Active Members
Answering Machine Attendant
Building Operations and Maintenance Chair
Box Office Attendant
Box Office Chair
Cast
Casting Committee
Choreographer
Communications Chair
Costume Chair
Director
Fund Raising Event Chair
Historian
House Manager
Inspector of Elections
Lighting Designer
Lighting Operator
Makeup Chair
Nominating Committee
Outreach Liaison
Parking Attendant
Performance Musician
Play Reading Committee Chair
Production Manager
Program Chair
Properties Chair
Publicity Committee Chair
Refreshment Chair
Rehearsal Accompanist
Scholarship Committee Chair
Set Construction Chair
Set Decorator
Set Designer
Social Director
Sound Designer
Sound Operator
Stage Crew
Stage Manager
Telephone Chain Chair

Active Member
Since this is a volunteer organization, the Active Members are collectively responsible for everything we do.  Approved by the Board following recommendation from the Membership Secretary, the Active Members fill all of the specific positions in the organization.  Basic responsibilities of Active Members are specified in the Bylaws, section 2.2.

Typical tasks and tips

• Attend general membership meetings.
  • TIP: Participate in discussions and votes at meetings or talk to a Board member.  Your opinion counts.
  • TIP: Make sure you are an informed voter.
• Elect the Board of Directors (see Bylaws, section 6.2.) and remove them (see Bylaws, section 6.8.).
  • TIP: Make sure you are an informed voter.
• Elect Inspectors of election, per the Bylaws, section 4.6.
• Amend the Bylaws as deemed necessary (see Bylaws, section 14.).
• Pay dues on time and without reminder (see Bylaws, section 3.1.2.).
  • TIP: Annual dues should be paid on or before October 1 each year.
• To maintain Active membership, volunteer to fill a position or serve on a committee yearly.
  • TIP: Don’t wait to be asked.
  • TIP: If you don’t know where volunteers are needed, contact the President.
  • TIP: Complete any job you start, including cleaning up anything that got messed up in the process.
  • TIP: Each time you leave the building, make sure it is in better condition than when you arrived.
  • TIP: If you are the last person to leave the building, make sure that all doors are fully closed and the ‘occupied’ circuit breaker has been turned off.
• Read the newsletter, website, and notices posted in our building so you know what is going on.
  • TIP: Make sure address changes are sent to the Communications chair.
  • TIP: Don’t forget to volunteer.
• Encourage new members to join.

 

Answering Machine Attendant

The Answering Machine attendant is responsible for the timely processing of messages left on our answering machine.  Appointed by the President, this person is critical to maintaining a good public image for our organization.

Typical tasks and tips

• Keep the announcement on our answering machine current and brief.
  • TIP: Announce any show dates which have been sold out.
• Check messages and distribute received messages to the appropriate member on a frequent basis.
• Check machine after storms to ensure power failure did not interfere with operations.
• Accept reservations for performances and communicate them to the Box Office chair shortly before each performance.

 

 

Building Operations and Maintenance Chair

The Building Operations and Maintenance chair is responsible for the functioning and appearance of our building and grounds.  Appointed by the President, the Building Operations and Maintenance chair selects a BOM squad, each member of which takes responsibility for a specific part of the facility.

Typical tasks and tips

• Select the BOM squad and provide guidance and support to its members.
  • TIP: Remind BOM squad members of scheduled events that might affect their part of the facility.
• Perform routine cleaning, organizing, and straightening as required.
• Schedule and supervise periodic clean-up days, assisted by general members, to address areas needing major effort.
• Ensure routine maintenance is performed on the building, equipment, and grounds.
  • TIP: Ensure annual inspection of fire extinguishers and furnaces.
• Advise the President when building and grounds improvements or major maintenance items are required, including identification of the need and suggested alternatives, with attendant cost.  Initiate and supervise the resulting action as directed by the President.
• Oversee all work related to permanent or long-term changes to the building and grounds, as directed by the President.
• Purchase supplies and materials as required.
  • TIP: Keep a copy of our tax exempt form, signed but undated and with the vendor name blank.  Make copies of this as necessary when contracting with a new vendor, to establish our tax-exempt status.
• Provide access to the building and areas within it, to authorized personnel.
  • TIP: Authorized persons include Board members, production crews and others as determined by the CHP Board.
• Maintain a schedule of building use, to avoid conflicts between members.  NOTE: CHP Board policy prohibits the use of the facility by non-CHP groups.
• Respond to requests or concerns from the Production Manager and House Manager regarding facility requirements.
• Maintain a ‘BOM file’ containing administrative information that would be useful to a successor, such as:
  • Sample seat/stage arrangements which meet safety requirements.
• Provide advance notice to those sharing our parking lot of the dates of our productions or other major events.
• Act as the initial contact for receipt of material donations and loaning of items.
  • TIP: Consult with the appropriate BOM squad member.
• Arrange for snow removal from parking lot and sidewalks on a contract basis, with Board approval.

