 Properties Master and Properties Team ................................................................. 34 Publication Distribution ............................................................................................ 35 Rigger ............................................................................................................................ 36 Scenic Designer ........................................................................................................... 37 Set Builder .................................................................................................................... 38 Set Decorator ............................................................................................................... 39 Set Painter .................................................................................................................... 40 Sound Board Technician ............................................................................................ 41 Sound Designer ........................................................................................................... 42 Special Events Committee ........................................................................................ 43 Spot Light Operator ................................................................................................... 44 Stage Manager ............................................................................................................. 45 – ii–

Volunteer Job Descriptions, continued Usher ............................................................................................................................. 46 Wardrobe Crew ........................................................................................................... 47 Contracted Positions ............................................................................................................ 48 Director ......................................................................................................................... 48 Musical Director, Musicians ...................................................................................... 48 Choreographer, Instructor ......................................................................................... 48 Safety and Security ......................................................................................................... 49-50 Facility Security, Costume and Scene Shop Safety .............................................. 49 Safety on Stage ............................................................................................................ 49 In the House Safety, Youth Safety ............................................................................ 50 First Aid and Emergency Care .................................................................................. 50 Fire Procedure .............................................................................................................. 50 Parking .......................................................................................................................... 50 Preview Ticket Distribution ................................................................................................ 51 Miscellaneous Topics ............................................................................................................ 52 Photos: Headshots, Press and Archival ................................................................... 52 Production Parties ....................................................................................................... 52 Parking Garages ........................................................................................................... 52 Rehearsal and Performance Etiquette ............................................................................... 53 Glossary for Stage ........................................................................................................... 54-56

HOURS

OF

OPERATION

Administrative Offices: Mon.-Fri. 9:00 a.m.-4:30 p.m. Box Office: Mon.-Fri. 10:00 a.m.-4:00 p.m., Sat. 10:00 a.m.-1:00 p.m. Scene Shop: Generally, Tues.-Sat. 9:30 a.m.-4:30 p.m. Costume Shop: Generally, Mon.-Fri. 1:00 p.m.-9:00 p.m.

PHONES

Administrative Offices ... 434-7340 Box Office ... 263-7990 Executive Director ... 434-7340 Artistic Director ... 434-7340 Director of Volunteer Services ... 434-7340 Box Office Manager ... 434-7340 Resident Lighting & Sound Designer ... 434-7340 Technical Director ... 434-7340 Production Stage Manager ... 434-7340 Resident Costume Designer & Costume Shop Supervisor ... 434-7340 Marketing Director ... 434-7340 Marketing Manager ... 434-7340 KidzAct Director of Youth Education ... 434-7340 Green Room ... 434-7340 Scene Shop ... 434-7340

ext. 10 ext. ext. ext. ext. ext. ext. ext.

15 11 14 13 26 17 36

ext. ext. ext. ext. ext. ext.

21 16 37 39 27 24

MAILING ADDRESS & WEBSITE

701 5th Avenue South, Naples, Florida 34102-6662 • www.naplesplayers.org – iii–

MISSION OF THE NAPLES PLAYERS To create and perform affordable, high quality amateur theatre; to encourage participation in and appreciation of theatre; and to provide educational and enrichment opportunities and outreach programs for all residents and visitors.

HISTORY OF THE NAPLES PLAYERS In the early 1950s, a group of local residents with a passion for performing and producing theatre founded The Naples Players. Their first production was I Remember Mama. The group, soon incorporated as a not-for-profit corporation, performed where they could in homes and store fronts. In 1975, the Players established a home base when a 40-seat playhouse was opened on Davis Boulevard. After some years, the Players converted the former Kon Tiki movie theatre on Goodlette Road, opening with the classic musical Guys and Dolls. Following a successful fund raising campaign more than $6 million was raised to build the Sugden Community Theatre on a site provided by the City of Naples. The theatre boasts two performance spaces, three rehearsal studios, dressing rooms, scene and costume shops, and administrative offices. The opening production in 1998, Me and My Girl, was presented in the 326-seat Blackburn Hall. The smaller 100-seat Tobye Studio opened with Bravo, Caruso. A decade later, The Naples Players consistently sells ninety percent of available seats, with popular musicals and KidzAct productions selling out. The volunteer program attracts approximately 500 members; KidzAct serves 600-plus children, and now is reaching into area schools; and the endowment fund is healthy and growing. The Naples Players continues to feature the talents of volunteer actors, designers and crew drawn from the greater Naples area. The annual season includes six main stage and four studio productions of more than 240 performances. The Players also present six annual KidzAct productions and hosts performances of other local Naples area non-profit arts groups, including the Classic Chamber Concerts.

– iv –

TNP MEMBERSHIP BENEFIT SUMMARY Thanks for your interest in volunteering with The Naples Players. Before beginning any volunteer experience, please complete the Volunteer Membership Application, the Hold Harmless Release and the Background Check Release. A member pays annual membership dues. Membership is not required to volunteer with The Naples Players, however, the benefits make membership worthwhile. A working member has contributed 50 volunteer hours. Membership dues are paid at the beginning of the fiscal year, May 1st, or whenever one joins. Once dues are collected and the application form is completed, information is logged into the database. The basic membership benefits are: • Home delivery of the Backstage newsletter • Notices for auditions • Invitations to general meetings, the annual meeting and special events • Discounts to many workshops and classes • Voting privileges Members are encouraged to volunteer a minimum of 50 hours during the year. These hours may be accumulated in a number of ways. For example, by participating: • On a committee • In workshops and classes • As a performer • As a stagehand or on the running crew • On the production team • In set or costume construction • As an usher The fastest way to accrue volunteer hours is through participation in a production, either as part of the production team, or as a cast or crew member. Those hours are recorded for the individual. Members who volunteer in other ways, such as through committee or construction work, are requested to keep a tally of their hours and either put them in the white boxes located throughout the theatre, or submit them to the Director of Volunteer Services. Once 50 hours are recorded the individual becomes a working member. The membership is non-transferable and is valid until the end of the current fiscal year, April 30th. Working member benefits include: • A complimentary ticket to Blackburn Hall productions on preview nights • A complimentary ticket to Tobye Studio productions on preview nights if seats are available • A substantial discount to most adult education courses Working members may call 263-7990 or go to the Box Office during business hours to reserve a complimentary ticket for preview night. No preview tickets are available for purchase. Seating is limited in the Tobye Studio so tickets are available only on a first come, first served basis. –1–

THE NAPLES PLAYERS 701 5 Ave. South, Naples, FL 34102 th

VOLUNTEER & MEMBERSHIP APPLICATION

E L P M A S

(Separate application required for each family member)

NAME:__________________________________________________________________________ ADDRESS:___________________________________________________________________ CITY:_________________________________________ ZIP___________________________ PHONE: HOME: _________________________ CELL: _____________________________ WORK: ____________________ E-MAIL: _______________________________ ALTERNATE ADDRESS:_______________________________________________________ Please Identify Your Interests by Checking the Space Below:

d d d d d d d d d d d d d d d

Actor Audition Assistant Backstage Crew Box Office Assistant Board of Directors Choreographer Classes Computer Costume Construction Costume Design Costume Maintenance Dancer Director Dresser ETC… Play Readings

d d d d d d d d d d d d d d d

Fundraising Hair/Wigs Instructor KidzAct Assistant/Crew Light Board Operator Light Design Lobby Decorations Mailing Committee Membership Committee Makeup Musician Nominating Committee Office Assistant Play Selection Committee Producer

d d d d d d d d d d d d d d d

Properties Publication Distribution Rigging Set Construction Set Decorator Set Design Set Painter Singer Sound Board Operator Sound Design Speakers Bureau Special Events Spot Light Operator Stage Management Ushering

Do you have any related skills which would be of benefit to The Naples Players? ______________________________________________________________________________________________________ _____________________________________________________________________________________________ Continue below

VOLUNTEER & MEMBERSHIP APPLICATION, page 2 Volunteers with The Naples Players are not required to become members of the organization, however, membership benefits include: discounts to classes, home delivery of newsletters, and voting rights.

E L P M A S

Select One: ___ Adult $30 ___ Student $10 (through 12th grade) ___ I choose not be become a member at this time but plan to volunteer.

Donation (optional) $25 $45 Other $__________ Operating Fund_____ Endowment Fund_____ KidzAct_____ Payment Method:

___ Check - Payable to The Naples Player ___ Credit Card (Circle One) Visa

___ Cash

MC

Disc

Return to: The Naples Players 701 5th Ave. South, Naples, FL 34102 AmX

# ________________________________________________________ Expiration Date _________________________

Name on Card _____________________________________________ Total Amount Paid: $ _____________________

CONSENT FOR PUBLICITY I consent to the use of my name and/or likeness in promotional materials, including web pages. Parent/Guardian Signature (if under age 18) _________________________________________ APPLICANT’S SIGNATURE: ____________________________________DATE: ____________ Anyone with a history as a Sexual Predator/Sexual Offender is barred from volunteering or being a member of The Naples Players. A background check is required of all prospective members and volunteers and remains on file for the duration of the member’s or volunteer’s involvement with TNP. It shall be the policy of The Naples Players to require all members and volunteers to sign a “Hold Harmless Release” to become or continue as a member or to volunteer in any fashion here at the theater. This release will be kept on file for the duration of the member’s or volunteer’s involvement with TNP.

–2–

THE NAPLES PLAYERS 701 5th Ave. South Naples, FL 34102 HOLD HARMLESS RELEASE (Separate release required for each family member) NAME: _______________________________________________________________________ ADDRESS:____________________________________________________________________

E L P M A S

CITY:_________________________________________ ZIP: __________________________ PHONE:

HOME: _________________________ CELL: _________________________

WORK: __________________ E-MAIL: _______________________________

As a volunteer or member of The Naples Players I understand that I have agreed to volunteer my time and talents toward accomplishing the goals of said organization. I also understand and agree that the organization, its instructors, agents and employees are not responsible for my welfare or behavior while I am participating in any volunteer duties on behalf of the theatre. The organization assumes no responsibility or liability for my actions, or for those of any other participant. I do, therefore, release, acquit, satisfy and forever discharge The Naples Players, its instructors, agents and employees from any and all injuries, expenses, liabilities whatsoever, incurred as a result of my participation as a volunteer, including, but not limited to any negligence or any other act or omission on the part of the organization, its instructors, agents or employees.

I have read, understand and accept.

Parent/Guardian Signature (if under age 18) __________________________________________

APPLICANT’S SIGNATURE: ___________________________________ DATE: ______________

Effective for the duration of the individual’s participation.

–3–

VeriFYI Background Verification Release Form AGENCY INFORMATION Date

:

Name

: The Naples Players, Inc.

: Jim Rideoutte, 239-434-7340 x15, [email protected] Phone Number : 239-434-7340 Fax Number: 239-434-7772 Contact Name

E L P M A S

APPLICANT INFORMATION Applicant Full Name (Last, First, MI) Maiden or Other Names(s) Used Current Address City

:

:

Position Applied For

:

:

State

: Volunteer

:

Zip Code

:

County

:

Date of Birth

:

I hereby authorize VeriFYI and or its Service Provider to request and receive any and all background information about or concerning me as it relates to any sexual offender or sexual predator history.

The sexual criminal history, as received from the reporting agencies, may include arrest and conviction data as well as plea bargains and deferred adjudications and delinquent conduct as committed as a juvenile. I understand that this information will be used, in part, to determine my eligibility for an employment/volunteer position with this organization. I also understand that as long as I remain an employee or volunteer here, the sexual criminal history check may be repeated at any time. I understand that I will have an opportunity to review the sexual criminal history as received by client/agency and a procedure is available for clarification, if I dispute the record as received. I also understand that the sexual criminal history could contain information presumed to be expunged.

