Policy and Procedures Manual - Orpheus Musical Theatre Society

Transcription

Policy and Procedures Manual
Version:
6.4
Last Revised: September 2013
Revised by:
President and Secretary, Board of Directors
Orpheus Musical Theatre Society
Acknowledgements
The first version of the Orpheus Policy and Procedures Manual, which was produced in October 1993 by
Jack Wallace and his Committee, has been updated resulting in the current version. Without the work
done by these Orpheans in 1993, this Manual would not exist.
The Manual was revised based on comments from the 1998-2000 Board of Directors and Trustees who
took the time to review the draft and provide input. Special thanks go to Sue Dacey and John Solman for
also providing excellent comments and updated material.
The Manual was revised based on comments from the 2002-2003 Board of Directors who took the time to
review the draft and provide input. Special thanks go to Rob Henderson, John Solman, Troy Kay,
Marlene Hudson and Patrick Donahue.
The Manual was revised based on Bylaw changes approved at the 2012 AGM and from comments from
the 2011-2012 Board of Directors and Board of Trustees. Special thanks go to Nick Stoss (for reformatting the document), Carmella Wilson and Marlene Hudson.
Version 6.4
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Distribution List
Board of Directors
President (1)
Vice-President (1)
Secretary (1)
Treasurer (1)
Graphics Production Director (1)
Marketing & Publicity Director (1)
Volunteer Director (1)
Membership Director (1)
Community Relations Director(1)
Hospitality Director (1)
Board of Trustees
Chair(1)
Vice Chair (Angels) (1)
Secretary (1)
Treasurer (1)
Secretary (1)
Development Officer (1)
Orpheus Office (1)
Members' Copies (2)
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Change Record
Change #
Version
Date
Changes
-
1
October
1993
Original Policies and Procedures Manual created and issued
1
2.0
(Draft)
June
1999
Entire Policies and Procedures Manual revised, reformatted and
issued in draft form for comment
2
2.1
May
2000
Draft amended based on comments received, and reissued
3
2.2
February
2002
Distribution List and Change Record added.
As a result of Board decisions, the following paragraphs were
revised and/or numbering updated: 3.8.7, 3.9, 3.10, 3.14, 4.2, and
4.12 to 4.15.
As a result of Board decisions, the following Appendices were
revised and/or numbering updated: 2-L, 2-M, 2-X, 4-E,4-H,4-I,4J,4-M,4-O, 4-P, 4-S to 4-Z.
4
3.0
November
2002
Addition of Board Appreciation Award(3.2.5)
revised 4-A.10, 4-B.10, 4-C.7
5
3.1
September
2003
As a result of Board decisions, Addition of Lorna Rice Volunteer
Award (3.2.6)
6
3.2
October
2003
As a result of Board decisions Changes to Policy 2.4 Committees
were made - addition to 2.4.1 General, 2.4.7 Workshop committee
removed, 2.4.7 Choral Group Committee added
revised 2-U,
revised 4-D.7, 4-E.8, 4-F.7, 4-G.7, 4H.3
7
3.2
November
2004
Amended Job Descriptions for Makeup Designer and Hair Designer
to include clean up responsibilities at end of a run.
8
3.3
May
2005
Amendment to dress rehearsal tickets, determination of numbers
produced. Amendment to job descriptions for Artistic and Musical
Directors, and Choreographer clarifying assistants/apprentices for
first time directors. Amendment to Designers and Stage Manager in
reference to Apprentices
9
3.4
September
2005
Amendment to Job Description for Hospitality Director, Social
Convenor and creation of Job Descriptions for Bar Manager &
Bartenders, and Centrepointe Food Coordinators
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Change #
Version
Date
Changes
10
3.5
March
2006
Added new section 3.15 “Recognition for Get Well and Sympathy
Wishes”. Updated “Audition Panel” to allow Assistant Directors to
sit in Auditions at the discretion of the Artistic Director and updated
the job description for Production Coordinator to notify the General
Manager when there is a member of Actra or Equity in the cast.
11
3.6
May
2006
Added new Privacy Policy. Updated job descriptions for Technical
Director and Master Carpenter. Changed all references of Office
Manager to General Manager, and place a note in Appendix 2-W –
Terms of Reference – General Manager stating that it is currently
under review.
12
3.7
July
2006
Changed Invited Dress Rehearsal Policy to new policy adopted by
the Board of Directors on June 15, 2006 – Sections 3.3.2 & 4.10
13
3.8
November
2006
Added new Health and Safety Policy adopted at the Board of
Directors meeting on November 6, 2006
14
3.9
December
2006
Add new job description for Properties Carpenter
15
4.0
June
2007
Add new ticket prices for the 2007/2008 Season
August
2007
16
4.1
May
2008
Removed reference to General Manager
Removed reference to Silver Pins
Add ticket prices for 2008/2009 season
Change references to Production Coordinator to Producer
Change policy on flowers and gifts
Clean up formatting and typographical errors
Remove remaining references to General Manager
Add Properties Carpenter to Honoraria chart
17
5.0
September
2009
Add ticket prices for 2009/2010 season
Add section 5 for Orpheus Choral Group
Amend section 2.4.7 Choral Group Committee
Amend section 2.6 Orpheus Choral Group
Amend sample AGM agenda
18
5.1
March
2010
Add reminders to Job Description for Artistic Director Appendix 4-A
and to Sections 4.6 and 4.12 concerning children at rehearsals and
Thursday Night Photo Shoot.
Remove reference to digital camera in Section 4.12
Amend Job Description for Cutter Appendix 4-U
Clean up formatting and typographical errors
Update contact for Samuel French Appendix 2-J
19
Version 6.4
5.2
September
Add Description for Lorna Rice Volunteer Award – Section 3.2.5
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Change #
Version
Date
2010
Changes
Update Invited Dress in light of partnership program - Section 3.3.2
Update honoraria chart $ and add Theatre Food Coordinator –
Section 4.2 Honoraria
Update Appendix 4-T - Orpheus House Social Convenor and Theatre
Food Coordinator Descriptions, fix Appendix 2-M Hospitality
Director and remove Sept 2005 descriptions from Section 2.4.8
Hospitality Committee and reference new Appendix 4-T.
Update Royalty company contacts, 1-800 and accounts - Appendix
2-J
Updates as per policy for returning all scripts (no photocopy) –
section 2.4.4, Appendices 2-J (Secretary), 4-L (PA)
20
6.0
& 6.1
August
2011
Section 2.4 – updated committee list.
Section 3.14 – updated Bar operations and $.
Section 3.2.2 & Appendix 2-T – J. Barry Ryan wording.
Section 3.3.3 - updated Comp Ticket list.
Section 3.8.2 – removal of prohibiting private functions.
Section 4.2 – honoraria cheques delivered Banquet Night.
Section 4.3.1 – new section for Orchestra Contractor.
Section 4.5 – Audition Process – addition of sections 4.5.16 & 17
for Understudies and Alternates + pertinent updates to 4.5.15 and
Appendices 4-A, B, C, E & F job descriptions.
Section 4.5.9 – update to Producer presence at auditions.
Section 4.13 & Appendix 2-S – Videorecording wording.
Section 4.14 and Appendix 2-W – reminder for Lorna Rice
Volunteer Award nominations at Post Prod meetings and Volunteer
Coordinator to remind of process.
Appendices 2-N, 4-H, 4-I and 4-J – Job description updates for
Program Director, Stage Manager, Technical Director and
Production Assistant.
Section 3.6.1 & Appendix 3-C: AGM package can be emailed (not
only mailed) + AGM sample agenda – remove Honorary VP and odd
year. Move OCG report to Item 8.
Appendices 4-A, B&C – added apprentice checklist to artistic
director, musical director and choreographer descriptions.
Appendix 4-K – updated Producer Job description and appendices 4H, I, L and 2-G re: Executive Producer, Producer, Prod Assistant etc.
Appendices 4W & X – Added sample audition & medical forms.
V6.1 – Fixed Honoraria Table Chart 4.2 – last column was hidden.
Version 6.4
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Change #
Version
21
6.2
Date
Changes
P&P Manual converted to MS Word 2007
P&P Manual standardization of formatting for improving appearance
and for facilitating revisions
22
6.3
23
6.4
Version 6.4
Complete overhaul of the entire document
October
2013
Editorial changes.
Added the “Trustees Investment Policy” to section “2.2 Board of
Trustees”.
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Table of Contents
1
2
INTRODUCTION .......................................................................................................................................... 1-1
1.1
SOCIETY BYLAWS................................................................................................................................. 1-1
1.2
CORPORATIONS ACT............................................................................................................................. 1-1
1.3
AMENDMENTS TO THE POLICY & PROCEDURES MANUAL .................................................................... 1-1
1.4
ABBREVIATIONS ................................................................................................................................... 1-1
ORGANIZATION .......................................................................................................................................... 2-1
2.1
BOARD OF DIRECTORS .......................................................................................................................... 2-1
2.2
2.2.1.
2.2.2.
BOARD OF TRUSTEES ............................................................................................................................ 2-2
General ............................................................................................................................................ 2-2
Investment Policy – Board of Trustees ............................................................................................ 2-3
2.3
CONFLICT OF INTEREST ........................................................................................................................ 2-4
2.4
COMMITTEES ........................................................................................................................................ 2-4
2.4.1.
General ............................................................................................................................................ 2-4
2.4.2.
Standing Committees of the Board .................................................................................................. 2-4
2.4.3.
Ad Hoc Committees of the Board .................................................................................................... 2-4
2.4.4.
Standing and Ad Hoc Committees – Common Principles ............................................................... 2-5
2.4.5.
Nominating Committee .................................................................................................................... 2-5
2.4.6.
Show Selection Committee .............................................................................................................. 2-6
2.4.7.
Archives Committee ......................................................................................................................... 2-7
2.4.8.
J. Barry Ryan Committee ................................................................................................................ 2-7
2.4.9 Finance Committee .............................................................................................................................. 2-8
2.4.10
Choral Group Committee ................................................................................................................ 2-8
2.4.11
Hospitality Committee ..................................................................................................................... 2-8
2.4.12
Volunteer Coordination Committee................................................................................................. 2-9
2.4.13
Bylaw Committee ............................................................................................................................. 2-9
2.5
2.5.1
2.5.2
ORPHEUS HOUSE STAFF ....................................................................................................................... 2-9
Contractual Staff General information ................................................................................................ 2-9
Contractual Staff Responsibilities ...................................................................................................... 2-10
2.6
ORPHEUS CHORAL GROUP.................................................................................................................. 2-10
Appendix 2-A Board of Directors Job Descriptions - President ................................................................. 2-12
Appendix 2-B Board of Directors Job Descriptions - Vice-President ......................................................... 2-14
Appendix 2-C Board of Directors Job Descriptions - Secretary ................................................................. 2-16
Appendix 2-D Board of Directors Job Descriptions - Treasurer ................................................................ 2-22
Appendix 2E Board of Director’s Job Descriptions - Graphics Production Director: .............................. 2-24
Appendix 2-F Board of Directors Job Descriptions – Marketing & Publicity Director ............................. 2-26
Appendix 2-G Board of Directors Job Descriptions - Volunteer Director:................................................ 2-28
Appendix 2-H Board of Directors Job Descriptions - Membership Director.............................................. 2-30
Appendix 2-I Board of Directors Job Descriptions – Community Relations Director ............................... 2-32
Appendix 2-J Board of Directors Job Descriptions - Hospitality Director ................................................ 2-34
Appendix 2-K Board of Trustees Job Descriptions - Chair ......................................................................... 2-36
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Appendix 2-L
Appendix 2-M
Appendix 2-N
Appendix 2-O
Appendix 2-P
Appendix 2-Q
Appendix 2-R
Appendix 2-S
Appendix 2-T
Appendix 2-U
Appendix 2-V
Appendix 2-W
Appendix 2-X
Appendix 2-Z
3
Board of Trustees Job Descriptions – Vice Chair (Angels) .................................................. 2-38
Board of Trustees Job Descriptions - Secretary .................................................................. 2-40
Board of Trustees Job Descriptions - Treasurer .................................................................. 2-41
Board of Trustees Job Descriptions – Development Officer ................................................ 2-43
Committees - Terms of Reference ......................................................................................... 2-45
Sample Nominating Committee Report ................................................................................ 2-47
Show Selection Committee Guidelines.................................................................................. 2-49
Terms of Reference – Archives Committee ........................................................................... 2-51
Terms of Reference – J. Barry Ryan Committee ................................................................... 2-55
Terms of Reference – Finance Committee ............................................................................ 2-59
Responsibilities - Volunteer Coordinator ............................................................................ 2-61
Office Staff - Terms of Reference ........................................................................................ 2-63
Terms of Reference - Costume Rental Coordinator .............................................................. 2-65
Bar Operations and Bar Manager Responsibilities .............................................................. 2-69
OPERATING PROCEDURES ...................................................................................................................... 3-1
3.1
ORPHEUS MEMBERSHIP ........................................................................................................................ 3-1
3.2
3.2.1.
3.2.2.
3.2.3.
3.2.4.
3.2.5.
AWARDS AND RECOGNITION ................................................................................................................ 3-1
Gold Pins ......................................................................................................................................... 3-1
J. Barry Ryan Award ....................................................................................................................... 3-1
Kiwanis Music Festival ................................................................................................................... 3-1
Board of Directors Appreciation Award ......................................................................................... 3-1
Lorna Rice Volunteer of the Year Award ........................................................................................ 3-2
3.3
3.3.1.
3.3.2.
3.3.3.
3.3.4.
TICKETS ................................................................................................................................................ 3-2
Box Office ........................................................................................................................................ 3-2
Invited Dress Rehearsal .................................................................................................................. 3-2
Complimentary Show Tickets .......................................................................................................... 3-3
Ticket Prices .................................................................................................................................... 3-4
3.4
ORPHEUS OWNED SHOWS..................................................................................................................... 3-4
3.5
MEETINGS, GENERAL ........................................................................................................................... 3-4
3.6
3.6.1.
3.6.2.
ANNUAL GENERAL MEETING ............................................................................................................... 3-4
Notice and Agenda .......................................................................................................................... 3-4
Responsibilities ................................................................................................................................ 3-4
3.7
3.7.1.
3.7.2.
3.7.3.
3.7.4.
FINANCE ............................................................................................................................................... 3-5
Insurance ......................................................................................................................................... 3-5
Bank Accounts ................................................................................................................................. 3-5
Budget.............................................................................................................................................. 3-5
GST .................................................................................................................................................. 3-5
3.8
3.8.1.
3.8.2.
3.8.3.
3.8.4.
3.8.5.
RENTALS .............................................................................................................................................. 3-6
General ............................................................................................................................................ 3-6
General Policies .............................................................................................................................. 3-6
Rehearsal Hall Policy ..................................................................................................................... 3-6
Policy on Renting Costumes ............................................................................................................ 3-6
Workshop or Paint Loft; .................................................................................................................. 3-7
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3.8.6.
Props, flats, drops, legs, etc. ........................................................................................................... 3-7
3.9
ACCESS FOR DISABLED PERSONS ......................................................................................................... 3-8
3.10
SMOKING POLICY ................................................................................................................................. 3-8
3.11
ORPHEUS HOUSE SECURITY ................................................................................................................. 3-8
3.12
ORPHEUS PRIVACY POLICY .................................................................................................................. 3-9
3.13
HEALTH AND SAFETY POLICY .............................................................................................................. 3-9
3.14
BAR OPERATIONS ............................................................................................................................... 3-10
3.15
ORPHEUS HOUSE PARKING ................................................................................................................. 3-10
3.16
RECOGNITION FOR GET WELL AND SYMPATHY WISHES .................................................................... 3-10
3.16.1.
Get Well Wishes............................................................................................................................. 3-11
3.16.2.
Expressions of Sympathy ............................................................................................................... 3-11
Appendix 3-A Membership Forms ............................................................................................................... 3-13
Appendix 3-B Guidelines for Planning Meetings ........................................................................................ 3-15
Appendix 3-C Sample AGM Agenda ........................................................................................................... 3-17
Appendix 3-D Sample Election Script for the Annual General Meeting ..................................................... 3-19
Appendix 3-E Rental Agreement Form ........................................................................................................ 3-21
Appendix 3-F Privacy Policy....................................................................................................................... 3-23
4
PRODUCTION PROCEDURES ................................................................................................................... 4-1
4.1
APPOINTMENT OF PRODUCTION PERSONNEL ........................................................................................ 4-1
4.2
HONORARIA.......................................................................................................................................... 4-1
4.3
4.3.1.
ORCHESTRAS ........................................................................................................................................ 4-2
Orchestra Contractor ...................................................................................................................... 4-3
4.4
PRODUCTION MEETINGS ....................................................................................................................... 4-3
4.5
AUDITION PROCESS .............................................................................................................................. 4-3
4.5.1.
Principles ........................................................................................................................................ 4-3
4.5.2.
General ............................................................................................................................................ 4-3
4.5.3.
Production People ........................................................................................................................... 4-4
4.5.4.
Nepotism .......................................................................................................................................... 4-4
4.5.5.
Early Auditions ................................................................................................................................ 4-4
4.5.6.
Too many Auditionees ..................................................................................................................... 4-4
4.5.7.
Extending Auditions ........................................................................................................................ 4-4
4.5.8.
Audition Times................................................................................................................................. 4-5
4.5.9.
Audition Panel ................................................................................................................................. 4-5
4.5.10.
Consistency...................................................................................................................................... 4-5
4.5.11.
Children ........................................................................................................................................... 4-5
4.5.12.
Additional Cast ................................................................................................................................ 4-5
4.5.13.
Walk-ons .......................................................................................................................................... 4-6
4.5.14.
Audition Forms ................................................................................................................................ 4-6
4.5.15.
Casting and Board Approval ........................................................................................................... 4-6
4.5.16.
Understudies.................................................................................................................................... 4-7
4.5.17.
Alternates ........................................................................................................................................ 4-7
4.6
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REHEARSALS ........................................................................................................................................ 4-8
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4.7
SAFETY ................................................................................................................................................. 4-8
4.8
PUBLICITY ............................................................................................................................................ 4-8
4.9
TECHNICAL GUIDELINES ...................................................................................................................... 4-8
4.10
INVITED DRESS REHEARSAL ................................................................................................................. 4-9
4.11
ADDED PERFORMANCES ....................................................................................................................... 4-9
4.12
PHOTOGRAPHY ..................................................................................................................................... 4-9
4.13
VIDEO RECORDINGS ............................................................................................................................. 4-9
4.14
REIMBURSEMENT OF EXPENSES............................................................................................................ 4-9
Appendix 4-A Artistic Director .................................................................................................................... 4-11
Appendix 4-B Musical Director ................................................................................................................... 4-15
Appendix 4-C Choreographer ..................................................................................................................... 4-19
Appendix 4-D Set Designer ......................................................................................................................... 4-23
Appendix 4-E Costume Designer ................................................................................................................. 4-27
Appendix 4-F Sound Designer..................................................................................................................... 4-31
Appendix 4-G Lighting Designer................................................................................................................. 4-35
Appendix 4-H Stage Manager ..................................................................................................................... 4-39
Appendix 4-I Technical Director ................................................................................................................ 4-43
Appendix 4-J Master Carpenter ................................................................................................................. 4-45
Appendix 4-K Producer ............................................................................................................................... 4-46
Appendix 4-L Production Assistant/Assistant to the Artistic Director ........................................................ 4-49
Appendix 4-M Scenic Artist ......................................................................................................................... 4-53
Appendix 4-N Properties Master/Mistress .................................................................................................. 4-55
Appendix 4-O Properties Carpenter............................................................................................................ 4-57
Appendix 4-P Audition/Rehearsal Accompanist .......................................................................................... 4-59
Appendix 4-Q Wardrobe Mistress/Master .................................................................................................... 4-61
Appendix 4-R Makeup Designer .................................................................................................................. 4-63
Appendix 4-S Hair Designer ....................................................................................................................... 4-65
Appendix 4-T Orpheus House Social Convenor and Theatre Food Coordinator ....................................... 4-67
Appendix 4-U Cutter ................................................................................................................................... 4-69
Appendix 4-V Costume Production Manager .............................................................................................. 4-71
Appendix 4-W Sample Audition Forms ....................................................................................................... 4-73
Appendix 4-X Sample Medical Information Form ....................................................................................... 4-83
Appendix 4-Y Sample Publicity Form ......................................................................................................... 4-87
Appendix 4-Z Guidelines for Set Construction, Flying and Rigging ........................................................... 4-89
Appendix 4-AA Technical Guidelines for Centrepointe Theatre .................................................................... 4-93
5
ORPHEUS CHORAL GROUP OPERATIONS .......................................................................................... 5-1
5.1
ORPHEUS CHORAL GROUP MISSION STATEMENT ................................................................................. 5-1
5.2
TENURE AND HONORARIA .................................................................................................................... 5-1
5.3
ORPHEUS CHORAL GROUP MEMBERSHIP ............................................................................................. 5-2
5.4
CHORAL GROUP ADMINISTRATION COMMITTEE (CGAC) .................................................................... 5-2
5.5
CHORAL GROUP COMMITTEE ............................................................................................................... 5-3
5.6
CHORAL GROUP DIRECTOR .................................................................................................................. 5-3
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5.7
CHORAL GROUP ACCOMPANIST ........................................................................................................... 5-4
5.8
BOOKING COORDINATOR...................................................................................................................... 5-4
5.9
MAJOR PRODUCTIONS .......................................................................................................................... 5-4
5.10
OTHER OCG POSITIONS ....................................................................................................................... 5-5
Appendix 5-A Choral Group Committee ....................................................................................................... 5-7
Appendix 5-B Choral Group Administration Committee (CGAC) ................................................................ 5-9
Appendix 5-B-1 Guidelines on the OCG Search Process for a Director.................................................... 5-12
Appendix 5-B-2 OCG Director Job Description ........................................................................................ 5-19
Appendix 5-B-3 OCG Director Screening Tool.......................................................................................... 5-19
Appendix 5-B-4 OCG Director Interview Evaluation Tool ........................................................................ 5-19
Appendix 5-B-5 OCG Director Practical Evaluation Tool ........................................................................ 5-19
Appendix 5-B-6 OCG Director Final Scoring Tool ................................................................................... 5-19
Appendix 5-C OCG Director ....................................................................................................................... 5-21
Appendix 5-D OCG Booking Coordinator .................................................................................................. 5-23
Appendix 5-E Performance Coordinator .................................................................................................... 5-25
Appendix 5-F Communications Coordinator .............................................................................................. 5-27
Appendix 5-G Membership Coordinator ..................................................................................................... 5-29
Appendix 5-H Social Convenor .................................................................................................................. 5-31
Appendix 5-I Performance Master of Ceremonies ..................................................................................... 5-33
Appendix 5-J Major Performance Producer .............................................................................................. 5-35
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1 INTRODUCTION
1.1
Society Bylaws
This Manual is intended to clarify and formalize policies and procedures, contained in part in the Orpheus
Musical Theatre Society Bylaws, relating to organization, operations and productions. Should any of
these policies and procedures conflict with the Bylaws, the Bylaws will take precedence.
1.2
Corporations Act
The Society is a non-profit organization incorporated under the Corporations Act of Ontario and subject
to the Rules and Regulations thereof. The Society's aims are outlined in its Letters Patent and Mission
Statement and it is further regulated by its own Bylaws.
Changes to our Bylaws follow the procedures as outlined in the Bylaws, but certain changes to them or to
the Letters Patent (whereby Supplementary Letters Patent are issued), require filing with the provincial
government.
1.3
Amendments to the Policy & Procedures Manual
Amendments to this Manual may only be made by resolution passed by the Board of Directors, with the
exception of sections related to the Trustees which may only be amended by resolution of the Board of
Trustees.
It is the responsibility of the Secretary for the Board of Directors to ensure that this Manual is regularly
updated with the approved amendments.
1.4
Abbreviations
The following abbreviations apply to this manual:
a) The use of the word "Society" shall mean the Orpheus Musical Theatre Society;
b) The use of the word "Board" shall mean the Board of Directors; and
c) The use of the word "he" shall mean “he” or “she”.
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2 Organization
2.1
Board of Directors
The Society is governed by a Board of Directors consisting of the following Active or Life Members:
a) President;
b) Vice-President (Show Operations);
c) Secretary;
d) Treasurer;
e) Graphics Production Director;
f) Marketing & Publicity Director;
g) Volunteer Director;
h) Membership Director;
i)
Community Relations Director;
j)
Hospitality Director; and
k) Immediate Past President (Ex-officio member).
Members of the Board are elected at the Annual General Meeting for a term of two years: half in odd
numbered years and the other half in even numbered years (see the Bylaws for further details). See the
Appendices to this section for terms of reference for each Director.
In addition to the specific duties assigned to each member (see the Bylaws, Duties of Officers), the Board
is responsible for the day-to-day operation of the Society and for planning its direction. As a body, the
Board is responsible for the following specific items:
a) Maintaining and updating the Strategic Plan – a document which drives the artistic and
organizational growth of the Society;
b) Directing the Society in choosing the shows to be presented for the next season and the
production personnel for each show;
c) Approving acceptance of those cast in each show;
d) Approving applications for membership;
e) Approving rental applications for rental of Orpheus space longer than 3 days;
f) Approving the budget for each show and the annual budget for the Choral Group and the Audited
Financial Statement (which is ratified at the Annual Meeting);
g) Approving complimentary tickets outside of specific Board Members' responsibilities;
h) Approving any increases in salary for any contracted personnel
i)
Receiving and acting upon reports from all Standing and Ad Hoc Committees, with the exception
of the J. Barry Ryan Award Committee. This Committee operates outside the Board's jurisdiction
and the Board does not approve the selection of recipient;
j)
Approving any expenditures of a non-capital nature which are not already accounted for in show
or committee budgets;
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k) Approving, on request, suggested courses of action from individual Board Members with respect
to their duties and responsibilities;
l)
Acting upon any recommendations or suggestions from the general membership; and
m) Appointing, with the Board of Trustees, one or more Trustees for ratification at the Annual
General Meeting.
Board Members are entitled to two (2) complimentary tickets per show.
2.2
Board of Trustees
2.2.1.
General
The Society has established a Board of Trustees for the purpose of assuring continued development of the
Corporation and jurisdiction over investment of profits and over such capital expenditures that cannot be
made on an annual basis.
The Board of Trustees shall consist of the following:
a) Chair;
b) Vice Chair (Angels);
c) Secretary;
d) Treasurer;
e) Development Officer; and
f) Current President of the Corporation
The Board of Directors and the Board of Trustees jointly appoint Trustees for a four-year appointment to
replace the outgoing Trustee(s). The appointment(s) are ratified at the Annual Meeting.
The duties and responsibilities of the Board of Trustees are detailed in the Bylaws. The Chair is a voting
member of the Board of Trustees during his or her term of office. The Treasurer of the Board of Trustees
serves as Co-Chairperson on the Finance Committee. See the Appendices to this section for terms of
reference for each Trustee.
Trustees are entitled to two (2) complimentary tickets per show.
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2.2.2.
Investment Policy – Board of Trustees
General
1. This is a policy. It may be amended at any time by ordinary vote of the Board of Trustees (the
“Trustees”), on a per-occasion basis or generally. The Trustees may also decide by ordinary vote
to exempt a specific investment from this policy, in accordance with the terms of such vote.
2. Investments in specific securities should be diversified, to avoid undue concentration in any one
sector, e.g. commodities, financial institutions, information technology etc.
3. All existing investments are to be valued at the start of each Orpheus year (July 1) and all
investments made during an Orpheus year are to be valued at their purchase price (the “start
price”).