 

Box Office Attendant

The Box Office Attendant is responsible for sale of tickets to a performance.  Appointed by the Box Office Chair, the Box Office Attendant staffs the box office before a performance.

Typical tasks and tips

NOTE: Physical tickets currently are in the form of programs.

• Arrive one hour prior to curtain.
• Distribute tickets reserved before the performance and collect payment.
• Sell unreserved tickets to walk-in patrons, terminating sale when capacity for a performance has been reached.
  • TIP: The House Manager will provide you with money for making change.
• Take reservations for future performances of the current production.  (This allows walk-ins to a sold-out performance to buy tickets to a future performance.)
  • Keep a record of which reservations have been paid.
  • Return updated reservation lists and payment status to the Box Office Chair.
• Maintain statistics on classes of tickets sold.
  • TIP: Use sheet provided by Box Office Chair.
• Prepare funds for deposit and turn over monies collected to the House Manager.

 

Box Office Chair

The Box Office Chair is responsible for the sale of tickets to our performances.  Appointed by the President, the Box Office Chair selects and directs the Box Office Attendants.

Typical tasks and tips

• Train Box Office Attendants.
• Provide programs, from the Program chair, to Box Office Attendants, to be used as tickets.
• Accept telephoned reservations collected by the Answering machine attendant.
• Maintain a list of reservations which have been taken, and whether they have been paid for.
  • TIP: Be sure to add any reservations taken by the Box Office Attendant at each night’s performance.
• Provide statistical tracking worksheets and collect results for presentation to the Treasurer.  The statistics should show the number of tickets sold in each category (Full-price, Senior, Student, Complimentary) for each performance.

Cast

The Cast is responsible for performing the show.  Appointed by the Casting committee, the Cast transports our patrons to a different time and place.

Typical tasks and tips

• Attend all rehearsals and performances.
• Follow all instructions from the Director.
• Adhere to all Coach House policies regarding our building and grounds.
• Arrive at scheduled call time and sign in promptly.
• Apply makeup at assigned rehearsals and all performances.
  • TIP: Seek the assistance of the Makeup chair if available.
  • TIP: Only basic stage makeup is provided.
• Maintain costumes in condition needed for the role and be responsible for accessibility of costumes during performance.
  • TIP: Wash and iron costume as needed.
  • TIP: Report or repair tears, etc.
• Make the Director aware of any difficulty in making costume changes.
• Place all personal props used by your character, example: a comb carried in the pocket of your costume.
• After the final performance, if possible, participate in the striking of the show, under the direction of the Production Manager.

 

Casting Committee

The Casting committee is responsible for selecting the cast for the play.  The Casting committee includes the Director, plus others appointed by the CHP Board.

Typical tasks and tips

• Before the first audition is held, read the play and become familiar with the cast requirements.
• Become familiar with the Coach House Players “Rules/Guidelines for casting committee members” dated 8/6/03.
• Attend all auditions, giving full attention to those auditioning.
• Select the most qualified people auditioning.
• Be available to reconvene if needed in the event a role remains or becomes unfilled.
• In a timely manner ensure that notification is made to all people who auditioned.
  • TIP: Calls may be made by the Director or Casting Committee members.

 

Choreographer

The Choreographer is responsible for the quality of dance within the show.  Appointed by the CHP Board, the Choreographer directs the dance numbers in the show.

Typical tasks and tips

• Become familiar with the dance requirements for the play.
• Consult with the Director regarding the artistic intent of each dance number.
• Attend auditions and provide input regarding dancer qualifications to the Casting committee.
  • TIP: Be prepared to provide audition dance routine.
• Design dance arrangements for the production, in consultation with the Production Manager and Director.
• Train dancers and conduct dance rehearsals.
• Participate in production rehearsals as scheduled by the Director.

 

Communications Chair

The Communications chair is responsible for internal and external communications.  Appointed by the President, the Communications chair keeps the membership and patrons informed of current organization activities.