I further release and discharge VeriFYI and their Service Provider and all of their Subsidiaries, Affiliates, Officers, Employees, Contract Personnel, or Associates, from any and all claims and liability arising out of any request for information or records pursuant to this authorization, procurement of an investigative consumer report and understand that it may contain information about my character, general reputation, personal characteristics, and mode of living, whichever are applicable. I understand that I have the right to make written request within a reasonable period of time to VeriFYI for additional information concerning the nature and scope of the investigation. I acknowledge that I have voluntarily provided the above information for employment/volunteer purposes, and I have carefully read and understand this authorization.

Applicant’s Signature

Date

________________________________________________________________________ Applicant’s Printed Name

Parent/Guardian’s Signature (if under 18 years of age)

– 4–

VOLUNTEER RECOGNITION Volunteers in The Naples Players are recognized for their contributions in various ways. Individuals involved in a production, whether performing, constructing sets or accepting any of the many roles behind the scenes, are provided two complimentary tickets to that particular production. They may be part of a lobby photo display and recognized in the playbill. Volunteers who become members of The Naples Players and contribute 50+ hours during the fiscal year (May 1-Apr. 30) become working members and are eligible for a single complimentary ticket to preview performances in Blackburn Hall and Tobye Studio (limited seating). Volunteers who contribute 250+ hours during the fiscal year have their names displayed in the lobby for one year. Those volunteers who contribute 500+ hours during the fiscal year have their names permanently mounted on the south exterior wall of the theatre. Volunteers in the usher program record their hours for each performance worked. The same eligibilities, detailed above, apply to participants in the usher program. Additionally, awards are presented to ushers for each accumulation of 100 volunteer hours, extending from the first hour ushered throughout their years as usher. The Unsung Member Award, created and funded by Edna Springer, presented annually, goes to a volunteer recognized for contributions other than performance. Unsung members receive a citation at the annual meeting and have their name added to a lobby display. The Life Member Award is presented on the occasion an individual is recognized for such significant contributions that the organization will forever be grateful. The life member receives all the benefits of a working member aand is given membership for the remainder of his/her life.

“Disney’s Beauty and the Beast”

–5 –

VOLUNTEER COMMITMENT

Volunteers can expect a commitment from TNP to provide the following: • A clearly defined description of volunteer responsibilities • Orientation, training and supervision as appropriate for assignments • An environment in which the volunteer is treated as a valued asset • An environment that fosters fun and creativity through community service • Records of volunteer hours • Recognition for service • Letter of reference upon request Volunteers commit to do the following: • Comply with TNP policies, guidelines and procedures • Fulfill time commitment as indicated in assignment description and/or confirmation messages • Fulfill duties as outlined in the Volunteer Handbook and assignment description • Perform with a high standard of professional conduct, cheerful attitude and accountability • Honor confidential information • Notify Director of Volunteer Services as soon as possible when unable to volunteer as scheduled • Whenever possible, maintain an active membership with The Naples Players

ETHICS AND CONDUCT

The successful business operation and reputation of The Naples Players is built upon the principles of fair dealing and ethical conduct of our volunteers, employees and patrons. Our reputation for integrity and excellence requires careful observance of the spirit and letter of all applicable laws and regulations, as well as a scrupulous regard for the highest standards of conduct and personal integrity. In general, volunteers, employees and patrons should use good judgment, refraining from any illegal, dishonest, or unethical conduct. Furthermore, incidents of discrimination or harassment will not be tolerated. If behavior is found to be offensive, or if a situation arises where it is difficult to determine the proper course of action, the matter should be discussed openly with a supervisor and, as appropriate, the Director of Volunteer Services, Artistic Director, and Executive Director. Disregard or failure to comply with appropriate conduct and the law could lead to disciplinary action, up to and including termination of volunteer service.

PERFORMANCE EVALUATIONS

Volunteers are entitled to periodic assessments of their performance. This may be done on an informal or as needed basis, or, formally if requested, using school or other required forms. Letters of reference or verification of attendance/hours may be requested from the Director of Volunteer Services.

–6–

ADULT EDUCATION The Naples Players offers classes and workshops to adults and older teens in spring and fall terms. Highly qualified teachers instruct classes for beginners through advanced skill levels. Classes and workshops typically provide opportunities to improve performance (acting, singing, and dancing) and technical skills (lighting, sound, stage management, and directing). Annually, theatre craft classes may offer carpentry, faux painting, costume design and set design. Members receive advance notice and discounts to classes, though classes are open to members of the community.

KIDZACT, YOUTH THEATRE OF THE NAPLES PLAYERS KidzAct, started in June 2002, has grown from a small summer program to a successful year-round program serving hundreds of children annually. Performance classes include audition skills, improvisation, acting, singing and musical theatre dance. Additionally, each session offers one or more production classes ending in a staged musical or play. The goals of KidzAct: • Provide year-round quality theatrical opportunities for children and youth ages 4-18 • Offer classes at tuition rates affordable to families of average financial means • Provide financial assistance for children with interests in the performing arts whose families demonstrate need

“Mollie and the Last Bookworm”

–7 –

VOLUNTEER JOB DESCRIPTION Position Title:

Actor Understudy

Description: The actor understudy learns an actor’s role and performs in the event the actor is unavailable. Very seldom are actors cast as understudies because actors make the commitment for the entire production. Understudies may also work as a member of the backstage running crew or be cast in a minor role. Responsibilities: An understudy learns the actor’s role in its entirety. Understudies must memorize lines and practice dance routines and musical numbers outside the scheduled rehearsals. Understudies must arrive at rehearsals and performances at the designated call time. Understudies are expected to respect others by adhering to theater etiquette. Understudies are responsible for their own entrances, the placement of hand props, returning their costumes to hangers or proper storage, and for providing their own stage makeup, with the exception of specialty makeup. Training and Support Plan: Each production provides the opportunity for new cast members to learn basic theater terminology. If an understudy is called to perform, additional rehearsal or coaching sessions will be arranged with the director, designated scene coach, dance captain or stage manager. A variety of theatre workshops offer audition skills, beginning acting, scene study, jazz and tap dance, and group vocal instruction. Reporting: Understudies check in at rehearsals with the stage manager and sign attendance sheets on show dates. The understudy’s first line of communication is through the stage manager for schedules, blocking, or changes in the script. Concerns unresolved by the stage manager are addressed by the director and, if necessary, by the artistic director. Time Commitment: The rehearsal period is 6 weeks, 5 times a week for 3-4 hours. The understudy performs as prearranged or when called upon. Volunteer Hours: The understudy tracks hours from rehearsals and performances and reports them to the director of volunteer services. Qualifications: Though helpful, no training or experience is required. Benefits: The feeling of camaraderie is strong between cast and crew members of the production. The understudy has the opportunity to work side by side with other cast members. As a cast member of the particular production, the understudy receives two complimentary tickets to the preview night performance and recognition in the playbill. Understudying is an excellent opportunity to learn acting skills.

– 8–

VOLUNTEER JOB DESCRIPTION Position Title:

Ad Hoc Committee

Description: Any committee formed to fulfill short-term assignments or objectives, not expected to be repeated on a regular basis. Responsibilities: To complete the assignments. Training and Support Plan: The committee or group should provide training as necessary. Reporting: To committee chairperson and to whoever originated the committee: the Membership Committee, Board of Directors, and so on. Time Commitment: Most ad hoc committees are short term and involve significant time during that period. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications: Individuals participate based on their interest in the assignment and their personal capabilities which can be an asset to the committee. Benefits: The satisfaction is being part of a committee accomplishing goals in a short period.

“The Goodbye Girl”

–9–

VOLUNTEER JOB DESCRIPTION Position Title:

Assistant Director

Description: The assistant director’s (AD) role is to learn directing skills in preparation for a director’s position. Responsibilities: ADs work closely with the director on all aspects of the show: script analysis, casting, character development, and scene blocking. ADs attend production meetings and participate in rehearsals as assigned. The AD may be assigned segments of scenes, or complete scenes, as his/her skills are demonstrated; and occasionally provides the director reports on a performance in production. Training and Support Plan: ADs accept an active role with a production as an actor, stage manager, or producer. They meet with the Artistic Director to discuss progress and an appropriate placement with an experienced, mentoring director. Reporting: The assistant director reports directly to the director. Time Commitment: Individual preparation time varies. The rehearsal period spans 6-7 weeks, approximately 15 hours/week. Volunteer Hours: ADs track and report hours to the Director of Volunteer Services. Qualifications: Interest in directing and willingness to commit the time and effort to develop necessary skills are required. Benefits: The primary benefit is the opportunity to work closely with and learn from an experienced director, yet not bear the full responsibility entailed as a director. The assistant director also receives two complimentary tickets to the preview night performance and recognition in the playbill.

“Cabaret”

– 10 –

VOLUNTEER JOB DESCRIPTION Position Title:

Assistant Stage Manager

Description: The assistant stage manager (ASM) works closely with the stage manager to assist during rehearsals and oversee specific assignments made by the stage manager. Additionally an ASM will head the running crew and be stationed backstage during performances. Responsibilities: The ASM attends rehearsals as called by the stage manager (generally attending fewer rehearsals earlier in the process and every rehearsal once the production moves to the stage), as well as every performance. For musicals, ASMs are required to attend all rehearsals. Assignments vary from “being on book,” to recording blocking or running errands. Larger productions necessitate additional ASMs who may oversee costumes, props or microphones. Training and Support Plan: Generally, ASMs advance to this position following work as a running crew member and attending a stage managers’ workshop, generally held 2-3 times per year. 6-8 hours of class time provide an overview of the role of the stage manager and introduce the various forms used in a production. A comprehensive notebook is provided to all participants in the stage manager workshop. For assignments contact the Director of Volunteer Services regarding upcoming productions. Reporting: The ASM reports to the stage manager, particularly noting technical difficulties, needed repairs, or problems encountered by actors and the stage crew. Time Commitment: The ASM arranges a rehearsal schedule with the stage manager. The ASM is encouraged to learn more about stage management by attending production meetings and technical meetings. A firm time commitment is required from on-stage rehearsals through the end of the run of performances. The ASM should participate in the strike following the final performance. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services which include rehearsals and performances. Qualifications: ASMs need the ability to interact well with people, organize and prioritize multiple tasks, handle stressful situations in a calm and competent manner, and assume a leadership role in various settings. Backstage, the ASM needs to be in good physical condition and be able to see in low lighting. Persons with back or joint problems or who experience difficulty with prolonged standing need to exercise caution when considering this job. Benefits: The job of assistant stage manager allows for a measured increase in responsibility and is an excellent way to determine if stage management may be enjoyable. The ASM experiences camaraderie between the cast and crew members. The ASM receives two complimentary tickets for the preview performance, recognition in the playbill, and a lobby photo. – 11 –

VOLUNTEER JOB DESCRIPTION Position Title:

Audition Assistant

Description: The audition assistant works closely with the stage manager and Production Stage Manager to make the audition process flow smoothly and efficiently. Responsibilities: The audition assistant arrives an hour before auditions to clarify assignments and help set up audition rooms. Assignments may be any or all of the following: shoot and label photos of new auditioners, make photocopies, distribute audition forms for completion, and move auditioners from one space to another (i.e. from the waiting room to dance audition room). Training and Support Plan: There will be on-the-job training. Time Commitment: Auditions for non-musicals generally run 3-4 hours. Musical auditions span two days, the first, running 4 hours or more. Call-backs run about 4 hours. Auditions are held eight or more times per year. Volunteer Hours: The volunteer will track and report hours to the Director of Volunteer Services for recording. Qualifications: Audition assistants need the ability to be pleasant while working with nervous auditioners, to maintain an organized and thorough system of managing paperwork and flow of people. Benefits: The audition assistant has the opportunity to interact with a wide variety of people in what can be a fast-paced few hours.