4. The investment goal is 7% – 9% annual growth of total funds under Trustees’ management at the
start of an Orpheus year. This goal may be impacted by funds received from the Board of
Directors and by payments made by the Trustees, all pursuant to the Bylaws.
5. Investments should focus primarily on income/dividend payments and, to a lesser extent, on
longer-term capital gains, rather than shorter-term capital gains. Churning of investments should
be avoided. All investments should be held for at least a three-month period.
6. At least 15% of total funds under Trustees’ management – including any funds received from the
Board of Directors pursuant to the Bylaws – are to be held in cash or cashable investments at all
times.
7. No more than 20% of total funds under Trustees’ management are to be placed in any one
investment. This policy should be reviewed at the first Trustees’ meeting each Orpheus year, with
a view to lowering this percentage as the total funds under Trustees’ management grow. The
longer term goal should be to reduce this to a maximum of approximately 5%.
8. The Treasurer of the Trustees should provide a full report to the Trustees at each meeting (all
figures to the end of the preceding month) with a copy for the Board of Directors. Details of such
reports should accommodate reasonable requirements of each Board.
Specific Investment Decisions
1. This is primarily the responsibility of the Treasurer of the Trustees, who should seek advice as
required.
2. All investments should be reviewed for changes to the portfolio at the first Trustees’ meeting
following the end of each calendar quarter. An individual investment should be sold or reduced if
it has increased by 20% or if it has decreased by 8% from its start price within an Orpheus year.
3. An individual investment should be made or disposed of in any event, if a majority of the
Trustees so votes.
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2.3
Conflict of Interest
The policy pertaining to conflict of interest is contained in the Bylaws.
2.4
Committees
2.4.1.
General
Committees help elected Board Members use their time more efficiently. Rather than overloading the
Board of Directors with tasks which normally take quite a lot of research or work time, Orpheus has
created standing or ad hoc committees to deal with specific issues or tasks on behalf of the Board of
Directors. Committees are appointed by and report directly to the Board of Directors and function as
advisory bodies. It is recommended that at least one Board Member be on all Committees, and that all
Committees keep minutes of their meetings.
Ad Hoc Committees may be formed by resolution of either the Board of Trustees or the Board of
Directors. These Committees are established for specific short-term projects such as fund raising,
renovations, anniversaries etc. The Terms of Reference for Ad Hoc Committees are determined by the
appropriate Board.
A Standing Committee is normally one established to maintain effective operations on a long-term basis.
Normally the Board appoints the Committee Chairperson, and the Chairperson in turn appoints the
Committee Members, subject to the Board's approval and any membership requirements already provided
for in the Committee's terms of reference. See Appendix 2-P Committees - Terms of Reference for terms
of reference to be considered when setting up a new Committee. Current Standing Committees are
described in the paragraphs which follow.
2.4.2.
Standing Committees of the Board
The following are the Standing Committees of the Board:
a) Finance Committee
b) Show Selection Committee
c) Nominations Committee
d) Archives Committee
e) J. Barry Ryan Committee
f) Choral Group Committee
g) Hospitality Committee
2.4.3.
Ad Hoc Committees of the Board
The following are the Ad Hoc Committees of the Board:
a) Costume Committee
b) Volunteer Coordination Committee
c) Bylaw Committee
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2.4.4.
Standing and Ad Hoc Committees – Common Principles
Every Standing and Ad Hoc committee of the Board will:
a) confine its deliberations and activities to the mandate as stipulated in the Bylaws or the Policies &
Procedures Manual, or, in the absence of those references, to the mandate bestowed upon it by the
Board of Directors;
b) be chaired by a member-in-good-standing of Orpheus, selected/ratified by the Orpheus Board of
Directors at its first meeting each year following the AGM, or else at such time the Board feels
appropriate;
c) include at least one member of the Board (if not already present through Committee structure as
dictated by the Orpheus P&P manual) as a standing member, selected by the Board at its 1st
meeting after the Annual General Meeting;
d) submit at least 1 formal report to the Board annually, a maximum of 30 days prior to the AGM,
for possible tabling at the Annual General Meeting, outlining activities of the past year, and
projections (including proposed budgets) on activities expected for the coming year; and
e) include the President as an ex-officio member of the committee.
2.4.5.
Nominating Committee
The Nominating Committee is a Standing Committee of the Board. In April of each year, the Board is
responsible for appointing the Chairperson of this Committee. The Chairperson is responsible for
choosing at least four other members to serve on the Committee, subject to approval of the Board of
Directors. The Committee is responsible for preparing a Slate of Officers to be presented to the Annual
General Meeting.
The Nominating Committee is responsible for ensuring that at least one Orpheus member is willing to
stand for each Board of Director position to be elected in that year. This does not preclude nominations
from the floor at the Annual General Meeting for any of the positions to be elected.
Committee members must be Active or Life Members in good standing and cannot let their own names
stand on the Slate of Officers presented at the Annual General Meeting (AGM).
See Appendix 2-Q Sample Nominating Committee Report for a Sample Nominating Committee Report.
Additional procedures related specifically to this Committee and the AGM are found in Section 16 (b) of
the Bylaws, and in subsection 3.6 (c) of this Manual.
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2.4.6.
Show Selection Committee
The Show Selection Committee is a Standing Committee of the Board responsible for making
recommendations on future shows. The Board of Directors appoints the Chairperson of this Committee in
December of each year. The members of the Committee will be chosen by the Chairperson, subject to the
approval by the Board of Directors.
Mandate:
a) As a Standing Committee of the Board of Directors, the Show Selection Committee functions to
submit a short list of 6 proposed productions, from which the Board will select a season of 3
musical productions for Orpheus to produce.
Composition:
a)
The Chairperson of the Show Selection Committee will actively recruit Orpheus members with
expertise from as many spheres of production activity as possible, including, but not exclusive to:
artistic and musical direction, choreography, performance, set, costume, lighting and sound
design, and stage management.
Responsibilities:
a) Will submit a detailed report to the Board by subscribed deadlines, which will include a list of
plays read and considered, research performed on royalties and orchestration costs, reasoning
behind final conclusions made, and any other information that is necessary or relevant to the
Board’s deliberation;
b) Will also submit the final report to the Finance Committee, who will draft sample production
budgets for each show on the short-list; and
c) May be asked to act in an ad hoc capacity in extraordinary circumstances in order to assist the
Board in short-listing possibilities for one or more productions on an ad hoc basis as requested by
the Board;
To ensure that the Board’s requirements are considered by the Committee, a Board member must be
appointed to the Committee. The Board Member, however, is not required to read every show which is
being considered by the Committee.
Based on pre-approved guidelines and Board input as described above, 1 viable season of three shows
will be presented to the Board of Directors for ratification. In addition, an alternate show for the Fall,
Winter, and Spring Show of comparable cost and similarity to the original show will be provided by the
Committee. This will enable the Board to make any necessary substitutions (i.e. in case royalties are not
granted) without requiring the Committee to be re-convened.
Complete details on this committee, including its terms of reference, can be found in Appendix 2-R Show
Selection Committee Guidelines.
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2.4.7.
Archives Committee
The Archives Committee, a Standing Committee of the Board of Trustees, is responsible for maintaining
the Dorothy Gough Memorial Library. The Board of Trustees appoints the Chairperson and members of
this Committee.
The Dorothy Gough Memorial Library contains scripts and scores of shows presented by Orpheus, as
well as those reviewed by the Show Selection Committee. It also houses our "archives" which includes
photographs, audio and visual recordings, programmes, show posters, Minutes Books, newspaper
reviews, and other memorabilia. Rental of material is not allowed, but scripts and scores are available to
members on a loan basis.
The main purposes of the Library/Archives are:
a) To retain copies of scripts and scores of prior productions and make available to members on
request and to provide source material for the Show Selection Committee;
b) To retain copies of scripts, scores and audio tapes of shows considered by Show Selection
Committees, as provided by them;
c) To retain all Minutes of the Boards of Directors/Trustees and other official documents, such as
the Charter of Incorporation and previous editions of the Bylaws;
d) To retain reference copies of show programmes;
e) To retain copies of all Orpheus newsletters;
f) To provide historical materials for use in displays and Orpheus promotions;
g) To retain general Orpheus and specific show-related memorabilia; and
h) To retain photographs of each production and display/store wall photographs and the Show
Display Poster.
The Chairperson of the Archives Committee reports to the Board of Trustees Secretary.
More information on this committee can be found in Appendix 2-S Terms of Reference – Archives
Committee.
2.4.8.
J. Barry Ryan Committee
The J. Barry Ryan Committee is Standing Committee of the Board responsible for determining worthy
candidates for the J. Barry Ryan Award and for reporting to the Board if a candidate was chosen and that
the award will be presented at the AGM.
The J. Barry Ryan Award was created in recognition of past or present Orpheus members who have made
an outstanding contribution ABOVE AND BEYOND any normal involvement in the Orpheus
Community.
Complete details on this committee, including its terms of reference, are contained in Appendix 2-T
Terms of Reference – J. Barry Ryan Committee.
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2.4.9
Finance Committee
The Finance Committee is Standing Committee of the Board. The Committee is responsible for assisting
the Board of Directors in drafting annual corporate, production and special project budgets, and for
researching and obtaining the necessary information to assist the Board and Trustees in making major
financial decisions.
The Finance Committee is co-chaired by the Treasurers of the Board of Directors and Trustees, and
includes the President, Vice President of the Board of Directors and the Facilities Manager. This
Committee is responsible for all financial matters for the Society.
The complete terms of reference for this committee are contained in Appendix 2-U Terms of Reference –
Finance Committee.
2.4.10 Choral Group Committee
The Choral Group Committee (CGC) is a Standing Committee of the Board, and serves as the link
between the members of Orpheus Choral Group (OCG) and the OMTS Board.
The CGC has at least six members: at least four from OCG (Chairperson and at least three other members
of the OCG Administration Committee), and at least two from the OMTS Board (the Community
Relations Director and Vice-President (Show Operations), or designates). OCG members are normally
drawn from the membership of the Choral Group Administration Committee (CGAC). The CGC could
invite other members of the Board or of the OCG when specific expertise is required to facilitate the
CGC’s work.
The Chairperson of the CGAC or his delegate serves as the Chairperson of the Choral Group Committee
(CGC).
The CGC provides recommendations to the Board as necessary concerning finances, positions with
honoraria (e.g. Choral Director and Accompanist), and any other significant issues affecting OCG
operations.
The CGC is responsible for making recommendations to the Board as to appointments to OCG positions
with honoraria. In this regard, the CGC ensures that the CGAC conducts annual reviews of the
performance of the incumbents of the Director and Accompanist positions and formulates
recommendations regarding the continuation of their terms. Should a new incumbent be required, the
CGC is responsible for ensuring that a search process is initiated by the CGAC, using the “Choral Group
Administration Committee Search Process”, which is documented in Appendix 5-B of this manual.
2.4.11 Hospitality Committee
The Hospitality Committee is a Standing Committee of the Board responsible for all social events, the
running of the bar and care of the kitchen during special and show-related events. The Committee consists
of the Hospitality Director, the Bar Manager, Bartenders, Orpheus House Social Convenor and Theatre
Food Coordinators. The Hospitality Director is responsible for overseeing the Hospitality Committee.
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More information regarding the responsibilities of the committee members can be found, as follows:
a) Appendix 2-J, Board of Directors Job Descriptions - Hospitality Director;
b) Appendix 2-Z, Bar Operations and Bar Manager Responsibilities; and
c) Appendix 4-T, Orpheus House Social Convenor and Theatre Food Coordinator.
2.4.12 Volunteer Coordination Committee
The Volunteer Coordination Committee is an Ad-hoc Committee of the Board responsible for the
recruitment and assignment of volunteers. The Volunteer Director chairs the Volunteer Committee.
The Volunteer Committee appoints a volunteer coordinator for each show. There is no honorarium for
this position. Any member of Orpheus may apply by for this position by sending an e-mail to the
Membership Director.
The Volunteer Committee is responsible for collecting nominations during the season and determining
worthy candidates from the nominations for the Lorna Rice Volunteer of the Year Award to present to the
Board of Directors for final selection.
More information regarding the Volunteer Coordinator’s responsibilities is contained in Appendix 2-V
Responsibilities - Volunteer Coordinator.
2.4.13 Bylaw Committee
The Bylaw Committee is an Ad-hoc Committee of the Board responsible for the oversight of the Bylaws
of the Orpheus Musical Theatre Society. In March each year, the Board of Directors appoints a
Chairperson of the Bylaw Committee, who is responsible for forming a committee. The committee
coordinates amendments to the Bylaws, which are presented at the next Spring Meeting or next Annual
General Meeting.
Bylaw 20 contains the criteria and process for amending the Society’s Bylaws.
2.5
Orpheus House Staff
2.5.1
Contractual Staff General information
a) The Contractor shall invoice the Corporation for the Services on a regular basis at the rate and
hours agreed upon.
b) It is expressly agreed that the Contractor is acting as an independent contractor in performing the
Services. The Corporation shall not be responsible for the payment towards or provision of the
following with respect to the Contractor:
 Workplace safety and insurance premiums;
 Health, disability, accident or life insurance coverage;
 Canada Pension Plan contributions;
 Employment insurance deductions;
 Federal or provincial income tax withholdings;
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
2.5.2
Provision of any benefits other than as set out expressly herein.
Contractual Staff Responsibilities
A. Office Staff:
Under the general guidance of the President and answerable to the Board of Directors, the Office Staff
Member is responsible to manage the day-to-day operations, administration, and human resources of the
organization within established Bylaws, and the Policies and Procedures of Orpheus, as well as providing
administrative support as a resource to the Board of Directors and Trustees. This person performs the
duties and services as outlined in the Terms of Reference in Appendix 2-W Terms of Reference Office
Staff.
B. Costume Rental Coordinator
The Costume Rental Coordinator is responsible for the maintenance of the wardrobe area and assets, as
well as handling the rental of costumes. This position is reviewed annually. This person performs the
duties and services as outlined in the Terms of Reference in Appendix 2-X Terms of Reference - Costume
Rental Coordinator.
C. Facilities Manager
The Facilities Manager is responsible for the Building maintenance and facilities rentals. This position is
reviewed annually. This person performs the duties and services as outlined in the Terms of Reference in
Appendix 2-Y Terms of Reference Facilities Manager.
2.6
Orpheus Choral Group
The Orpheus Choral Group’s role is to take music out into the community. The OCG’s main performance
venues are seniors’ residences and hospitals; charity, church and community fund-raising events; service
club functions, and public concerts. The OCG routinely has two performance seasons: Christmas Season
(late November through to the end of the year); and Spring Season (May to early June). On occasion,
OCG performs at other times during the year for special events.
OCG members are volunteers, but are required to become active or life members of the Society.
Only two positions within the OCG receive honorary as determined by the OMTS Board:
a) The Director of the Choral Group, and,
b) The Choral Group Accompanist.
The following two committees serve the interests of the OCG and its members:
a) The Choral Group Committee (CGC) is a Standing Committee of the Board, which serves as the
link between OCG members and the OMTS Board. The CGC provides recommendations to the
Board as necessary concerning budgets, positions with honoraria (e.g. Choral Director and
Accompanist), and any other significant issues affecting OCG operations.
b) The Choral Group Administration Committee (CGAC) performs various administrative and
coordinating functions affecting Choral Group operations.
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The Community Relations Director, or designate, is the Choral Group liaison person and a member of the
CGC.
More detailed information regarding Orpheus Choral Group and its operations can be found in Section 5
of this manual.
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Appendix 2-A Board of Directors Job Descriptions - President
Duties (Based on Bylaw 9)
The duties of the President are, in part, the following:
With respect to meetings and committees:
a) Be empowered, at his/her own discretion, to call Special Meetings of the Board or of the
Members;
b) Preside at (chair) Board of Directors' Meetings, Annual General Meetings and Special Meetings
of the Society;
c) Serve as a voting member on the Board of Trustees;
d) Serve as a Member ex-officio of all Committees; and
e) Provide an overview of the Society in a report to the Annual Meeting.
With respect to financial matters:
a) Have cheque countersigning authority for Board of Directors' cheques with the Treasurer or
Secretary;
b) Have overall personnel responsibility for all paid staff or contractors; and
c) Participate in annual budget meeting (usually every April).
With respect to productions:
a) Chair the production Information Meetings which precede auditions;
b) Attend production meetings when possible (mainly as an observer);
c) Attend rehearsals when possible (mainly as an observer);
d) Welcome cast at Read-through;
e) Write thank you notes to production heads for distribution with honorarium cheques on opening
night. Give a short speech of encouragement to the cast and crew on opening night;
f) Serve as primary contact person for the Centrepointe box office;
g) Resolve outstanding issues with Centrepointe Theatre as required.
With respect to the President’s Message:
a) Write a “President’s Message” for the Orpheus newsletter and/or Souvenir Program as required.
With regard to public functions:
a) Represent the Society at public functions as required.
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Appendix 2-B Board of Directors Job Descriptions - Vice-President
The duties of the Vice-President are, in part, the following:
a) in the absence of the President, have all the powers and perform all the duties of the President;
b) act as the Show Executive Producer who chairs a committee on each show made up of Directors,
Designers and Production Staff Heads. The Executive Producer shall oversee the production of
the show;
c) have cheque countersigning authority for Board of Directors' cheques with the Treasurer or
Secretary;
d) serve as a Standing Member of the Budget Committee;
e) serve as primary contact person for Theatre contracts and production scheduling
f) Be responsible for all budgets and reporting to the Board; and
g)
in the absence of the President, call/chair Board Meetings.
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Appendix 2-C Board of Directors Job Descriptions - Secretary
The Secretary is responsible for making sure that the following duties are done.
Note: This statement does not necessarily mean that the Secretary personally has to do them all.
Arrangements may be made with the Orpheus Office staff and/or Community Relations Director
to help out.
With respect to Filing/Correspondence
a) Separate files are maintained for each show, which include correspondence with right holders etc.
Other Board members with show-specific information/correspondence should pass these
documents to the Secretary for central filing. At the end of each season, pass the show files to
Archives;
b) Other files may be created as required. Anything of importance/historical value should go to
Archives when finished; and.
c) Other correspondence may come from Orpheans and is usually read/dealt with at the next Board
meeting and filed with the appropriate minutes for Archives.
With respect to Show Rights/Royalties and Materials
a) The Secretary should work with the Show Selection Committee when royalty quotes are
requested. Letters requesting quotes can be faxed to companies without an online application
process.
Note: The following is information on the Music Publishing Companies:
Music Theatre International
th
nd
MTI Warehouse**
421 West 54 Street, 2 Floor
37 Edison Avenue
New York, NY
West Babylon, NY
10019
11707
Phone: (212) 541-4684
Fax:
(212) 397-4684
Account No: 573-1070
**used for returning scripts & scores
License applications are submitted, preferably,
online at www.mtishows.com.
Michael Jackson: michaelj@mtishows.com
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Rogers & Hammerstein Annex
229 West 28th Street, 11th Floor
New York, NY 10001
amtheatre@rnh.com – for amateur theatre
Phone: (212) 699 6570 / 1-800 400-8160
Fax:
(212) 268 1245
Account No: 201600*
Robin Sandusky: Robin.Sandusky@rnh.com
*New account number confirmed by Libby Moore
on Sept 23, 2010 ( Libby.Moore@rnh.com )
License applications are submitted, preferably,
online at www.rnh.com.
Tams-Witmark Music Library
Samuel French Ltd.
560 Lexington Avenue
45 West 25th St
New York, NY
New York, NY 10010-2751
Toll Free Phone: (800) 221-7196
Lauren Epsenhart (212) 206-8990
Toll Free Fax: (800) 826-7121
musicals@samuelfrench.com
Phone: (212) 688-2525
LEpsenhart@samuelfrench.com
Fax:
(212) 688-3232
** No account number
Account No: 24413
Theatrical Rights Wordwide – New York Office
570 Seventh Avenue, Suite 2100
License applications are submitted, preferably
online at www.theatricalrights.com.
New York, NY 10018
Toll Free Phone: (866) 378-9758
All materials, including scripts, are Orpheus’ to
keep once obtained. They do not have to be
returned to TWR.
Other Phone: (646) 736-3232
Fax: (212) 643-1322
Account No: 201925
licensing@theatricalrights.com
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b) When requesting a royalty quote, it is very important to give orchestra/balcony single ticket price
AND the orchestra/balcony subscription price with the overall subscription % (i.e. 40% overall
subscription to orchestra and 26% to balcony; ask the President or Orpheus office for these
numbers). This is very important because we will pay less in royalties than just using the single
ticket price.
c) In order to ensure the viability of a season, royalties should be secured one year in advance of the
show dates. Rights are secured as follows:
 Ensure that the royalty quote received at Show Selection time reflects current single ticket
and subscription prices;
 Fill out publisher’s contract, arranging for rental of piano/conductor score, scripts and/or
vocal books (two - three months prior to show), and orchestra rental (one month prior to
show). Usual rental of scripts and scores is two months ahead, but rehearsals usually begin
three months ahead. Check with Artistic Director to see if the extra month rental is required
(verify Library/Archives for retained copies of scripts and scores available to members on a
loan basis). The orchestra parts may also be rented for an additional month, if required, for an
additional fee. Note that individual orchestra parts and the piano/conductor score can usually
be rented for longer periods without an additional charge;
 Note: You have to buy scripts/vocal books from French – they only rent orchestrations and
piano/conductor. You must rent scripts and scores from all other music publishers except
Thearical Rights Worldwide. Verify Library/Archives for retained copies of French scripts
and scores which are available to members on a loan basis;
 If the publisher is American, request a US bank draft for the US equivalent of the royalties.
Once signed by the Secretary or Treasurer, and either the President, Vice President, the
request should be sent to the Bank. A copy of the letter should be kept in the show file.
IMPORTANT: Make sure that the bank draft request is sent to the Bank before the
royalties are mailed to the music publisher. Prepare a cheque requisition form for the
royalty fees and draft a cover letter to accompany contract and cheque. A copy of the cover
letter should be kept in the show file. Send the cover letter, completed contract, and cheque to
the music publisher by courier; and
 Any other correspondence with the music publishers can usually be faxed;
d) A copy of the contract should be kept in the show file. Provide the Graphics Production Director
and the Marketing & Publicity Director with a copy of the contract for publicity purposes and the
Souvenir Program;
e) When rehearsal/orchestra materials arrive, check the enclosed inventory list to make sure
everything is there. Customs papers and/or return address labels may also accompany the
material. Keep the inventory list, customs papers and labels in the show file pending return of
material. During a show, scripts and scores are distributed to the cast (usually with a nominal
returnable deposit) by the Production Assistant. Orchestra scores are distributed by the Musical
Director; and
f) After the show, collect and verify that all materials are accounted for. Prepare a cover letter for
the return of the material. A copy of the letter should be kept in the show file. IMPORTANT:
Scripts & Scores must be returned one week after the production or late fees may be assessed.
The Production Assistant is responsible for collecting the scripts and scores from the cast after the
show. Package up the materials, including the cover letter and customs papers if necessary. Attach
return address labels and send package by courier. A cheque requisition form will have to be
filled out to pay for the courier fees.
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With respect to Minutes
a) Keep minutes of Board of Directors (BoD) Meetings and of Annual and Special Meetings and
ensure that all material and reports are available for Annual and Special Meetings. An agenda is
optional for BoD meetings. If there is significant special business and/or time constraints, an
agenda may prove useful;
b) When taking minutes, keep track of major issues, all motions (mover, seconders, and carried);
maintain list of outstanding action items (to make sure nothing gets lost in the shuffle);
c) Prepare Draft Minutes of meeting for ratification at next meeting. Email the Draft Minutes to
BoD members. If anyone one else attended the Board Meeting (i.e. Office Staff, Facilities
Manager, Show Selection Committee Chairperson), they should also get a copy of the Draft
Minutes. Distribute the draft minutes as soon as possible after the meeting, and at least a week
prior of the next meeting, distribute action items; and
d) At the next Board meeting, record any changes to the draft. If changes are minimal, BoD
members can ink-amend their draft copies. Update the softcopy of draft minutes if necessary.
Print final copy and mark “Approved”. Distribute copies of the Approved Minutes to Board of
Trustee (BoT) members and the Orpheus Office, make 1 copy to add to the Green Room binder
and 1 copy to BoD Secretary. Archives get the original.
With respect to the Yearly Report
a) As required by the Archives Committee, enter into a permanent record book a yearly report
indicating Board Members and Trustees, and a list of all productions.
With respect to the Policy and Procedures Manual
a) Maintain the Policy and Procedures Manual and update for changes made by Board decisions.
Update the Policy and Procedures Manual as required and re-issue annually to BoT and BoD
members if there have been changes. Be sure to update the version number and date for each
amendment.
Note: For minimal amendments, it may be preferable to re-issue new pages or sections only instead the
entire document. Just make sure that the amendments haven’t changed page numbers, formatting
etc. The date and version number should be changed in the footer.
b) One copy of the Bylaws and P&P Manual should be maintained in the Green Room, and the
original should be passed to Archives. Extra copies of P&P Manual should be held in the Office
for members to peruse. Members can also request individual copies of the Manual when required.
With respect to Cheque Signing
a) In the absence of the Treasurer, have cheque-signing authority for Board of Directors' cheques
with either the President or Vice President.
With respect to Bylaw Amendments
a) Be responsible for ensuring that Bylaw changes are presented to the Membership and appear on
the agenda for ratification at the ensuing Annual Meeting and for filing any necessary ratified
changes with the appropriate government agency. Bylaw changes must first be passed by the
Board of Directors and then the members must be notified of the change in advance before the
change is ratified at AGM.
b) If Bylaws are amended at AGM, issue the updated Bylaws to the BoD and BoT members as well
as the Office. Individual members may request copies of the Bylaws.
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With respect to the Annual General Meeting
a) The AGM Package must be mailed no less than 15 days before AGM and must include the Notice
of the AGM, Agenda, previous year’s AGM Minutes, the Nominating Committee’s Report, and
any Bylaw changes requiring ratification at AGM. The AGM package may also include a Trustee
Report, and BoD reports (typically from the President, Vice President, and Treasurer) – if the
audited statement is complete. Ensure that reports from each Board Member and Committee are
provided to the Board in time for summary at the Annual Meeting. Poll Board members in June to
find out who will be submitting written reports to be mailed out with the AGM package. Check
with BoT Chair to confirm if a Trustee report will be mailed out. All Board reports must be
submitted to the BoD Secretary by the July Joint Board Meeting. Liaise with the Nominating
Committee Chairperson for their Report that must be included with the AGM package. All
reports should be merged into one single PDF, with the pages numbered, before sending the
AGM package by email to the membership;
b) Check with Board members to determine if additional material will be made available to
members at AGM (i.e. reports which do not necessarily need to be mailed out). This material
should be given to the Secretary or Orpheus Office staff for photocopying no later than one week
prior to AGM;
c) Set up a reception desk and have someone:
 Check off members as they arrive in the hall from a master membership list. This is necessary
to ensure that there is a quorum of eligible voting members; and
 Pass out extra copies of AGM package if necessary, as well as any other handouts not mailed
out; and
d) Take minutes of the meeting.
With respect to the Orpheus Newsletter
a) Be responsible for the periodic issue of the newsletter – initiating contributions, writing, editing,
producing, and distributing. The frequency of issuing the newsletter is at the discretion of the
Secretary (10 – 12 issues a year is optimal);
b) Submission of newsletter articles should be electronic to reduce re-typing. All contributions
should arrive ready to be published (i.e. it is not the responsibility of the Secretary to proof-read
and correct articles). The Secretary may edit articles for space. Generally the newsletter should be
no greater than 4 pages double-sided (it is cheaper to use letter size envelopes which will really
only take four pages folded in three). It is highly recommended to use double-sided pages, this
necessitates an even number of pages;
c) In order to get the most up-to-date list of members who have requested a paper copy, it is
recommended to contact the Membership Director or an Orpheus Office staff member to obtain
printed labels and Orpheus letterhead envelopes for the mailing. If there is a large attachment
such as the Orpheus Directory to be mailed with the newsletter, generic brown 81/2 x 11
envelopes should be used;
d) All newsletters should contain an issue number and date for archive purposes. If just a date is
used, Archives won’t know if they are missing an issue;
e) The completed newsletter should be saved in PDF format and emailed to the Orpheus Office staff
member, who will then email it to all members for whom an email address is on file who have not
requested to continue receiving paper copies;
f) For those members who require paper copies, the newsletter must be printed, photocopied,
folded, put into the pre-labelled envelopes, and sealed. Mailing arrangements may be made with
the Orpheus Office Staff to use our postal meter. Bulk mailing was investigated but proved very
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expensive. In order to cover the on-going postage costs, the Secretary may arrange a standing
advance with the Treasurer. To further reduce postal costs, BoD, cast and crew copies can be left
for pickup at Orpheus House; and
g) The original newsletter goes to Archives and a copy should be left in the Green Room Binder.
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Appendix 2-D Board of Directors Job Descriptions - Treasurer
The duties of the Treasurer are, in part, the following:
a) Act as custodian of the funds received and disburse the same only upon the order of the Board or
of such officers as the Board may designate to authorize specified disbursements;
b) Be responsible for all withdrawals from the bank, which shall be by way of cheque, signed by the
Treasurer or in his/her absence by the Secretary and countersigned by the President or the VicePresident;
c) Be responsible for liaison with the Auditor, and present the Audited Financial Statements at the
Annual Meeting, including a detailed list of any accounts receivable as provided for in these
Bylaws;
d) Act as Co-Chairperson (with the Treasurer of the Board of Trustees) of the Finance Committee:
responsible for monitoring operating costs, outlining and implementing cost-reduction exercises,
establishing and administering the Society's annual operating budget, and overseeing the budget
process;
e) Be responsible for the Bookkeeper and for ensuring that accurate bookkeeping is maintained in
accordance with audit procedures, and with the express instructions of the Board and the Auditor
in mind; and
f) Submit interim financial statements to the Board of Directors and Board of Trustees outlining the
current status of the organization and budgets as required.
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Appendix 2E Board of Director’s Job Descriptions - Graphics Production Director:
Duties (based on Bylaw 9)
The Graphics Production Director shall perform the usual and customary duties and responsibilities of the
Graphics Production Director as follows:
(i) Receive and apply all logo packs from rights holders.
(ii) Oversee the graphics production department.
(iii) Manage and direct all graphic materials and the production staff (Graphic Artist, Printer, and
Photographer as approved by the Board) who create them.
(iv) Provide print or electronic media package for Marketing and Publicity Director, provided that
anything outside the approved media package must be approved by the Graphics Production
Director.
(v) Oversee the creation of the show program from layout to final approval and printing.
(vi) Arrange for the completed show/lobby poster.
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Appendix 2-F Board of Directors Job Descriptions – Marketing & Publicity Director
The Marketing and Publicity Director shall perform the usual and customary duties and responsibilities of
the Marketing and Publicity Director as follows:
(i) Be responsible for the promotion of the Corporation in the community and for the publicity of
shows.
(ii) In collaboration with the Community Relations Director, solicit paid advertising for the program.
(iii) Monitor ticket sales and effectiveness of promotion efforts to determine necessity for further
promotion.
(iv) Be responsible for the issuing of such complimentary show tickets as appropriate for promotion.
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Appendix 2-G Board of Directors Job Descriptions - Volunteer Director:
The Volunteer Director shall perform customary duties and responsibilities of the Volunteer Director, as
follows:
(i) Chair the Volunteer Committee, attend and contribute to regular meetings as determined in order
to start new initiatives, plan events, volunteer appreciation and get updates.
(ii) Establish and maintain an accurate, current database of all volunteers and their availability.
(iii) Coordinate volunteer training with assistance of other production staff as needed.
(iv) Honour and thank volunteers at show banquets.
(v) Responsible for investigating funds for the purposes of training for our members; for assessing
the needs of our members in this regard and thereby developing and implementing a training
program and evaluating it on an annual basis;
(vi) Responsible for volunteers and their management; for finding workers when needed by all
department heads;
(v) Be responsible for any other duties that may be assigned by the Board.
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Appendix 2-H Board of Directors Job Descriptions - Membership Director
The duties of the Membership Director are, in part, the following:
a) Responsible for collecting memberships and for ensuring that all members of the current cast are
paid-up members by move-in day;
b) Responsible for processing memberships:
 ensure all information is on form;
 have member approved by Board of Directors;
 enter information in membership database
c) Responsible for determining Gold Pin recipients; for ordering pins 6 weeks prior to AGM; for
inviting each Gold Pin recipient by letter to AGM; and for writing small paragraph about
contributions of Gold Pin recipient for President to read at AGM;
d) Ensure that someone is present at AGM to pass out blank membership forms and to collect
completed forms and payment;
e) Oversees nominating committee that puts forward a Slate of Officers for election at each AGM;
f) Responsible for maintaining list of Directors and Production Staff and for staffing shows including engaging production personnel approved by the Board and preparing contract letters to
recipients of honoraria; and
g) Responsible for issuing any required Actors’ Equity contracts.
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Appendix 2-I Board of Directors Job Descriptions – Community Relations Director
The Director of Community Relations shall perform duties as assigned by the Board. Such duties may
include handling special events, ad hoc projects, and assisting other Board members. In addition, the
Director of Community Relations shall:
(i) In collaboration with the Marketing and Publicity Director, assist with soliciting advertising
(paid/reciprocal) for the program.
(ii) Be responsible for external relations:

Proactively identify and leverage community events / opportunities to raise awareness of
Orpheus.

Respond to queries regarding co-op positions.

Attend meetings with Ottawa Community Theatre Association and the Centrepointe Theatre
Users Group.
(iii) Be responsible for internal relations:

Serve on the Orpheus Choral Group Committee.

Organize and co-ordinate Orpheum Nights.

Chair the J. Barry Ryan Award committee.
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Appendix 2-J Board of Directors Job Descriptions - Hospitality Director
The Hospitality Committee consists of the Hospitality Director, the Bar Manager, Bartenders, Orpheus
House Social Conveners and Theatre Food Coordinators. They, in turn, are responsible for all social
events, the running of the bar and care of the kitchen during special and show related events.
a) The Hospitality Director is responsible for overseeing the Hospitality Committee and meeting with
them, individually or collectively, as necessary.
b) The Hospitality Director will work with the Facilities Manager, the Bar Manager, and any other
individuals, as required, to arrange for the set up of the hall, the provision and serving of food, and the
cleanup of the hall and kitchen for all social events that are not directly related to any of the three
seasonal productions. These events may include, but are not limited to, the Annual General Meeting,
Angels Nights, Orpheum Nights, and special theme parties. The Hospitality Director will also ensure
the participation of the Bar Manager and Bartenders when required.
c) The Hospitality Director may form sub-committees at any time to assist with the organizing and
running of any social event.
d) The Hospitality Director, with the assistance of the Membership Director and the Volunteer Director,
will recruit one Orpheus House Social Convener and one Theatre Food Coordinator for each Orpheus
Show.

Should the Board be unsuccessful in recruiting an Orpheus House Social Convener, the
Hospitality Director will be responsible for assuming the Social Convener’s duties for Opening
Night, Closing Night and the Banquet. All other social events will be organized at the Hospitality
Director’s discretion.

Should the Board be unsuccessful in recruiting a Theatre Food Coordinator, the Hospitality
Director will be responsible for assuming the duties of the Theatre Food Coordinator
e) The Hospitality Director is responsible for ensuring food (individual frozen dinners available for
purchase as per LLBO rules) is available for consumption any time the bar is open.
f) The Hospitality Director will determine which catering partners will be approached to provide food
for a given season.
g) The Hospitality Director is responsible to the Treasurer for the recording of all monies collected or
spent in the running of the social events.
h) The Hospitality Director is obligated to attend Board meetings and to take on any extra duties as
directed by the Board of Directors..
See section 2.4.11 for the responsibilities of the Hospitality Committee
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Appendix 2-K Board of Trustees Job Descriptions - Chair
The duties of the Chair are, in part, the following:
a) to call and chair meetings of the Board of Trustees, as stipulated in the Bylaws;
b) to act as official spokesperson for the Board of Trustees;
c) to act as liaison with the Board of Directors as needed, bringing issues to their attention as
required;
d) to write and/or provide information articles for the Orpheus newsletter as required or requested;
e) to ensure proper representation from the Board of Trustees on appropriate Orpheus Committees;
f) to represent the Board of Trustees at official and special Orpheus functions and events, as
required;
g) to prepare, submit and present an annual report for the Board of Trustees at the Annual General
Meeting;
h) to seek out opportunities for the Board of Trustees to interact and represent Orpheus in the larger
community, with government, councils and other arts & cultural organizations;
i)
to ensure that the overall work and activities of the Board of Trustees progress smoothly and in a
manner that is transparent to the membership and the Board of Directors; and
j)
to support and aid other members of the Board of Trustees in their activities.
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Appendix 2-L Board of Trustees Job Descriptions – Vice Chair (Angels)
The Vice Chair, on behalf of the Board of Trustees, is responsible for coordinating the “Orpheus Angels”
program.
Duties
The duties of the Angels Coordinator are the following:
With respect to Meetings
a) Attend meetings of the Board of Trustees and joint Board of Trustees/Directors as required.
With respect to Correspondence
a) Work with the Orpheus Office staff member to send the following using various letter templates:
 A letter sent out in the Fall to request any changes in Angel’s listing for the Souvenir
Program. Notify the Program Director of any changes;
 A letter to all subscribers except "Angels" when renewal forms are sent out from
Centrepointe Theatre. Angel subscribers receive a different letter asking them to renew as an
Angel;
 When patron lists are available from Centrepointe Theatre (usually September), send letters
with income tax receipts attached which are signed by the Angel Trustee and the Board of
Directors Treasurer. These are sent to Angels renewing, new angels and for gift donations of
$10.00 or more. A different letter is sent to each group;
 From time to time, letters are sent regarding inquiries about becoming an angel; to enclose
with angel pin when they have not been picked up, etc;
 When a new Governor General of Canada is appointed, a letter requesting the Governor
General's patronage, as well as the Governor General’s spouse (each receives a separate
letter); and
 An invitation to the Patrons Evening.
With respect to the Patrons Evening
a) Coordinate and oversee all aspects of the Patrons Evening.
With respect to the Patron Table at each Performance
a) Arrange to staff the Patron table for each performance to hand out Souvenir Program, Angel Pins,
and complimentary coat checks to each patron.
Note:
The list of people staffing the table is given to the Show Producer/Centrepointe House Manager
for backstage access if required.
On the table are: programs, angel brochures, fliers describing the show season, a box with angel pins,
pens, a list of patrons to record number of programs and complementary coat checks given, a list
of table staff, and a list of concerns.
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With respect to Angel Pins
a) Angel Pins (brass with 22k gold plating) are ordered 50 at a time as required. The pins are usually
picked up at the Patrons table at each performance.
With respect to Subscriptions/Renewals
a) Try to contact Angels who have not renewed, as they may have forgotten or sent a cheque
separately.
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Appendix 2-M Board of Trustees Job Descriptions - Secretary
The duties of the Secretary are, in part, the following:
a) To attend and participate in all meetings of the Board of Trustees as a full, voting member;
b) To take the Minutes of all meetings of the Board of Trustees;
c) To distribute the Board Minutes to all members of the Board of Trustees prior to the next
meeting, and ensure that a copy of the minutes is included in the binder in the green room;
d) To oversee the operations of the Archives Committee; and
e) Undertake other duties as may be deemed necessary by the Board.
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Appendix 2-N Board of Trustees Job Descriptions - Treasurer
The duties of the Treasurer are, in part, the following:
a) to present s an accounting of the society's investments at the AGM;
b) to co-chair of the finance committee;
c) to overseeing the long-term financial arrangements for Orpheus;
d) to invest funds not immediately needed for current projects in a prudent manner to provide for
capital repairs and improvements, artistic development, and a "rainy day" fund equal to the cash
outlays needed to run Orpheus House for one year;
e) to invests funds on behalf of the Board of Directors when those funds are not immediately needed
for current operations; and
f) to make recommendations to the Board of Trustees with respect to the availability of funds for
major new projects being considered by the Board of Directors or Trustees.
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Appendix 2-O Board of Trustees Job Descriptions – Development Officer
The duties of the Development Officer are the following:
a) Perform duties on the Board of Trustees as outlined in the Bylaws.
b) Raise money for capital initiatives and special Orpheus projects undertaken by the Board of
Trustees through corporate sponsorship, private donations, endowment planning, grants or other
agency funding.
c) Other duties as required such as liaison with community groups, festivals, the University of
Ottawa Endowment Fund, etc.
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Appendix 2-D Committees - Terms of Reference
Item
Name of Committee
Comments
Notes
Choose one that identifies its
objectives, e.g.,
"Budgeting Committee"
General Purpose
Write a general description of
the committee's purpose
Duties
List specific objectives and
tasks to be achieved
Reports
Establish a method of reporting
to the Board
Target Dates
Specify a date for the
committee's interim and final
reports
Composition
Specify the chairman and the
authority that made this
appointment.
Specify committee membership
and roles.
Resources
List whom and what is available
to help the committee do its job
Evaluation
Establish an assessment process
for the committee's performance
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Appendix 2-E Sample Nominating Committee Report
In accordance with the Bylaws, the Board of Directors appointed a Nominating Committee to prepare a
Slate of Officers to be presented at the Annual General Meeting on (date). The Committee was
comprised of (name), Chairperson, and the following committee members: (list all names).
The Committee considered several criteria in establishing the Slate of Officers. We considered the
individuals' interest and desire to serve on the Board of Directors, their qualifications for the specific
position they are nominated for and their ability to oversee the day-to-day business of the Society. We
also attempted to put forth a group of individuals that would work as a cohesive and productive team.
The (year) Nominating Committee respectfully submits the following Slate of Officers for election to the
Board of Directors:
In Odd Numbered Years (See Note 1):
Vice President
Secretary
Marketing & Publicity Director
Membership Director
Hospitality Director
(name or names)
(name or names)
(name or names)
(name or names)
(name or names)
In Even Numbered Years (See Note 1):
President
Treasurer
Graphics Production Director
Volunteer Director
Community Relations Director
(name or names)
(name or names)
(name or names)
(name or names)
(name or names)
Note: When a person who was appointed by the Board to replace someone who resigned within the first
year of their term is not running for the second year, then the position and name or names should
be added to the list with an indication that the person elected will be serving for the second year
of the resigning Board Member's term of office.
Members are reminded that in accordance with the Bylaws, nominations may be made from the floor at
the Annual General Meeting. It is a requirement that in all such cases the nominees have previously
agreed to accept nomination and to assume office if elected.
Respectfully submitted,
(name)
Chairperson, (year) Nominating Committee.
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Appendix 2-F Show Selection Committee Guidelines
The Committee Chairperson will be appointed by the Board of Directors in December of each year and
members of the Committee will be chosen by the Chairperson, subject to the Board of Directors'
approval. The Committee will meet as frequently as may be required in order to prepare its report to the
Board for the following April. The Committee will consist of 6 to 8 people and will include a Board
Member and when possible, an Artistic Director, a Musical Director, a Choreographer and others who
represent a variety of Orpheus experience in production and on-stage capacities. No more than 2 members
of the prior year's Committee may serve on the current year's Committee, and Committee members cannot
serve more than two years in a row.
In conjunction with submitting its report to the Board of Directors, the Show Selection Committee’s final
report will be submitted to the Finance Committee, who will draft sample production budgets for each
show on the short list, and submit these to the Board of Directors.
The show Selection Committee may be asked to act in an ad hoc capacity in extraordinary circumstances
in order to assist the Board in short-listing possibilities for one or more productions on an ad hoc basis as
requested by the Board.
In considering shows for selection and final Board approval, the Committee will consider the following
criteria:

audience appeal from a sales point of view;

within Orpheus members' capabilities - both cast and crew;

be at least 12 years since the last presentation if a repeat show;

make a conscious effort to select at least one show which has been written within the past 20
years;

within anticipated budget (royalties and orchestra costs) and resource issues with respect to sets,
costumes and staging;

consider the season's balance/variety so as to avoid doing two "oldies", or two similar shows
(such as two "tap" shows), or 3 shows with casts of over 50 in any one season; and

review any shows considered but not produced from previous years’ Committees.
The Committee's Report will consist of the following:

A recommended season of three shows and three alternate shows, including a description of the
show, music publisher, projected costs including royalties and orchestra fees (based on
recommended or reduced orchestrations), and any other pertinent information. Six shows in total
are submitted to the Board for consideration. The alternate shows should be of comparable costs
and similarities to serve as substitutions for either the original Fall, Winter or Spring show while
maintaining a viable season; and

Show recommendations for future committees.
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Appendix 2-G Terms of Reference – Archives Committee
Mandate
The Archives Committee, a Standing Committee of the Board of Trustees, is responsible for maintaining
the Dorothy Gough Memorial Library. Additional information concerning this committee can be found in
section 2.4.7.
TERMS OF REFERENCE
Presidents' Pictures
The Society pays for an 8 by 10, black and white picture to be taken of each President. The framed
picture, with a plaque engraved showing the dates of tenure, is placed in the Green Room.
Scripts and Scores
The supply of scripts and scores takes up most of the storage space in the Library/Archives and includes
the orchestrations of our original productions (such as "Glengarry Days", "S.A.M." and "Opening Night The First 75 Years"). Materials are loaned out to members upon request. Requests from the general
public are politely declined.
Programs
The programs are divided into two categories: Reference copies and Archival copies. The Reference
copies date back to 1945. The Archival copies are stored in plastic pockets in binders. The oldest is the
1919 production of "The Gondoliers" and we have copies of all of the shows we have presented since
then.
Minutes
Minutes from the AGM, and Board of Directors/Trustee minutes are maintained. The oldest set of Board
of Directors' Minutes dates back to October 1919 when D. Roy Kennedy was the Secretary.
Reference Books
Items include coffee-table books on musical theatre (stage and screen) and show reference books as well
as books on the organization of musical theatre groups. Books on costumes are stored separately in the
Costume Room.
Audio and Video Tapes of Musicals/Orpheus Shows
The collection includes shows performed by Orpheus as well as those considered by prior Show Selection
Committees. The collection is limited since prior administrations believed it was illegal to tape our
performances.
The official word as of October 2010 from royalty agents is that video licenses are available for some of
the shows and one must be procured each time performance rights are granted even for archival purposes
and at Dress Rehearsals. For shows with no video license available, recording is prohibited even for
archival purposes. Also in October 2010, Centrepointe Theatre confirmed that their policy will allow
videotaping of the Dress Rehearsal if they receive proof that we have permission (the rights) from the
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royalty agent.
Photographs and Wall Photographs of Orpheus Productions
It is only in recent years that Orpheus has had an official policy of ensuring that a representative selection
of photographs of each show is turned over to the Archives. Prior to 1992, we relied solely on donations
from members on an ad hoc basis. We have a series of framed, full company shots for the years 1917
("Iolanthe" our first staged production) through 1925 ("The Mountebanks") and then pick up the
collection from 1943 (with various years missing) to date.
The Wall Photographs were started by Chris Terry with the 1972 production of "Oliver" and are displayed
in the Rehearsal Hall. Those not displayed are stored in the Archives. Also in our collection is a
photograph and negative of the interior of Orpheus House when it was the St. Matthias Anglican Church
(circa 1920).
Newsletters
Copies of the official Orpheus newsletters are maintained.
Newspaper Clippings
Our collection starts with clippings of the 1935 production of "H.M.S. Pinafore".
Press Kits
There never being an official policy to retain such material, the few copies we have are those gleaned
from prior publicity files.
Show Posters
The large Show Display Posters were originally designed as displays when the box-office during the
week before and for the run of the show was outside of Orpheus House (such as the old Robertson, Pingle
and Tilley music store on Bank Street and then in the lobby of the Beacon Arms Hotel on Albert Street).
After we centralized the box-office at Orpheus House in the mid-1980s, the Show Display Posters were
used as displays in the Commerce (Adult High School) lobby during the run of each show. After each
production, the Show Display Posters are displayed in the Rehearsal Hall. As subsequent shows are
added, the older ones are retired to the Archives and several are displayed in the Green Room. When
fully rotated, the Rehearsal Hall display covers the previous 14 years' productions. The oldest intact
copies we have are the 1948 production of "Sweethearts" and the 1953 production of "Merrie England".
We have several of shows presented in the l960s and early 1970s and the full series from the late 1970s to
date. There never being an official policy to retain the non-display Show Posters, the limited supply we
have are those gleaned from prior publicity files.
Miscellaneous Archival Items
The collection consists of show shirts, mugs, buttons, costume and set sketches, Bylaws, crew show
scripts, past show files including correspondence, mailing lists and directories, subscription and angel
flyers, etc. We also have the Orpheus Trophy presented annually at the Ottawa Music Festival (now the
Kiwanis Music Festival) listing the winners from 1949 through 1963. Some of our earliest miscellanea
include:

The 1919 Financial Statement of "The Gondoliers" and which reflects that we donated $1,440.03
to the Great War Veterans' Association;
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
The 1920 contract to rent the Russell Theatre for "Merrie England" in which the $600 fee
included charges for 4 performances and 1 rehearsal, a stage crew and front-of-house personnel, a
7-piece orchestra and permission to decorate the balcony and boxes with flags. A receipt from
the Great War Veterans' Association for a donation of $1,000;

The Properties list and Costume Rental contract, for the 1922 production of "A Princess Of
Kensington"; and

Cheque books for the period 1919-21.
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Appendix 2-H Terms of Reference – J. Barry Ryan Committee
Mandate
The J. Barry Ryan Committee is Standing Committee of the Board responsible for determining worthy
candidates for the J. Barry Ryan Award and for reporting thereon to the Board. Additional information
concerning this committee can be found in section 2.4.8.
TERMS OF REFERENCE
The Spirit of the Award
The J. Barry Ryan Award was created in recognition of the inspirational contribution made to the
Orpheus Musical Theatre (formerly Operatic) Society by J. Barry Ryan (an on-stage performer and a
costume and set designer who was a member of Orpheus from 1976 to 1986) and was established after his
death in 1986 by Casey Krzyzanowski (deceased in 2010) and Susie Bregg. This award is designed to be
presented as a "Hall Of Fame" recognition to Orpheus members or past members who have made an
outstanding contribution ABOVE AND BEYOND any normal involvement in the Orpheus Community.
It is through such individuals' special commitment that the Society continues and grows.
Formation of the Award Committee
This Award is special and for it to continue to have a meaningful history within the Society, a Committee
shall be established to formalize the procedures for the presentation of the Award such that the spirit and
essence of the Award will be preserved.
Structure of the Award Committee
The Committee will consist of a standing committee of:

The Community Relations Director as Chairperson.

Susie Bregg (optional and at her discretion).

A member of the current Board of Trustees.

A member of the current Board of Directors.

One person from the membership at large.

One representative from past recipients.
Selection of Committee Members
The Selection of the Committee Members shall be as follows:

The Boards of Trustees and Directors shall each appoint one of their members after each year's
Annual General Meeting.

Anyone from the general membership wishing to serve shall submit his or her name. It shall be at
the discretion of the standing committee which member shall be asked to serve for one year.

One of the past Award recipients shall be asked to serve for one year by the standing committee.
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
No one member (other than the Community Relations Director, Suzie Bregg) shall serve for more
than 3 consecutive years on the committee.
Nominations
Nominations shall be requested from the membership each year by asking for suggestions in the
April/May Newsletter and further nominations may be made by any member of the Committee.
Selection of the Candidate

The Committee shall meet before the AGM each year to review the nominees submitted by the
membership and to add any others they may deem appropriate.

The Award does not have to be presented each year, but only when a candidate has been
identified who fits the spirit of the Award.

The Award may be presented to more than one person in any one year.