Typical tasks and tips

• Maintain membership mailing list.
• Send out notice of the annual meeting to members, with proxy ballot attached, at least ten days prior to the time appointed for the meeting.
• Maintain external mailing list.
• Produce periodic newsletter to members.
  • TIP: Ensure that members are aware of meetings, work opportunities, and social events.
  • TIP: As soon as it has been developed, send a copy of the annual calendar to all members.
• Maintain organization web site.
• Ensure that members are aware of meetings, work opportunities, and social events.
• Transfer all records to successor when leaving the position.

 

Costume Chair

The Costume chair is responsible for all costumes for the show.  Appointed by the Production Manager, the Costume chair approves or creates the costumes.

Typical tasks and tips

• Become familiar with the costume requirements for the play.
• Create or acquire all costumes required for the play, in consultation with the Production Manager and Director.
  • TIP: Before going outside for a costume, check with the BOM-squad member who handles the costume room to see if what you need has been loaned out.
• Assign costume-creation duties to other members, including the Cast, as appropriate.
• Retrieve, clean, and store costumes after the final performance.
• Adhere to budget.

 

Director

The Director is responsible for all artistic aspects of a show.  Appointed by the Board, the Director provides artistic guidance to the cast and, through the Production Manager, the production staff.

The Director should not hold any other show-related job, other than as a member of the Cast.

Typical tasks and tips

• Agree to accept the dates for auditions, performances, strike, etc.
• Become familiar with the play.
• Participate as a member of the Casting committee during all auditions. Ensure that timely notification is made to all those who auditioned.
  • TIP: Have prepared specific sections of the script for auditions.
• Understand Coach House policies related to facility use and member interactions and support them.  Refer to the Coach House policy manual.
• Select the Assistant Director.
• Attend one or more production meetings and provide artistic input to the Production Manager and production staff.
  • TIP: At the first production meeting, select the seating/stage arrangement to be used, since the set designer needs to know the dimensions of the stage and its location will determine where stage entrances are.  The Building Operations and Maintenance Chair can provide drawings of sample seat/stage layouts.
  • TIP: Based on experience, we have developed a time line, which shows when key activites should begin and complete.
• Direct the Cast and Musicians, conducting rehearsals as necessary to ensure a quality performance.
• Provide ongoing feedback to the Cast, Musicians, and Production Manager.
• Perform the curtain speech in the absence of the standard chain of command.
• Adhere to the budget provided.

 

Fund Raising Event Chair

The Fund Raising Event chair is responsible for obtaining funds through an individual project.  Appointed by the President, the Fund Raising Event chair directs a fund-raising effort separate from performance revenues.

Typical tasks and tips

• Coordinate projects approved by the CHP Board.
  • TIP: Projects should be related to our mission, consistent with our public image, and should result in a net dollar profit to Coach House Players.
• Transfer funds raised to the Treasurer.

 

Historian

The Historian is responsible to ensure that the history of Coach House Players is available and accessible.  Elected by the Active members, the Historian gathers our historical record and presents it to the members and the public.

Typical tasks and tips

• Seek out and collect historical records related to Coach House Players.
• Maintain records in a safe and orderly manner.
• Provide copies of documents and records to the CHP Board, to be kept in our building.
• Keep current members aware of our history.
• Prepare historical displays as requested.
• Answer specific questions about our history.
• Transfer all records to successor when leaving the position.

 

House Manager

The House Manager is responsible for ensuring that patrons have a safe and pleasant experience before and after the performance and during intermissions.  Appointed by the Production Manager, the House Manager acts as host to our patrons.

Typical tasks and tips

Prior to performance nights

• In consultation with the Production Manager, Director, and Building Operations and Maintenance Chair, become familiar with the needs relating to the performance space (such as climate control, house lights, etc.) as well as the lobby.
  • TIP: The Building Operations and Maintenance Chair will contact members of the BOM squad whose areas are being affected.
• Select at least three Parking attendants for each performance and assign one to remain for the duration of that performance.
  • TIP: Ask the Production Manager for the names of volunteers for all production jobs.