“The Musical Comedy Murders of 1940”

– 12 –

VOLUNTEER JOB DESCRIPTION Position Title:

Backstage Crew, also known as Running Crew

Description: Backstage crew includes everyone who works behind the scenes to prepare the set for the actors. Responsibilities: With each production, responsibilities vary in complexity and physical demands. The backstage crew, dressed in black with closed-toe shoes, checks the stage for cleanliness and order, sets the stage for the opening scene, makes scene changes of props and set pieces and cleans at the end of the show. The crew must adhere to safety procedures and follow cues as called by the stage manager. Training and Support Plan: The crew reports to a run-through rehearsal prior to the start of tech week. Technical week rehearsals are intense where different components are added each day, such as special effects, props, lights, sound and costumes. Dry tech is a rehearsal where all scene changes are choreographed and rehearsed until they are smooth (some actors who move scenery may also be called). A cue to cue rehearsal calls the entire cast and crew to rehearse each technical cue, whether it’s a sound cue, lighting cue, scene change or curtain cue. The tech week rehearsals improve and run more smoothly as they progress toward final dress. If additional practice is needed, special arrangements may be made with the stage manager and production stage manager. Reporting: Depending on the crew member’s assignment, he/she may report to an assistant stage manager or to the stage manager. Time Commitment: The week of technical rehearsals plus all performances, usually five shows per week, running 3, 4 or 5 weeks. Technical rehearsals are usually run from 6:30-11:00 p.m. Running crews arrive one hour prior to the performance and generally stay well after the final curtain. The running crew normally is involved in the strike following the last show. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include technical rehearsals and performances. Qualifications: Individuals working backstage need to be in good physical condition and able to see in low lighting. Persons with back or joint problems, or who experience difficulty with prolonged standing, need to exercise caution when considering this job. Benefits: The feeling of camaraderie is strong between cast and crew of the production. The backstage running crew members each receive two complimentary tickets to the preview night performance and recognition in the playbill. Recognition includes a group photo displayed in the lobby during the run of the production. – 13 –

VOLUNTEER JOB DESCRIPTION Position Title:

Costume Constructor

Description: The costume constructor is part of the team assigned to creating the costumes for a production. Responsibilities: Costume constructors complete assignments made by the costume designer which may include: measuring cast members, cutting, sewing and making alterations; sharing costume maintenance during the run of shows including washing, ironing, dry cleaning and mending; and returning costumes to wardrobe or rental company following the final performance. Training and Support Plan: Costume constructors join a team based on the needs of the show. The training is hands-on with the costume designer as mentor. TNP provides a fully stocked costume wardrobe with a cutting table, sewing machines, sergers, washer and dryer. Instruction is given for the use of the machines. The Costume Shop Supervisor may be involved to different degrees with the production and is available for consultation. Reporting: The costume constructor reports directly to the designer of that production. Time Commitment: Total hours will vary depending on the number of costumes and their complexity. The time commitment may begin as early as a week before rehearsals, through the six weeks rehearsal period and through 3, 4 or 5 weeks of performance. Volunteer Hours: The individual needs to track and report hours to the Director of Volunteer Services. Qualifications: Different projects require different skills, ranging from basic hand sewing such as mending and placing buttons, to following patterns and constructing garments, to major overhauls through alterations. One should be able to envision a final garment as a craft project or a high fashion costume. Benefits: The feeling of camaraderie is strong between members of the costume construction team learning new sewing skills, the history of fashion, special needs of theater costumes and interpreting characters through clothing. With a minimum of 15 hours on the particular production, the costume constructor receives two complimentary tickets to the preview performance. And, with hours volunteered prior to the publication deadline, the costume constructor will be recognized in the playbill.

– 14 –

VOLUNTEER JOB DESCRIPTION Position Title:

Costume Designer

Description: The costume designer creates the director’s interpretation of the play through costumes appropriate to the time period, setting, characterization and activity of the actors. Responsibilities: The costume designer must know and understand the script; attend production meetings; work with the other designers toward the director’s vision; create a costume plot which includes a look for hair and makeup and all jewelry and accessories; work with costume constructors to make appropriate assignments and see that costumes are completed; stay within budget; attend designer runthrough rehearsals and all tech/dress rehearsals to observe necessary changes in costumes; oversee the repairs and maintenance of costumes during the run and return costumes to the wardrobe or rental company following the final performance. Training and Support Plan: Costume designers must have demonstrable costume construction experience and design interests. The Costume Shop Supervisor or another experienced designer may be assigned as a mentor until the volunteer’s ready to take an independent assignment. The Costume Shop Supervisor is also available to assist in research and development of costume plots and design boards. Further guidance is provided in written standard procedures for costuming a play. Reporting: The designer works with the play’s director regarding the director’s vision. The costume designer reports to the Costume Shop Supervisor for approval of expenditure, use of existing inventory, budget matters and assistance with special purchases or rentals. The hair and makeup designers report to the costume designer. Time Commitment: Total hours vary depending on the number and complexity of costumes, planning and preparation, construction, alterations and fitting, spanning 2-4 weeks prior to rehearsals, plus 6 weeks of rehearsal and 3, 4 or 5 weeks of performance. The costume designer should be available throughout this schedule. Volunteer Hours: The volunteer tracks and reports hours to the Director of Volunteer Services. Qualifications: A strong sense of design is essential, plus an ability to understand the playwright’s vision and the director’s interpretation of the play. The ability to sew is desirable, but more important is the ability to articulate the desired outcome through appropriate sewing terminology. Organizational skills, time management skills, and the ability to delegate tasks are all necessary. Benefits: The opportunity exists to develop creative talents with textiles and to work closely with other equally creative people. The costume designer receives two complimentary tickets to the preview performance, recognition in the playbill, and a lobby photo. – 15–

VOLUNTEER JOB DESCRIPTION Position Title:

Dance Captain

Description: The dance captain works closely with the choreographer and oversees performers’ dance routine practice sessions. Responsibilities: The dance captain learns the routines and is responsible for bringing the dancers’ skills to the level of proficiency required by the choreographer. Practice sessions may be in addition to or part of the regularly scheduled rehearsals. The dance captain is responsible for polishing and correcting dance routines during the show’s run. Training and Support Plan: The choreographer and dance captain meet and review all details of the routines: the music, who’s in the number, entrances and exits from stage (information from the director’s blocking) and any specific costumes or props needing consideration. The choreographer usually teaches the dance captain the routine’s steps and imparts any critical information. Reporting: The dance captain reports to the choreographer, who is responsible to the director. Time Commitment: The dance captain may or may not be a cast member. The hours spent with assigned dancers may extend beyond the regular rehearsals. Volunteer Hours: Any hours outside rehearsals should be reported to the Director of Volunteer Services. Qualifications: Knowledge of dance styles, proven proficiency as a dancer, ability to interact well with people and teach with clarity and patience. Benefits: The dance captain has the opportunity to work closely with the choreographer and learn techniques required of a choreographer, as well as the opportunity to work closely with members of the cast. Additionally the dance captain is eligible to receive two complimentary tickets to the preview and recognition in the playbill.

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VOLUNTEER JOB DESCRIPTION Position Title:

Director, Board of Directors

Description: The director, with other board members, governs the theater organization within the parameters of its mission statement, letters of incorporation, bylaws, and state and federal laws governing 501 (c)(3) not for profit organizations. Responsibilities: The board member will establish policy, approve the annual budget, provide financial oversight, update the strategic plan, and evaluate progress toward achieving this plan. The board hires and evaluates the executive director and provides for financial stability of the theater. Training and Support Plan: Board members are provided with a comprehensive notebook at an initial board orientation and training for new members. Budgets and meeting spaces are provided for various committees. Reporting: Members report to the board president or to committee chairs. Time Commitment: This averages 2-5 hours per month, including attendance at monthly board meetings, committee meetings, membership meetings, performances, special events, fund raising, board retreats, and the annual meeting. Volunteer Hours: Board members need to track and report hours to the Director of Volunteer Services. Qualifications: Individuals should demonstrate an interest in The Naples Players with specific skills, knowledge, and experience in at least one area of responsibility: finance, strategic planning, personnel, fundraising, or theatrical. The individual should be willing to financially support The Naples Players, demonstrate leadership potential, and have sufficient time to fulfill duties. Benefits: The opportunity exists to work closely with other equally committed board members whose common goal is to maintain the status of The Naples Players as one of the country’s premier community theatres.

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VOLUNTEER JOB DESCRIPTION Position Title:

Dresser

Description: Dressers assist actors with complicated costumes before and during the show or whenever costumes must be changed quickly. Responsibilities: Dressers create efficient and systematic ways of helping an actor (or possibly more than one actor) dress in the shortest time possible; assist in keeping costumes neat and orderly; complete minor costume repairs if possible, or note any repairs needed. Training and Support Plan: Dressers become familiar with the play and, during a run through, observe where quick changes will occur. During technical week, dressers receive actor assignments from the costume designer, details about specific costume pieces, and the location of changes, whether in the dressing room or in space in the wings. Reporting: Report to the stage manager any necessary costume repairs. Time Commitment: The dresser is called to attend at least one or two run-through rehearsals and all dress rehearsals. The dressers attend all performances, arriving one hour before the show opens to preset costumes being changed backstage and stays through the final costume change or curtain, in order to return all items to dressing rooms and note any needed repairs. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include rehearsals and performances. Qualifications: Congeniality, organizational skills, attention to detail and the ability to keep calm in urgent situations are valuable attributes. The dresser must not be squeamish about partially dressed actors of either sex. The ability to work quickly and quietly in low lighting is a must. Minor sewing skills are helpful (sewing buttons, etc.). Benefits: The feeling of camaraderie is strong between cast and crew of the production. The dresser receives two complimentary tickets for the preview night performance, recognition in the playbill, and is part of a group photo of the running crew displayed in the lobby.

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VOLUNTEER JOB DESCRIPTION Position Title:

ETC… Committee

Description: This committee selects plays, directors, and supporting crew for public readings, including three evenings of one act plays and one full-length classic. Responsibilities: Members set policies and procedures within Etc… productions; read a wide selection of one-act plays which may be suitable for performance and make selections appropriate to the theme of each night’s performance; select directors for each play; and work within budget. All policies and procedures related to Etc… productions and all plays must be approved by the Artistic Director. Training and Support Plan: Members of this committee are chosen from those TNP members who have expressed interest in participating at a higher level of commitment than as reader performers. The chair person provides goals and structure for the committee’s meetings. Reporting: The committee members report to the chairperson, who in turn reports to the Artistic Director. Time Commitment: The committee holds one to two hour meetings, usually monthly. Reading each play for the “evenings of shorts” may take 15-45 minutes; for the classic, approximately two hours. Additional time may be required for written evaluations. Volunteer Hours: Members track and report hours to the Director of Volunteer Services. Qualifications: A member of TNP must be able to read a large number of plays in a short period of time with an eye for critical analysis, and the ability to work within a committee structure. Benefits: Satisfaction develops from being part of a committee that provides a performance opportunity for TNP members and volunteers beyond regularly scheduled productions.

