Committee Hustings
Friday 2nd May, 1pm @ New Theatre
It’s that time again when the Committee looks towards the next academic year and thinks “Who will be doing this job in the future?”, “Will they do it as well, if not better, than me?” and “What the hell is a boysenberry?”
The only certain answer here is this: it’s a berry hybrid named after its inventor, Rudolph Boysen.
However, following the hustings a week today, all of you will know the answer to the first question (and time will tell for the second).
So, we proudly and excitedly announce the arrival of the New Theatre Committee Hustings!
The positions are open to all members, the only pre-requisites are passion, dedication and vision for the future of the New Theatre. If you would like to run for one of the thirteen positions, please let the secretary, Nick Breen, know by 5pm on Thursday 1st May, either on facebook or by e-mail (secretary@newtheatre.org.uk) so he can add you to the hustings sheet.
Descriptions of all the positions can be found below, so that you can peruse them and decide to which position you are best suited. In the case of the President, you will need another member to propose you, just to make sure that at least one person has faith in your leadership ability…
So get your diaries out and please turn up because the future of the theatre depends on your individual vote. Don’t be an Apathetic Annie, use your democratic right and vote at the most vital hustings in the student theatre calendar!
If you have any questions for the current committee in the meantime, please do not hesitate to contact them. They can be found here: http://www.newtheatre.org.uk/committee.php
Anyone can run for any position, except for Treasurer, which needs to be a 2nd or 1st year. Presidential Candidates have 3-5 mins to speak, all others 1 minute. Presidential candidates may run for another position if they wish. All New Theatre members are expected to attend the hustings as it should be really good fun.
The Positions
President:
The President chairs the Committee meetings. Responsible for the day to day running of the Company, the President is primarily an overseer. With each Committee Member responsible for a different facet of the Theatre, the President’s job is to have a clear vision for the Company as a whole, and to ensure that the Committee are functioning as a coherent unit. The President can get involved as little or as much as seems necessary with the individual Committee positions, lightening the load for Committee members. The President should deal with any issues that arise that don’t fall within the realm of any specific Committee Member. The President should have a rapport with the Students’ Union, the University and the University Marketing Department. The President, as a Student Run Service Head, sits on the SU SRS Committee.
Most importantly, the President should be friendly and approachable; he or she should be the first point of contact for new members. In a business that could easily be cliquey, it is vitally important that the President be welcoming, open and friendly.
The President needs to be hugely passionate about New Theatre, and a hands-on person who gets things done. If it is done properly it is a huge job that could easily get in the way of your degree. It is not to be attempted by someone who covets First Class Honours.
Anyone can run for President. If you are passionate about the future of New Theatre, and think that you’ve got all it takes to run the most prolific Student Production Company and the only student-run Theatre in the country, then please put yourself forward for the position. Good Luck!
Secretary:The role of secretary is basically the link between the New Theatre and the members. Secretary is in charge of sending emails out for upcoming events and shows and basically tries to inform the membership of all the opportunities. Recently the role has also extended to website maintenence and so web design knowledge could be very useful. Secretary also takes down minutes of the weekly committee meetings in order to record the decisions of the committee. Finally secretary is in charge of hustings.
As a committee position the role of secretary is not particulary demanding but is spread very evenly over the year so that the work is consistent but light.
Publicity Officer:The Publicity Officer is responsible for creating awareness about the theatre and its events both on and off campus. You should be familier with Photoshop and general poster design, be creative and enthusiastic.The first responsibility you have is to organise, set up and control the Fresher’s fair, the stall, printing leaflets and anything that will get new people involved in the theatre, this is the biggest awareness-initiation event of the term and needs to be big.The other important thing at the bigging of term to publicise the AGM, widely.After the season is programmed, the priority is to publicise the plays, particularly in relation to the theatre, the idea is to promote the theatre and the length and breadth of what goes in there, this is why the genetic posters have been in position the last few years.
In terms of promoting the New Theatre off campus, it is your responsibility to apply to local newspapers and try and get people to come and review the plays, this involves organisation, as the application to these people needs to be done right away if they are going to be able to make it to any, and good communication skills, to convince them that they are worth coming to!