Performance nights

• Prepare the lobby and performance space prior to lobby opening:
  • Turn on all indoor lights (lobby, house, bathroom access, bathroom, kitchen, and gazebo) and outdoor lights (parking lot, etc.).
  • Unlock lobby doors.
    • TIP: The rear lobby door crash bar must be held in the unlocked position using the Allen wrench hanging near the door.
  • Check and prepare as needed performance space and lobby to ensure it is neat and cleaned and trash receptacles are available and ready for use.
    • TIP: Ensure that all seats are folded up before the audience is admitted.  This makes it easier for patrons to reach their seats.
    • TIP: Put one trash can at each outside entrance in lobby and one trash can just inside workshop doorway.  Be sure there are plastic disposal bags in all cans.
    • TIP: Ensure carpet runners are in place at exits in lobby and performance room.
  • Check and prepare outside of entrances to ensure cleanliness as well as the availability of cigarette disposal cans.
  • Check and prepare bathroom facilities as needed prior to performance and intermission.
    • TIP: The key for the paper dispensers is on a hook under the kitchen cabinet.  Be sure to return the key to this hook.
• Provide the Box Office Attendant with startup funds for making change.
• Alert patrons when a performance is about to start or restart.
• Assist late arrivals in getting to a seat unobtrusively, or ask that they wait in the lobby until an appropriate point in the play.
• Answer patron questions or introduce them to someone who can.
• Advise patrons, as necessary, that food and drinks are not permitted in our performance room.
• Advise patrons, as necessary, that smoking is permitted only outside and away from building entrances.
• Ensure that smoking materials have been properly disposed of.
• Know the evacuation plan and assist with evacuation of the building in event of an emergency.
• Assist handicapped patrons in getting to and from their seats.
• Return all patron-accessible areas to a clean-and-ready state following each performance.
  • Following each performance, fold seats up and remove any items or trash that patrons have left behind.  Place the latter in the Lost-and-Found box in the ticket booth.
  • Turn off all lights (inside and out), lock all doors, review climate control, tie garbage bags, etc.).
• Communicate facility requirements to the Building Operations and Maintenance Chair.
• Collect monies from the Box Office Attendant and make deposit.

 

Inspector of Elections

The Inspectors of elections are responsible for supervising elections during general meetings.  Elected annually by the Active members, the Inspectors of elections perform the duties described in the Bylaws, section 4.6.

Typical tasks and tips

• Validate proxy ballots.
• Collect ballots at the meeting.
• Count votes.
• Announce results of the vote, omitting vote tallies.

 

Lighting Designer

The Lighting designer is responsible for the illumination of the show.  Appointed by the Production manager, the Lighting designer creates the lighting plan and sets up lighting equipment.

Typical tasks and tips

• Become familiar with the lighting requirements for the play.
  • For shows with live music, the requirements include power for musical instruments and music lights.  (Musicians are responsible for providing their own lights.)
• Design and hang lighting for the show, in consultation with the Production Manager and Director.
  • TIP: Test and repair as necessary any lighting equipment you use.
• Create a light plot for Lighting operator(s) and provide it to the Stage Manager.
• Repair lighting equipment as needed immediately after the final performance.
• Adhere to budget.

 

Lighting Operator

The Lighting operator is responsible for controlling lights during each performance.  Appointed by the Production Manager, the Lighting operator runs the lights for all performances of a show.

NOTE: If the show uses a follow-spot, the operator of the spot is a second Lighting operator.

Typical tasks and tips

• Attend the technical rehearsal and all subsequent rehearsals and performances.
• Operate lighting equipment in accordance with the light plot and under direction of the Stage Manager.
• Make minor repairs as required.  Report other equipment problems to the Lighting designer.
• Assist the Lighting designer with any tasks as needed.

 

Makeup Chair

The Makeup chair is responsible for cast makeup.  Appointed by the Production Manager, the Makeup chair designs and applies makeup.

NOTE: ‘Makeup’ includes hair styling.

Typical tasks and tips

• Become familiar with the makeup requirements for the play.
• Design makeup for the show, in consultation with the Production Manager and Director.
  • TIP: Attending rehearsals prior to the dress rehearsal will help evaluate the design.
• Ensure that the required makeup is available in sufficient quantities for all performances.  Purchase additional makeup if required.
• Attend dress rehearsals and all performances, making up cast.
  • TIP: Check with cast prior to dress rehearsal to determine who will need help applying makeup.
• After final performance, purchase replacements for depleted makeup supplies, clean makup kit, and store it for future use.
• Adhere to budget.

 

Nominating Committee

The Nominating committee is responsible for nominating candidates for election to the Board.  Appointed annually by the President, the three-person Nominating committee performs the duties described in the Bylaws, section 10.2.