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VOLUNTEER JOB DESCRIPTION Position Title:

ETC… Play Reader, Director or Producer

Description: Participants in ETC… perform by reading plays for an audience. Each one act play has its own director. The producer oversees the entire evening of one acts. Responsibilities: Play readers become familiar with the script and rehearse sufficiently to be able to read comfortably for an audience. Directors conduct three rehearsals with the readers assigned to their one act, and one final rehearsal with the other participants of that evening’s program. Preparation for the full-length classic may require additional rehearsals. The producer or director schedules rehearsal spaces with the Production Stage Manager, assures playbill requirements are met, and introduces the evening’s readings. Training and Support Plan: Play readers are selected on a first-available, first-cast basis from an alphabetical list of those interested. Copies of scripts are provided to the cast. Performers may be reading for characters of all ages. The cast meets several times with the director to rehearse. Performance outfit is provided by performer and approved by the director. The director works under the production policies set by the Etc… committee regarding costumes and props. Reporting: Play readers report to the director of their one-act play. The directors report to the Artistic Director. Time Commitment: Rehearsals generally take 1-3 hours plus personal preparation/ rehearsal time and usually one evening of performance. The reader will not be assigned a role if unable to meet the rehearsal and performance commitment. The director and producer may have an additional meeting with the ETC… committee. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. Qualifications: Volunteers interested in participating may so indicate on the membership application form, or call the Director of Volunteer Services. Memorization is not required, nor are there unusual physical requirements. Directors may have experience or training from other theatres or may be at various levels in training with TNP. Producers preferably should have taken TNP’s producer workshop, but it is not required. Benefits: The readers have a good time performing in a relatively low stress situation without memorization or a long time commitment. Directors gain additional experience with limited challenges. Audiences appreciate hearing a variety of theatrical works from classic to new.

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VOLUNTEER JOB DESCRIPTION Position Title:

Hair and Makeup Designer

Description: Hair and makeup designers create the appropriate look reflecting the time period, the character personalities, and activities reflecting the director’s vision. Responsibilities: Designers must understand the play, work closely with the costume designer to achieve the desired overall effect for each character, assess the actor’s hair and determine whether it may be styled or if a wig is required, order wigs or special makeup with approval from the costume designer, visit the theatre on a sufficiently frequent basis to maintain good communication with the costume designer. Attendance at designer run throughs and all tech/dress rehearsals is required. Designers teach actors the skills to apply the makeup designed and maintain hair/wig designs. Training and Support Plan: Designers review the written standard procedures given on assignment for hair and makeup. Generally, only one hair and makeup designer is assigned for most productions. Reporting: The hair and makeup designer reports to the costume designer. Makeup and wig purchases must have prior approval from the costume designer. Performers are requested to purchase their personal makeup. Designs must therefore be completed early enough for actors to find needed colors and supplies before the first dress rehearsal. Time Commitment: Total hours vary depending on the needs of the play. Research usually begins at least two weeks prior to the start of rehearsals. Six weeks of rehearsal allow time for finding, cleaning and styling wigs. During tech week testing and approval for wigs and makeup are completed prior to the first dress rehearsal. The hair and makeup designer must attend all dress rehearsals and should plan regular visits in the following weeks of performances. Some shows require the presence of the stylist for all performances. Following the close of the show, wigs must be washed and stored again. Volunteer Hours: Designers track and report hours to the Director of Volunteer Services. Qualifications: Training as a hair stylist or stage makeup artist is desirable, but experience is more important. Benefits: Designers have the opportunity to work closely with other equally creative people. The hair and makeup designer receives two complimentary tickets to the preview performance and recognition in the playbill.

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VOLUNTEER JOB DESCRIPTION Position Title:

KidzAct Classroom Assistant

Description: The classroom assistant supports the KidzAct instructor with student supervision and, if applicable, instructional assistance. Responsibilities: Usual assignments include taking class attendance, escorting students to different classrooms or stages, assisting with supervision during class, and monitoring safe pickups after class. Additional duties vary depending on the particular needs of the class and the background and interests of the KidzAct classroom assistant. Tasks may include reviewing lines, songs or dance steps; setting props and set pieces; or leading theatre games. Training and Support Plan: Classroom assistants meet with the KidzAct Director for basic instructions. Each instructor provides more detailed training as necessary. Reporting: Classroom assistants report to the instructor with whom they are working or to the KidzAct director. Time Commitment: Depending on the session, the time commitment may extend from two weeks to several months, with each class meeting 90 minutes-4 hours. During summer, most classes meet daily in 2 or 4 week sessions. During the school year, most classes meet once or twice a week for 10 week sessions. Some volunteers are needed for entire sessions; others are needed for the last 2 or 3 classes in preparation for the concluding showcase performance for parents. Volunteer Hours: The individual tracks and reports hours to the Director of Volunteer Services. Qualifications: The individual likes working with children and exhibits patience and kindness in both words and actions. Previous experience working with children is helpful, but not required. All adult volunteers working with KidzAct classes and productions will have criminal and sexual offense background checks. Benefits: The joy of witnessing young people develop their creative talents is the principal benefit of this job. Volunteer hours may meet community service requirements for high school or college students and contribute toward those necessary for TNP working membership.

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VOLUNTEER JOB DESCRIPTION Position Title:

Librarian and/or Archivist

Description: The librarian and/or archivist could well be the same person, with an interest in establishing and keeping TNP Board Room library in reference room order. Responsibilities: The librarian sorts donated and returned scripts and theatrical text books, and shelves them appropriately. The archivist clips newspaper and magazine articles from local publications, and organizes photographs and playbills, creating and maintaining a record of past productions and other Players’ events. Training and Support Plan: The library has an established filing system which is self-explanatory. Reporting: Librarians and/or archivists may meet with the Director of Volunteer Services, Marketing Manager, or volunteers identified as veteran Players knowledgeable about past TNP productions. Time Commitment: Maintaining the script library requires perhaps two hours monthly. The archival work may take more time depending on the particular project. Volunteer Hours: The individual tracks and reports hours to the Director of Volunteer Services. Qualifications: Individuals for this position are self-motivated, interested in maintaining a record of past events, and attentive to details. Knowledge or a desire to learn about photo and document preservation is desirable. Benefits: The librarian or archivist has the satisfaction of accomplishing a vital function of the theatre, knowing our reference material is in an available format for all to use.

“Arenic & Old Lace”

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VOLUNTEER JOB DESCRIPTION Position Title:

Light Board Operator

Description: The light board operator (LBO) is the technician who operates the lighting controls for the house and stage lights during a production. Responsibilities: In Blackburn Hall the light board operators execute the lighting cues as called by the stage manager. An additional light board for more technically complex productions, calling for a second operator, may be located on the fly rail or in the adjacent room. In the Tobye Studio the stage manager usually takes on the role of light board operator because the space is too open to call audible cues. The light board operator completes a pre-show light check, may be called on to make emergency repairs to any part of the lighting system prior to a show run, initiates lighting changes, and shuts off the light board at the end of the show. The light board operator assists during the shoot of archival photos to provide the correct lighting for each photographed scene. Training and Support Plan: Following an invitation to watch a run-through rehearsal, the light board operator is given a thorough introduction to the light board and the house light controls during the week of technical rehearsals. At that time, the lighting changes have already been programmed into the computer. The LBO learns the computer operations by sitting with the lighting designer while cues are adjusted for intensity and duration. Several rehearsals provide the opportunity for the light board operator to execute all cues, make mistakes, and learn how to correct them. Reporting: During the pre-show light check, if a problem arises, the LBO notifies the stage manager or contacts the lighting designer for assistance. If it is not possible to rectify the situation before the curtain rises, the performance notes should reflect the problem. Time Commitment: Attendance is required during the week of technical rehearsals plus all performances, usually five shows per week, for 3, 4 or 5 weeks. Technical rehearsals usually run from 6:30-11:00 p.m.. The LBO must arrive one hour prior to performance and stay until the house is empty. The LBO normally attends the strike following the final performance to assist taking down lights. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include technical rehearsals and performances. Qualifications: This is not a physically demanding position. The individual should be comfortable with technical equipment, though the light board operator’s job is sometimes as simple as pushing a button. Benefits: The feeling of camaraderie is strong between cast and crew of the production. The LBO sees every performance. The LBO receives two complimentary tickets to the preview night performance, recognition in the playbill, and is in a lobby photo display of the running crew. – 24 –

VOLUNTEER JOB DESCRIPTION Position Title:

Lighting Designer

Description: The lighting designer creates the lighting necessary to convey the director’s artistic interpretation of the play. Responsibilities: The lighting designer must present the lighting concept at production meetings, create all necessary paperwork, and establish (with the director’s instructions) the amount of lighting and duration of each lighting cue. The lighting designer helps hang and focus lights. The lighting designer must be present during technical rehearsals and through opening night to assist solving any lighting problems. The lighting designer must work within the budget allowed for the production. Training and Support Plan: Interested individuals can arrange to work side-by-side with TNP’s Resident Lighting Designer who will provide both written instruction and practical training. Basic lighting design workshops are offered periodically through the adult education program and TNP’s library has an assortment of lighting text books. Lighting designers advance to this position following sufficient experience to demonstrate their skills and the ability to master a comprehensive lighting design assignment. Reporting: The lighting designer reports to the director regarding questions of interpretation and to TNP’s Resident Lighting Designer for technical questions. Prior approval must be given before any purchases are made. Time Commitment: Total time will vary with the designer’s experience and ability, with the majority being spent in preparation of the lighting design. Volunteer Hours: The lighting designer will track and report hours to the Director of Volunteer Services. Qualifications: Technical training and previous lighting design experience with samples of work are helpful. Novice lighting designers or those new to TNP normally start with a basic lighting design assignment. Benefits: The opportunity to work closely with other equally creative people provides satisfaction. The lighting designer receives two complimentary tickets to the preview performance, recognition in the playbill and a lobby photo.

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VOLUNTEER JOB DESCRIPTION Position Title:

Mailing Crew

Description: The mailing crew prepares TNP publications and other items for bulk mailing. Responsibilities: Depending on the assignment, there may be a cover letter and assorted inserts to be folded and stuffed into envelopes and labels affixed. Publications may need to be collated, folded and taped. Training and Support Plan: The training is on the job and varies in difficulty. Subscription orders require the highest level of attention to detail. Reporting: The mailing crew usually works under the direction of the Administrative Secretary or the Box Office Manager. Mailed items remain an important way of communicating with members and patrons. Time Commitment: The mailing crew completes most assignments within a few weekday morning hours, though large projects can extend over days or weeks. There is no pre-set schedule for mailings. The mailing crew is called several days in advance of when items are anticipated from the printer. Volunteer Hours: Each individual needs to track and report hours to the Director of Volunteer Services. Qualifications: Individuals need to be able to see relatively well and to have manual dexterity sufficient for folding and stuffing. The work is not physically demanding but needs attention paid to details. Benefits: Working with the mailing crew is a fun way to pass a morning telling stories and laughing. For day-long projects, a light lunch may be provided. Over the course of a year, hours spent in mailing projects may meet the requirement for eligibility of working member status.

Costume Shop

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VOLUNTEER JOB DESCRIPTION Position Title:

Makeup Artist

Description: The makeup artist teaches the actor how to apply makeup creating an appropriate look reflecting the time period, the character’s personality and activity. Responsibility: The makeup artist must understand the play, and work closely with the costume designer and the hair/wig designer to achieve the overall desired effect for each character. He/she orders special makeup only with approval from the costume designer who oversees that budget area. The makeup artist comes to the theatre on a sufficiently frequent basis to maintain good communication with the costume designer and hair stylist. Training and Support Plan: He/she reviews the written standard procedures for hair and makeup given on assignment. He/she consults with either the costume designer or hair and makeup designer, depending on the needs of the play. Time Commitment: Total hours vary. Time should be allowed for research and to locate and order any specialty makeup. The makeup artist should attend designer run-through rehearsals to assess the actors’ needs. A meeting outside dress rehearsals may be needed to allow time for instruction. The makeup artist must attend all dress rehearsals and should plan regular visits in the following weeks of performances to assure that the makeup continues to be applied as instructed, maintaining special appliances in good condition and replacing as needed. Some designs may require the artist to attend all performances for makeup application prior to curtain. Volunteer Hours: The individual tracks and reports hours to the Director of Volunteer Services. Qualifications: Training as a makeup artist is desirable though experience is more important. Benefits: The feeling of camaraderie is strong between the cast and crew of a production. The makeup artist is eligible to receive two complimentary tickets to the preview performance and recognition in the playbill.