Mostly, be imaginitive about the ways in which you can publicise the theatre, everyone should know what goes on there so it about reaching as many people as possible, and making a big impact.
Costumes Manager:The Costumes Manager is in charge of the costumes/make-up side of the production process at New Theatre. The job involves co-ordination and organization, as well as gives a chance to get involved hands-on with particular plays.Your first responsibility in this position is to act as a link between the people interested in costumes/make-up and directors who are looking for costumes managers for their plays. As the Theatre Costumes Manager you will be a source of information and guidance, a supervisor, as well as a helping hand in times of emergencies, for the costume managers of the particular productions within the theatre.In addition, the Costumes Manager is responsible for the maintenance of the costumes/props cupboard of the New Theatre: making sure that things are kept in order and particular items are easy to find, purchasing new props and costumes to serve the theatre’s requirements.
The position of Costumes Manager does not require any particular prior experience. However, you do need to be well-organized, enthusiastic, have the ability to work with different people and find innovative solutions to unexpected problems. Ultimately, it is an interesting and fun role, which provides diverse tasks and frequent opportunities to be adventurous and creative!
Theatre Manager:
The theatre manager is responsible for the day to day maintainence of the theatre, making sure its is clean, tidy and that ongoing productions have everything they need and good vibes are felt. During the productions you will usually be the first point of contact for the directors meaning you get to know everyone pretty well.As well as maintaining the theatre you have a budget (which can be extended indefinitely depending on who’s president) to spend on improving the theatre however you like.Theatre manager is a great position for anyone who likes a hands on approach as opposed to an organisational role as you get to actually be in the theatre more than anyone else.
Business Manager:
The business manager is in charge of brokering, communicating and putting into writing, all the deals that the New Theatre makes with other companies. This includes: (1) deals with print shops such as Instaprint, Lenton Rec Yard, Homebase etc. (2) Any external productions coming into the New Theatre, such as in our February slots. (3) Overseeing and helping with applications for funding from potential Sponsors for the individual plays during the seasons, making sure that the same firms are not approached by more than one production, and making sure that there are not potential sponsors left neglected. (4) If any further deals arise during the season, such as applying for University funding for NSDF shows, then the business manager should oversee this process, although the bulk of the work will be taken by the producers/directors of the show itself.The business manager should have an understanding of legal matters or a means of running deals by someone who does, a fiscal mind, a creativity when seeking play sponsors and a good sense of organization. Traditionally the Business Manager has been dashingly good looking.
House Manager:
The House Manager is responsible for presenting the New Theatre to its members and to its audiences as a professional outfit. The house manager organises the committee’s front of house duties and a system of ticketing and record keeping so that we can accurately measure how well each show sells, and to which demographic.The House Manager is responsible for the refreshements sold in the foyer and for ensuring that it is profitable. The House Manager is also responsible for health and safety in the theatre, but, crucially, as a facilitator rather than a custodian (also as the general responsible person for H&S eg. this week I had all the fire extingishers audited and refilled.)Each week the house manager restocks the shop and uses an online system to automatically text each committee members their front of house duties after agreement in the committee meeting. Next you will liaise with the treasury to collect float for the first night and also ensure that the necessary forms are in place for record keeping each night. You will check that each show is safe before it goes up and if not work with the director/producer so that everything is safe without having to compromise on part of the show. At the end of the week the house manager will review the sales of refreshments and then enter all the box office data into a spreadsheet for future reference.Because of the show cycle alot of time is needed each wednesday but not after that, and thats ok because you need to be in the theatre for the committee meeting on wednesday afternoon anyway. I am the first ever house manager and so I have put all the infrastructure in place for the job to function - online text service, separate accounts for float and refreshments, box office data keeping system etc etc so I would really like to see how it works out with a different person in the role. I would really like the method I use to be critiqued and changed for the better. Thus anyone who runs for this position needs to be able to think outside the box. This person must also have be ORGANISED approachable and friendly, because noone likes negotiating about health and safety….I encourage you to run for this position its great fun and you get to meet/work with everyone in the theatre and are always around the place getting involved!