The candidate should be a unanimous choice and leave no doubts that the award is well deserved.
Candidate Criteria
To facilitate discussion of possible candidates, a short list of important elements that might be considered
by the committee is listed below:

Proven commitment to Orpheus:
 Continuity in commitment over a reasonable time period,
 Consistency in that commitment, and
 Their contribution exceeds anything normally expected from the positions they have had in
Orpheus (whether that be as a Board Member or a Programme Seller);

Type of commitment. This could by any or all of the following:
 commitment to artistic excellence in Orpheus productions,
 fulfilling a maintenance role in the organization, and
 fulfilling a developmental role, foreseeing future needs of the organization;

A positive attitude in promoting Orpheus;

Working as a community ambassador on behalf of Orpheus;

A good team member;

A person who has been able to recognize and develop the talents of others;

Encouragement of new members; and

A person who puts the needs of Orpheus ahead of their own recognition.
Report to the Board of Directors
The Committee will report in June to the Board of Directors whether or not award will be presented at
AGM. If the award will be presented, the Committee need not divulge the name of the recipient(s).
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Presentation
The Award shall be presented at the AGM. Photographs and a plaque listing previous award recipients
shall be displayed at Orpheus House. An individual plaque will be presented at the AGM to each
recipient and worded as follows:
J. BARRY RYAN AWARD
PRESENTED TO
(Recipient's Name)
FOR OUTSTANDING CONTRIBUTION TO
ORPHEUS MUSICAL THEATRE SOCIETY
(Year)
Note: The announcement of a recipient's name should be kept confidential among the members of the
Committee until the actual announcement at the AGM.
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Appendix 2-I Terms of Reference – Finance Committee
Mandate
As a Standing Committee of the Board of Directors, The Finance Committee serves to assist the Board of
Directors in drafting annual corporate, production and special project budgets for approval by the Board
of Directors and in researching and obtaining the necessary information to assist the Board and Trustees
in making major financial decisions.
Responsibilities
The responsibilities of the Finance Committee are the following:
a) No more than 4 weeks after the Show Selection Committee has short-listed its six selections for
submission to the Board (usually by the end of April), the Finance Committee will meet to put
forward draft budgets for each of the 6 shows, complete with bottom line profit expectations for
each show, and will submit these to the Board, along with reports on any extraordinary factors
financial or otherwise associated with any or all of the proposed selections for the May Board
meeting.
b) In February, the Finance Committee will meet to draft the production and Orpheus House
budgets, taking into consideration any Committee reports and budget submissions for the next
fiscal year, for submission and adoption by the Board at its March meeting;
c) To act in an ad hoc capacity for any extraordinary projects of the Board, Trustees or Standing or
Ad Hoc Committees
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Appendix 2-V Responsibilities - Volunteer Coordinator
The Volunteer Committee appoints a volunteer coordinator for each show. There is no honorarium for
this position. Any member of Orpheus may apply by sending an e-mail to the Volunteer Director, who
chairs the Volunteer Committee.
Duties
The responsibilities of the Volunteer Coordinator are the following:
a) Respond to each new volunteer with a phone call or e-mail.
b) Retrieve the central list of volunteers from the Orpheus Office staff member and update it with
the names of new volunteers
c) Arrange with the producer to access volunteer information contained on the audition sheets
before they are shredded.
d) Arrange a tour of Orpheus House for new volunteers.
e) Attend production meetings as required
f) Inform production heads of the following items for which they are responsible:
 Fill in green room chart with tasks and schedules for your department
 Encourage experienced volunteers to mentor new volunteers
 Inform the volunteer coordinator when you require a work blitz so that the coordinator can
inform the volunteers
g) Attend Volunteer Committee meetings and report on progress.
h) Speak at the Show Information Meeting about the need for volunteers and explain the tracking
sheet protocols.
i)
As the production begins provide tracking sheets with the show name or logo for the production
team, cast and all departments. Collect department sheets at the end of each month and replenish
as necessary. Collect individual tracking sheets from cast and production team at the end of the
production.
j)
After the show ends, send out a Survey Monkey to the new volunteers, allowing a one-week reply
period. Tabulate the results and report to the Volunteer Committee.
k) Tabulate the hours from the tracking sheets and prepare the results for the newsletter and the
Volunteer Committee. Add the hours to the central list of volunteers as well.
l)
After the show ends, return the central list of volunteers to the Orpheus Office staff member.
m) Provide appropriate materials to the volunteer coordinator for the next show.
n) Production Teams are to consider nominations for the Lorna Rice Volunteer Award at their Post
Production meeting and that the Volunteer Coordinator is to remind the Production team of this
process.
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Appendix 2-W Office Staff - Terms of Reference
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Appendix 2-X Terms of Reference - Costume Rental Coordinator
Duties
The Costume Rental Coordinator is responsible for the following tasks
Rentals of OMTS Costumes
a) Actively promote costume rentals.
b) Act as a liaison between Orpheus and other community theatre groups for costume related issues,
including production, rentals, information sharing, etc
c) Respond in a timely fashion to and manage costume rentals with organizations/individuals,
ensuring that the rental process does not interfere with the current show in production.
d) Use the appropriate forms and rental rates from the costume rental policy.
e) Submit deposits with records to the Office Administrator monthly.
f) Submit time sheets to the Office Administrator for remuneration monthly.
g) Ensure return, and proper cleaning of returned rentals.
h) Put away returned rentals ASAP to the correct location in the costume department.
Support for OMTS Shows in Production
a) Give the initial introduction (tour and expectations) of the costume room and then be available, as
an ongoing resource only, for Costume Designers to ensure concerns are addressed. (Therefore,
duties will not include assisting the show costume production staff by pulling costumes.)
b) Communicate with the show team to ensure that the costume area is maintained in a neat, orderly,
safe condition.
c) During the two weeks a show is at the theatre, in preparation for the next show, assist the
Costume Production Manager to put away all costumes pulled or purchased but not used. It is the
duty of the Wardrobe Mistress to ensure all costumes are cleaned (washed or dry cleaned) and put
away after a show).
d) Report any storage concerns or deficiencies and any repairs to the Facilities Director.
e) Other duties will be mutually discussed and agreed upon as needs arise.
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Appendix 2-Y Facilities Manager Terms of Reference
Duties
The Facilities Manager is responsible for the following tasks
a) Building cleaning and maintenance
b) Equipment maintenance in workshop, kitchen and sewing room
c) Setting up for special events (tables, chairs, sound equipment as necessary)
d) Managing all rentals (implementing the proper forms) except props and costumes
e) Inventory control/management for workshop, paint loft and bar
f) If desired, recruit one Bar Manager for the season
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Appendix 2-Z Bar Operations and Bar Manager Responsibilities
The Facilities Manager is responsible for the OMTS bar, and may recruit a bar manager on an annual
basis.
Duties
The following are the duties of the Bar Manager and Bartenders:
a) The Bar Manager, or delegate, is responsible for stocking sufficient beers, liquors and mixers and
will either request an advance and/or provide appropriate receipts for reimbursement to the
Orpheus office.
b) The Bar Manager with the assistance of the Membership Director and the Volunteer Director,
will recruit Bartenders to operate the bar:
 on Friday nights after rehearsals, and
 at show related social events (i.e. Read-through Pot Luck, Karaoke Nights, the Banquet, etc.)
and
 at all Orpheus events that are not associated with a show but where the bar will be open (i.e.
the Annual General Meeting, Angels Nights, Orpheum Nights, etc.).
c) The Bar Manager and Bartenders are responsible for the adherence to all laws pertaining to the
running of premises licensed for the serving of liquor.
Note:
Smart Serve training will be made available to Bar Managers and Bartenders who wish to become
certified under this program.
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3 Operating Procedures
3.1
Orpheus Membership
All memberships must be approved by the Board of Directors. Membership is compulsory for members
of the Choral Group and for everyone appearing on stage who is 18 years of age or over. See
Appendix 3-A Membership Forms for the Membership Application Form, as well as the Change of
Information Form. Note that financial supporters are not members of the society unless they specifically
apply and pay membership dues.
The membership Fee is $30 per year per person (there is no family rate). Memberships for cast members
must be paid prior to the first rehearsal at the theatre. Life Memberships have not been issued since July
1987. Information on our mailing lists and the lists themselves (i.e. subscribers, flyers, patrons, members
etc.) are not for sale or for exchange with other groups or businesses.
3.2
3.2.1.
Awards and Recognition
Gold Pins
Any person joining the Society on or after July 15, 1975 shall be presented with a Gold Membership Pin
after 15 years (not consecutive) of active paid membership. These pins are ordered by the Membership
Director and are presented once a year at the AGM.
3.2.2.
J. Barry Ryan Award
The J. Barry Ryan Award is presented in recognition of past or present Orpheus members who have made
an outstanding contribution ABOVE AND BEYOND any normal involvement in the Orpheus
Community. The Award was established by Susie Bregg and Casey Krzyzanowski. A Committee is
established annually to determine if the award will be presented at the next AGM. Complete details are
contained in Appendix 2-T Terms of Reference – J. Barry Ryan Committee.
3.2.3.
Kiwanis Music Festival
Orpheus supports the Festival by presenting two annual competition awards and the Orpheus Trophy in
the Musical Theatre Song Category. The two $100 awards are administered and paid for out of the Board
of Trustees' funds.
3.2.4.
Board of Directors Appreciation Award
The Board of Directors Appreciation Award is presented in recognition of any individual the Board of
Directors views as having provided an exemplary service on behalf of the organization. The award may
consist of any combination of TWO subscriptions to an Orpheus season (3 shows) and THREE
reimbursements for dinner prior to the shows for a maximum of $ 100.00 per show. This is a
discretionary award and may be given out by the Board at any time.
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3.2.5.
Lorna Rice Volunteer of the Year Award
The Lorna Rice Volunteer of the Year Award is presented at the AGM to any single volunteer who has
provided an exemplary service to the Society over the course of a Season in a non-performance but showrelated capacity.
This Award has been established to recognize outstanding volunteer contributions made by an individual
working 'behind-the-scenes' on 1 to 3 shows during a regular season. The production heads for the season
are encouraged to each nominate one person from their team. Nominations are confidential and the Board
of Directors will determine the winner for the season.
All nominations should include the reason(s) why each nominee has been proposed such as: the quality
of work, attitude, the number of volunteer hours contributed, or the number of departments in which the
nominee worked. Deadline for submissions will be the banquet evening.
Eligibility:
a) The candidate-volunteer must have contributed productive volunteer hours to a regular season
show.
b) A volunteer does not need to be a member of Orpheus.
c) Contributions excluded from eligibility are those responsibilities associated with the following
roles in Orpheus' volunteer and staff structures:
 Paid positions;
 Elected positions;
 Honorarium positions; and
 Performers.
Note: The exclusion of certain responsibilities does not necessarily disqualify an individual from
consideration if they contribute volunteer hours which do not fall within the scope of their role as
paid staff, elected official, honorarium recipient or performer.
3.3
Tickets
3.3.1.
Box Office
Centrepointe Theatre manages all box office functions for the Society. The President is the Board’s
liaison with the Theatre Box Office and the Vice President for all other production aspects (theatre
contracts, production schedule etc.).
3.3.2.
Invited Dress Rehearsal
At the discretion of the Board of Directors, in consultation with the Show Directors, an invited dress
rehearsal may be held the evening prior to opening night. A limited number of tickets may be made
available. However, due to rules set by Centrepointe Theatre, the number of tickets issued cannot exceed
one third of the house capacity. Production staff, cast and crew will be entitled to a maximum of two
tickets for the dress rehearsal to be given out at their discretion. The only additional tickets that will be
given out will go to:
a) those volunteers who have worked on the show in some capacity; and
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b) people who have made special donations to the production
The Board of Directors, in consultation with the Show Directors, may approve some tickets for small
groups under special circumstances. These requests must be submitted in writing to the Board at least one
month prior to the dress rehearsal and clearly justify the reason for requesting complimentary seating at
the dress rehearsal rather than attending an actual performance or taking advantage of our group or
student rush discounts.
The President will obtain the tickets from the Centrepointe Box Office and control their distribution
through the Producer, if designated. Note that any invitation extended to anyone outside those involved
in the production may require an additional royalty fee.
3.3.3.
Complimentary Show Tickets
Members of the Boards of Directors and Trustees, and the Honorary President and Vice President are
entitled to 2 complimentary tickets for each show (or two season subscriptions). The President will draft a
letter to Centrepointe Theatre following each AGM confirming the individuals entitled to these
complimentary tickets.
The following production personnel are entitled to 2 complimentary tickets for the show on which they
held the position:

Artistic Director

Costume Designer

Master Carpenter

Musical Director

Wardrobe Mistress

Rehearsal Accompanist

Choreographer

Cutter

Production Assistant

Producer


Props Designer

Stage Manager
Costume Production
Manager


Props Carpenter
Lighting Designer


Sound Designer
Social Convenor –
Orpheus House

Make-up Designer


Hair Designer
Theatre Food
Coordinator

Technical Director

Set Designer

Scenic Artist
Orpheus reserves a block of 10 tickets for each performance. These tickets may be distributed free of
charge at the discretion of the Executive Producer or Producer. The main purpose of these tickets is to
allow the Director and/or Choreographer to watch the show from the audience. Tickets may also be
distributed to department heads or other Orpheus volunteers. These tickets are not intended for
individuals who were not associated with the production. Any unused tickets from this block will be
returned to box office one half hour before curtain for sale to the public.
Complimentary tickets may be given to members of the media as approved by the Marketing & Publicity
Director, who may also authorize complimentary tickets to organizations for fund raising activities.
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3.3.4.
Ticket Prices
Ticket prices can only be changed by resolution of the Board of Directors.
3.4
Orpheus Owned Shows
Orpheus owns 51% of "Glengarry Days" which was given a full-staged production at Commerce in 1973.
A concert version was given at Orpheus House in 1991 as part of the Fund Raising Campaign for the
1991 extension to Orpheus House. The remaining 49% is owned jointly by the authors Robert Gardiner
(script and lyrics) and Berthold Carriere (music).
Orpheus owns the majority interest in "Tango House" which was work-shopped in a cabaret-style
production at Orpheus House in 1992. The minority interest is owned by the author-composer, Robert
Swerdlow. A separate ownership percentage applies to the individual songs of the show.
3.5
Meetings, General
All meetings should have a Chairperson and a Secretary (or where official minutes are not being taken, a
person responsible for noting the decisions, action(s) to be taken and by whom, and the agenda for any
future meetings). See Appendix 3-B Guidelines for Planning Meetings for guidelines on how to plan and
run effective meetings.
3.6
Annual General Meeting
3.6.1.
Notice and Agenda
The Bylaws require that the Membership receive the Notice and Agenda as well as the Nominating
Committee's Report at least 15 days prior to the Meeting - which is held on the Monday before Labour
Day of each year. It is the responsibility of the Board of Director’s Secretary to ensure that the AGM
package is communicated (mailed or emailed, etc.) to all members within this timeframe.
The following is a sample notice:
The Annual General Meeting of the Orpheus Musical Theatre Society of Ottawa will be held at
Orpheus House, 17 Fairmont Avenue, Ottawa, on Monday, August (date) at 7:30 p.m. All
members in good standing are encouraged to attend. In accordance with the Bylaws, this notice
also includes the Slate of Officers for next season, as prepared by the Nominating Committee.
A sample AGM agenda is included at Appendix 3-C.
3.6.2.
Responsibilities
The following is a breakdown of the responsibilities pertaining to the Annual General Meeting (AGM):
a) President. Chair the AGM;
b) Secretary. Notify the membership of: the meeting date and time, the agenda, and the Slate of
Officers from the Nominating Committee's Report. Ensure that copies of all Reports are available
for distribution at the Meeting. Have someone at a reception desk to distribute the ballots and
hand out the Reports and mark off people on a current copy of the membership list (the latter is
required to confirm when a quorum has been reached so the Meeting can be called to order). Take
the Minutes of the Meeting;
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c) Nominating Committee Chairperson. The Chairperson is responsible for running the election
of the next Board of Directors at the AGM. The Chairperson will have ballots available for voting
and will arrange for at least two scrutineers to hand out and count the ballots (NOTE: To maintain
the integrity of the election process, the scrutineers will NOT be allowed to vote). See Appendix
3-D for a sample script for running the elections at AGM;
d) Membership Director. Have the Gold Membership Pins, if any are being presented at the
Meeting, on hand for presentation by the President later in the Meeting (the number required is
determined from the Membership Book and ordered by the Membership Director in early May of
each year). Have someone available to pass out blank membership forms ready for people to
renew their memberships and collect completed forms and payment. The Director will ensure that
a short paragraph about each Gold Pin recipient is composed President to read at AGM;
e) Community Relations Director Ensure that the individual plaque(s) for the J. Barry Ryan
Memorial Award, if any, are on hand for presentation later in the Meeting;
f) Facilities Manager. Ensure that chairs have been set up the hall for the Meeting, tables for
Membership, Reception and the Board, and that a microphone is set up at the President’s seat;
and
g) All Directors. Ensure that additional material to be provided to members at the AGM (i.e. reports
which do not necessarily need to be mailed out) is given to the Secretary or Orpheus Office staff
member for photocopying no later than one week prior to AGM.
3.7
3.7.1.
Finance
Insurance
The Treasurer is responsible for the yearly renewal of the insurance on Orpheus House. Appropriate
building and liability insurance will be maintained.
3.7.2.
Bank Accounts
The Board of Directors have an operating and savings account with Scotiabank. The Board of Trustees
have a current account with Alterna Bank and an investment account with RBC. See the Board of
Directors and the Board of Trustees Terms of Reference regarding signing and co-signing authority on
cheques.
3.7.3.
Budget
The overall budget for each show is determined by the Finance Committee prior to the start of each
season, with recommendations for individual budget items. Items include: royalties, tickets, publicity,
program, orchestra, sets, costumes, make-up, hair, honoraria, set-up and tear-down, light and sound,
props, etc.
3.7.4.
GST
Orpheus is exempt as a non-profit group or as a theatre organization and therefore does not have to charge
GST on tickets. GST, however, must be paid on orchestra costs when the individual musician earns over
$30,000 a year from Orpheus contracts. Based on the non-profit status, Orpheus will receive a 50% GST
rebate on all expenses.
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3.8
Rentals
3.8.1.
General
We must remember at all times that our primary "reason for being" is the production of our shows. Any
other activity must be subservient to this. Specifically, rentals must only take place after the affected
production staff have indicated that the objects, equipment or space are available; rentals should not
require any significant human resources to administer or control; and all rentals should be subject to
cancellation on short notice if our needs or plans change. We should not get too heavily into the rental
business as it might jeopardize our non-profit status or cause other legal/tax/zoning and, more
immediately, insurance problems. Rentals should be regarded as "found money" and not a promoted way
of earning revenue.
All rentals require completion of a Rental Agreement Form, copies of which are filed in the Office. See
Appendix 3-E for the sample rental form and agreement.
3.8.2.
General Policies
a) The Facilities Manager must authorize all rentals. Advance approval by the Board is required for
rental of space involving more than 3 days or evenings;
b) Access and rental priority will be given to non-profit theatre groups or school dramatic groups
subject to conditions on rental form;
c) A Rental Agreement form must be completed for all rentals. This will ensure that if something is
missing from Orpheus House we can readily check if it has been rented out. All rental forms
should be filed with the Orpheus Office; and
d) The following may not be rented out:
 The Green Room is a general-purpose area and may not be rented out on its own. The Green
Room as part of the rental of the Rehearsal Hall or Workshop or Paint Loft is not to be used
as an additional Rehearsal Hall or Meeting Room and must be kept available to other users of
Orpheus House;
 Rental of Library or Archive material is not permitted;
 Rental of equipment such as the photocopier and computer is not permitted; and
 For security reasons, the Board Room and Costume Room (and equipment therein) are not
available for rental.
3.8.3.
Rehearsal Hall Policy
a) Conditions apply as per rental agreement;
b) Rental of the Rehearsal Hall includes non-exclusive access to the Green Room;
c) Use of marking tape on the floor must receive prior approval from Orpheus and such tape must be
removed by the end of the rental period;
d) Installation of additional temporary electrical equipment (such as air conditioners, fans, sound
boards) must receive prior Orpheus approval; and
e) Renters may not disconnect or modify any Orpheus equipment (e.g. the beer refrigerator).
3.8.4.
Policy on Renting Costumes
a) Conditions apply as per rental agreement;.
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b) All costume rentals must be referred through and approved by the Costume Rental Coordinator
who, in consultation with the current production Costume Designer, will determine if a costume
can be rented; and
c) All costumes rented or loaned must be returned on time, dry-cleaned or washed. An additional
charge will be made if this not done.
3.8.5.
Workshop or Paint Loft;
a) Conditions apply as per rental agreement;
b) Rental of the Workshop or Paint Loft includes non-exclusive access to the Green Room;
c) Supplies, such as wood, paint, canvas, hardware, et cetera are not available. Water, lights and
heat are provided. Stationary power tools and workbenches are available. Portable hand or power
tools, paintbrushes, et cetera are not available; and
d) The Workshop and Paint Loft will not normally be available for rent from the time of the actual
start of construction and of painting of a show until a week before Opening Night, nor on Tear
Down days. Exceptions may be made when rental is for daytime use and does not involve moving
the present show's materials or sets.
3.8.6.
Props, flats, drops, legs, etc.
a) Conditions apply as per rental agreement.
b) Rented items must be undamaged on return, or repaired to the Society’s satisfaction.
c) Items may not be altered without our prior agreement and must be restored to the original
condition when requested by Orpheus at the time of rental.
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3.9
Access for Disabled Persons
All efforts will be made to accommodate special needs. Orpheus House is accessible from a front door
ramp, and offers elevator access to upper floors. In addition, a handicapped parking space in the lot is
reserved. See also paragraph 3.14.
3.10 Smoking Policy
In July 2001, Orpheus House was designated a non-smoking building.
3.11 Orpheus House Security
The Society installed a security alarm system that is serviced by a contracted security company. The front
door is equipped with a codetronic lock. The Facilities Manager changes the code after every production,
and with the VP will determine who in the production team, is given the code. The Facilities Manager
will also determine who is given the code to enable/disable the alarm system. All codes are to be kept
confidential.
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3.12 Orpheus Privacy Policy
At the May 18, 2006 Board of Directors meeting the Orpheus Privacy Policy was approved. See
Appendix 3-F Privacy Policy.
3.13 Health and Safety Policy
Orpheus Musical Theatre Society is committed to the promotion of the health, safety and well-being of all
members of its community, to the provision of a safe and healthy work and volunteer environment, and to
the prevention of occupational injuries and illnesses.
The Board of Directors, the President and all levels of management including production teams and
committees will work in consultation and cooperation with employees, joint health and safety
committees, employees, volunteers, contractors and visitors to ensure that the requirements of the
Occupational Health and Safety Act and its regulations and other applicable legislation are fully
implemented and integrated into all work and volunteer activities.
Where reasonable, the Orpheus Musical Theatre Society will strive to exceed the legislated requirements
by adopting the best practices available to protect the Orpheus community and to promote a positive
health and safety culture. Orpheus Musical Theatre Society will work towards continuous improvement in
its health and safety program.
Board of Directors members, General Manager, directors, production heads, volunteer coordinators, and
supervisors, whether production related or administrative, will take responsibility and accountability for
the health and safety of those individuals under their direction and those workplaces under their charge.
They will advise their volunteers of the existence of potential or actual workplace hazards, and will
ensure that they work safely and in accordance with the Occupational Health and Safety Act and its
regulations. They will take every precaution reasonable in the circumstances for the protection of the
Orpheus community.
All Orpheus employees, production heads, committee chairpersons and volunteer coordinators have some
responsibility for ensuring health and safety in the workplace. Volunteers will work safely and in
compliance with the Occupational Health and Safety Act and its regulations, and Orpheus policies and
procedures. Any member of the Orpheus community will report all unsafe and unhealthy conditions and
practices to any member of the Board of Directors, production head or committee chairperson so that they
may be promptly remedied.
Contractors, employees and visitors to the Orpheus Musical Theatre Society will comply with all relevant
legislation, as well as Orpheus policies and procedures.
While volunteers are not covered by the Occupational Health and Safety Act, Orpheus is also committed
to ensuring that health and safety is considered in all aspects of volunteer life. Volunteers are responsible
for conducting themselves in a safe manner, and are required to comply with all relevant legislation,
Orpheus policies and procedures.
Individuals who fail to meet their obligations concerning health and safety may, depending on the
circumstances, face appropriate disciplinary action, up to and including discharge from their current role,
volunteer or otherwise.
All employees, volunteers and members of the Orpheus community are expected to demonstrate their
commitment towards a safe and healthy work and study environment by acting in compliance with this
Policy.
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3.14 Bar Operations
Orpheus is licensed to serve alcohol, with food, in the rehearsal hall. Prices are set by the Board and any
increases must be passed by the Board of Directors.
For more information regarding bar operations see Appendix 3-G, Bar Operations and Bar Manager
responsibilities; and Appendix 2-M, Board of Directors Job Descriptions - Hospitality Director.
3.15 Orpheus House Parking
There are six designated parking spaces at Orpheus House with one designated for handicapped use. If the
designated parking spaces are full, anyone can use the handicapped spot or non-designated spots
providing they post a note on the dashboard of the vehicle stating their name and where they can be
located in the building, or on the whiteboard in Orpheus House stating their name, make of car and where
they can be located in the building. This policy is to be applied to anyone who is blocking another car in
the parking lot.
3.16 Recognition for Get Well and Sympathy Wishes
From time to time it is necessary to recognize the illness or the passing of someone who has been a
member/supporter of the Orpheus Musical Theatre Society or a member of their family. The following
policy is meant to be an aid in guiding the Society’s Board of Directors and Orpheus Office staff member
in determining how to recognize these people. It is important to remember that this is a guideline only;
there will be exceptions that will require special consideration.
The responsibility of following up on these policies is with the Orpheus Office staff member and the
Secretary of the Board of Directors. It is not, however, the Orpheus Office staff member nor the
Secretary’s responsibility to keep track. When recognition is required, it is up to all Members of the
Society to inform either the Orpheus Office staff member or the Secretary of the Board of Directors. It is
important to note that some do get missed, and that this is not to be reflected on anyone in the Society,
especially the Orpheus Office staff member, the Secretary of the Board of Directors or any member of the
Board of Directors.
The recognition should remain in the scope of the Orpheus Musical Theatre Society. The dedication of a
show or performance should not take place either through a verbal announcement or written in a
programme with the exception of a personal dedication in a programme bio.
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3.16.1. Get Well Wishes
In the event of a serious illness of a member/supporter of the Society it should be at the discretion of the
Board of Directors as to how to recognize these members/supporters.
Where possible, the following people should receive get-well wishes in the form of a card:
a) Current members of the Board of Directors and Board of Trustees or an immediate family
member1;
b) Current members involved with a production taking place in that season, whether production
personnel or performer;
c) Paid employees or contract workers for the Society or an immediate family member;
d) A long time active member of the Society; and
e) Special exceptions deemed necessary by the Board of Directors.
3.16.2. Expressions of Sympathy
In the event of death of a member/supporter of the Society it should be at the discretion of the Board of
Directors as to how to recognize these members/supporters.
Where possible, a card expressing sympathy to a member/supporter should be sent to:
a) Current members of the Board of Directors and Board of Trustees or an immediate family
member;
b) Current members involved with a production taking place in that season, whether production
personnel or performer;
c) Paid employees or contract workers for the Society or an immediate family member;
d) A long time active member of the Society; and
e) Special exceptions deemed necessary by the Board of Directors.
1
Family member means spouse or significant other, parent or child of the member
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Appendix 3-A Membership Forms
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Appendix 3-B Guidelines for Planning Meetings
Six Stages of Effective Meetings
a) Planning. Be sure you know what the meeting is for and what it will achieve.
b) Inform - Pre-notification. Make sure everyone knows exactly what is to be discussed and what
you want from the discussion. Make sure the people directly involved have been invited and can
attend the meeting as scheduled.
c) Prepare. Prepare a logical sequence of items and allot times based on their importance, not their
urgency.
d) Structure and Control – Processing. Take the facts before the opinions. Take the opinions
before the decisions. Stop people from jumping ahead or going over old ground.
e) Summarize and Record - Putting it on the Record. Summarize all decisions and record them
immediately. Assign the actions to be taken to the correct individual(s).
f
Timing. Chose the right time and place for participants. Limit the time of the meeting. Start on
time and end on time.
Leading the Meeting
a) Show respect for the members' time by starting business at the agreed upon time and ending on
time. If necessary, ask for the committees' help in monitoring time.
b) Take a break after each 60 to 75 minute period and try not to let a meeting last more than 3 hours.
c) Deal only with one item at a time. If members begin discussing other items, remind them that
they will be dealt with later on the agenda or added to the agenda if appropriate. If the item needs
to be discussed first, suspend your current item until this one is resolved.
d) Do not let members hold private conversations while someone else is addressing the meeting.
e) Treat everyone's ideas as valid and worthy of consideration. Criticisms should be specific and
factual, not subjective and personal.
f) Be firm in controlling the individual who is monopolizing the discussion. Remind the committee
that everyone's opinion is welcome. Ask to hear from others who have not yet spoken.
g) After each item is discussed, the chairperson should summarize the main points before asking for
a vote.
h) Before moving to a firm decision on any item glance around the room. Has everyone been heard?
Give the quiet members a change to speak.
i)
Be generous with recognition and encourage individual members' contributions whether they are
ideas or time and effort. Give credit where credit is due.
j)
Be open and honest and encourage members to be the same.
k) Keep all members informed about what is happening or has happened since the last meeting.
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Reviewing the Decisions Made
a) WHAT exactly is the decision?
b) WHO is going to implement it?
c) WHAT information and/or materials do they need to do it?
d) By WHEN will it be done?
e) HOW will the group know it has been done?
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Appendix 3-C Sample AGM Agenda
The Annual General Meeting (AGM) of the Orpheus Musical Theatre Society of Ottawa will be held at
Orpheus House, 17 Fairmont Avenue, Ottawa, on [date] at [time]. All members in good standing are
encouraged to attend. In accordance with the Bylaws, this notice also includes the Slate of Officers for
next season, as prepared by the Nominating Committee.
a) President's Opening Remarks
b) Minutes of the (date of last year's AGM) Annual General Meeting
c) Presentation of Board of Directors’ Reports
d) Audited Financial Statement for the Year ended June 30, (year)
e) Auditor: a) Appointment of Auditor; and, b) Remuneration of Auditor
f) Board of Trustees' Report
g) Presentation of Cheque to Board of Trustees
h) Choral Group Report
i)
Ratification of Bylaw Change(s). See Agenda Appendix (Attach appendix showing wording of
the new Bylaw(s) to be ratified.)
j)
Ratification of Appointment to the Board of Trustees
k) Appointment of Honorary President (As per Bylaws, the members vote for Honorary Pres at
AGM – usually for 1 year term. The Board of Directors are the ones that select an Honorary VP
at the next Board meeting following the AGM).
l)
Presentation of awards
m) Ratification of Appointment to the Board of Directors. (This item will only appear when an
incumbent Board Member resigns during their first year of office and the appointee has agreed to
serve for the second year.)
n) Nominating Committee's Report and Election of Officers to the (season date) Board of Directors
o) Presentation of Gold Pin Memberships
p) Other Business
q) President's Closing Remarks and Adjournment
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Appendix 3-D Sample Election Script for the Annual General Meeting
A. Preliminary Activities
Good evening ladies and gentlemen. We will now conduct the election of Officers to the Orpheus [season
date] Board of Directors. If anyone eligible to vote has not yet registered and received their ballots,
please do so now. You must be an Active or Life Member to vote.
In addition to those individuals nominated in the Committee’s Report, nominations may be made from the
floor. Such nominations do not have to be seconded, but the nominee must agree to stand for election and
to assume office if elected. Also, a person cannot nominate more than one nominee for the same position.
For each position, I shall ask twice if there are any further nominations. If there are, the person or persons
nominated will be added to the Slate. I shall then ask for a Motion and Second to close nominations and
we shall vote on this Motion. If carried, we shall proceed with the election of the candidate to fill the
position. Where there is only one person on the Slate and there are no further nominations, that person
will automatically be elected by acclamation once the Motion to close nominations is carried.
Where there are 2 or more candidates for a position, the voting varies according to the number of
candidates, and I shall explain the procedure to follow as the occasion arises. Also, where 2 or more
candidates are running, I shall ask each candidate to address the Meeting prior to votes being cast. The
candidate with the majority of votes will be elected. For voting on motions, a show of hands with 51% of
eligible members present voting in favour of the motion will carry the motion. In my capacity as
Chairperson of the Nominating Committee, I will cast the deciding vote in case of a tie in accordance
with the Bylaws.
Are there any questions? (Pause and answer any points raised)
B. Scrutineers
And now, before we begin with the elections, I move that [name] and [name] be appointed as Scrutineers
for the election. These individuals are aware that they will not be allowed to vote on any candidate.
I call for a Second to the Motion. [Acknowledge who makes Motion and Second, wait for Secretary to get
names]
Is there any discussion on the Motion? [If there is no further discussion]: All those in favour? Those
against? [Pause and count].
I declare the motion carried. [If motion is not carried, ask for further discussion and repeat the vote until it
is carried.]
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C. Election
a) The Nominating Committee has nominated [read the names and position from the report].
b) Are there any further nominations? [Pause, and if so add to above]. Are there any further
nominations? [Pause, and if so add to above].
c) I call for a Motion and Second to close Nominations. [Acknowledge who makes Motion and
Second, wait for Secretary to get names]
d) Is there any discussion on the Motion?
e) All those in favour that nominations be closed? [Pause and count] Those Against? [Pause and
count]. The Motion is carried and nominations are closed. [If not carried, repeat steps 2 – 5 until
carried].
f) Where only 1 candidate on Slate for a position and no further nominations received: I declare
[name] elected as [position] by acclamation.
g) Where two or more people nominated for same position:
 We will now proceed with the election for [position].
 I would ask each candidate to address the Meeting. [Call up each one in order nominated]
 Any questions prior to voting? [Pause and respond to any questions]
 Please print your candidate’s surname on a ballot, fold the ballot once, and pass it to one of
the Scrutineers. Only 1 name should appear on the ballot.
 [Wait for votes to be counted. If there is a tie, the Scrutineers will call the Chairperson of the
Nominating Committee aside who will cast the deciding vote]: The votes have been counted
and I declare [name] elected as [position].
 [Repeat steps 7 (a) – (e) as necessary for each position to be elected]
D. Following the Elections
a) I would now ask for a Motion and Second that the ballots be destroyed. [Acknowledge who
makes Motion and Second, wait for Secretary to get names]
b) Is there any discussion? [If there is no further discussion]: All those in favour? Those Against?
[Pause and count]:
c) I declare the motion carried. [If motion is not carried, ask for further discussion and repeat the
vote until it is carried.]
d) There being no further business pertaining to the elections, I would like to thank our Scrutineers
and the members of the Nominating Committee for their work in preparing the Slate, and all of
you for participating in tonight's elections. I now turn the Chair back to the President. Thank
you.
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Appendix 3-E Rental Agreement Form
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Appendix 3-F Privacy Policy
Policy Respecting Privacy and the Protection of Personal Information
Introduction
Orpheus’s commitment to protect the privacy and confidentiality of its members’ and donors’ personal
information is addressed in this Privacy Policy. Our policy complies with the requirements of the
Personal Information Protection and Electronic Documents Act of Canada.
This Privacy Policy details Orpheus’s commitment to respect and protect personal information, why we
need to collect personal information, and how the confidentiality of that information is protected.
Accountability
Orpheus is responsible for all personal information under its control and has appointed a Privacy Officer
who is accountable for the Society’s compliance to this Privacy Policy.
Identifying Purposes
We will identify the purpose(s) for which personal information is collected at or before the time the
information is collected as follows:
a) When you request information from Orpheus, we require personal information, such as name, email address, and mailing address. We only use this information to fulfill your request.
b) When you become a member of Orpheus, we require personal information. We only use this
information for communication purposes. An annual Membership Directory is issued to all
members. Members can choose not to have their contact information listed in this directory.
Names and contact information for members under the age of 19 are not published in the
Membership Directory nor provided to any member without permission.
c) When you audition for an Orpheus production, we require personal information and a Polaroid
photograph. We only use this information to contact individuals during and immediately
following the audition process. All audition forms and photographs are destroyed once that
production has been completed.
d) Should you be cast in, or participate in any capacity in an Orpheus production, photos will be
taken for publicity purposes.
e) Should you be cast in, or participate in any capacity in an Orpheus production that requires you to
be on site at Centrepointe Theatre, you will be asked to complete a medical history form to be
used in case of emergency.
f) All ticket sales to Orpheus productions at Centrepointe Theatre are handled by the Centrepointe
Theatre Box Office. All persons who purchase tickets, by subscription or on an individual show
basis, will be required to give personal information for appropriate use in accordance with
Centrepointe Theatre privacy practices.
g) When you receive honoraria from Orpheus, we require personal information in order to provide
the necessary information slips in accordance with Canada Revenue Agency regulations.
h) When you make a donation to Orpheus, we require personal information. We will use this
information to issue charitable donation receipts in accordance with Canada Revenue Agency
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regulations, and to acknowledge your donation in our souvenir programs unless you request
anonymity.
Consent
Your knowledge and consent are required for the collection, use, or disclosure of your personal
information. We only collect, use, or disclose personal information for the purpose for which it was
collected.
Members or donors who do not wish to be listed in membership directories or donor acknowledgements
will be respected and their contact information will be used only for communication purposes.
Limiting Collection
We only collect the information that we need in order to deliver services or information. We do not use
techniques to collect personal information about you without your knowledge.
Limiting Use, Disclosure and Retention
We do not use or disclose your personal information for any purpose other than that for which it was
collected.
Personal information is retained only as long as necessary for the fulfillment of those purposes. Orpheus
does not keep personal information if it is no longer needed for the purpose(s) required, or as required by
law.
Accuracy
Personal information is kept accurate, complete, and up-to-date as is necessary for the purpose(s) for
which it is to be used.
Safeguards
Orpheus protects personal information by using safeguards that are appropriate to the sensitivity of the
information.
The Orpheus Office staff member, Board of Directors, Board of Trustees, and all individuals who must
access personal information in the execution of their duties for the Society, are specifically advised that
they are responsible for maintaining the confidentiality of that information.
Personal information is secure within Orpheus. We have appropriate security controls to protect against
non-authorized access, use, alteration, duplication, destruction, or disclosure:
a) Personal information is never made available to any person or organization outside of Orpheus.
b) Our safeguards protect personal information against loss or theft, regardless of the format in
which it is held.
c) We have procedures in place with respect to destroying, deleting or disposing of personal
information when it is no longer required for the purposes set out in this policy, or by law.
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Openness
We will make our complete policies and practices relating to the management of your personal
information readily available to you.
Access
Upon request in writing, you will be informed of the existence, use, and disclosure of your personal
information and you will be given access to that information. You may challenge the accuracy and
completeness of the information and have it amended as appropriate.
If you wish to review or verify the personal information we have on record or find out how we have used
it, you can do so by writing to us:
a)
at the following address:
17 Fairmont Avenue
Ottawa ON K1Y 1X4
b) by fax at (613) 729-2768; or
c) by e-mail us at orpheus-theatre@rogers.com
Orpheus has thirty (30) days to reply to such a request.
You can ask to delete or correct any information on file. The request for correction must be made by
writing to us, either by mail at the above-mentioned address, or by fax at the above-mentioned number, or
by e-mail at the above-mentioned e-mail address. Orpheus has thirty (30) days to reply.
Challenging Compliance
You can address any challenge concerning our compliance with this Policy to the Orpheus Office .
Internet Related Policies
When you visit www.orpheus-theatre.on.ca without interacting with the site, your personal information
and e-mail address are not recorded. Orpheus does not currently use any tools to evaluate site metrics or
collect data.
If you request information or services by e-mail your e-mail address and any other personal information
required to fulfill to your request will be collected. This information will not be used for any other
purpose than that for which it was collected.
We collect the e-mail addresses of those who subscribe to our e-mail service and of those who
communicate with us via e-mail. This information is used only for internal communication and
information purposes.
We do not send unsolicited e-mail. If you subscribe to our e-mail service, you authorize Orpheus to send
you messages from time to time. These messages contain information about Orpheus events and activities
that we think will be of interest to you. You may cancel your subscription to this e-mail service at any
time.
This policy discloses the privacy practices for the Orpheus Musical Theatre Society and for our Web site.
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However, our site contains links to other sites hosted by other organizations. Once you link to another
site, you are subject to the privacy and security policies of the new site. We encourage you to read the
Privacy Policies of all Web sites you visit, especially if you share any personal information.
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4 Production Procedures
4.1
Appointment of Production Personnel
All personnel who are interested in filling a Production Position that has an associated Honorarium must
apply, in writing, to the Board of Directors. The Board will then appoint the appropriate people based on
available information. Positions without an associated Honorarium may be filled by the appropriate
Department head (i.e. the Stage Manager may appoint Assistant Stage Managers and Apprentice Stage
Managers). Responsibilities for the Production personnel are described in the Appendices to this Section.
The Board has a responsibility to select new people as much as possible to ensure continued growth of the
Society. In order to ensure this, Department heads are encouraged to accept Assistants or Apprentices
wherever possible.
4.2
Honoraria
The production team may consist of the following positions that receive an honorarium:
Board/Production
Position
Related Position
Initial
Increment 1
Increment 2
Max
Nil
Nil
Nil
Nil
100
150
200
250
450
600
750
900
100
150
200
250
Musical Director
300
425
550
675
Choreographer
400
525
650
775
Set Designer
225
300
375
450
200
250
300
350
225
300
375
450
100
150
200
250
Cutter
100
150
200
250
Costume Production
Manager
350
200
250
300
Lighting Designer
225
300
375
450
1st Vice President
Producer*
Artistic Director
Production Assistant*
Scenic Artist*
Costume Designer
Wardrobe
Mistress/Master*
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Board/Production
Position
Related Position
Initial
Increment 1
Increment 2
Max
225
300
375
450
200
250
300
350
Master Carpenter
200
250
300
350
Rehearsal
Accompanist
300
375
450
525
Sound Designer
225
300
375
450
Props
Master/Mistress
150
200
250
300
100
150
200
250
Make-up Designer
100
150
200
250
Hair Designer
100
150
200
250
Hospitality Director
Nil
Nil
Nil
Nil
Orpheus House Social
Convenor *
100
125
150
175
Theatre Food
Coordinator *
50
65
75
90
Stage Manager
Technical Director*
Properties Carpenter*
Audition
Accompanist
60/service and 2 complimentary tickets for the show
(one pair per accompanist)
Caveats
a) No honorarium given for the position if performed by the associated Board of Director or Related
Major positions. A person who is selected for a major position will not receive the honorarium for
its related position unless the Board determines that extraordinary circumstances exist.
b) Honorarium cheques are delivered at the banquet for the production (except for the Audition
Accompanist honorarium, which is delivered following auditions).
4.3
Orchestras
The Society uses orchestras whose members belong to the American Federation of Musicians. This
includes the Musical Director and the Contractor. Once the Board of Directors has approved the orchestra
budget, the Contractor and the Musical Directors for the season meet. Their goal is to fairly divide the
budget to get the best orchestra possible. It is then the Contractor's job to find the best musicians for each
orchestra.
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4.3.1.
Orchestra Contractor
The following information was provided by the Musician’s Association of Ottawa-Carleton, Local 180, of
the American Federation of Musicians (AFM):
a) The Orchestra Contractor is appointed by the Musician’s Association of Ottawa-Carleton, Local
180, of the American Federation of Musicians. The Board of Directors ratifies the appointment.
The AFM is willing to discuss the appointed Contractor if the Orpheus Board has questions or
concerns.
b) The Orchestra Contractor is a natural person*, member of the Musician’s Association of OttawaCarleton Local 180, other than the leader, having the mandate to sign engagement contracts with
the producer/ engager, on behalf of the musicians, to select and recruit musicians, collect fees and
deduct union work dues and work permits at source. The contractor is a musician, performing or
not.
*to differentiate from that of a company
4.4
Production Meetings
Production meetings should be called and chaired by the Executive Producer/Producer at least once a
month during the rehearsal/preparation period. The Directors, Designers and Stage Manager should meet
at least two months prior to Opening Meeting for their show to discuss all major issues.
4.5
4.5.1.
Audition Process
Principles
The quality of our shows is directly related to the quality of our casts, so it is in our interests to cast the
best people we can find in each role.
We have, and must continue to have, audition practices which must both be, and appear to be, fair and
open.
We must have audition practices that are workable.
These three items always exist in a degree of tension. The intent of these policies is to provide boardsanctioned guidance in some of the areas where these principles conflict. Production teams are required to
adhere to these policies. If a production team believes an exception to these policies is warranted, they
may request through the VP (Executive Producer) that the Board allow an exception.
In the following, "directors" refers to the show directors.
4.5.2.
General
All persons appearing on stage in our productions (with the exception of walk-ons - see below) shall
complete a "normal" audition. That is - learn and perform a dance sequence, sing a prepared song, and
read as directed.
In unusual circumstances, at the discretion of the directors, a person may be exempted from one or more
of these three components provided that, if cast, they are only used in such a way that they do not use the
skill for which they did not audition. Thus a person who does not sing at audition may not sing on stage.
A person who does not complete a dance audition may not participate in any dance or choreographed
movement, these terms to be interpreted broadly. To preserve maximum casting flexibility, the granting
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of exemptions from full auditions is strongly discouraged.
A Director or anyone else may suggest to any person that they audition. Any such suggestion must
clearly indicate that auditionee is not guaranteed a role.
A Board member must be present at all auditions as an observer. The Board member does not have a role
in casting discussions or decisions. Wherever possible, the same Board member should attend all audition
sessions for a production.
4.5.3.
Production People
No person who has observed any audition will be permitted to audition for a role in a show and thus
cannot be offered a role.
Production team members who have not observed an audition are permitted to audition or be cast. Under
normal circumstances they would be expected to relinquish their production role if cast.
People working on the "audition desk" may audition, but not during an audition period when they are
working on the desk.
People teaching the dance routine may audition provided they have not seen any part of the auditions
other than the dance section. If possible they should audition during an audition session when they are
not the teacher. If this is not possible, they should audition at the beginning of an audition session.
4.5.4.
Nepotism
Given the realities of our organization, it is not feasible to disallow spouses, partners, roommates, best
friends, parents, children, etc of the directors or other audition team members from auditioning or being
cast.
When such situations arise, the other members of the audition team and the Board observer must exercise
special vigilance to ensure that the process remains fair. Where feasible (i.e. in any case except one
involving one of the three directors), the audition team member affected should absent themselves from
any discussion of the auditionee involved.
4.5.5.
Early Auditions
If a person who will not be available during the published audition period wishes to audition early, they
may request an early audition. The granting or refusal of such request is at the sole discretion of the
directors. If the request is granted, a full audition as described must be completed at a mutually
convenient time.
4.5.6.
Too many Auditionees
Audition time slots are available on a first-come first-served basis. The audition team is expected to make
reasonable efforts to audition everyone interested, but it is recognized that on occasion this will not be
possible. Those who are not able to obtain one of the first-come first-served slots may ask to be placed on
a waiting list. These people may be offered any time slots that may become available, but they must
understand that there is no guarantee that they will get a chance to audition.
4.5.7.
Extending Auditions
If, at the end of the announced audition period, the directors feel that they need to see more people for one
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or more roles, auditions may be extended for these role(s). (A "role" may be a specific character, or more
general such as "men", "tenors", an age group, etc.)
The directors must provide information, as specific as relevant, about the role(s) still open. The
requirement will be posted on the Orpheus web site, and sent to the Orpheus e-mail distribution. The
directors or other production team members may also encourage specific individuals to audition. Any
applicant who meets the criteria outlined will be allowed to audition, subject to a mutually convenient
time being available.
All applicants seen during an extended period must complete a full audition as described earlier.
4.5.8.
Audition Times
Audition times must be established so that most people who might wish to audition will be able to. As a
general rule, approximately 100 audition slots should be available unless the show is known to be likely
to attract many auditionees in which case more slots should be provided.
In general, audition slots should be available on several weekday evenings and during the day on at least
one Saturday or Sunday. For a fall show, the auditions should be after Labour Day.
4.5.9.
Audition Panel
All auditions must be in the presence of the three show directors and a representative of the Board of
Directors. The accompanist may be present, and the dance teacher(s) may be present for the dance
audition if they are demonstrating the dance. Except for apprentices to any of the directors, no other
persons should be present. Assistant(s) to the Artistic Director may be present at the discretion of the
Artistic Director. The Producer may be present throughout auditions but has no input or discussion on the
selections. The Production Assistant will need to be in the building to provide logistical support, but they
should not be present for the actual auditions. If the Director requires additional people to "read" opposite
auditionees, these people may only be present when they are reading.
4.5.10. Consistency
To ensure as "level a field" as possible, to the extent possible, the same accompanist, dance teacher, and
readers (if any) should be used for all auditionees. As noted above, the same Board representative should
be present.
4.5.11. Children
Separate time slots and audition procedures may be established for children when appropriate. The
proposed plans for auditioning children should be reviewed with the First Vice President.
Older children auditioning for a role in a show that does not specifically require children should complete
a "normal" audition.
4.5.12. Additional Cast
If, as the show develops, the directors determine a need for additional cast (other than walk-ons), the
process outlined above re extending auditions is to be followed.
If no suitable applicants respond, the Directors may request Board permission for the role(s) be filled by a
member of the production team or other person called for the purpose.
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4.5.13. Walk-ons
Walk-ons are small roles for a brief period of time. Walk-ons may not sing, or speak more than a few
words, or be on stage for more than a minute or two. Walk-ons may also be persons used as "set
dressing" who may be on stage for more than a minute or two, but who have no music or dialog or
significant activities. Persons not meeting one of these criteria will be considered "additional cast" and
will need to be obtained and auditioned as described above.
When walk-ons are needed, the directors must describe the requirement. The opportunity will be posted
on the Orpheus Web site and posted to the Orpheus e-mail list. The role must be clearly described as a
walk-on. The amount of on-stage time, and the number of rehearsals required, in addition to the
performance dates must be indicated. Applicants who meet the criteria should be selected on a first-come
first-served basis, subject to priority being given to those who commit to every performance and
rehearsals as may be required. If any other form of selection is required, the roles should be treated as
"additional cast".
Only if no suitable applicants respond may the role(s) be filled by a member of the production team or
other person called for the purpose.
These policies apply to children as well as adults.
As per the bylaws regarding cast members, walk-ons are required to be members of the Society according
to the same rules as other cast members.
If deadlines permit, they may be listed in the programs as "extras".
4.5.14. Audition Forms
A sample Audition Application Form to be filled out by the auditionee as well as a sample audition
appraisal form for the panel is provided at Appendix 4-W Sample Audition Forms. Audition guidelines
should accompany every application form (i.e. printed on the reverse or handed out separately). The
Audition Appraisal form is confidential. They should be retained for one month following auditions in the
event there is a dispute involving the auditions. The Appraisal forms should then be disposed of in such a
manner as to ensure that the forms will not be seen by any Orpheus member or auditionee.
4.5.15. Casting and Board Approval
The Board of Directors must approve the proposed cast list (all represented on the list must have already
auditioned) before the successful candidates are informed. This may be a short list (i.e. including callbacks, understudies and alternates), and does not have to be the final list. All board members should be
polled for consent whether or not they have auditioned. Board approval offers additional insight and
“corporate knowledge” regarding potential cast members which may not be available to the directors. For
example, potential cast members may be denied participation in a show if they are in financial default to
Orpheus. The Board Representative on the Audition Panel, typically the First Vice-President, should
arrange to obtain Board approval as quickly as possible in order to avoid delays in contacting auditionees
with casting results.
After Board approval has been obtained, all cast members will be advised of their acceptance. When all
cast members have agreed to accept the offered roles, the auditionees who did not succeed in being cast
are then called or are notified by email.
After regularly scheduled auditions have taken place and further casting is required, specific people may
be asked to audition for the show. They cannot simply be asked to be in the show. All cast members
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must be auditioned and approved by the Board of Directors.
4.5.16. Understudies
Understudy is defined as someone chosen by the artistic team to study a significant role in a show with no
expectation of performing the role during the run except under extraordinary circumstances. The artistic
team must develop an understudy plan, that is, determine which roles, if any require an understudy, before
the opening meeting and be ready to explain that plan to the Board and to those planning to audition.
Understudies must go through an audition process.
Only those who have checked off the understudy/alternate box on their audition form will be asked
initially to be an understudy unless not enough suitable candidates have been found from that group.
When choosing understudies, the artistic team needs to take in to account the following, in no particular
order:
a) original audition success;
b) previous experience as understudy or alternate;
c) costuming issues;
d) finding a replacement or replacements for the understudy;
e) past performing experience with Orpheus; and
f) overall performance experience.
Understudies will be informed as soon as possible after casting, preferably when being called about the
success of their audition. The expectation is that understudies are required to attend all rehearsals for the
role[s] which they understudy.
In the event an illness of a performer, an injury to a performer or any other emergency involving a
performer threatens to significantly interrupt the flow of production less than a month before opening
night, the artistic director or their designate must:
a) be in daily contact with the performer or their designate in order to receive an update on their
condition/situation; and
b) after the communication in a) above, relay the updated information to the production team, the
cast, the understudy or alternate and replacements.
The artistic director, musical director and choreographer, after discussion with the performer(s), will
make the final decision as to whether an understudy will perform or not.
4.5.17. Alternates
Alternate is defined as someone who is chosen by the artistic team in collaboration with the sound
designer and the costume designer to study a significant role in the show with an expectation of
performing the role at least once during the run.
Alternates must go through an audition process.
Alternates may be chosen for a variety of reasons:
a) audition success;
b) no one has stepped up to take on the role of understudy and the offer of a chance to perform a
particular role is an incentive to commit their time to the endeavour;
c) past performance as an alternate; and
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d) as a challenge offered in a show where choral involvement is small.
Alternates performing once, after discussion with the artistic team, will perform the first Sunday or
Tuesday. If the alternate[s] is/are performing two or more times during the run, the artistic team, in
consultation with the performers, will determine when those performances will occur.
Alternates are expected to be at all rehearsals for their alternate role.
If the alternate is performing 3 or more times in the run then they are expected to perform at one of the
dress rehearsals which will be determined by the artistic team.
The artistic team will make the final decision as to the readiness of the alternate to perform based on
observations throughout the rehearsal process and periodic discussions with the alternate.
4.6
Rehearsals
Rehearsals are not normally open to the public (i.e. friends and family of cast or production staff) unless
specifically authorized in advance by the Artistic Director. A “read-through” of the show may be opened
to friends and family. Members of the Board of Directors may sit in on one or more rehearsals.
Cast members are given the opportunity to advise the production team of other personal commitments. As
much as possible, every effort will be made to schedule rehearsals around these commitments until one
month prior to opening night. At this time, it is expected that cast members will make the show their first
priority. Cast members who repeatedly miss rehearsals without proper notice may be removed from the
show by the production team and/or Board of Directors.
The Artistic Director will remind cast, production personnel and other volunteers that children are not
allowed to attend rehearsals unless they are cast members.
4.7
Safety
Safety in the workshop and during rehearsals is of prime importance. The Stage Manager, in consultation
with the Artistic Director/Choreographer will ensure that no cast member is blocked within 3 ½ feet of
flying scenery. The Master Carpenter is responsible for overall safety in the workshop, and will ensure
that all volunteers have the necessary skills to perform the tasks required of them in the workshop. The
Stage Manager is also responsible for ensuring the safety of cast and crew at the theatre.
All cast and crew will complete a Medical Information Form (see Appendix 4-X Sample Medical
Information Form) in case of emergency. The Stage Manager or Production Assistant will hold the
completed forms. Following the show, the Production Assistant will destroy the completed forms in such
a manner as to ensure their confidentiality.
4.8
Publicity
As part of his or her duties, the Marketing and Publicity Director may ask the production team, cast
and/or crew to provide theatrical background or other information for publicity purposes. A sample
Publicity Form is provided at Appendix 4-Y Sample Publicity Form.
4.9
Technical Guidelines
To assist production personnel, see Appendix 4-Z Guidelines for Set Construction, Flying and Rigging
for guidelines on set construction, flying and rigging. Specific technical guidelines for Centrepointe
Theatre are contained at Appendix 4-AA Technical Guidelines for Centrepointe Theatre.
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4.10 Invited Dress Rehearsal
Refer to section 3.3.2 for details on the Invited Dress Rehearsal.
4.11 Added Performances
Extra performances may be added as warranted. In general, if the overall run is 90% sold within four
weeks of opening, an extra performance may be added. The Board of Directors will determine the date
and time of the extra performance. Additional fixed costs for additional performances include orchestra,
royalties, theatre rental, lighting crew and food for the cast and crew. The total fixed costs should be
compared against expected revenue before deciding if an extra performance should be added.
4.12 Photography
Those involved in any capacity with any show, with the exception of the Show Photographer, will not be
allowed to take photographs of the on-stage activity at Centrepointe Theatre during rehearsal runs.
Members of the cast and crew may take whatever pictures they wish to backstage as well as prior to and
after rehearsals.
The Artistic Director will remind cast, production personnel and other volunteers that the Photo Shoot is
held during the Thursday night Dress Rehearsal at the theatre.
4.13 Video Recordings
In October 2010, it was confirmed with our royalty agents (Music Theatre International, Rodgers &
Hammerstein, etc), that video licenses are available for some of the shows and one must be procured each
time performance rights are granted even for archival purposes and at Dress Rehearsals. For shows with
no video license available, recording is prohibited even for archival purposes.
Also confirmed in October 2010, although Centrepointe Theatre policy prohibits videotaping, they will
allow videotaping of the Dress Rehearsal if they receive proof that we have permission (the rights) from
the royalty agent.
4.14 Reimbursement of Expenses
Occasionally a member or members of a production team must travel outside the city in order to obtain
materials for a show. Individuals who travel out of town during the course of official Orpheus business
will be reimbursed for gasoline expenditures with pre-approval from the Board of Directors.
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Appendix 4-A Artistic Director
Duties
1. The Artistic Director will be responsible for the overall artistic direction of the production and, more
specifically, for the direction of all spoken dialogue and blocking. The Artistic Director will be
accountable to the Board and will maintain a close liaison with the Executive Producer (Vice
President ) or Producer at all times.
2. The Artistic Director will at all time work closely with the Musical Director, Choreographer, and all
other Production personnel whom the Board may appoint, but does not have direct authority over any
of them. The Artistic Director will not incur any expenditure without the authority of the Board
(Producer).
3. In accordance with the Bylaws, all production positions (including the Assistant to the
Director/Production Assistant) will be filled by, and be accountable to, the Board. The Board will
normally seek the Director’s input on potential Assistants to the Director, and will generally consult
regarding other Director and Designer positions. The Board may, but is not required to, seek the
Artistic Director’s recommendation or consent to any or all such appointments.
4. The Artistic Director is not responsible for the performance of duties assigned to other production
personnel or Board members. Any concerns the Artistic Director may have in this area should be
directed to the Producer or Vice President or delegate.
5. Subject to the provisions of item (3) above, the Artistic Director may appoint such assistant(s) as
(s)he may deem appropriate, subject always to the approval of the Board. The duties of such
assistant(s) will be agreed upon between the Artistic Director and the Assistant(s), with the exception
of the duties of the Assistant to the Director (or Production Assistant), a Board Appointee, whose
duties will include those assigned by the Board in accordance with the Bylaws. Notwithstanding the
appointment of any assistant(s), the Artistic Director retains overall responsibility for the performance
of the duties as outlined herein. First time Directors are not permitted to have Assistants.
6. The Artistic Director, together with the Musical Director and Choreographer, is responsible for
auditioning performers and casting the show including understudies and/or alternates. All three
directors are equally accountable for the casting. The auditioning process must be in agreement with
the Bylaws and acceptable to the Board.
7. The Artistic Director will have no power to cut or change any of the musical lyrics or score without
the agreement of the Musical Director, but the Artistic Director may, on his/her own authority, add or
delete such portions of the dialogue or libretto as (s)he may consider expedient providing this does
not conflict with the royalty contract as signed by the Society.
8. The Artistic Director may, with the agreement of the Musical Director and Choreographer, ask the
Board to authorize the dismissal of any cast member, for good cause.
9. In addition to the overall direction of the show, and participation in casting and auditions, the Artistic
Director is responsible for the following specific tasks:
a) Prepare, with input from the Musical Director and Choreographer, a brief description of the main
characters and vocal ranges for the Newsletter and for auditionees to refer to at the auditions;
b) Arrange for someone to read opposite those auditioning for a speaking role. Where possible this
should be assigned to someone who would normally be attending the auditions, in preference to
adding additional people to the audition process;
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c) Attend the Opening meeting for the production and be prepared to describe the show and their
vision of it, and to answer questions;
d) Be on time and be prepared for all rehearsals. Ensure the most effective use of cast time when
planning rehearsals;
e) Ensure that any set, costume, lighting, construction, props, sound, or other requirements and
changes thereto are communicated to the other production team members in a timely fashion;
f) Provide assistance to the Publicity Committee as may be appropriate. Accommodate publicity
requirements for interviews, taping etc where feasible;
g) Attend production meetings as called; and
h) Provide a learning experience for an apprentice if a suitable candidate is available;
i)
With the help of the musical director and choreographer , will create an understudy/alternate plan
for their show;
j)
Will discuss the potential impact of use of alternates not only with the rest of the artistic team but
also with the costume designer and sound designer; and
k) With the input of the musical director and choreographer, shall plan a discussion session with any
alternate[s] at least once a month during the rehearsal process in order to listen to their concerns
and give them feedback about their progress.
10. If a suitable candidate is available, the Artistic Director may take on an Apprentice Artistic Director
and provide an appropriate learning experience. First time Directors are not permitted to have
Apprentices. The Artistic Director and the Apprentice Director should then enter into a working
relationship, which will involve the Apprentice in taking on in large part or entirely, the following
activities:
a) Directing at least one complete scene within the show, including blocking, rehearsals and
collaboration with the Musical Director and Choreographer as needed, and running at least one
rehearsal, or set of rehearsals related to their scene(s) of responsibility;
b) Interacting with other design, and direction heads of production, so that they get a clear idea of
the creative process from conception to design to implementation;
c) Attending all production and post-production meetings;
d) Assisting with drafting the brief descriptions of the main characters in preparation for auditions;
e) Structuring a partial or complete rehearsal schedule;
f) Addressing the cast and liaising with production heads on an ad hoc basis; and
g) Providing artistic input during auditions;
11. Upon completion of the production, the Artistic Director and the Apprentice Director will jointly
review the above mentioned activities with regards to the Apprentice’s performance of all the
aforementioned activities, the learning experience and whether or not further instruction in the
Apprentice capacity is required. The Artistic Director will also generate a brief report in writing to
the Board of Directors based on the joint review of both parties, including a recommendation as to
whether/not, in the Artistic Director’s opinion, the apprentice is prepared to take on a show as Artistic
Director and why.
12. The Artistic Director will remind cast, production personnel and other volunteers that children are not
allowed to attend rehearsals unless they are cast members.
13. The Artistic Director will remind cast, production personnel and other volunteers that the Photo Shoot
is held during the Thursday night Dress Rehearsal at the theatre.
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Checklist for Assessment of Apprentice Artistic Director (June 2011)
This assessment form along with Appendix Form 4-A Artistic Director will be presented to the
Apprentice Artistic Director at the time of his or her acceptance of the position.
Upon completion of the production, the Artistic Director and the Apprentice Artistic Director will jointly
review, with the help of this form, the apprentice’s performance of all the activities outlined in the
Policies and Procedures Manual for an Artistic Director’s Apprentice. The Artistic Director will also
generate a brief report in writing to the Membership Director based on a joint review by both parties,
including a recommendation as to whether or not, in the Artistic Director’s opinion, the apprentice is
prepared to take on a show as Artistic Director and why.
******************************************************************
Once the Artistic Director and the Apprentice Artistic Director entered into a working relationship, did
the apprentice take on in some part or entirely the following activities?
Direct at least one complete scene, within the show, including blocking and rehearsal, demonstrating
creative ability within the context of the Artistic Director’s vision of the show?
Yes
No
For the assigned scene(s) demonstrate the ability to collaborate with the Choreographer and the Musical
Director while understanding the technical needs of the scene?
Yes
No
Demonstrate the ability to work with production heads, providing a clear idea of the creative process from
conception to design to implementation of the artistic vision of the show?
Yes
No
Attend and participate in production and post-production meetings, demonstrating an understanding of the
creative and technical needs of the show?
Yes
No
Assist with drafting the brief descriptions of the main characters in preparation for the Newsletter and the
auditions?
Yes
No
Participate actively in the creation of the rehearsal schedule?
Yes
No
Address the cast and liaise with production heads on an as-required basis?
Yes
No
Attend the Opening Meeting, auditions and callbacks and provide artistic input during auditions?
Yes
No
Be involved with the direction of understudies/alternates if required?
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Yes
No
Be familiar with and participate to some degree in all aspects of the directorial process from initial
planning meetings to banquet?
Yes
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No
30 September 2013
Appendix 4-B Musical Director
The Musical Director shall be responsible for the direction of the music of the production, and for the
engagement of the orchestra, through the Orchestra Contractor specified by the Board, subject to the
approval of the Board. The Musical Director will be accountable to the Board and shall maintain a close
liaison with the Executive Producer (Vice President ) or Producer and shall at all times cooperate with the
Artistic Director, Choreographer, and all other Production personnel whom the Board may appoint.
The Musical Director shall cooperate with the Artistic Director and Choreographer, but in the matter of
musical expression or interpretation of the music score of the production being performed, the Musical
Director’s decision shall be final.
It shall be the Musical Director’s duty to rehearse the cast and orchestra so that they shall be adequately
proficient in the presentation of the music.
The Musical Director shall have no power to interfere with the staging of the production or the cutting of
any of the dialogue or libretto. Subject to any restrictions in the Royalty contract as signed by the Society,
the Musical Director may, with the agreement of the Artistic Director, cut, add to, or otherwise modify
the music as the Musical Director may deem expedient.
The Musical Director may appoint such assistant(s) as (s)he may deem appropriate, subject always to the
approval of the Board. The duties of such assistant(s) shall be agreed upon between the Musical Director
and the assistant(s). Notwithstanding the appointment of any assistant(s), the Musical Director retains
overall responsibility for the performance of the duties as outlined herein. First time Musical Directors are
not permitted to have Assistants.
The Musical Director may recommend suitable accompanist(s) and request the Board to appoint said
individual(s) in accordance with the Bylaws. Any honorarium or other compensation for the
accompanist(s) will be determined by the Board.
The Musical Director, together with the Artistic Director and Choreographer, is responsible for
auditioning performers and casting the show including understudies and/or alternates. All three directors
are equally accountable for the casting. The auditioning process must be in agreement with the bylaws
and acceptable to the Board.
The Musical Director may, with the agreement of the Artistic Director and Choreographer, ask the Board
to authorize the dismissal of any cast member, for good cause.
In addition to the overall musical direction of the show, and participation in casting and auditions, the
Musical Director is responsible for the following specific tasks:

Prepare vocal range information for the Newsletter and for auditionees to refer to at the auditions;

Arrange for accompanist(s) for auditions if the show accompanist(s) are unable to perform the
role;

Attend the Opening meeting for the production and be prepared to describe the show and their

Be on time and be prepared for all rehearsals. Ensure the most effective use of cast time when

Ensure that any production requirements and changes thereto are communicated to the other
production team members in a timely fashion;
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
Work closely with the Sound Designer to ensure that the Sound crew understands the intended
sound of the show;

Attend production meetings as called; and

Provide a learning experience for an apprentice if a suitable candidate is available.

Will help prepare with the artistic director and choreographer an understudy/alternate plan.

With the artistic director and choreographer, will be part of the monthly discussions with the
alternates to listen to their concerns and give feedback about their progress.
If a suitable candidate is available, the Musical Director may take on an Apprentice Musical Director.
First time Musical Directors are not permitted to have Apprentices. The Musical Director and the
Apprentice Musical Director should then enter into a working relationship which would involve the
Apprentice taking on in large part or entirely, the following activities:

Rehearsing with the cast and orchestra whenever possible and appropriate;

Interacting with other members of the Directing Team when appropriate;

Having the apprentice work with and provide direction to any accompanists whenever
appropriate;

Participating in the Audition process,

Interacting with other production personnel and heads of production whenever appropriate;

Attending and actively participating in all production and post-production meetings, as
appropriate

Assisting in the preparation of vocal range information for the Newsletter in advance of the
auditions

Assisting with engagement of the orchestra, liaising with the Orchestra Contractor when
requested;
Upon completion of the production, the Musical Director and the Apprentice Musical Director will jointly
aforementioned activities, the learning experience and whether or not further instruction in the Apprentice
capacity is required. The Musical Director will also generate a brief report in writing to the Board of
Directors based on the joint review of both parties including a recommendation as to whether/not, in the
Musical Director’s opinion, the apprentice is prepared to take on a show as Musical Director and why.
**************
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Checklist for Assessment of Apprentice Musical Director (June 2011)
This assessment form along with Appendix Form 4-B Musical Director, will be presented to the
Apprentice Musical Director at the time of his or her acceptance of the position.
Upon completion of the production, the Musical Director and the Apprentice Musical Director will jointly
Policies and Procedures Manual for a Musical Director’s Apprentice. The Musical Director will also
generate a brief report in writing to the Membership Director based on the joint review by both parties,
including a recommendation as to whether or not, in the Musical Director’s opinion, the apprentice is
prepared to take on a show as Musical Director and why.
*****************************************************************
Once the Musical Director and the Apprentice Musical Director entered into a working relationship, did
the apprentice take on in some part or entirely the following activities?
Rehearse with the cast and orchestra?
Yes
No
Interact with other members of the directing team?
Yes
No
Work with and provide direction to the accompanists?
Yes
No
Yes
No
Participate in the audition process?
Interact with other production personnel and heads of production?
Yes
No
Attend and actively participate in all production and post-production meetings?
Yes
No
Assist in the preparation of vocal range information in the Newsletter in advance of the auditions?
Yes
No
Be involved in the discussion of the orchestra, liaising with the Orchestra Contractor when requested?
Yes
No
Demonstrate an understanding of the orchestration, particularly if the orchestration requires reduction?
Yes
No
Know the ranges and transpositions of all instruments?
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Yes
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No
30 September 2013
Appendix 4-C Choreographer
The Choreographer shall be responsible for the design and direction of the choreography. The
Choreographer will be accountable to the Board and shall maintain a close liaison with the Executive
Producer (Vice President ) or Producer and shall at all times co-operate with the Artistic Director,
Musical Director, and all other production personnel whom the Board may appoint.
In addition to designing the choreography, it shall be the Choreographer’s duty to rehearse the dances and
other cast movement as agreed upon with the Artistic Director. Normally, this shall be all songs and/or
dances except to the extent that the Choreographer agrees that the Artistic Director shall do this blocking.
The Choreographer may appoint such assistant(s) and/or dance captains as (s)he may deem appropriate.
The duties of such assistant(s)/dance captain(s) shall be agreed upon between the Choreographer and the
assistant(s) or dance captain(s). Notwithstanding the appointment of any assistant(s)/dance captain(s), the
Choreographer retains overall responsibility for the performance of the duties as outlined herein. First
time Choreographers are not permitted to have an Assistant, however they may still appoint a dance
captain(s).
The Choreographer, together with the Artistic Director and Musical Director, is responsible for
auditioning performers and casting the show including understudies and/or alternates. All three directors
are equally accountable for the casting. The auditioning process must be in agreement with the bylaws
and acceptable to the Board.
The Choreographer may, with the agreement of the Artistic Director and Musical Director, ask the Board
to authorize the dismissal of any cast member, for good cause.
In addition to the overall choreographic direction of the show, and participation in casting and auditions,
the Choreographer is responsible for the following specific tasks:

Arrange for someone to teach the audition piece to all auditionees;

Provide information on the dance requirements of the show for the Newsletter and for auditionees
to refer to at the auditions;

Attend the Opening meeting for the production and be prepared to describe the show and their

Be on time and be prepared for all Rehearsals. Ensure the most effective use of cast time when

Ensure that any set, costume, lighting, construction, props, or other requirements and changes
thereto are communicated to the other production team members in a timely fashion;

Attend production meetings as called; and


Will help prepare with the help of the artistic director and musical director an
understudy/alternate plan.

With the artistic director and musical director, be part of the monthly discussions with the
alternates to listen to their concerns and give feedback about their progress.
If a suitable candidate is available, the Choreographer may take on an Apprentice Choreographer and
provide an appropriate learning experience. First time Choreographers are not permitted to have
Apprentices. The Choreographer and the Apprentice Choreographer should then enter into a working
relationship which would involve the Apprentice taking on in large part or entirely, the following
activities:
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
Assisting with designing the choreography and cast movement, and assisting in the rehearsal of
the same;

Rehearsing specific numbers with the cast as deemed appropriate

Interacting with other members of the Directing Team when appropriate;

Interacting with other production personnel and heads of production whenever appropriate;

Attending and actively participating in all production and post-production meetings

Assisting in preparing the information on cast dance requirements of the show for the Newsletter
and at the auditions;

Assisting with the preparation and design of the dance audition, including assisting with /teaching
the dance audition either to auditionees or rehearsal dance captain(s)

Providing creative input during the casting process

Assisting in the appointment of any Dance Captain(s) needed;

Conducting and arranging (through the dance captain or another cast member) any necessary and
appropriate dance warm-ups with the dance chorus or cast
Upon completion of the production, the Choreographer and the Apprentice Choreographer will jointly
capacity is required. The Choreographer will also generate a brief report in writing to the Board of
Choreographer’s opinion, the apprentice is prepared to take on a show as Choreographer and why.
**************
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Checklist for Assessment of Apprentice Choreographer
(June 2011)
This assessment form along with Appendix Form 4-C Choreographer will be presented to the Apprentice
Choreographer at the time of his or her acceptance of the position.
Upon completion of the production, the Choreographer and the Apprentice Choreographer will jointly
Policies and Procedures Manual for a Choreographer’s Apprentice. The Choreographer will also generate
a brief report in writing to the Membership Director based on the joint review by both parties, including a
recommendation as to whether or not , in the Choreographer’s opinion, the apprentice is prepared to take
on a show as Choreographer and why.
****************************************************************** Once the
Choreographer and the Apprentice Choreographer entered into a working relationship, did the Apprentice
take on in some part or entirely the following activities?:
Assist with designing the choreography and cast movement and assist in the rehearsal of the same?
Yes
No
Yes
No
Rehearse specific numbers with the cast?
Interact with other members of the directing team?
Yes
No
Interact with other production personnel and heads of production?
Yes
No
Assist in preparing the information on cast dance requirements of the show for the Newsletter and the
auditions?
Yes
No
Attend and actively participate in all production and post-production meetings?
Yes
No
Assist with the preparation and design of the requirements for the dance audition, including assisting with
or teaching the dance audition to auditionees or audition dance captain(s)?
Yes
No
Provide creative input during the casting process?
Yes
No
Assist in the appointment of any Dance Captain(s) needed?
Yes
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Conduct and arrange (through the dance captain or a cast member) any necessary and appropriate dance
warm-ups with the dance chorus or cast?
Yes
No
Demonstrate the ability to work with the department heads (set designer, costume designer, props
carpenter) to ensure that the choreographic requirements are achievable?
Yes
No
Choreograph at least one section of dance within the show, demonstrating an understanding of the
choreographic and technical needs of the scene?
Yes
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Appendix 4-D Set Designer
The set designer is responsible for the timely completion of the following tasks: designing the set;
producing required models/drawings; directing the Master Carpenter and Scenic Artist; set dressing;
conferring with the Technical Director; and specification/acquisition of furniture (in conjunction with
props).
1. Design
The set designer develops the design of the show from the initial conceptual meetings and should consult
with at least the following people:

Artistic Director. The design must be acceptable to the Artistic Director, both from the viewpoint
of the overall concept, approach and appearance, and from the practical details - exits/entrances,
acting area, levels, changes et cetera. Depending on the show, the Artistic Director may be able
to represent the interests of the Choreographer for these purposes, or the Choreographer will also
need to be involved;

Stage Manager. The Stage Manager must agree that the set as proposed will fit the theatre stage,
and fit in the storage areas, and that it is feasible to erect and use given the space, time, resources
and skills available;

Technical Director. The designs and drawings must adhere to government regulations and
Centrepointe Theatre standards;

Lighting Designer. The Lighting Director must agree that it will be possible to properly light the
set, given the resources available; and

Master Carpenter. The design and drawings must be acceptable to the Master Carpenter who
will also ensure that the set can be constructed with the time, skills, and resources available.
The Producer will assist in arranging any meetings required as above, and will arbitrate any disputes. The
Set Designer should also review the design and colours with the Costume Designer and Properties to
ensure that they are aware of any items which may affect their areas of the production.
2. Budget
The Set Designer must ensure that the sets can be constructed/painted within the allotted budget. To that
end, the Set Designer should determine what resources (e.g. risers, drops, scrims etc.) are in stock and
available, and attempt to reuse already available items to the extent practical. The Set Designer should be
familiar with standard material dimensions to minimize the construction effort/costs. If the Set Designer
does not possess the expertise to develop a cost estimate, the Producer will arrange for someone else to
develop and price the materials for the set. Any estimate produced by the Set Designer will be subject to
review by the Producer.
All costs for rentals of set pieces, furniture, etc, and any associated transportation costs, are considered
part of the Set cost.
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3. Models/Drawings
The Set Designer should produce a coloured scale (half inch to a foot) model (maquette) of the set unless
other production positions agree that scaled pictures of each scene are an acceptable substitute.
The Set Designer should produce the following drawings:

A line plot showing the location/identification of all flying scenery and masking;

A ground plan of the set for each scene;

Plan elevation drawings (as required) showing the appearance and dimensions of all objects
which must be constructed by the Master Carpenter and crew. These should be drawn to scale ½" to 1 ft. - with all relevant dimensions marked;

Section drawings of the stage as may be required to determine appropriate masking, set heights,
etc; and

Coloured renderings of all items to be painted, or other specifications as may be agreed with the
Scenic Artist.
The Producer will indicate how many copies of these various drawings are required and Orpheus will
reimburse any reasonable material expenses incurred in the preparation of the model or drawings or
copying costs, upon presentation of receipts.
4. Construction/Painting
The Set Designer shall provide consultation, explanations or clarifications to the Master Carpenter as may
be appropriate to ensure that the set is constructed as designed. The Set Designer should be prepared to
draw any unusual shapes in full size at the request of the building crew.
The Set Designer is responsible for providing such direction and instruction as the Scenic Artist and
painting crew may require.
Note that all fabric and styrofoam items must be flame proofed in order pass the required fire tests for
Centerpointe theatre.
For further guidelines on set construction, flying and rigging, see Appendix 4-Z Guidelines for Set
Construction, Flying and Rigging and Appendix 4-AA Technical Guidelines for Centrepointe Theatre.
5. Set Dressing
The Set Designer is responsible for specifying/obtaining any required furniture and other items to be
located on the set. Assistance is usually available from the Properties department. The Set Designer is
responsible for arranging the delivery and pickup of borrowed/rented furniture of other set items, to/from
Orpheus House or the Theatre, as appropriate. Any deliveries or pickups at the theatre must be coordinated with Stage Manager. If the Orpheus truck and/or stage crew will be required to move items,
this must be arranged with the Stage Manager and Producer well in advance.
6. Information and Meetings
The Producer is responsible for providing the Set Designer with any required theatre information such as
stage and wing dimensions, sight lines, flying capabilities et cetera.
The Set Designer is expected to attend all Production Meetings, unless otherwise exempted, and be
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readily available for consultation with the Artistic Director, Master Carpenter, Scenic Artist and Stage
Manager.
Provide a learning experience for an apprentice if a suitable candidate is available. First time Set
Designers are not permitted to have an apprentice.
7. Apprentice to Set Designer
If a suitable candidate is available, the Set Designer may take on an Apprentice Set Designer and provide
an appropriate learning experience. The Set Designer and the Apprentice should then enter into a
working relationship, which will involve the Apprentice in taking on in large part or entirely, some or all
of the following activities:

Attending all meetings the Set Designer may hold with the Director and/or other members of the
Artistic team in order to gain an understanding of the process of developing a design from
Director’s requirements.