“Anything Goes”

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VOLUNTEER JOB DESCRIPTION Position Title:

Membership Committee

Description: This committee provides a liaison between members/volunteers and staff, fostering appreciation and good will among both groups. Responsibilities: The committee promotes a partnership among members/volunteers, staff and patrons by presenting an atmosphere of unity for the community theatre. It fosters appreciation and good will among members/volunteers by encouraging participation at play previews and general membership meetings, and by channeling concerns voiced by members and volunteers to the appropriate persons. It provides informational opportunities for members and volunteers by planning general membership meetings about upcoming events, and relevant and current board decisions, and by introducing new staff and members. It recruits and retains members and volunteers by promoting TNP as a rewarding volunteer organization, encouraging volunteers to become members, and maintaining the volunteer recognition program. Training and Support Plan: There is no specific training. Members of this committee present themselves with the capacity to work with groups using diplomacy and group management skills. Reporting: This committee reports to TNP’s members and reports to the Board of Directors with any recommendations for policy changes or operational suggestions/ modifications. Time Commitment: Committee meetings are usually monthly, with the general membership meeting in the fall and the annual meeting in the spring. Members may also participate in additional subcommittees as needed. Volunteer Hours: Individuals need to track and report hours to the Director of Volunteer Services. Qualifications: Members need the ability to view the greater needs of the organization rather than focusing on one specific area to the exclusion of another. Members of this committee are chosen from those volunteers who have an interest in representing the greater membership/volunteer constituency of The Naples Players. Benefits: Satisfaction is gained from knowing that participation in this committee may influence Board decisions, may advance member/volunteers’ suggestions, and may improve the organization.

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VOLUNTEER JOB DESCRIPTION Position Title:

Nominating Committee

Description: This small committee is comprised of individuals who propose nominations to the Board of Directors. Responsibilities: The committee functions to recruit, interview, and place on the slate for election or for appointment, individuals who meet the qualifications to serve on The Naples Players Board of Directors. Training and Support Plan: The committee head is appointed from the standing Board of Directors. He/she provides instruction to the committee for the conduct of the meetings. Reporting: The nominating committee presents the slate of nominees to TNP’s membership at the annual meeting and presents nominees to be appointed at any scheduled board meetings. Time Commitment: Generally, a few meetings are scheduled over a two month period. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services. Qualifications: Individuals participate based on their interest in the committee’s assignment and their personal attributes for the committee. Benefits: The members experience the satisfaction of being part of a committee accomplishing goals in a short period.

“Footloose”

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VOLUNTEER JOB DESCRIPTION Position Title:

Office Assistant

Description: The office assistant covers vacation periods for the Secretary or helps with periodic projects of high volume or time constraints, such as subscription sales. Responsibilities: Responsibilities vary depending upon the assignment. Duties may include answering the phone and redirecting calls, greeting visitors, filing, postal assignments, and minor secretarial duties involving copying, typing or computer work. Training and Support Plan: An orientation is offered prior to the day the job begins. Generally, written assignments are also provided. Support is available from other administrative employees familiar with TNP systems. Reporting: Depending upon the assignment, the office assistant may report to the Executive Director, the Secretary, the Director of Volunteer Services or the Box Office Manager. Time Commitment: The projects requiring an office assistant arise periodically, without a specific schedule. Projects are almost always on weekdays and of short duration. Hours are flexible depending largely on the volunteer’s availability. Volunteer Hours: The individual tracks and reports hours to the Director of Volunteer Services. Qualifications: Basic filing, typing, and computer skills are desirable, as well as the ability to interact pleasantly with the public. Benefits: Office assistants have the opportunity to witness the day-to-day operations of community theatre. Volunteer hours contribute toward those necessary for working membership.

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VOLUNTEER JOB DESCRIPTION Position Title:

Performer

Description: Volunteer performers are used in all plays and musicals produced by The Naples Players. Performers are cast by the show’s director after an audition or series of auditions. Responsibilities: Performers must memorize their lines, dance routines--, and musical numbers outside scheduled rehearsals. Performers must arrive at rehearsals and performances at the designated call time. Performers are expected to respect others by adhering to tenets of theater etiquette. Performers are responsible for their own entrances, the placement of hand props, returning their costumes to hangers or proper storage, and providing their own stage makeup, with the exception of specialty makeup. Hair color, cuts and eyebrow shaping may be requested but are not required. Generally there no understudies to take performers’ roles in the event of illness. Every effort must be made to recover by call time. Training and Support Plan: Each production provides the opportunity for new performers to learn basic theatre terminology. Additional rehearsal or coaching sessions may be arranged with the director, musical director, choreographer, stage manager, or assistant director. The character develops through the course of rehearsals and the direction provided by the show staff. A variety of theatre workshops offer audition skills, acting, scene study, jazz and tap dance, and group voice to help develop individual skills. Reporting: Performers check in at rehearsals with the stage manager and sign attendance sheets for technical rehearsals and performances. Actors must contact the stage manager in the event of illness or tardiness. The performers’ first line of communication is through the stage manager for any questions concerning schedules, blocking, or changes in the script. Concerns are resolved by the stage manager or are addressed by the director, and if necessary by the Artistic Director. Time Commitment: Depending whether the production is a musical, drama, or comedy, the rehearsals and performances may total 9 to 12 weeks, with 5-6 rehearsals per week; and 5-6 performances a week, each 3-4 hours long. If a performer has a pre-existing conflict with a scheduled rehearsal time and informs the stage manager prior to casting, then those conflicts are taken into consideration within the schedule. However, a performer cannot miss a rehearsal from the first day onstage, nor any performance. Traditionally, performers help strike following the final performance. The total time commitment may be up to 230 hours. Volunteer Hours: Rehearsal and performance hours are tallied and recorded by the Director of Volunteer Services. Qualifications: Auditions are open to anyone interested in performing. Though helpful, no training or experience is required. Casting is a subjective decision by the director and show staff based on the best person for the role as seen in the audition process. There are no pre-cast roles and, generally, no understudies. Benefits: The feeling of camaraderie is strong between cast and crew of the production. As a cast member of a particular production, the performer receives two complimentary tickets to the preview night performance. Recognition is given in the playbill, the lobby photo display, announcements in the newsletter, occasional local newspaper publicity and of course by audience appreciation. – 31 –

VOLUNTEER JOB DESCRIPTION Position Title:

Play Selection Committee

Description: The play selection committee recommends a selection of plays to be performed in the upcoming seasons in Blackburn Hall and Tobye Studio. Responsibilities: Members read the assigned scripts or musicals in the allotted time period, complete evaluations, and participate in the discussions of the merits of one play over another. Training and Support Plan: Members of this committee are chosen from TNP members and volunteers who have expressed an interest in play selection. The committee is usually comprised of a well balanced group of theatre participants, with both new and experienced members, chosen by the Artistic Director. The Artistic Director devotes the first meeting to presenting the purpose and expectations of the committee, plus giving detailed instructions on critical analyses of the plays with various factors to be considered and evaluated. Reporting: Members report directly to the Artistic Director or to the chair of the committee. Ultimately the selection is approved by the Artistic Director and then goes to the Board of Directors for budget approval. Time Commitment: The committee meets every two weeks for a period of about three months in the summer. Some 30-40 plays are to be read and evaluated by committee members outside of meeting time. The committee meetings generally take two hours. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications: Members need the ability to read a large number of plays in a short period of time with an eye for critical analysis. Benefits: Members have the satisfaction of being part of a committee that will have a major impact on the upcoming season of the theatre.

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VOLUNTEER JOB DESCRIPTION Position Title:

Producer and Assistant Producer

Description: The producer handles all administrative aspects of a production, working closely with the director and Artistic Director. The assistant producer works with the producer sharing responsibilities and garnering on-the-job training. Responsibilities: A major responsibility is maintaining budget information and recording expenditures for the show. Additionally the producer makes arrangements with the photographer for head shots; facilitates the purchase and distribution of show mementos, e.g. t-shirts, hats, etc. for the cast and crew; purchases snack items and coordinates food and beverage servers for the preview performance reception; and fulfills various assignments as needed by the production. The producer attends all production meetings and may attend design meetings. The producer may participate in the casting process. Training and Support Plan: Producers attend the producer workshop, generally held 2-3 times per year as a morning workshop. This training provides a workbook to each participant with an overview of the producer’s role and more in-depth details of responsibilities. Assistant producers assist an experienced producer for a large production or musical. They contact the Director of Volunteer Services or Production Stage Manager with questions. Reporting: The Guidelines for Producer’s Budget Responsibilities, which is given on assignment, should be consulted. Itemized receipt reports are due to the Artistic Director biweekly. All final expenditures and reports must be turned in no later than 7 days after the final performance of the production. Time Commitment: There is no specific time requirement, however producers generally attend auditions, first read-thru, 1-2 rehearsals per week, head shot photo calls, production meetings, and check in with the set construction team on Saturdays. Additional time is required to complete reports. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications: The ability to interact well with people, to comprehend and execute the budget, and to have the time available for the job. Benefits: Producers and assistant producers have the opportunity to work closely with the director, learning intricacies of a stage production, and watch the development of a show from casting to closing. Additionally, the producer and assistant producer receive two complimentary tickets to the preview performance and recognition in the playbill and the lobby photo display. – 33 –

VOLUNTEER JOB DESCRIPTION Position Title:

Properties Master & Properties Team

Description: The properties master and team procure the props for rehearsals and performances. Responsibilities: The properties master or “head props person” should know and understand the script, attend production meetings, work closely with other designers toward the director’s vision, create a prop plot which accurately reflects the time period, procure props from TNP’s prop room or by other means for both rehearsals and performances and stay within the budget. Also, he/she must attend sufficient rehearsals (including tech rehearsals) to observe necessary changes in props, oversee repairs or replacements of props during performances (including fresh food items) and return props to their rightful places following the final performance. Additionally, the props person(s) may help the set designer in completing set decoration for the show. Training and Support Plan: Properties masters generally advance to this position after one or two previous experiences as a member of the prop team. Workshops are offered twice annually to provide step-by-step instruction on how to prop a play. The written standard procedures for details are given on assignment. Various TNP staff members are also available for assistance, including the Production Stage Manager, Technical Director, and Assistant Technical Director. Reporting: Report to the director, stage manager, and other designers during production meetings to assure that the appropriate props are going to be available for the opening of the production. The properties master reports to the stage manager after the show opens. Time Commitment: The amount of time required to prop a show varies greatly depending on the quantity and types of props required. It is far better to have completed a prop search earlier in the rehearsal period than to assume an item will be easy to find and postpone the research until it’s needed. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services. Qualifications: Individuals must enjoy the challenge of finding or making just the right item, whether it’s a particular model, color, or realistic fake; enjoy doing research whether on the internet, library, or yellow pages; have patience and a sense of humor as some props are tried and pass approval and others are returned. Benefits: The properties master feels a sense of accomplishment as props are used performance after performance contributing to the allusion of reality on stage. The properties master and team receive two complimentary tickets to the preview performance and recognition in the playbill. – 34–

VOLUNTEER JOB DESCRIPTION Position Title:

Publication Distribution

Description: Publication distribution is a means of reaching into the Naples community by placing posters, fliers and brochures at receptive businesses, schools and other organizations. Responsibilities: Individuals take specified quantities of posters, brochures, or fliers to designated destinations, make personal contact with an appropriate person in charge, and leave the items where they can be displayed or picked up by the intended recipients. Training and Support Plan: A meeting may be called for a particularly large distribution effort, but generally written instructions are adequate. Distribution routes typically fit the individuals’ availability schedule and their usual home, work, or school travel patterns in the Naples area. Reporting: Completion, or failure to complete the distribution, and positive reactions or complications should be reported to the Box Office Manager, Marketing Director, or KidzAct Director, depending upon the assignment. Time Commitment: The projects requiring distribution of publications arise periodically, without a specific schedule. Projects will have time limits for completion. Volunteer Hours: The individual tracks and reports hours to the Director of Volunteer Services for recording. Qualifications: Individuals need the ability to drive, reach the assigned destinations within business hours and interact well with the public. Benefits: The primary benefit is the opportunity to help spread the word about the productions and educational programs available at the Sugden Community Theatre. Volunteer hours contribute toward those necessary for working membership.