Typical tasks and tips

• Obtain a list of positions to be filled from the Recording Secretary.
• Obtain a list of members eligible to fulfill office from the Membership Secretary.
• Create a list of candidates for nomination from the eligible members, keeping in mind past experience, availability, and willingness to serve in position.
  • TIP: Board members whose terms are expiring are eligible for reelection.
• Call the candidates one by one to see if they would accept the nomination.
  • TIP: First contact those members of the Board whose terms are expiring to ask if they will seek reelection.
  • TIP: Though desirable, it is not mandatory to have more candidates than the number of positions to be filled.
• Submit completed list of candidates to the President as soon as possible to allow notification to general membership in accordance with the Bylaws, section 4.1.

 

Outreach Liaison

The Outreach liaison is responsible for direct life-event communication with our members.  Appointed by the Social Director, the Outreach liaison provides contact with general members during times of illness, sadness, and celebration.

Typical tasks and tips

• Under the guidance of the Social Director, adhere to Board policy of 2/7/2001.
  • In event of illness of member or close relative, send appropriate get-well card.
  • In event of death of a Lifetime or Active member, send flowers or a donation not to exceed $25.  In event of death of an inactive member, a relative of a member, or a significant contributor, send an appropriate card.
  • In event of a positive event in the life of a member, send a congratulatory card.

 

Parking Attendant

The Parking attendant is responsible for safe parking for as many of our patrons as possible.  Appointed by the House Manager, the Parking attendant directs patrons to and from parking spaces.

Typical tasks and tips

• Become familiar with parking lot layout and desired traffic flow patterns.
  • TIP: Ensure that cars are parked in such a way that any car may leave the lot without moving any other car.  This avoids the need to disrupt a performance if a patron needs to leave early.
• Set up parking lot signs and traffic control devices one and one-half hours before the opening curtain.
  • TIP: Signs are on the workshop wall above the door to the second floor.  One is designed to hang over the guard rail on the entrance ramp, while the other is designed to stand against the building wall on the other side of the ramp.
  • SAFETY TIP: Traffic cones should be placed across the exit drive, near the sidewalk, to prevent patrons from attempting to enter the lot from the wrong end.  Once the performance has begun, the cones should be moved to the bottom of the entrance ramp, to prevent patrons from attempting to exit via the entrance ramp, which provides poor visibility.
• Ensure cast and crew do not park in lot.
  • Direct them to parking spaces on the near side of West Chestnut street.
• Direct auto and pedestrian traffic into and out of our parking lot in a safe and courteous manner.
  • TIP: If you see a patron parking on or blocking private property, please ask them to move their vehicle.
• Patrol the parking lot during a performance, to ensure that patron’s vehicles remain safe.
• Remove and store parking lot signs and traffic control devices once patrons have left.

 

Performance Musician

The Performance Musician is responsible for playing the designated music during performances.  Hired by the CHP Board, the Performance Musician performs specified music under the direction of the Director.

Typical tasks and tips

• Attend scheduled performance week rehearsals and all performances.
• Provide instruments, stands, sheet music, and music lights that you require.
  • TIP: The Lighting designer will provide electrical power to the music area.
• Play music under direction from the Director.
  • TIP: Follow any notes provided by the Rehearsal Accompanist.
• Remove all musical equipment immediately following the final performance.
• Return all scores to the Assistant Director at the end of the final performance.

 

Play Reading Committee Chair

The Play Reading committee chair is responsible for proposing suitable plays for the next season.  Appointed by the CHP Board, the Play Reading committee chair recommends a double slate of plays for consideration by the Board.

Typical tasks and tips

• Select remaining members of the Play Reading committee, with Board assistance if necessary.
  • TIP: The full committee should consist of at least 3 people.  An odd number is preferred.
• Use the list of plays suggested by members and patrons as a starting point from which to begin, including those plays given as second selections from the previous year.  You are not limited to this list.
  • TIP: If the plays are not in the Coach House library, contact the Treasurer.  Refer to the catalogs in our library.
  • TIP: It is preferred that each selection should be one which we have not performed in the last ten years.
• Read and rate each play on the designated form.
  • TIP: Blank forms are available in the Coach House files.
• Present two selections (your top choice and an alternate in each category) by February 1, for the next production year.
  • TIP: Traditionally, the categories are musical, comedy, and drama/mystery.
• Present your selections of all six choices in writing with reasons for each choice.
  • TIP: Please do not discuss your final choices beyond the Play Reading committee and the Board of Directors until the Board has made a final decision.
• Before a final decision is made the Board will read and consider your top choices for the season.  Except for reasons of technical and/or artistic difficulty or for noncompliance with the following criteria, the top selection in each category will be approved by the Board.Criteria:
  • Wide audience appeal.
    • TIP: Consider known authors, recognizable titles, and, for musicals, songs.
  • Artistic merit.
  • Staging should be within reasonable technical, artistic, and financial capabilities.