Technical Manager:The Technical Director is responsible for the technical aspect of all New Theatre productions; any audio or lighting effects that a production requires falls into this category, as well as miscellaneous other things like projections, explosions etc. This will mean that you have to liase with the directors to make sure their requirements are met; occasionally a director will leave the technical side of things to the last minute, so you have to be both organised and persistent!As Technical Director you are responsible for maintenance of all of the technical equipment- this job can include anything from buying new lamps for the lights to rewiring a plug. You will be given a budget each season that will go on maintaining the exisiting kit and purchasing new equipment. You will often need to liase with TEC to hire in equipment that we cannot supply, and in some cases will need to find other suppliers as well.The Technical Director must be familiar with the various lighting and sound equipment and know how to operate both the lighting and sound desks. A knowledge of sound editing software (specifically Adobe Audition) would be useful, but if you don’t know, you’ll soon learn!
You would also be responsible for all of the technicians at the theatre; in general this will include things like training new techs in the use of our equipment, assigning lighting and sound operators to shows, making sure that the directors and operators are communicating with each other, ensuring that all technicians follow the Health and Safety guidelines when rigging equipment etc. A basic knowledge of First Aid is very useful.
Good organisational skills are a must; you will be responsible for the technical needs of every production within the theatre, including those in the external slots. While direct involvement with each production is not always necessary, it is likely that you will find yourself in the theatre at least once per production. This is a perfect job for someone who’s friendly, organised and enjoys a combination of administration and hands-on tasks.
Productions Co-ordinator:
This is a great position, but one that demands dedication and diligence. As the most important aspects of the role are heavily weighted towards the beginning of each semester, you must be extremely well organised and efficient.So, the position involves the following:
Before term starts;
1) Book approx 8/9 audition rooms for the Wed, Thurs, Fri following the AGM after Freshers’ Week.
Once term has begun;
1) Organise and run the Proposals Meeting. This usually takes place on the Sat/Sun after Freshers’ Week in the Theatre, and is the point at which prospective directors pitch their proposal for the play they’d like to direct, in front of the committee and their peers. The Productions Manager must promote this event throughout Freshers’ Week to encourage a high turnout.
2) Once the committee has decided which plays to produce that semester, the Productions Manager must allocate each director one of the pre-booked audition room(s) for each day of auditions.
3) For the AGM, they should produce an AGM booklet that has the dates and descriptions of all the plays, directors contact details, as well as the timetable of audition rooms in use throughout the week. This must also go up on the website.
4) Once final auditions finish on the Saturday, the Productions Manager runs the Casting Meeting, which all directors/producers attend. Along with one other committee member, this involves phoning members to offer them parts. It is crucial to remain well organised and in control on what is often a tense day for directors, producers and actors. That said, this is without doubt the most enjoyable part of the job.
5) With the most specific aspects of the role out of the way, the Production Manager then needs to run a weekly Production Meeting (Weds 4pm), which is a forum for directors/producers to air concerns, asks questions, swap advice, swap bits of set, maybe even swap numbers.
Finally, and this goes for any position, be encouraging of new ideas, new writing, high standards and inclusivity. Know your limits as a committee but be ambitious. We’ve attempted this over the last 2 years and have been rewarded with 2 plays at NSDF each time. I’d like to think the next committee could better this. The talent is there.
Cheers, and good luck.
Sam.
Treasurer:
The Treasurer is in charge of all of the money in the theatre. They liase with the SU Treasury (located in the Portland Building), the individual productions, Committee and NT Members to ensure that the money gained from productions is put to good use. At the start of every semester, the Treasurer sets the budgets for all the term’s plays, individual Committee members and general maintenance of the theatre - these, however, are flexible, and it is up to the Treasurer and President to decide how this money is spent throughout the year.Every week the Treasurer counts the money made from individual productions, organises with the Treasury cheque request and petty cash forms, and generally makes sure that the theatre is not plunged into debt! Not only this, but they must liase with the Edinburgh Co-Ordinator the budgets and money put towards the Edinburgh Fringe Festival show.The role requires an extremely pro-active and approachable individual, capable of multi-tasking and juggling duties, as Treasurer is pretty much a full-time job. Your maths needs to be pretty sound, but you do not need to have extensive financial knowledge, as it’s very easy to pick it all up and learn. People skills are extremely important for this role, as you must be able to organise yourself, the theatre’s money and the other productions, all of whom depend on you to give them the best budgets possible for their shows.You cannot be in your final year to run for this position. I would highly encourage you to run for Treasurer - it’s hard work but the pay-off is fantastic. Not only do you get to know a lot of different people, but you really achieve something that you know will benefit future NT Members.