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VOLUNTEER JOB DESCRIPTION Position Title:

Rigger

Description: Riggers operate the fly system, most frequently during musical productions. Responsibilities: Riggers must safely, quickly, and quietly fly in or fly out drapes, legs, scenic backdrops, and set pieces hung from pipes over the stage. They follow the cues as called by the stage manager. Riggers also may have pre-show and postshow responsibilities. Training and Support Plan: Riggers are invited to watch a run-through prior to the beginning of technical rehearsals. Orientation to the flyrail includes a review of the rigging cues, how to operate the fly system, and safety issues such as warning the deck of an incoming drop. There is sufficient time for rigging cues to be perfected starting with dry tech, then cue-to-cue, and tech-dress rehearsals. The Technical Director or ATD is present during technical rehearsals to ensure rigging is properly weighted and operating correctly. Reporting: The riggers report any problems or safety issues directly to the stage manager, who then reports to the Technical Director. Time Commitment: Attendance is required during the week of technical rehearsals plus all performances, usually five shows per week, and musicals usually run for five weeks. Technical rehearsals run from 6:30-11:00. The fly crew arrives one hour prior to performance and stays through the final curtain. Traditionally the fly crew attends strike following the last performance. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include technical rehearsals and performances. Qualifications: Individuals working on the flyrail must be comfortable working at heights on a narrow platform. Riggers must be able to see in low light and need sufficient upper body strength to quickly and smoothly operate the fly system. The ability to ascend or descend the ladder is desirable but not required. Persons with back or joint problems, or who experience difficulty with prolonged standing, need to exercise caution when considering this position. Benefits: The feeling of camaraderie is strong between cast and crew of the production. The flyrail crew receives two complimentary tickets to the preview night performance, recognition in the playbill, and recognition in a group photo displayed in the lobby during the run of the production.

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VOLUNTEER JOB DESCRIPTION Position Title:

Scenic Designer

Description: The scenic designer creates plans for the set according to the director’s artistic interpretation of the play. Responsibilities: The scenic designer attends the design meeting with the director and other designers and provides sketches, detailed blueprints and even models to convey the concept of the set. The scenic designer does not have to be on site during set construction but is expected to oversee the furniture and accessory selection, painting, soft set dressing and finishing touches. He/she must work within the budget allowed for the production. Training and Support Plan: Interested individuals can arrange to work side-by-side with TNP’s Technical Diector, who will provide reading lists and practical training. Basic scenic design workshops are offered periodically through the adult education program and TNP’s library has an assortment of reference books. Scenic designers must exhibit sufficient experience to demonstrate skill and the ability to manage and complete a comprehensive scenic design assignment. Reporting: The scenic designer should report to the director regarding questions of interpretation and to TNP’s Technical Diector for technical questions. Designs must meet budget allowances, and prior approval must be given before any purchases are made. Time Commitment: Total time will vary with the designer’s experience and ability and demands of the specific production. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications: Prior training or experience is helpful, though a highly motivated creative person could be self-taught and learn a tremendous amount through practical experience. Benefits: A primary benefit is the opportunity to work closely with other equally creative people. The scenic designer receives two complimentary tickets to the preview performance, recognition in the playbill and photo in the lobby display.

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VOLUNTEER JOB DESCRIPTION Position Title:

Set Builder

Description: Set builders work in the Scene Shop and on stage to construct the sets and scenic pieces that are designed specifically for each play or musical. Responsibilities: Set builders must adhere to all safety rules regarding the use of power tools and wear protective clothing and eye gear. Training and Support Plan: The Technical Director (TD) or Assistant Technical Director (ATD) will assess the individual’s knowledge level of basic construction concepts and the functions of power tools. The individual will be assigned an appropriate task, usually side-by-side with other volunteers. Guidance is provided by the TD or ATD to ensure specifications of the scenic design are met. As set builders improve their skills, more challenging assignments are given. Reporting: Completed assignments are reported to the TD or ATD. Time Commitment: There are no volunteer time requirements with this position. Individuals may work once a week or almost every day. They may work from the beginning of a show through the strike. Generally, set construction is conducted during daytime hours Tuesday through Saturday, plus the Sunday and Monday one or two weeks prior to the opening of a production. The TD or ATD establishes a work schedule for each production and coordinates times with set builders. Volunteer Hours: Set building hours vary per individual and must be submitted to the Director of Volunteer Services for recording. Qualifications: Individuals working in the scene shop need to know their physical limits and use good body mechanics. Persons with back or joint problems, tremors, poor vision, or fear of heights need to be frank about their limitations so they are not assigned a job which may endanger themselves or others. Benefits: The feeling of camaraderie is strong among set construction members. The scene shop is a pleasant area where having a good time is part of the work. With a minimum of 10 hours of work on a particular production, a set builder receives two complimentary tickets to the preview night performance. When the hours are volunteered prior to the publication deadline, the set builders are recognized in that production’s playbill.

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VOLUNTEER JOB DESCRIPTION Position Title:

Set Decorator

Description: The set decorator decorates the set according to the scenic designer’s plan, creating details that help define who the characters are and propel the story for the audience. Responsibilities: The set decorator may attend design and production meetings, working closely with the scenic designer. The decorator helps shop for the right furniture and accouterments. During the final week before the show opens, the set decorator works with the scenic designer hanging pictures; arranging furniture, rugs and curtains completing the polished look of the set. Training and Support Plan: Interested individuals work side-by-side with the Technical Director or Assistant Technical Director when either is assigned as a scenic designer. Reporting: The set decorator reports to the scenic designer. Prior approval must be obtained before making décor purchases. Time Commitment: Total time will vary with the decorator’s experience and the demands of the specific production. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services. Qualifications: Prior training or experience in interior decorating is helpful. Benefits: The primary benefit is the opportunity to work closely with other equally creative people. The set decorator receives two complimentary tickets to the preview performance and recognition in the playbill.

Scene Shop

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VOLUNTEER JOB DESCRIPTION Position Title:

Set Painter

Description: Set painters paint the sets and scenic pieces designed specifically for a play or musical. Responsibilities: Set painters must adhere to all safety rules regarding proper ventilation and use of ladders. Paints must be labeled and stored properly after use. Sponges, brushes, rollers, and other equipment must be cleaned thoroughly before leaving the job. Training and Support Plan: The scenic designer presents a color palate for the show and provides specific instructions for the painting techniques to be used. Generally assignments are proportionate to the skill and experience of the painter. Reporting: Painters report to the Assistant Technical Director who determines the day’s schedule of activities and orders necessary supplies. Time Commitment: Painting follows construction, usually during the last two weeks before a show opens. Painting is done between 9:00 a.m. and 5:00 p.m. so there is adequate drying time before rehearsals. Floors sometimes are painted at the end of the rehearsal to allow drying overnight. Volunteer Hours: The individual may report hours on pads located in the hallway outside the shop, on a volunteer hours report form, or on a sheet of paper. Hours vary per individual and production and must be submitted to the Director of Volunteer Services for recording. Qualifications: Individuals painting sets need to know their physical limits and use good body mechanics. Persons with back or joint problems, tremors, poor vision, or fear of heights need to be frank about their limitations so they are not assigned to a job which may endanger themselves or others. Benefits: Painters often have the opportunity to go beyond basic painting to learn specialized techniques. With a minimum of 10 hours on the particular production, the painter receives two complimentary tickets to the preview night performance. And, with hours volunteered prior to the publication deadline, the painter will be recognized in the specific production’s playbill.

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VOLUNTEER JOB DESCRIPTION Position Title:

Sound Board Technician

Description: The sound board technician operates the sound system before, during and after each production. Responsibilities: The sound board technician completes a pre-show check to ensure the proper functioning of speakers and other equipment; and for musicals, completes a battery check for the wireless microphones before the house is opened to the audience. The sound board technician may be positioned either in the booth (plays) or in the house (musicals). The sound board technician executes cues as called by the stage manager, using various playback units. During musicals, the sound board technician mixes a number of microphones (including wireless), a number of playback units and in some circumstances, live musicians. Training and Support Plan: Persons interested in this position begin with shows utilizing simple sound plots and advance to musicals as skill level merits. Sound board technicians watch 1-3 run-throughs prior to technical rehearsals to become familiar with the story. Depending on the sound board technician’s level of experience, either a review or a comprehensive introduction to the sound equipment is provided by the sound designer during the first part of tech week. The sound board technician works with the sound designer to set performance sound levels. Several technical rehearsals provide the opportunity for the sound board technician to execute all cues, make mistakes, and learn how to correct them. Reporting: The sound board technician reports directly to the stage manager who notes any problems in the performance reports. When corrections for sound problems are attempted, the Resident Sound Designer may be called for consultation. Time Commitment: For musicals, presence is required the first day with the orchestra, plus the week of technical rehearsals and all performances, usually five shows per week, for a run of 3, 4 or 5 weeks. Technical rehearsals run from 6:30-11:00 p.m. The sound board technician must arrive one hour prior to performance and stay to collect and return any loose sound equipment to storage. The sound board technician traditionally attends the strike following the final performance to assist putting away equipment. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include technical rehearsals and performances. Qualifications: The sound board technician should be comfortable with electronic equipment and have average or better hearing ability plus the ability to see in low light situations. Familiarity with home sound systems is an asset, but not a requirement. Benefits: The feeling of camaraderie is strong between the cast and crew of the production. The sound board technician sees every performance. The sound board technician receives two complimentary tickets to the preview night performance, recognition in the playbill and is part of a lobby photo display of the running crew. – 41 –

VOLUNTEER JOB DESCRIPTION Position Title:

Sound Designer

Description: The sound designer creates the sound effects and/or music necessary to convey the director’s artistic interpretation of the play and to support action of the play. Responsibilities: The sound designer must understand the play and attend production meetings prepared to present the sound design or adapt it as necessary. The designer should research appropriate sound effects or music, and record them in sequence and duration on TNP’s equipment. Work within the budget allowed for the production. Training and Support Plan: Interested individuals can arrange to work side-by-side with TNP’s Resident Sound Designer, who will provide both written instruction and practical training. Basic sound design workshops are offered periodically through the adult education program, and TNP’s library has an assortment of technical design books. Individuals advance to the position of sound designer following sufficient experiences to demonstrate the necessary skills and the ability to complete a comprehensive sound design assignment. Reporting: The sound designer reports to the director regarding questions of interpretation and works with TNP’s Resident Sound Designer for technical questions. Prior approval must be given before any purchases are made, keeping within the budget. Time Commitment: Total time will vary with the designer’s experience and ability, with the majority being spent in research of the sound design, and the compilation of effects and/or music. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications: Prior technical training or experience is helpful, though audiophiles and technophiles will be comfortable with TNP’s sound equipment. Average or better hearing ability is a must. Benefits: A primary benefit is the opportunity to work closely with other equally creative people. The sound designer receives two complimentary tickets to the preview performance, recognition in the playbill and a lobby photo.