Attending and participating in meetings with the Set Designer, in order to assist in the creation of
the overall concept, approach and appearance, and from the practical details - exits/entrances,
acting area, levels, changes et cetera.

Assisting the Set Designer in the budgeting process;

Assisting in determining what useable Orpheus resources (risers, drops, etc) are already available;

Assisting, where practical with the production of the coloured scale model (maquette) of the set;

Assisting wherever possible, with the creation of the necessary drawings, as outlined in Appendix
4-D Set Designer of the Orpheus Policies & Procedures Manual;

Assisting the Set Designer in consultations or clarifications to the Master Carpenter and Scenic
Artist as needed;

Assisting in specifying or obtaining any required furniture or set dressing and the return of same;

Assisting the Set Designer in interactions with other members of the production team, as
required;

Attending all production and post-production meetings;
Upon completion of the production, the Set Designer and the Apprentice Director will jointly review the
above-mentioned activities with regards to the Apprentice’s performance, the learning experience and
whether or not further instruction in the Apprentice capacity is required. The Set Designer will also
generate a brief report in writing to the Board of Directors based on the joint review of both parties,
including a recommendation as to whether/not, in the Set Designer’s opinion, the apprentice is prepared
to take on a show as Set Designer and why.
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Appendix 4-E Costume Designer
The Costume Designer is responsible for the timely completion of the following tasks: designing of the
costumes; producing required drawings or other specifications; finding/pulling and assessing the
suitability of in-stock costumes; obtaining fabric and other supplies required; measuring the cast;
directing the Cutter and Costume Production Manager; overseeing fittings and finishing details;
arranging any required rentals; being consulted by the artistic team about any planned use of alternates
and/or understudies; and ensuring that all pulled items are cleaned and returned to their correct storage
after the production. Depending on the circumstances, the Costume Designer may delegate some of these
functions to one or more assistants, and/or milliners. Unless agreed otherwise by the Board of Directors,
the Costume Designer retains overall responsibility for the performance of these functions.
1. Design
The Costume Designer develops the design of the show from the initial concepts and research as required,
and should consult with at least the following people:

Artistic Director. The design must be acceptable to the Artistic Director, both from the viewpoint
of the overall concept, approach and appearance, and from the practical details - fast changes,
suitability for dancing or other required movement, etc. The need for rehearsal costumes should
be determined as well;

Choreographer. The choreographer may have specific requirements regarding the range of
motions to be accommodated for certain performers, especially dancers;

Set Designer. The Set and Costume Designers must co-ordinate their colour schemes etc;

Lighting Designer. The Lighting Director should be consulted to determine any possible lighting
implications on the costume designs;

Props. The Costume Designer should meet with the props person to review any areas of potential
overlap or confusion (e.g. purses, luggage, umbrella, etc) to determine who will be providing
what, and to ensure that colours and styles are coordinated as appropriate;

Hair and Makeup Designers. The Costume Designer should be aware of the plans for Hair and
Makeup as they may affect the costume designs; and

Sound Designer. The Costume Designer must be aware of which performers will be wearing
body mics so that the designs can allow for the wearing and concealment of the necessary
transmitter, and the running of wiring and the antenna.
The Producer will assist in arranging any meetings required as above, and will arbitrate any disputes.
The Costume Designer must remain in contact with the Artistic Director and Choreographer throughout
the rehearsal period so as to be aware of any required changes. A cut-off date will be established by the
production team after which no further changes to the cast or blocking which affect costumes will be
allowed.
The costume designer must produce sketches and other descriptive material to enable the Directors and
others to understand the costuming proposed. The costume designer must produce sketches, notes,
patterns and/or other documentation sufficient to allow the Cutter, Costume Production Manager and
costume crew to produce the costumes. Orpheus will reimburse any reasonable material expenses
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incurred in the preparation of the sketches and drawings or copying costs, upon presentation of receipts.
The Costume Designer is responsible for estimating the materials required to make the costumes, and for
the overall costume budget. The Costume Designer must ensure that the costumes can be constructed or
obtained within the allotted budget. To that end, the Costume Designer should determine what resources
(supplies, material, costumes, etc.) are in stock and available, and attempt to use these to the extent
practical.
2. Obtaining Supplies
The Costume Designer is responsible for the purchase of fabrics and other required materials. Subject to
the overall budget constraints, they may be purchased from any suitable supplier. The Society maintains
charge accounts with some suppliers; the costume designer should review with the Producer the most
convenient procedure for dealing with other suppliers.
Thread, notions, needles, pins and any other incidental supplies should be obtained by the Costume
Designer as required; these will be considered part of the show costs. Requirements for larger capital
purchases of tools etc which will be expected to last for a number of shows should be brought to the
attention of the Costume Coordinator, if one exists at the time, or else to the Board through either the
Producer or the Facilities Director.
3. Making and Fitting of Costumes
The Costume Designer shall provide direction, consultation, explanations or clarifications and assistance
to the Cutter and Costume Production Manager as may be appropriate to ensure that the costumes are
constructed as designed. The Costume Designer should oversee cast the cast measurement process and
the final fittings and finishing details for the costumes.
In some cases, rehearsal costumes may be required fairly early in the rehearsal cycle in order for cast
members to get used to the feel of a particular costume style or where the costume forms an integral part
of the blocking or choreography. Such requirements should be reviewed with the Artistic Director.
4. Arranging rentals
The Costume Designer is responsible for arranging any costume rentals required. This includes locating a
suitable supplier, supplying measurements, arranging fittings, and arranging the logistics of delivery and
return of any rentals. The cost of any rentals, including transportation, is included in the Costume costs
for the show.
5. Wardrobe functions
The Costume Designer is expected to work closely with the Wardrobe Mistress/Master to ensure that the
costumes work as intended. The Costume Designer and Wardrobe Mistress/Master must review all
quick/special change requirements.
6. Costume Stock
The Costume Designer should, in consultation with the Costume Rental Coordinator (if any), determine
what costumes are to be kept after the show, what costumes may be sold to interested cast members (and
at what price), and what costumes are to be dismantled or discarded. The Costume Designer will work
with the Costume Production Manager and Wardrobe Mistress/Master to put these decisions into effect.
7. Meetings
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The Costume Designer is expected to attend all Production Meetings, unless otherwise exempted, and to
be readily available for consultation with the Artistic Director, Producer, and other members of the
Production team.
8.
Apprentice to Costume Designer
If a suitable candidate is available, the Costume Designer may take on an Apprentice Costume Designer.
First time Costume Designers are not permitted to have an apprentice. The Costume Designer and the
Apprentice Costume Designer should then enter into a working relationship, which would involve the
Apprentice taking on in large part or entirely, some or all of the following activities:

Attending all meetings the Costume Designer may hold with the Director and/or other members
of the Artistic team in order to gain an understanding of the process of developing designs from

Attending and participating in meetings with the Costume Designer, in order to assist in the
creation of the overall costume concept, approach, appearance, and practical details.

Assisting in measuring the cast;

Assisting in cutting, making and fitting of the costumes, as detailed in Appendix 4-E Costume
Designer of the Orpheus Policies & Procedures Manual

Assisting with any rentals required;

Assisting the Costume Designer in working with the Costume Production Manager, Cutter, and
Wardrobe Mistress during the production;

Assisting the Costume Designer as required in interactions with the cast, Director, and other
members of the production team;

Assisting the Costume Designer in the budgeting process;

Assisting in determining what in-house resources are available and can be used;

Assisting in the purchase of necessary fabrics and other materials;

Attending and actively participating in all production and post-production meetings, as
appropriate

Assisting with co-ordinating the cleaning and proper storage of all costumes after the production,
including the proper return of rented materials

Assisting in the maintenance and return of the Orpheus costume area to proper working order,
ready for the next Production
Upon completion of the production, the Costume Designer and the Apprentice Costume Designer will
jointly review the above mentioned activities with regards to the Apprentice’s performance of all the
capacity is required. The Costume Designer will also generate a brief report in writing to the Board of
Costume Designer’s opinion, the apprentice is prepared to take on a show as Costume Designer and why.
9. Assistant to Costume Designer
The following duties may be given to an assistant Costume Designer:

Meet with the Costume Designer to read the script and determine basic costume requirements;
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
Make a list of requirements for reference;

Assist the Costume Designer in shopping for materials, trims, etc., if required;

Assist the Costume Designer in taking measurements and drafting measurement sheets;

Assist the Costume Designer in choosing patterns and cutting costumes as required;

Set up sewing nights with the Costume Designer;

Keep a list of sewers’ names, addresses and phone numbers;

Be available to attend sewing nights and generally assist in co-ordinating fitting nights and
costume parade;

Ensure that all instructions on pre-cut costumes for sewers are clear and concise;

Arrange with the Costume Designer any costume rentals, as required;

Meet with the Wardrobe Mistress/Master to discuss costume rentals, and prepare a list of rentals;

Label all costumes as they are completed;

Meet with the Artistic Director and/or Assistant Director to determine if any additions, deletions
or special requirements are required, and convey them to the Costume Designer;

Arrange for dry cleaning or washing of costumes; and

Assist the Costume Designer in putting away the costumes etc. after the show; and clean up the
costume area for the next show.
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Appendix 4-F Sound Designer
The Sound Designer is responsible for the design of the sound reinforcement for the production, and for
supervising the setup and operation of the sound equipment. The Sound Designer must work closely with
the Musical Director.
1. Sound Design
This includes determining what types of microphones and other sound equipment should be used, where
they should be placed and how they should be connected and used. “Microphones” include wireless
“body mics” as well as more conventional wired or wireless equipment. “Other sound equipment”
includes any required playback equipment, special effects, and monitors. The basic house system
provided by the Theatre: mixer, power amplifiers, EQ, and speakers should be considered as fixed and
always available.
The Sound Designer should determine (in conjunction with the Orpheus Producer and the Theatre staff)
what equipment is available at the Theatre or owned by or otherwise available to Orpheus. The Sound
Designer may request that additional equipment be acquired or rented for the production, subject to the
budget limitations established by the Producer. The Sound Designer shall be responsible for obtaining
such additional equipment, and for its safe and timely return. The Sound Designer shall also be
responsible for the safe return of any Orpheus - owned Sound Equipment to its designated storage
location at the conclusion of the Production.
The Sound Designer should review the Set Design with the Set Designer and Stage Manager to ensure
that it will be possible to install sound equipment where required. The Sound Designer must work closely
with the Music Director to determine the intended sound of the show and any particular problems that
may be expected. The Music Director must be satisfied with the final Sound. The Sound Designer will
also have to work with the Artistic Director for any special effects or voice-overs required.
The Sound Designer must arrange for any pre-show recording (voiceovers, sound effects, etc) that may be
required. These should be complete and available for the first technical rehearsal (typically the Monday
night prior to Opening Night). In some cases, the Artistic Director may require the effects to be available
earlier in the rehearsal period. The costs of any such recording must be included in the show sound
budget.
First time Orpheus Sound Designers are encouraged to visit one or more Orpheus Shows prior to their
assignment, to become familiar with possible approaches and theatre and equipment capabilities and
limitations. The Sound Design and use and positioning of all sound equipment must be acceptable to the
Theatre Chief of Production.
2. Sound Set-Up and Operation
The sound equipment will normally be set-up by the Theatre staff and Volunteers, to the specification of
the Sound Designer. The Sound Designer is expected to be physically present for this activity. In
practice, the Sound Designer may assist with the setup subject to any restriction by the theatre staff. The
sound designer must coordinate on stage schedules with the Stage Manager in arranging the time required
for the set up.
The Sound Designer is responsible for determining the (Theatre Volunteer) staffing requirements for the
show, and for communicating these to the Theatre in time for volunteers to be obtained. If any paid staff
will be required, this must be approved by the Producer.
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The Sound Designer must arrange for, train, and supervise sufficient Orpheus people to look after the
installation and removal of body mics on the performers to be so equipped, and the general care of this
equipment. The Sound Designer must ensure that fresh batteries are available and used. This cost must
also be included in the sound budget. Body mics are owned or rented by Orpheus; they are not provided
or maintained by the Theatre.
The Sound Designer is expected to attend sufficient rehearsals to provide appropriate direction to the
Sound Board Operator and any other Sound staff. Any required cues must be given to the Stage Manager
as early in the rehearsal process as practical.
It is not necessary for the Sound Designer to be present during all performances; all equipment will be
operated by Theatre personnel.
The Sound Designer is responsible for the safe return of all Orpheus-owned and rented sound equipment.
The Theatre staff and volunteers are responsible for the tear down of the Sound equipment as required.
3. Budget
The Sound Design must be feasible within the established budget. Each show has its own sound budget
set by the Board of Directors and the Producer must be consulted before any over-budget expenses are
incurred.
4. Meetings
The Sound Designer is expected to attend all production meetings, unless excused by the Producer, and
should be in attendance for the show’s Opening Meeting. The Sound Designer is expected to be readily
available for consultations with the artistic team.
The Sound Designer may have to attend meetings with the Theatre staff prior to the show to review plans,
staff requirements and schedule. Such meetings are normally during business hours.
5. Schedule
The Sound Designer should attend as many rehearsals as is required to understand the requirements of the
show and prepare the Sound Design. The Sound Designer will be required to provide preliminary design
information and full personnel requirements to the Theatre Producer approximately 4 weeks before the
show moves into the Theatre.
The Sound Designer should review the Set-Up/Tear Down schedule with the Stage Manager and Producer
to ensure that there are no conflicts in times allotted and that there is sufficient time to complete the
Sound requirements.
The Sound Design and all associated documentation must be complete at the time the show set-up starts.
Under normal circumstances, the sound equipment should be fully setup and ready for the first on-stage
rehearsal.
The Sound Designer must determine the requirements (if any) for rental equipment with sufficient lead
time to allow the equipment to be procured. The Sound Designer is responsible to arrange for the
delivery or pickup, and return of all rented or borrowed equipment.
6. Artistic Interpretation
Any conflicts between the Sound Designer and the Artistic Director or Music Director should be resolved
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by mutual agreement. Where this is not possible, the Producer shall have the authority to determine what
action should be taken.
7. Apprentice to Sound Designer
If a suitable candidate is available, the Sound Designer may take on an Apprentice Sound Designer and
provide an appropriate learning experience. First time Sound Designers are not permitted to have an
apprentice. The Sound Designer and the Apprentice Sound Designer should then enter into a working
relationship, which would involve the Apprentice taking on in large part or entirely, some or all of the
following activities:

Attending all meetings the Sound Designer may hold with the Director, Musical Director, and/or
other members of the Artistic team in order to gain an understanding of the process of developing
a design from Director’s requirements.

Attending and participating in meetings with the Sound Designer, in order to assist in the creation
of the overall sound design.

Working out some of the practical details of the design, under the direction of the Sound
Designer, and preparing the necessary documentation.

Assisting in following the prescribed production budget for Sound;

Assisting with the determination of what equipment is available at the theatre or owned by
Orpheus and what needs to be borrowed or rented;

Assisting with the logistics of required rentals including arrangements for delivery and return.

Assisting the Sound Designer in interactions with other members of the production team as
required;

Assisting the Sound Designer with any special effects or voice-overs and pre-show recordings
needed;

Attending rehearsals as required to become familiar with the flow and sound requirements;

Assisting with the preparation of cue notes for the Sound Board operator.

Assisting with all aspects of the sound set-up and teardown, understanding that the Theatre’s
equipment is handled by Theatre volunteers;

Assisting the Sound Designer as requested at the Theatre;

Assisting in determining theatre volunteer requirements;

Assisting with the coordination, training and supervision of Orpheus volunteers to place and
remove body mics on the cast;

Assisting with the cleaning of body mics and other equipment and with keeping track of problems
detected with them;

Upon completion of the production, the Sound Designer and the Apprentice Sound Designer will jointly
capacity is required. The Sound Designer will also generate a brief report in writing to the Board of
Sound Designer’s opinion, the apprentice is prepared to take on a show as Sound Designer and why.
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Appendix 4-G Lighting Designer
The Lighting Designer is responsible for all aspects of the design of the lighting for the production and for
supervising the set-up and operation of the lighting equipment.
1. Design and Lighting
This includes determining the instruments required, where they should be hung, how they should be
cabled, the circuit to which they should be connected, the colour to be used, the location upon which they
should be focused and the intensities to be used.
The Lighting Designer should determine (in consultation with the Producer and Theatre Staff) what
equipment is available at the theatre. The Lighting Designer is expected to design within the constraints
of the equipment available at the theatre. If the Lighting Designer requires additional equipment, this,
including the rental cost, must be approved by the Producer in advance. In such cases, the Lighting
Designer will be responsible to arrange the required rentals, and for arranging to have the equipment
delivered to the theatre and returned to the supplier. All rental equipment must be in good working order
and acceptable to the theatre.
The Theatre maintains an extensive gel and gobo inventory. In addition, Orpheus owns a small stock. The
Lighting Designer is responsible to verify that the theatre and/or Orpheus have the gel and gobos that will
be required. If additional gel or gobos will be needed, the Lighting Designer should arrange with the
Production coordinator or workshop advisor to purchase what is needed. The Lighting Designer is
responsible to ensure the return to Orpheus of all Orpheus–owned gel and gobos.
The Lighting Designer should review the set design with the Set Designer and the Stage Manager to
ensure that it will be possible to usefully install lighting equipment where desired. The Lighting Designer
should also be aware of costume colours and consult the Director to determine the intended "look" of the
show and any other special requirements. The Director must be satisfied with the final lighting result.
First-time Lighting Designers are encouraged to see one or more Orpheus shows prior to their assignment
to become familiar with possible approaches and theatre and equipment restrictions.
2. Supervising Set-Up and Tear Down
Most handling of the lighting equipment is done by Theatre volunteers/technicians. In practice, the
Lighting Designer is expected to be present for and to assist with the setup. The Lighting Designer must
co-ordinate on-stage schedules with the Stage Manager in arranging the time required for Set-Up.
The Lighting Designer is responsible for determining the (Theatre Volunteer) staffing requirements for
the show, and for communicating these to the Theatre in time for volunteers to be obtained. If any paid
staff will be required, this must be approved by the Producer.
The Lighting Designer is expected to attend all on-stage rehearsals to determine the timing of all lighting
cues and to set the appropriate light levels for each cue. As soon as possible, the actual cues should be
given to the Stage Manager.
It is not necessary for the Lighting Designer to be present during performances; the control board(s) and
follow spot(s) are operated by Theatre personnel, and the cues are called by the Stage Manager.
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The Lighting Designer is not required to be present for the Tear Down of the lighting equipment, (except
to retrieve any rented equipment) but attendance and assistance is considered desirable.
3. Budget
All designs must be feasible within the established budget, and must be acceptable to the Theatre. Each
show has its own lighting budget set by the Board of Directors and the Producer must be consulted before
any over-budget expenses are incurred.
4. Meetings
The Lighting Designer is expected to attend all production meetings, unless otherwise excused by the
Producer, and should also be in attendance for the show's Opening Meeting.
The Lighting Designer may have to attend meetings with the Theatre staff, prior to the show, to review
their plans and requirements. Such meetings are normally during business hours.
5. Schedule
The Lighting Designer should attend as many rehearsals as is required to familiarize themselves with the
staging of the production.
The Lighting Designer should review the Set-Up/Tear Down schedule with the Stage Manager, Producer,
and theatre staff to ensure there are no conflicts in times allotted and that there is sufficient time to
complete the lighting requirements.
A fully completed lighting plot should be ready by the time the set moves in to the theatre. A general
outline and/or preliminary plot must be available at the time of the meeting with the Theatre staff,
typically 4 weeks before move in.
In general, the move into the theatre will be the Sunday before Opening Night and all lighting should be
in place for the first technical rehearsal - usually the Monday night. This will usually require the Lighting
Designer to be available during the day on the Monday. All lighting cues - subject to last minute
adjustments - should be in the hands of the Stage Manager no later than the Wednesday dress rehearsal
prior to Opening Night.
6. Artistic Interpretation
Any conflicts between the Artistic Director or Set Designer and the Lighting Designer should be resolved
by mutual agreement. Where this is not possible, the Producer shall have the authority to determine what
course of action should be taken.
7. Apprentice to Lighting Designer
If a suitable candidate is available, the Lighting Designer may take on an Apprentice Lighting Designer
and provide an appropriate learning experience. First time Lighting Designers are not permitted to have
an apprentice. The Lighting Designer and the Apprentice Lighting Designer should then enter into a
working relationship, which would involve the Apprentice taking on in large part or entirely, some or all
of the following activities:

Attending all meetings the Lighting Designer may hold with the Director and/or other members
of the Artistic team in order to gain an understanding of the process of developing a design from
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
Attending and participating in meetings with the Lighting Designer, in order to assist in the
creation of the lighting design.

Working out some of the practical details of the design, under the direction of the Lighting
Designer, and preparing the necessary documentation.

Assisting in the preparation of required drawings and other documentation.

Assisting in following the prescribed production budget for Lighting Design;

Assisting with the determination of what equipment is available at the theatre, (including gels and
gobos) and what needs to be borrowed or rented;

Assisting with the logistics of required rentals including arrangements for delivery and return.

Assisting the Lighting Designer in interactions with other members of the production team as
required;

Attending as many rehearsals as necessary to be familiar with the production,

Assisting with all aspects of the lighting set-up and teardown including focusing and cueing,
understanding that most equipment is handled by Theatre volunteers;

Assisting the Lighting Designer as requested during Theatre rehearsals


Upon completion of the production, the Lighting Designer and the Apprentice Lighting Designer will
jointly review the above mentioned activities with regards to the Apprentice’s performance of all the
capacity is required. The Lighting Designer will also generate a brief report in writing to the Board of
Lighting Designer’s opinion, the apprentice is prepared to take on a show as Lighting Designer and why.
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Appendix 4-H Stage Manager
1. Qualifications
The Stage Manager (SM) is responsible for everything that happens within the walls of the theatre. In
“The Back Stage Guide to Stage Management”, Thomas A. Kelly wrote:
“Stage Managers are responsible and adaptable communicators who have the ability to handle and coordinate diverse groups of artistic personalities with tactful discipline and a sense of humour. They
establish a creative environment by combining the ability to prioritize and anticipate and solve problems,
with calm sensitivity and grace under pressure. Their ability to do the above stems from organizational
ability, acquired technical knowledge (sound, music, lights, design and construction…)…and an
inspirational personality that creates positive energy.”
With Orpheus, the “creative” side of the stage management is overshadowed by the technical because an
Orpheus SM may also function as the Technical Director or production carpenter instead of having direct
responsibility for the rehearsals, as a professional SM would.
2. Responsibilities
If a Technical Director is not assigned or required, the SM will assume their responsibilities as outlined in
the Technical Director’s Job Description. Specific duties of an Orpheus SM include, but are not limited
to, the following some of which can be delegated to an Assistant SM (ASM):

Analyze the script, set design and building plans and discuss with the TD;

Discuss scene changes with the Artistic Director/Choreographer to ensure that no cast member is
blocked with 3 ½ feet of a flying scenery when is moves;

Attend production meetings and call technical meetings as necessary;

Report the status of the show as requested by the Producer;

Engage, at no cost and subject to any necessary approval of the Producer/Board of Directors and
Theatre management, Assistant Stages Managers, Crew Chief and Stage Crew, as required, and
ensuring that all are aware of their responsibilities before move-in. Sufficient people should be
available for move-in, set up, theatre rehearsals, performances and tear down;

Ensure that the ASM(s) has/have attended enough rehearsals to know the show;

Attend one or more pre-production meetings with the theatre staff, as called;

Determine requirements for Theatre volunteers for stage crew and flying, and provide these
requirements to the Theatre Chief of Production in sufficient time to allow volunteers to be
obtained (typically, at least 4 weeks in advance);

Draw up a crew schedule for theatre setup, rehearsals and performances;

Attend the read-through and as many rehearsals as necessary to understand the staging of the
show; this will include most of the full act runs during the last two weeks prior to move-in;

As required by the Director, tape the rehearsal hall floor to match the set ground plan. The
Director and their assistants should be aware of the marking scheme. It is not always necessary to
match every item on the ground plan, especially with a show with a multiple level set;
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
Ensure that Props or the Set Designer keeps track of borrowed furniture – where it came from,
how it is to be returned and the method of payment if payment is required at the time of pick up;

Review the time and events allocation for the theatre with the various production department
chiefs and the Director;

In addition to legislative requirements, ensure that the guidelines for set construction, flying and
rigging are enforced (see Appendix 4-Z Guidelines for Set Construction, Flying and Rigging and
Appendix 4-AA Technical Guidelines for Centrepointe Theatre);

Except as delegated to the Technical Director during setup and teardown, be responsible for the
safety of the cast and crew while at the theatre – including the fire drill. ASM(s) are directly
responsible for spotting and supervising flys and moving pieces to ensure the safety of those on
and off stage. They should not be used as crew or fly assistants in order that they are free to
prevent accidents;

Ensure that any damage to the theatre or theatre property is reported to the appropriate official;

Ensure that a professional and positive working relationship is maintained by all parties at the
theatre – technical disputes should be mediated if possible before referring them to the Producer;

Ensure that all personnel are out of the Theatre no later than midnight or other agreed upon time
in accordance with the Theatre contract;

Arrange with the Theatre Food Coordinator for suitable refreshments/meals for the Orpheus and
Theatre crews during the setup and teardown;

Ensure that the orchestra pit is laid out and set up according to the wishes of the Musical Director;
Confirm with the Theatre staff that the pit is safe for the orchestra;

Maintain an updated cue script for calling rehearsals and performances. Obtain lighting and
sound cues from the Designers when required;

Check that the cast, crew and orchestra have signed in when required for theatre rehearsals and
performances. (The Producer will arrange for the sign-in sheets). The Producer and the Stage
Manager are the only ones authorized to add names to the sign-in sheets at the theatre;

Ensure that rehearsals and performances (subject to unforeseen circumstances) start on time;

In conjunction with the Lighting Designer and crew, ensure that the work lights (“blues”) in the
wings are adequate and cannot be seen from the audience;

Have Props provide water, Kleenex, etc in the wings for the cast;

Advise the Director (or cast members directly) of any serious deviations from the script or
direction – particularly as the run progresses;

Coordinate a crew show, if desired, for the Orpheus Banquet; and

3. Apprentice to Stage Manager
If a suitable candidate is available, the Stage Manager may take on an Apprentice Stage Manager and
provide an appropriate learning experience. First time Stage Managers are not permitted to have an
apprentice. The Stage Manager and the Apprentice Stage Manager should then enter into a working
relationship, which would involve the Apprentice taking on in large part or entirely, some or all of the
following activities:
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
Attending all meetings the stage Manager may hold with the Director, Technical Director and/or
other members of the production team.