External Events & Social Co-ordinator:
The External Events Manager represents the New Theatre in liaison with the Lakeside Theatre and other external theatres to organise external productions of New Theatre plays. It is their responsibility to maintain good working relationships with such venues and to ensure the smooth running of external ventures.The External Events Manager also has the role of organising skills workshops. Open to all members, these workshops take the form of acting and technical skills workshops as well as talks from professional theatre practitioners and industry figures. Any external theatre trips or visits are also co-ordinated by the External Events Manager.Bearing in mind all of the above, the External Events Manager should be well-organised, approachable, and able to initiate good relationships within the theatre community to build up a base of potential workshop practitioners and contacts for the theatre. They should also be pro-active and, essentially, passionate about the future of the theatre. If this sounds like the position for you, get involved as it can be particularly rewarding. Bonne chance!Social:
The Social Secretary does exactly what it says on the tin. They organise the company socials, remind the NT members when and where after-parties will be happening, and keep the vibe high. The main events of the social calendar are the Christmas Ball (which we co-hosted with Impact and went down well – maybe continue the cross-SRS chat) and the infamous Summer Boat Party on the Trent.
The role of Social Sec. requires a pro-active, approachable individual who enjoys socials and organising socials. Preferably, the applicant will have contacts with venues in and around Nottingham so as to take advantage of group deals.
Edinburgh Co-ordinator:
Edinburgh:
The Edinburgh co-ordinator deals with the aspects of the theatre that relate to the company’s production that is taken up to the Fringe Festival every summer. The Fringe is the largest and most exciting arts festival in the world - contributing to that as co-ordinator is highly rewarding.The co-ordinator organises and advertises the Edinburgh proposals meeting, where the production to be taken up will be chosen. You get the last say in which show is chosen as well as how the production will be run (e.g. length of slot) - if a stalemate on any Edinburgh issue arises, your vote takes precedence. They also act as the liaison between the company and the production, facilitating the transition from the proposals meeting to the last night at the Festival. Arguably the most important role of the co-ordinator is to act as the liaison between the venue organiser (and the Fringe itself), and the production. You role here includes: applying for venues, chasing up publicity etc.The role requires an energetic and committed individual who enjoys a challenge. Personally, it benefits the co-ordinator as you meet many people in the industry, it develops your people skills and, most importantly, you are involved in organising potentially the best summer of your life.
Workshop Manager:The Workshop Manager is directly responsible for the running and maintenance of the New Theatre workshop. The main issues of the job involve purchasing new equipment, replacing and accounting for missing equipment, and most importantly, ensuring a safe working environment. It is important to frequently monitor the workshop, as traditionally it can turn from a safe, clean and practical area into a hazardous and untidy workplace within the course of only one production. As workshop manager you must facilitate the transfer of the workshop from production to production, ensuring the workshop is left in the same state it was before a production moved in. This can be problematic when some prooductions need to move in early to facilitate a large set.
It is not compulsory, but is favourable for a workshop manager to pass on their expertise to other productions, and in some places find a group of people at the AGM who enjoy building, and allocate these members to productions to assist in their respective set construction. It is very helpful for a workshop manger to have a background in construction, and a working knowledge of the tools in the workshop.
The most difficult part of the job is locating who is to blame for the inevitable mess which some productions(in house or external) believe the can get away with leaving. As such it is important to arrange a discusion with each individual production to let them know the accepted terms and conditions of the use of the workshop.
In addition to the above, it is essential to monitor what actual hardware (such as wood or screws) is in the workshop at any given period and advise and encourage productions to share this hardware. A passion for hard wood and screwing is recomended.