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VOLUNTEER JOB DESCRIPTION Position Title:

Special Events Committee

Description: Individuals or a committee formed for an event promote TNP involvement with scheduled Naples events (e.g. parades and street fairs), create events for specific celebrations, or participate in preview receptions as hosts. Responsibilities: The committee will organize Naples Players members to participate in an already scheduled event or other types of social gatherings, such as holiday parties. Preview receptions entail serving drinks, setting out light snacks, and tidying up afterwards. Some Naples City events have registration fees which require prior approval. Reporting: The special events committee reports to the Membership Committee or the Board of Directors, depending on its assignment. Individual participants report to the event chairperson. Time Commitment: Time demands vary depending on the event. Hosting preview receptions, or participation in a street fair, may be for a few hours. Larger events may spread over months of preparation. Event registrations may be required weeks in advance. Volunteer Hours: Individuals track and report hours to the Director of Volunteer Services for recording. Qualifications Needed: The chair of the committee should demonstrate strong organizational skills. Participants should present a pleasant demeanor as they interact with the public. Benefits: A primary benefit is the satisfaction of being part of a committee that has goals accomplished in a short period.

“Perfect Wedding”

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VOLUNTEER JOB DESCRIPTION Position Title:

Spot Light Operator

Description: The spotlight operator runs spot lights, generally for musical productions, positioned in either the spotlight booths or catwalk for Blackburn Hall or on the catwalk of Tobye Studio. Responsibilities: The spotlight operator completes a pre-show check to ensure the proper functioning of the equipment. During the production the spotlight operator uses the spotlight according to the plan of the lighting designer and as called by the stage manager. The equipment is turned off at the end of the performance. Training and Support Plan: Spotlight operators are invited to watch a run-through prior to the beginning of technical rehearsals. Training is straightforward and the spotlight operator is encouraged to begin practicing early in tech week. The lighting designer is available for any questions during this time. Reporting: The spotlight operator reports to the stage manager. The lighting designer may be consulted. Time Commitment: Attendance is required during the week of technical rehearsals plus all performances, usually five shows a week for 3, 4 or 5 weeks. Technical rehearsals usually run from 6:30-11:00 p.m. The spotlight operator arrives one hour before the performance and stays through the curtain call. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services. They include technical rehearsals and performances. Qualifications: This is not a physically demanding job; however, the individual should have good vision, a steady hand, and the ability to stand for extended periods of time. Benefits: The feeling of camaraderie is strong between the cast and crew of the production. The spotlight operator sees every performance. The spotlight operator receives two complimentary tickets to the preview night performance, recognition in the playbill, and inclusion in a lobby photo display of the running crew.

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VOLUNTEER JOB DESCRIPTION Position Title:

Stage Manager

Description: The stage manager oversees all activities of the cast and crew during rehearsals and performances from auditions to strike. Responsibilities: The stage manager (SM) is the “right hand” of the director during rehearsals and is ultimately responsible for maintaining the director’s artistic interpretation of the play during performances. The stage manager works closely with the Production Stage Manager (PSM) to create a prompt script with blocking notation and cues. The SM trains the backstage crew and coordinates their assignments, creates the choreography for set changes, and arranges props in their storage space. The SM arrives 30 minutes before call time to set up the rehearsal space, runs rehearsals, calls shows, and works closely with designers involved with the production. Training and Support Plan: The SM attends a stage managers’ workshop, generally conducted 2-3 times per year. 6-8 hours of class time provide an overview of the role of the stage manager and introduce the paperwork. A comprehensive notebook is provided to all participants in the stage manager workshop. The trainee will assist an experienced stage manager on a production. Stage managers advance to this position following sufficient experiences to demonstrate the necessary management skills required. Volunteers should contact the Director of Volunteer Services or Production Stage Manager with questions. Reporting: The stage manager completes rehearsal and performance reports and submits them to the production’s designers, the director, PSM and Artistic Director for rehearsals and to the Artistic Director, Technical Director, and PSM during production runs. Time Commitment: Generally the SM is involved from auditions through strike, approximately 10-11 weeks. The SM is expected at every rehearsal, production meeting, technical rehearsal, and every performance. Additional time is required to complete reports and to maintain communication with various members of the cast and production team. Volunteer Hours: Hours are tallied and recorded by the Director of Volunteer Services and include rehearsals, performances, and production meetings. Qualifications: The SMs need the ability to interact well with people, organize and prioritize multiple tasks, handle stressful situations in a calm and competent manner, and assume a leadership role in various settings. Benefits: The stage manager works hard from the beginning to end of a production, but gains a sense of fulfillment knowing the job was done well. The stage manager receives two complimentary tickets for the preview night performance, recognition in the playbill, and a photo displayed in the lobby during the run of the production.

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VOLUNTEER JOB DESCRIPTION Position Title:

Usher

Description: Ushers are the link between a ticket purchaser and an enjoyable theatre experience. Responsibilities: If possible, a volunteer should become a member of The Naples Players, and adhere to the usher dress code, which includes purchasing a vest and bow tie. An usher will fulfill multiple tasks such as taking tickets, directing patrons, serving refreshments, and attending to the general cleanliness of areas of the facility being used for that performance. An usher reports one hour prior to a performance, and stays until duties are completed. An usher obtains subtitutes if unable to meet a scheduled performance. Training and Support Plan: An orientation is required to acquaint the new usher with the Sugden Community Theatre facility and to review fire and medical emergency procedures. New ushers are assigned to work side by side with an experienced usher. Reporting: The usher reports in the usher room to the House Manager on duty for that performance. Time Commitment: The individual sets his/her own dates for ushering. Performance dates are scheduled months in advance and volunteers are encouraged to sign-up as early as possible. Ushers may sign-up for duty on a regular basis or may take multiple performance dates on different days throughout the month. Volunteer Hours: Hours are recorded in the log kept in the ushers’ room. These hours are transferred to a database at the end of the fiscal year. Qualifications: An usher needs the ability to interact well with people, and remain calm under stress. If taking tickets, an usher needs to be able to see fine print; and, if directing patrons to seats, able to stand for short periods and walk easily. Benefits: The feeling of camaraderie is strong among ushers. Following several assignments of a particular production, the usher has the opportunity to tend the inside of the theatre and watch a performance.

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VOLUNTEER JOB DESCRIPTION Position Title:

Wardrobe Crew

Description: The wardrobe crew is responsible for costume maintenance (laundry and mending) during the run of a production. The costume designer and costume constructors for the production are frequently part of the wardrobe crew because of their involvement with the show. Training and Support Plan: During technical week, members of the wardrobe crew meet with the costume designer for specific instructions on each costume. Instructions are given as needed for the use of the washer and dryer, the location of cleaning and mending supplies, and which items are rented or otherwise not to be cleaned. Reporting: The wardrobe crew should immediately report any problems directly to the costume designer so solutions can be found before the next performance. Time Commitment: The total time varies depending on the number of costumes, the actor’s use of that costume, and the requirements of each costume’s care. During technical week, crew members should make an appointment with the designer, allowing a half hour for instructions; several hours, two days a week, should be alloted to do laundry and mending throughout the run of the show (3-5 weeks) and strike. During the week following the close of the show, crew members clean and assist in putting away costumes or returning rental costumes. Volunteer Hours: The individual must track hours and report them to the Director of Volunteer Services to be recorded. Qualifications: Individuals working on the wardrobe crew should have basic sewing and craft skills and enjoy doing laundry. Physical limitations restricting standing, lifting, or ironing should be addressed so the proper assignment can be made. Benefits: The feeling of camaraderie is strong among workers in the costume shop. With an advance commitment of a minimum of 10 hours on a particular production, each member of the wardrobe crew receives two complimentary tickets to the preview performance.

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CONTRACTED POSITIONS Though The Naples Players is a community theatre with volunteers filling both on and off stage positions, the following positions are contracted for pay. The persons in these positions must have had professional training, theatrical degrees or experiences which qualify them for consideration. Compensation paid to directors, musical directors, musicians, and choreographers is budgeted for each production of the season and varies depending on the time commitment and service provided. Director: The director of a musical or straight play is hired by the Artistic Director either following an interview or following the educational track for directors. The time commitment spans from design and production meetings, through all rehearsals and opening night. Musical Director: The musical director is hired by the Artistic Director with the director’s input. The time commitment spans from design and production meetings through all rehearsals to opening night. The musical director may also be the conductor or play an instrument for the run of the production. Musician: Musicians or band members are hired by the musical director. The time commitment includes a number of rehearsals and all performances. Choreographer: The choreographer is hired by the Artistic Director with the director’s input. The time commitment spans from production meetings and rehearsals through opening night. Instructor: Instructors for adult education workshops and classes are hired by the Director of Volunteer Services. Instructors for KidzAct, the Youth Theatre of The Naples Players, are hired by the KidzAct Director of Youth Education. Time commitments vary depending on the class.

“The Smell of the Kill”

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SAFETY AND SECURITY Safety and security are everybody’s business and must be given primary importance in every aspect of volunteer activities. FACILITY SECURITY • Exterior door codes are routinely changed. Members of the cast/crew will be given a code at the start of their commitment. • The second floor door, atop the exterior stairs by the Box Office, is open Mon.Fri. 9:00 a.m.-4:00 p.m., regular business hours. • Doors will not be propped or left open. • Any suspicious situation should be reported either to the House Manager, evenings, or to the Administrative Office during the day. COSTUME SHOP SAFETY • The serger and industrial sewing machines require training for use. • Assistance should be sought for heavy lifting or high storage areas. SCENE SHOP SAFETY • The Technical Director or Assistant Technical Director are always available during shop hours, generally Tuesday through Saturday 8:30 a.m. - 5:00 p.m., and additional days and times as necessary. • A detailed Scene Shop Safety Manual is on site, and each newcomer is instructed to review it. • Appropriate attire, sturdy clothing and close-toed shoes should be worn. • Safety goggles are available and expected to be worn when working with certain saws and soldering. • Teenagers under the age of 18 are not permitted to use any power tools other than screw guns. • Individuals must demonstrate understanding of safe and proper use of saws and other power tools before receiving assignments using said tools. • All equipment is to be used as prescribed. Anyone needing to know how to operate a piece of equipment should ask for instruction. • If anyone feels unsafe or physically unable to do something that he/she is asked to do, the person in charge should be told. ON THE STAGES • Cast and crew are given walk-through orientations the first day on stage, noting steps, corners, heavy or awkward set pieces, flies, etc. • Glow tape and low level lighting are used as necessary. • Cords are taped down; edges are padded; safety railings are installed as needed. • All cast and crew are provided orientation to equipment and ample practice during the week of technical rehearsals. (continued on next page) – 49 –

SAFETY AND SECURITY (continued)

IN THE HOUSES • House Managers and ushers are provided with orientation to lights, fire extinguishers, resuscitative equipment and emergency procedures. • Ushers are provided with flashlights. • There will be strict adherence to fire regulations prohibiting aisle seating or other blockage. • No individuals will be seated without a ticket. YOUTH SAFETY • Parents of, and students enrolled in KidzAct, Youth Theatre of The Naples Players, have safety rules provided at orientations. • No children under the age of thirteen are permitted in the scene shop without a parent or instructor providing supervision. • Teenagers under the age of 18 are not permitted on the flyrail at any time. • Parents or designated drivers are expected to pick up their child from rehearsals and performances on time. Children will not be permitted to wait outside unattended for their ride. FIRST AID OR EMERGENCY CARE • First aid kits are located throughout the building and are easily accessed. • All accidents are to be reported promptly. • Incident/accident reports are to be completed by the House Manager, area supervisor or stage manager and submitted to the Executive Director and Artistic Director as soon as possible. FIRE PROCEDURE • In the event of a fire, the alarm will sound. • Actors should exit rehearsal halls using stairways only. • People in rehearsal rooms, the costume shop and prop storage room, the Administrative Offices, Blackburn Hall, and backstage should exit to the 5th Ave. side of the building. • The Tobye Studio cast/crew should exit to the 4th Ave. side of the building • No re-entry will occur until given the all-clear signal by the fire department. PARKING • All fire lanes and building entrances should be kept clear of unauthorized vehicles in case of ambulance and fire emergencies. • Cars should be locked and valuables hidden. • The parking garage is City of Naples property and is patrolled by city police; however, for personal safety friends should act as escorts to vehicles following late rehearsals or performances.