  The President or a designated Board member will call the Play Reading committee chair to inform the committee of the Board’s final selections.

• After a final decision is made by the Board, those plays suggested, but not selected, are to be listed in a file for use by the next year’s committee.

 

Production Manager

The Production Manager is responsible for all aspects of the patron experience other than the on-stage performers.  Appointed by the Board, the Production Manager assists the Director in realizing his/her vision of the play.

Because this is a full-time position, the Production Manager should not hold any other show-related job.

Typical tasks and tips

• Appoint lead people for all required production areas, including costumes, house management, lighting, makeup, programs, properties, refreshments, set design, construction, and decoration, sound, stage crew, and stage manager.
• Promptly notify the BOM of each appointment that is authorized key/combination access to the building or parts of it, so that access can be provided.
• Conduct one or more production meetings between production leads and Director, obtaining agreement on show requirements in each technical area.
  • TIP: Include the BOM at the first production meeting.
  • TIP: The first meeting should be held no later than one week after the first meeting of the cast (readthrough).
  • TIP: Based on experience, we have developed a time line, which shows when key activites should begin and complete.
• Provide performance-related information, including any copyright requirements, to the Publicity and Program chairs.
  • TIP: See the Treasurer for input, since that person orders the playbooks.
• Assist and monitor progress of all show-related development activities, keeping them on schedule and within budget.
  • TIP: To retard the spread of fire, all building doors must be fully closed whenever the building is unoccupied.  Do not permit anything to obstruct the closing of these doors.
  • TIP: Ensure that the area needed for patron seats is cleared by the Director and each production team before the scheduled seat-moving date.  Otherwise the seat movers will have to clear the area and items may be lost or damaged.
• Respond promptly to artistic feedback from the Director.
• Arrange for cast, set, and production staff photos to be taken.  This is usually done at the dress rehearsal.
  • TIP: Ensure copies of set, cast, and crew pictures are provided to the Board for our historical records.
• Set a strike date during the week following the final performance and supervise the striking of the show, ensuring that all show-related equipment is returned to proper storage in the same, or better, condition as before the show.

 

Program Chair

The Program chair is responsible for producing the programs and posters for a show.  Appointed by the Production Manager, the Program chair delivers finished programs before the first performance and posters as soon as possible.

Typical tasks and tips

• Become familiar with the program requirements for the play, especially any required copyright notices, in consultation with the Production Manager and Director.
• Gather needed data:
  • Synopsis of scenes, from the playbook.
  • List of patrons, from the Treasurer, along with instructions on how to become a patron.
  • Cast and crew biographical data (from the Assistant Director).
  • Credits for donated material or services.
  • Titles and schedule for future shows, from the Publicity chair.
• Design the program layout and write final text for all data.  Accuracy is important, especially in cast and crew credits.
  • TIP: Consider use of a yearly program (boilerplate).
• Arrange for printing of the programs and posters.
  • TIP: For programs, allow for 100 patrons per performance, plus cast members.  For posters, allow for 200.
• Deliver printed programs (which are used as tickets) to the Box Office chair no later than the start of the dress rehearsal.
• Distribute posters as follows:
  • To the Communications chair a sufficient number to send to all mailing list recipients and members.
  • To the Director a sufficient number for the cast.
  • The balance to the Publicity chair.

 

Properties Chair

The Properties chair is responsible for all props for a show.  Appointed by the Production Manager, the Properties chair gathers the necessary props and defines when and where they are to be placed.

Typical tasks and tips

• Become familiar with the prop requirements for the play.
• Gather all props for the show as soon as possible, since they will be needed for rehearsals.
• Give the Program chair the names of any organizations or individuals who have donated or loaned props, so that they can be credited in the program.
• Document the prop plot, so the Stage Crew and Cast know when to set and strike each prop. (The Cast is responsible for placing personal props, such as a comb carried in the pocket of a costume; the Stage Crew is responsible for placing of props on the set).
• Attend tech-week rehearsals and all performances, ensuring that all props are ready before the performance begins.
• Clean and repair props as required during the performance run.
• Clean, repair, and return all props to their owners or the Coach House prop room after the final performance.
• Adhere to the budget.

 

Publicity Committee Chair

The Publicity Committee chair is responsible for public awareness of Coach House Players and its activities.  Appointed by the President, the Publicity Committee chair coordinates all publicity for the organization.