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PREVIEW TICKET DISTRIBUTION All preview tickets will be distributed from the Box Office for both Blackburn Hall and Tobye Studio shows. No one will be seated without a ticket. Reservations are required to hold tickets at the “will call window” for both Tobye Studio and Blackburn Hall. Box office: 263-7990. Mon.-Fri. 10:00 a.m.-4:00 p.m., Sat. 10:00 a.m.1:00 p.m. 1. People who volunteer with a production as a performer, set builder, costumer, crew, etc. may receive two complimentary tickets either by going to or calling the Box Office. They must identify themselves and their connection to the production. They may give their tickets to whomever they wish (the recipient(s) need not be TNP members) or attend themselves with a guest. They may pick up their tickets two weeks prior to the preview performance. 2. Working members, who did not volunteer on a show, may receive one complimentary ticket. Tickets are available to working members one week prior to the preview performance. Ticket availability is limited and will be on a first come, first served basis. The definition of a working member is that he/she has paid dues for the current fiscal year and has reported a minimum of 50 volunteer hours in the past or current fiscal year. 3. Life members receive one complimentary ticket, available the week before the preview performance. There is limited seating in the Tobye Studio. 4. Members of The Naples Players who have not met the 50 volunteer hour minimum may receive a ticket if seating is still available after others with eligibility have been seated. They may not reserve a ticket in advance. They may confirm their volunteer hours recorded in the database by emailing, calling, or visiting the Director of Volunteer Services. 5. A volunteer who has not paid dues to be a member, even though he/she may have volunteered 50+ hours during the past or current fiscal year, may only receive a ticket if seating is still available after others with eligibility have been seated. 6. A guest of a member, working member or life member may receive a ticket only if seating is still available after others with eligibility have been seated. 7. Relatives or same household members may pick up or reserve tickets (providing all the above requirements are met). Otherwise, individuals must make their own ticket reservations. 8. A single complimentary ticket may be given to a working member for a performance during the run of a show. The individual makes the request at the Box Office, but must wait until all ticket purchasers have been served. – 51 –

MISCELLANEOUS TOPICS Photos: Black and white headshots will be taken of all cast members (unless they have a photo less than 3 years old on file with TNP). If they cannot make the scheduled appointment at the theatre, it is their responsibility to contact the producer. Only approved black and white headshots will be used for lobby displays. Production team heads and key crew members may also have photos displayed. Running crew members are pictured in a group shot. Press photos: Color photos to be given to the media promoting the show in advance are taken mid-way in the rehearsal process, featuring several cast members in temporary costumes. Archive pictures will be taken following a designated performance. All cast members and most running crew are called for this photo shoot. One large group photo includes everyone who worked on the production in any capacity. The producer will take orders and distribute photo discs. Video taping is not allowed under any conditions for any productions because of our theatrical contract with copyright holders. Production parties are open for anyone in the cast and crew or who worked in other ways such as set construction or costumes. Notices are posted on the call boards or in the green room. It is the individual’s responsibility to periodically check for party notices. Parking is free in the City of Naples’ public garages on 4th Ave. S. and 8th St., and on 6th Ave. S. and 8th St. The Naples Players does not have any reserved or designated theatre parking spaces. Nor does TNP have any responsibility for the operation of the elevator there. When there are downtown events, especially in the winter season, the garages fill early. Parking may be available on the street. People should plan accordingly and arrive early.

Ushers

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REHEARSAL AND PERFORMANCE ETIQUETTE •

Be on time! The stage manager should be notified if anyone is unable to make the posted call time. No one should leave the building without notifying the stage manager.

•

Cast and crew should use the coded key pads at the stage entrances on the south and north sides of the building.

•

Beginning tech week, everyone should sign-in on the call boards located near the stages.

•

Off-limit areas: Performers must vacate the lobby and all public areas one hour prior to show time. The house opens one half hour before the scheduled curtain time. No one should cross the stage or be visible to the audience unless directed to do so. Only cast and crew are permitted backstage and in dressing rooms during performances. Only crew members are allowed in the spotlight booths, the light/sound booth and scene shop. Guests may visit in the green room before a show (until the 30 minute call) and following a performance. The stage manager may ask guests to leave if there is any kind of show business to attend to, or if the green room is overcrowded.

•

All noise and conversation should be kept to a minimum during rehearsals and backstage. Loud conversations or stomping in the stairwell next to the stage should be avoided.

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No eating or drinking in costume. Beverages in rehearsals must be in closed containers. Food is allowed only in the green room. Individuals should clean up after themselves.

•

No smoking is allowed inside the Sugden Community Theatre and no smoking in costume (herbal products are used on stage). Smoking is permitted during breaks in designated outside areas. Cast and crew should not consume alcohol before and/or during rehearsals or performances (tinted water or juice drinks are used for beer and wine on stage). No drugs are allowed.

•

No cast/crew member should make purchases of any kind without prior approval from the producer or department head; otherwise he/she may not be reimbursed. Those items paid for by The Naples Players are the property of TNP.

•

Everyone should conduct themselves appropriately backstage, respecting other volunteers, limiting profanity and dressing modestly.

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Dressing rooms must be kept neat. All costumes must be properly re-hung before leaving, and laundry/repair procedures followed. Any personal items being used in a show must remain in the theater during the run. No costumes or any part thereof can be removed from the building (even for cleaning) without clearance from the Costume Shop Supervisor. – 53 –

A GLOSSARY FOR STAGE Ad-lib: Anything said by actors on stage other than the lines of the script Amateur: Anyone whose work in or for the theater is without financial reward Anticipate: React to a cue that has not yet occurred (e.g. actor falls before shot is fired) Apron: The part of the stage in front of the proscenium Aside: Dramatic device in which the character speaks directly to the audience while other characters on stage supposedly do not hear him/her Audition: Tryout performance before producers, directors, or others for purpose of obtaining a part in a production Backstage: Any part of the stage outside of the acting area Blackout: Closing of a scene, act, or the play itself, usually on a particularly effective line, lights go down Blocking: Movement of actors in the acting area Boards: The stage. “To tread the boards” means to appear on stage Book: Play manuscript. In musical productions, the libretto without the music Break a Leg: Traditional wish of good luck prior to opening night curtain Breakaway: Scenery or props that disappear, break, or change form in view of audience Break Character: To say or do anything which is not consistent with what the character portrayed would say or do Build: Accumulation and gradual acceleration of tempo, emotional intensity, and action by dramatist, actors or director at any point in a play Call: Notice by stage manager to actors announcing the amount of time before the curtain, normally half hour call, fifteen minute and five minute call Callboard: Bulletin board for actors Cast: Players in a play; to select actors to play roles Center Stage: The area in the center of the acting space Characterization: Delineation by dramatist of a role in a play or portrayal by an actor of a role on stage Clear Please: Order to strike props or get out of the way; warning that the curtain is going up Climax: That part of the central action in which tensions are greatest and in which the theme is finally and fully revealed Clip Cues: To speak one’s lines before the preceding actor has had time to finish the cue phrase Come Down: To move toward the downstage area, toward the audience Comedy: Style of drama characterized by the humorous and amiable Crisis: Turning point in a play Cue: A signal in dialogue, action or music for an actor’s action or speech or technician’s duty backstage Curtain: A hanging drapery that conceals the stage or scene from the audience Curtain Line: An imaginary line across the stage that marks the positions of the front curtain when it is closed; or final line just before the curtain closes – 54–

GLOSSARY, continued Cut: To remove a line from a script; order to stop rehearsal Dark Night: Period when the theater is not open to the public Discovered at Rise: On stage when the curtain goes up Downstage: Toward the footlights, pit, apron, or audience Dress Rehearsal: Final rehearsal before opening Entrance: Actor’s appearance on stage Flat: A wooden frame covered with canvas used as a scenic unit Go On: To enter on the stage Go Up: To forget one’s lines and to be unable to resume without assistance Good Theater: Any piece of business that clicks with an audience, or that communicates surely and easily with the audience Green Room: Waiting or reception room, near the stage, used by directors, actors, and crew Half Hour: Warning by stage manager a half hour before the curtain goes up Ham: An actor who is bad or pretentious Handle: A word that an actor adds to the beginning of a line, that was not originally written in the script Hand Prop: Props that the actor carries onto the stage as opposed to those discovered on stage Heads Up: Order to watch for moving scenery Hold: Sustain an effect for audience response; to pause in delivering a line Hold Book: To prompt, take blocking notation, make notes on line changes and cues during rehearsals House: The auditorium and front of the theater as contrasted with the stage and backstage areas Lead: Principal role in a play Left Stage: The area on stage at the actor’s left as he/she stands center stage. Or stage left Line, Lines: Speech or speeches in a play Mugging: Excessive facial contortions during a performance Offstage: Area backstage, outside of the acting area Onstage: Inside the acting area Pace: The timing of lines and business Places: Signal given by stage manager to the cast for taking their respective positions preparatory to the rise of the curtain Properties (Props): Articles used for a play Prop Table: Table offstage where props are set prior to the curtain. Actors are conditioned to obtain their hand props from the same place on the table at each show Proscenium: The wall dividing the auditorium from the stage Proscenium Opening: The opening in the proscenium through which the audience views the play Protagonist: Hero of the a play or the character who carries its principal idea Quiet Please: Order for silence

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GLOSSARY, continued Read Through: Rehearsal at which the script is read from beginning to end Rehearsal: Repetition of scene or practice of a production prior to performance Right Stage: The area on stage at the actor’s right as he/she stands center stage facing the audience. Stage right Royalty: Compensation to playwrights and composers paid for permission to perform their works Run: Length of a stage engagement or total number of performances Scene: Setting of an action; division of an act or play Set: The location, scenery and/or furniture where the play is performed; to prepare the stage for the scene that is to be performed Sight Lines: Lines, painted or imagined, that divide the area the audience can see from the area the audience cannot see Situation: Relationship of characters to one another or to a condition Sound Effects: Sounds performed offstage in relation to stage action Split Stage: Two or more scenes placed on stage simultaneously Stage: Entire floor space behind the proscenium arch Stage Call: Meeting of the cast and director on stage to discuss problems before a performance or rehearsal Stage Directions: Instructions in the script concerning movements and arrangements on the stage Stage Whisper: A stage convention in which one actor whispers loud enough for the entire audience to hear, but is assumed to be heard only by the other actor Stand By: An order to be alert to a cue Straight: Refers to a role or performance that is natural, normal, non-eccentric Strike: To clear the stage of scenery, props, etc. Technical Rehearsal (Tech): A rehearsal at which the technical aspects of the production are integrated Throw It Away: To give no particular emphasis or expression to a speech or line Upstage: Noun: away from the footlights or audience; verb: to move upstage of another cast member and thereby compel that cast member to turn his back to the audience

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THE NAPLES PLAYERS Sugden Community Theatre 701 5th Avenue South, Naples, FL 34102-6662 Administration 239-434-7340 • Fax 239-434-7772 • Box Office 239-263-7990 www.naplesplayers.org