Typical tasks and tips

• Ensure that the public is aware of all functions in which Coach House Players are involved, including general meetings, community singing, etc.
• Obtain cast requirements and play summary from the Director.
• Ensure that the community is aware of audition dates and cast requirements, performance dates, location, prices, and the general content of each show.
  • TIP: Ensure any required copyright notices are included on any advertisements, mailings, etc.
• Provide each Program chair with information about planned future performances.
• Promote general awareness of the organization and its contributions within the community, including the annual awarding of scholarships.
• Maintain a list of contacts for all media normally used.
  • TIP: Create a timeline for each media venue.
• Adhere to budget as directed by the Board.

 

 

Refreshment Chair

The Refreshment chair is responsible for sale of refreshments to our patrons.  Appointed by the Production Manager, the Refreshment chair oversees the refreshment stand.

Typical tasks and tips

• Select people to run the refreshment stand during each performance.
• Select, obtain, and display refreshments.
  • TIP: Contact the Treasurer for startup funds.
• Collect refreshment payments.
• Take inventory of refreshments after each performance, so appropriate supplies can be obtained for the next performance.
• Clean refreshment-related tools after each performance and store them after the final performance.
• At final performance turn over monies collected to the Treasurer.

 

Rehearsal Accompanist

The Rehearsal Accompanist is responsible for playing the designated music during auditions and rehearsals.  Hired by the CHP Board, the Rehearsal Accompanist performs music under the direction of the Director.

Typical tasks and tips

• Provide accompaniment during auditions and provide input to the Casting Committee.
• Notify the Production Manager if additional copies of music are needed for the members of the cast during rehearsals.
  • TIP: Check cast size as soon as possible to avoid delay in music copies.
• Participate in all rehearsals (including the first performance week up to the dress rehearsal) as scheduled by the Director.
  • TIP: During rehearsals, start and stop musical numbers in consultation with the Director.
• Conduct separate musical rehearsals as required in consultation with the Director.
• Keep notes as needed for changes in musical numbers.  These notes will be used by the Performance Musicians.
  • TIP: Any notations made in the musical score book must be made in pencil.
• Turn music and rehearsal notes over to the Director prior to dress rehearsal.

 

Scholarship Committee Chair

The Scholarship Committee selects recipients for scholarships, fulfilling one of our responsibilities as a non-profit corporation.  Appointed by the President, the Scholarship Committee chair is responsible for the process of awarding annual scholarships.

Typical tasks and tips

• Appoint two additional members to serve on the scholarship committee.
• Provide scholarship applications and solicit applicants from local schools.
  • TIP: Make application copies from the master form in our current files.
• Evaluate submitted applications.
  • TIP: See past criteria worksheet.
• Chose award recipients.
• Provide publicity data regarding awards to Publicity Committee chair and Communications chair.

 

Set Construction Chair

The Set construction chair is responsible for construction of the set.  Appointed by the Production Manager, the Set construction chair builds the set from plans provided by the Set Designer.

Typical tasks and tips

• Understand the set design.
• Construct the set, using existing components and materials where possible.
  • Set construction should not result in permanent modifications to the Coach House building, example: screws or nails driven into the floor, walls, doors, or other woodwork.  Instead, use stage weights or clamping devices that leave no trace following their removal.  Chain or wires to overhead pipes, which we have installed for the purpose, can be used to stabilize tall flats or to hang small set pieces such as a window frame.
  • TIP: Do as much construction and painting as possible in the workshop, assembling pre-built pieces in the Performance Room.  This will keep the performance room clean and avoid damage to our theater seats.  If any touch-up painting is required in the Performance Room, drop cloths should be used to protect the floor and any errant paint should be cleaned up before the show opens.
  • TIP: To retard the spread of fire, all building doors must be fully closed whenever the building is unoccupied, yet they must remain operational in case evacuation is necessary.  Set design and construction must be done so as not to prevent the complete opening and closing of these doors.
  • TIP: At then end of each work day, unplug ALL electrical tools. If you are using battery chargers, hook them up ONLY on a clear area of the workbench in the workshop.  This will help prevent fire or personal injury if someone comes in contact with an energized tool.
• If you identify a need for new tools or tool repair, bring it to the attention of the BOM.
• Disassemble, remove, repair as needed, and store reusable set components as soon as possible after the final performance.
• Adhere to budget.

 

Set Decorator

The Set decorator is responsible for all set decoration.  Appointed by the Production Manager, the Set decorator identifies and installs items of set decoration, which make the set appear more attractive and real.

Typical tasks and tips

• Become familiar with the set decoration requirements for the play.
• Design and implement set decoration for the show, in consultation with the Production Manager and Director.
  • TIP: Consult with the Property chair to ensure that prop placement and set decor do not conflict.
• Create cue sheets for set decoration changes and provide them to the Stage Manager.
• Remove, repair as needed, and store reusable set decoration items after the final performance.
• Adhere to budget.

 

Set Designer

The Set designer is responsible for design of the set.  Appointed by the Production Manager, the Set designer creates the basic environment in which the Cast will work.

Typical tasks and tips

• Become familiar with the set requirements for the play.
• Design sets for the show, in consultation with the Production Manager and Director.
  • TIP: Consult the BOM and previous set designers regarding past solutions to typical problems.
  • TIP: To retard the spread of fire, all building doors must be fully closed whenever the building is unoccupied.  Set design and construction must be done so as not to obstruct the closing of these doors.
• Create cue sheets for set changes and provide them to the Stage Manager.
• Communicate designs to the Set Construction chair and ensure that constructed sets meet the Director’s requirements.

 

Social Director

The Social Director is responsible for fostering a sense of family within the Coach House members.  Appointed by the President, the Social Director organizes social functions for the benefit of the general members.

Typical tasks and tips

• Appoint the Outreach liaison.
• Propose specific social functions to the President.
• Host or co-host approved functions, drawing upon resources of the general members as needed.
  • TIP: No one person can do it all.  Delegation of hosting duties will encourage others to be involved.
• Provide the Publicity Committee chair and Communications chair with timely information about upcoming social and congratulatory events.

 

Sound Designer

The Sound designer is responsible for making sounds available for the play.  Appointed by the Production Manager, the Sound designer selects sounds and sets up equipment for reproducing them.

Typical tasks and tips

• Become familiar with the sound requirements for the play.
• Select music and sound effects, in consultation with the Production Manager and Director.
• Record or gather sound sources for all required sounds.
• Create cue sheets for the Sound operators and provide them to the Stage Manager.
• Set up sound playback equipment.
• Remove, repair as needed, and store sound equipment as soon as possible after the final performance.

 

Sound Operator

The Sound operator is responsible for the production of sounds during a show.  Appointed by the Production Manager, the Sound operator manipulates sound-effects equipment to produce the right sound at the right time.

Typical tasks and tips

• Attend the technical rehearsal and all subsequent rehearsals and performances.
• Operate sound equipment using cues provided by the Sound designer and under direction of the Stage Manager.
• Make minor repairs or adjustments to sound equipment as required.

 

Stage Crew

The Stage crew is responsible for the movement of objects during and between scenes of the play.  Appointed by the Production Manager, and working under the training and direction of the Stage Manager, the Stage crew implements scene and property changes.

Typical tasks and tips

• Move set pieces as defined by the Set designer.
• Move items of set decoration as defined by the Set decorator.
• Move props as defined by the Properties chair.
• Following the final performance, assist in returning the performance space to a neutral state under the direction of the Production Manager.

 

Stage Manager

The Stage Manager is responsible for the timing during a show.  Appointed by the Production Manager, the Stage Manager directs the Cast and all technical crews during each performance.

Typical tasks and tips

• In consultation with the Director and technical leads, develop a composite cue sheet for the show.
• Train the Stage crew.
• If a cast or crew member has not arrived by call time, contact the tardy individual and inform the Director or Production Manager of any problem.
  • TIP: At each performance provide a sign-in sheet for the cast.
• Direct the timing of final rehearsals and each performance, including all cast entrances, technical cues, and scene changes.
  • TIP: Post a synopsis of scenes/musical numbers near the stage entrance, so cast and crew can tell where we are in the performance.

Telephone Chain Chair

The Telephone Chain chair is responsible for transmitting urgent organization messages to the general membership.  Appointed by the President, the Telephone Chain chair establishes a telephone calling chain.

Typical tasks and tips

• Assign and train a backup top-of-chain contact.
• Assign chain members.
• Organize members into a contact chain, in such a way that:
  • ALL members, including members of the Board, are contacted.
  • the absence of any member is automatically covered by others in the chain.
  • there is positive feedback to the chair when all messages have been delivered.
• Respond to requests from any Board member to transmit messages by initiating the chain.
• Notify the requestor when all messages have been delivered.