Attending and participating in meetings with the Stage Manager, in order to understand the tasks
to be performed.

Participating in the recruitment and training of Assistant Stage Managers;

Attending sufficient rehearsals to know the show;

Attending Orpheus House rehearsals as the representative of the SM, as directed by the SM, on
occasions when the SM is unavailable.

Assisting with the recruiting of required stage crew and the development of the crew schedule;

Assisting with the preparation of the Stage Manager’s cue script including blocking and cueing
notes, as appropriate.

Assisting with taping the rehearsal hall floor;

Assisting the Stage Manager in interactions with other members of the production team, as
required;

Assisting with the set-up and organization of the orchestra pit;

Assisting the Stage Manager as requested during Theatre rehearsals and performances

Calling one or more performances under the direct supervision of the Stage Manager


Attending any meetings the Stage Manager may have with the Theatre Staff including the preshow meeting;

Upon completion of the production, the Stage Manager and the Apprentice Stage Manager will jointly
capacity is required. The Stage Manager will also generate a brief report in writing to the Board of
Stage Manager’s opinion, the apprentice is prepared to take on a show as Stage Manager and why.
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Appendix 4-I Technical Director
Specific duties include, but are not limited to, the following:
Analyze the script, set design and building plans and is responsible for assuring that detailed construction
drawings are developed and delivered to the Master Carpenter in a timely fashion;
In addition to legislative requirements, ensuring that the guidelines for set construction, flying and rigging
are enforced (see Appendix 4-Z Guidelines for Set Construction, Flying and Rigging and Appendix 4-AA
Technical Guidelines for Centrepointe Theatre) and also ensuring that the set is built to Orpheus’ and the
Theatre’s standards and is structurally sound for its intended purpose. The Technical Director should
check with the Artistic Director and Choreographer about which objects must bear the weight of cast
members and ensure that they are adequately constructed.
In cases that a structural engineer must approve the set design, the Technical Director is responsible for
securing said engineer and to have appropriate detailed construction drawings are available for this
certification.
Before the start of set construction, determine that the proposed set can be built on schedule, erected
within 6 hours on stage, masked, stored, and moved in the theatre as required, and describe any problems
in sufficient detail so that the Set Designer and/or Artistic Director can modify the Design or Staging as
appropriate and will co-ordinate between all department heads, specifically the scenic artist to determine
what pieces are necessary for the painting schedule;
Be the direct link between the Set Designer and Master Carpenter. Any and all changes to the set design
must be approved through the Technical Director;
Ensure the Set Designer/Artistic Director are aware of technical issues and how to manage them;
Ensure that the Artistic Director’s requirements are built into the set. This will require negotiation with
the Stage Manager, Master Carpenter, Artistic Director and Set Designer on an ongoing basis (The
Technical Director is the direct link between the Artistic Director, Set Designer);
Attend production meetings and call technical meetings as necessary;
Attend one or more pre-production meetings with the theatre staff to highlight potential areas of concern
and negotiate them (Is the direct link between the theatre and Orpheus in regards to all technical aspects
of the production);
Report on the status of the show as requested by the Stage Manager, and in conjunction with the Stage
Manager, ensure that all scene changes can be executed in a safe and timely manner;
Ensure that all scenery fits together and moves as expected before move-in; especially with respect to
castors, braking mechanisms and handholds;
Ensure that all equipment required to work the set is in stock and available for rehearsals and
performances (i.e. chock, brakes, rigging hardware);
Ensure that all preparations for assembly and rigging are complete prior to move-in. In particular, ensure
that all flying hardware and cables are affixed to items to be flown;
Co-ordinate between all the designers and department heads to ensure that their needs and time lines are
considered before any official theatre schedule is produced;
Produce a hanging plot and a fly cue plot prior to move-in;
Arrange for any required technical equipment or supplies, not otherwise provided, to be procured or built
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and that they can be safely run onstage (i.e. fog machines, pyrotechnics, etc);
Within a schedule defined by the Stage Manager, take charge of move-in and setup; be responsible for the
safety of the crew, and for the care of Orpheus and Theatre property during these times;
The Technical Director is the ‘official’ safety officer at the theatre and must work and report to theatre
staff in this regard. The TD will remain the safety officer until such time as the Stage Manager is ready to
fulfill this role;
Arrange for truck rental and prepare a truck list for move-in and assign someone to be responsible for its
execution. Make arrangements for truck rentals, drivers and any other pickups or deliveries required for
move-in and teardown;
Take responsibility for assembling all flown, fixed and moveable scenery. Traditionally, the Master
Carpenter has immediate responsibility for assembling scenery on the floor and the TD ensures that all
flown scenery, rigging and masking are set up. All items to be flown must be inspected and approved by
the Theatre staff at the time they are first flown. The TD must work with the Master Carpenter to ensure
that the scenery can be approved by the theatre staff when erected;
Ensure that the Master Carpenter/Stage Manager are aware of any issues requiring repair throughout the
run and ensure that these repairs are carried out satisfactorily;
Each day during the run, ensure that the set and special effects are functioning properly and safely;
Organize teardown and determine, with the Master Carpenter, what is salvageable from the show; be
responsible for the safety of the crew, and for the care of Orpheus and Theatre property during these
times;
Attend meetings as called by the Producer;
Provide a learning experience for an apprentice if a suitable candidate is available. First time Technical
Directors are not permitted to have an apprentice; and
Ensure all technical issues are identified and resolved.
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Appendix 4-J Master Carpenter
The Master Carpenter is responsible for the timely construction of the set, as per the Set Designer's
design. In more detail, the responsibilities include:
Reviewing the set design with the Set Designer and the Technical Director to ensure understanding, and
that it is feasible to construct the set. The Master Carpenter is encouraged to suggest changes to facilitate
and/or reduce the cost of building the set;
Reviewing the construction drawings in conjunction with the Technical Director (Note – all changes to
the set design must be approved by the Technical Director);
Ensuring that materials et cetera in stock are used to the greatest extent possible to minimize cost;
Estimating the materials required to build the set and/or reviewing any estimate prepared by others;
Advising the Workshop Advisor of supplies needed, and of any required maintenance of the Workshop or
tools;
Working with the Set Designer and Technical Director to develop detailed construction drawings as may
be required;
Supervising the construction, as well as contributing actively to it. The Master Carpenter should ensure
that there is sufficient work for the building volunteers, and that all volunteers are assigned work at an
appropriate skill level. The Master Carpenter should advise the Membership Director if more volunteers
are required;
In conjunction with the Technical Director arranging the schedule of construction. The set must be
constructed in sufficient time so that it may be fully painted and rigged before the move-in to the theatre
(generally the Sunday before the show's opening). The Master Carpenter should consult with the
Technical Director to determine if or when set pieces are required for rehearsal; to determine when items
are required for painting; and to determine when items are required for rigging or other final preparation;
Arranging with the Producer for access to the Rehearsal Hall for set up of set pieces;
Ensuring that all activities in the workshop are carried out safely; Encouraging all builders to wear safety
equipment as appropriate for the work they are doing;
Determining, in consultation with the Stage Manager and the Technical Director, their respective roles
during the erection of the set on stage. Normally the Master Carpenter is responsible for assembling units
that had to be shipped disassembled. The Technical Director, or Stage Manager (if there is no Technical
Director) normally looks after the assembly and rigging of flying scenery;
Promptly cleaning up the Workshop after the show so that it is ready for the next Master Carpenter;
Attending meetings as called by the Producer; and
Providing a learning experience for an apprentice if a suitable candidate is available. First time Master
Carpenters are not permitted to have an apprentice.
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Appendix 4-K Producer
The allocation of these production duties must be agreed upon between each Producer and First VicePresident; however, the Producer’s duties will typically include some or all of the following:
Oversee the Production team: be aware of progress and issues in all departments; ensure that things don't
fall between the cracks between departments; assist in resolving problems, personality conflicts, cast
performance/attendance issues;
Call, chair, and take minutes from production meetings and other meetings as required;
Monitor all expenses from each department and report frequently to First Vice President; remind all
production heads that exceeding one’s budget requires approval by the Board of Directors
Verify that the Technical Director has made arrangements for truck rentals and drivers, and for any other
pickups or deliveries required (e.g. furniture);
Verify that the Sound Designer has made arrangements for people as required to assist with body mics,
etc;
Assist production teams with procurement (supplies, rentals) issues as required;
Assist the Program Director with obtaining production team photos, bios, lists and any other information
required by providing reminders of deadlines and following up with those who do not meet them.
Prepare the stage door security lists with the understanding that no names are to be added at the theatre
without the producer’s or stage manager’s approval;
Verify that the Theatre Food Coordinator is aware of the number of meals which need to be provided
from move-in to teardown.
Ensure that audition information as well as cast and production team information is provided to the
newsletter editor and Webmaster.
Arrange for setup and logistics of opening meeting;
Be present at each individual audition; provide assistance (bring auditionees into auditions, read parts,
etc) and logistical support (desk people, tables and chairs, film, forms, etc) as needed; if necessary assist
in calling auditionees with results;
Should there be ACTRA or Equity members in the cast ensure the following are completed:

Request the ACTRA or Equity member to provide the appropriate forms from the union and ask
them to deliver the forms to the Orpheus Office as soon as possible

Follow up with the member and the Orpheus Office staff member to ensure that this is done

Notify the Program Director of the casting of an ACTRA or Equity member in order that proper
credit is printed in the program

Inform the Membership Director that a contract needs to be issued and signed.
Speak to cast to provide required information on Orpheus policies, rules and traditions at first rehearsal
and at any other necessary time. Ensure that people know that the Producer is the person to contact in the
event of problems or issues. The Producer will refer unresolved issues to the First Vice President.
Distribute dress rehearsal tickets to cast and production team;
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The Producer is responsible for ten (10) complimentary tickets per performance. These tickets are to be
used by the directors and personnel working on the show. They are not to be given to family and friends
outside of production personnel. The Producer is to use discretion when handing out tickets. The
Producer must return any unused tickets to the box office at least twenty minutes before curtain time;
Arrange for one new and one experienced cast member to be selected to represent the cast at the post
production meeting, contact team members with logistics for post production meetings;
At the first production meeting remind the team to review the Best Practices (2000-2008) binder in the
Green Room. Arrange for previous post- production reports to be distributed to the production team as
soon as possible for discussion at one of the first production meetings.
Deal with issues that no one else is addressing and perform any other duties delegated by the First Vice
President.
Compile the post-production reports and submit them to the President.
The Producer must have access to a computer and be comfortable using a computer for minutes,
schedules and communications.
Ensure that the Board of Directors and the Board of Trustees are aware of and invited to attend show
related social events (example: karaoke nights).
Upon completion of the show, collect the following items for storage in the Archives: 5 copies of the
show program, relevant show photographs (labeled and organized), 1 audio/video tape of the show (if
applicable, 1 copy of the show poster, 1 large photo for the photo wall and miscellaneous (1 of each item).
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Appendix 4-L Production Assistant/Assistant to the Artistic Director
For each show, the Production Assistant, Artistic Director and Producer must decide what duties are to be
performed by the Production Assistant, which typically include the following:
1. Auditions

As requested by the Artistic Director and Musical Director, prepare and distribute a description of
the main characters and vocal ranges for the Newsletter and for auditionees to refer to at the
auditions.

Read opposite those auditioning for a speaking role. Some Artistic Directors prefer to do this
themselves or have another member of the auditioning team perform this task.

Assist the Producer in telephoning auditionees for call-backs and results.

If full scripts are not being left out in the waiting room for applicants to review before their
reading audition, get a list of the readings the Artistic Director wants to use and have the
appropriate script pages available (5 of each should be enough).
2. Forms, Schedules, Scripts, Show Memorabilia

Prepare audition appointment sheets (and leave in the office) and ensure any relevant instructions
are provided for the Orpheus Office staff member or volunteers. Ensure that there are enough
audition forms on hand.

Maintain a calendar showing dates and times cast members are available (for use by the
Production Team when making up the rehearsal schedules).

Type and distribute rehearsal schedules to the Production Team and cast members. Advise all
involved of any changes to the printed rehearsal schedule as previously distributed.

Prepare a scene breakdown listing song, and character/performer in each scene. Note: This can be
typed before auditions and then finalized once the show is cast.

Maintain the cast and production team contact list and provide regular updates to the artistic team
and producer.

Distribute scripts and scores and collect deposits, if applicable, to cast and crew. Any money
should be turned over to the treasurer to hold until such time as refunds are made. By closing
night, collect scripts and scores and return deposits as necessary. Advise the Board of Directors’
Secretary of any missing scripts or scores that would normally be returned to the royalty agent.

Retain for the library, if not already done, one copy of the script, vocal score and piano score.

Attend production meetings as called.

Arrange for cast photos, bios, lists and any other information required. Provide frequent
reminders of deadlines.

Set up a schedule for cast members to tidy up the Centrepointe Green Room each night and
provide the Stage Manager with a copy.

Be responsible for the ordering of show memorabilia in cooperation with the Treasurer for cast
and production team and crew.
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3. Rehearsals

Arrive at least 15 minutes before rehearsal and take attendance as cast arrives so the Artistic
Director knows exactly who is missing when rehearsal is due to start. Advise the director of any
cast members you have heard from who will not be at rehearsal as scheduled. Check for voice
mail messages.

Phone late cast members to confirm at what time they will be arriving, if at all. Sometimes,
people forget or were unable to advise that they will not be attending a rehearsal.

Phone cast members who were not advised of any changes in rehearsal times or scenes as
previously set.

Help set up rehearsal hall with basic set pieces for each scene. At later rehearsals the Stage
Manager or Assistant Stage Manager may want to set each scene. If so, you should check to see
if they want assistance.

Advise production heads of any changes the Artistic Director makes during rehearsals which
would involve their area of operation (i.e. added cast members in a scene to be costumed, bracing
of set pieces for cast to jump on or off or to dance on, added props not in script, etc.).

Maintain blocking script and advise prompter (if any) and Stage Manager of any line changes.
Also advise the Stage Manager and Lighting Designer of any scene cue changes.

Attend early dance rehearsals, if required, to ensure Choreographer knows where the cast
members are on stage before and after the dance numbers. Some Artistic Directors prefer to do
this themselves.

Take notes for the Artistic Director and Choreographer during rehearsals and prompt (if separate
prompter not being used) during rehearsals. Remind Artistic Director of any consistent line
problems (the Artistic Director will then decide if the actor should be reminded of the correct line
or if it is okay to keep the change, in which case scripts should be revised accordingly).

Remind the director about general announcements to be made by them or production heads (i.e.
memberships, costume fittings, social functions, changes in rehearsal schedule, etc.).

Run rehearsal, in part or in full, in absence of the Artistic Director. Unless you are also doubling
as the Assistant Director, this will only be done in exceptional circumstances - such as the illness
of the Artistic Director or their having to attend a meeting outside of rehearsal. The Artistic
Director should have advised the cast of your authority to do so prior to the rehearsal.

Let cast members know if their scenes are being done again later in rehearsal or if they can go for
the evening (this cuts down on idle time).

If in doubt as to whether or not you should be doing something, especially if it involves another
production area, ask first.

Politely remind, as need be, any guests (other than production team and Board members) that
rehearsals are closed.
4. Conduct

Be courteous and friendly to all cast and crew members.

Never take sides in production or cast conflicts. If some arise, take the opportunity, if it presents
itself, to have the parties get together and find a resolution to the problem. Note that ultimate
responsibility for dispute resolution rests with the Producer or First Vice-President.
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
Let the Artistic Director and/or Producer know of any complaints you may overhear, so they can
talk to the people involved and straighten out the situation as warranted.

Be conscious of cast and crew morale and help boost whenever necessary. This is especially
important when things get bogged down at technical rehearsals in the theatre.

Never argue, shout or make derogatory remarks in front of the cast and crew.
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Appendix 4-M Scenic Artist
The Scenic Artist is responsible for the timely painting of the set (both built objects and drops), as per the
Set Designer’s design. Specific responsibilities include:

Attending meetings as called by the Producer;

Reviewing the set design with the Set Designer to ensure understanding and that it is feasible to
paint the set. The Scenic Artist is encouraged to suggest changes to facilitate and/or reduce the
cost of painting the set;

Ensuring that materials etc. in stock are used to the extent possible to minimize cost;

Estimating the materials required to paint the set and/or reviewing any estimate prepared by
others;

Advising the Workshop Advisor of supplies needed, and of any required maintenance of the Paint
Loft or tools;

Supervising the painting, as well as contributing actively to it. The Scenic Artist should coordinate the work of other painting volunteers. The Scenic Artist should advise the Membership
Director if more volunteers are required, including the skill levels needed;

Ensuring that fireproofing is correctly applied, during the sizing and painting process, or
afterwards;

Flats, drops, draperies, etc. must be treated with flame retardant. For flats and drops,
Roscoflamex C26 diluted 1:2 with water should be used in place of water for all dilution of size
and paint. Draperies, curtains, etc. require treatment with Roscoflamex C26 or S33 as
appropriate, according to the manufacturer’s instructions;

Styrofoam must be securely attached and covered with a suitable flame retardant coating (e.g.
Rosco Foamcoat);

Arranging the painting schedule. The set must be painted in sufficient time so that it may be
rigged before the move-in to the theatre (generally the Sunday before the show’s opening). The
Scenic Artist should work with the Master Carpenter and Artistic Director to establish when
objects will be available for painting, and with the Stage Manger to determine when items are
required for rigging or other final preparation. The set should be painted as it is built and all
should be completed prior to the move-in to the theatre. Time at the theatre for last minute touch
ups is severely limited, but should be arranged with the Stage Manager if absolutely essential;

Housekeeping. The Scenic Artist is responsible for keeping the paint loft and any other areas (at
Orpheus House or at the Theatre) in good order and clean and for the care and cleaning of all
painting implements. The Scenic Artist must pack up and arrange with the Stage Manager for the
transport of any necessary painting supplies to and from the Theatre. After the show, any leftover
supplies should be properly sealed, cleaned, stored, and/or discarded, as appropriate and the paint
loft left clean and tidy; and

Provide a learning experience for an apprentice if a suitable candidate is available. First time
Scenic Artists are not permitted to have an apprentice.
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Appendix 4-N Properties Master/Mistress
1. Preliminary

Prepare preliminary props list by reading script and noting all props. Check list at least one month
before starting production with Set Designer and Artistic Director for any changes or
additions/deletions.

Attend the Information Night to be introduced and to recruit crew.

Attend all Production Meetings.
2. Financial

Confirm budget for show in consultation with the Producer.

Obtain advance(s) and handle funds and financial reporting as directed by the Producer.
3. Production

Establish working nights and inform crew. Have a to-do list ready prior to each working night so
you have enough work to keep people busy (or they will get bored and not come back!).

Get rehearsal props ready as soon as possible, but definitely by the time full acts are being run.
Attend full-run rehearsals to learn usage of props (i.e. pre-set or carried on) and whether they
come on from Stage Left or from Stage Right.

Do all shopping for supplies and some props. The custom is to use what we already have
(adapting where necessary); make as much as possible or borrow from others (groups or people)
where absolutely necessary. This saves Orpheus a lot of money and also allows for more
creativity.

Give both the Artistic Director and Set Designer deadlines for adding new props.

Ensure there is agreement with the Set Designer as to what constitutes a prop and what is part of
the Set. Ensure that major props are in accord with the Set Design. Ensure that there is agreement
with the Master Carpenter as to who will build what, in the case of items that might be either Set
or Props.
4. At the Theatre

Reach agreement with the Theatre staff and Stage Manager as to where props will be stored, and
where props tables can be located (props tables might be located in the wings, in the under stage
cross-over, or, most commonly, in the hallway off stage left). Under normal circumstances, props
will be left on the props tables for the entire run. If there are security concerns about particular
items, this should be reviewed with the theatre staff to determine what other arrangements may be
appropriate.

Re-do props list in order of Pre-Set, and props table(s) and post at each props location.

Be backstage for each performance, ensuring you have enough crew at each props location.
Follow Stage Manager's directions and adhere to their call for crew.

Ensure all props are moved into theatre in time for first technical rehearsal. The Stage Manager
must be informed of any props to be moved on the truck. Other props may be moved in cars as
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you may arrange. Arrange for the delivery and pickup of props that are being delivered directly to
the theatre.
5. Tear-Down

Return all props to Orpheus and put them away in their proper places (update card file if
necessary). Ready borrowed or rented props and arrange for their return.

Tidy and sweep props room so it is ready for the next production team.
6. Mentoring

Properties Master/Mistress’ are not permitted to have an apprentice.
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Appendix 4-O Properties Carpenter
The Properties Carpenter is responsible for the timely construction of any set pieces determined as props
as per the Set designer’s design. In more detail, the responsibilities include:

Reports directly to the Properties Master/Mistress

Reviewing the set design with the Set Designer, Master Carpenter, Properties Master/Mistress
and Artistic Director to determine what aspects of the set design can be allocated as ‘props’.

Ensuring that materials and previously built ‘props’ are used to the greatest extent possible to
minimize cost.

Estimating the materials required to build the props allocated, reviewing any estimate prepared by
others and provides an alternate rental cost (to determine if renting or building is more cost
effective.)

Arranging a schedule of construction with the Master Carpenter to determine the most productive
times to build.

The Properties Carpenter should consult with the Artistic Director and Technical Director to
arrange a schedule of construction to determine if or when props pieces are required for rehearsal.
The Properties Carpenter should also consult with the Scenic Artist to arrange a schedule for any
painting required of said props.

Working with the Set Designer and Technical Director to develop detailed construction drawings
as may be required.

Advising the Workshop Advisor of supplies needed.

Determining what volunteers are required and gathering a team and volunteer schedule.

Ensuring that any prop piece is built to Orpheus’ and the Theatre’s standards and is structurally
sound for its intended purpose. The Properties Carpenter should check with the Artistic Director
and Technical Director about which objects must bear the weight of cast members and ensure that
they are adequately constructed.

In conjunction with the Properties Master/Mistress, create a ‘cut-off’ date for additions to the
properties list. Promptly cleaning up the workshop after each use.

Attending meetings as called by the Production Co-Coordinator.

Providing a learning experience for an apprentice if a suitable candidate is available. First time
Properties Carpenters are not permitted to have an apprentice.
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Appendix 4-P Audition/Rehearsal Accompanist
The Board, upon the recommendation of the Musical Director, shall appoint one or more Audition
Accompanists, who must apply to the Board in writing to obtain this position. The Audition
Accompanist(s) shall provide piano accompaniment for all auditionees.
The Board, upon the recommendation of the Musical Director, shall appoint one or more Rehearsal
Accompanists, who must apply to the Board in writing to obtain this position. The Rehearsal
Accompanist(s) shall provide piano accompaniment for rehearsals, as directed by the Musical Director.
The Rehearsal Accompanist will not automatically become part of the show orchestra, however, may be
considered if the orchestra requires a keyboard player.
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Appendix 4-Q Wardrobe Mistress/Master
The Wardrobe Mistress/Master is responsible for the care and use of the costumes in rehearsals and in the
theatre. The Wardrobe Mistress/Master must work closely with the Costume Designer and Costume
Production Manager in order to complete their duties. Problems with the design of the costumes should
be referred to the Costume Designer or Costume Production Manager for resolution.
1. General

Meet with Costume Designer, Assistant to the Designer and/or Assistant Designer to read script
to determine basic changes required, flow of show, scene changes, quick changes, etc.

Keep a comprehensive list of all special changes etc.

Be available for read through and runs of the show, looking for possible problems.

Be responsible for any rehearsal costumes required.

With the Designer, list all parts and costume requirements to be kept for reference.

Assist the Costume Production Manager by keeping track of costumes as they are completed;

Ensure that all costumes are completed and all pieces (i.e. costumes, hats, bags and any other
accessories) labelled with the cast member’s name before moving to the theatre.

Attend Production Meetings as required.

With the assistance of the Stage Manager, Hair and Makeup Designers, determine the dressing
room assignments. Make signs for dressing room doors listing cast member name.

Obtain and schedule a wardrobe crew.

Keep a list of all costume rentals.

2. Move to Theatre

Tie all costumes for the move (one bundle per cast member). Hats and shoes should be packed in
cardboard boxes.

Pack all necessary equipment required at the theatre into the “Sewing Box” according to the list
posted in the Sewing Room.

Arrange with the Stage Manager for transport on the truck, or make other transportation
arrangements.

Be present on move-in day.
3. At the Theatre

Unpack all necessary equipment, set-up sewing machine, irons & boards, steamer etc.

Place a repair sheet in plain view for a listing of needed adjustments, repairs and/or pressing.

Sort and distribute costumes to proper dressing rooms, according to prepared list.

Post dressing room assignment lists.
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
Post the list/schedule for dressers and assistants for the dress rehearsals, run and tear-down.

Ensure that all costumes are pressed and ready for the first dress rehearsal.

Ensure that someone from costumes is at the theatre at least two hours before curtain to check all
costumes, do pressing, and any repairs as required. Supervise the cleaning and maintenance of the
costumes.

Supervise the wardrobe crew and dressers.

Instruct the cast as required in the proper wearing of and caring for the costumes.

Assist the cast as required with dressing.

Assist with any quick changes and ensure that the required costumes and dressers are in the
correct positions at the correct times, and that removed costumes are returned to the correct
locations. Resolve any issues with quick changes (i.e. location, etc) with the Stage Manager.
4. Strike

Bag all costumes into various groups (i.e. white, coloured, dark, dry cleaning, etc.). The use of
transparent (clear) bags is highly recommended so as to distinguish costumes from garbage.

Pack up all equipment into the “Sewing Box”. Pack all hats and shoes in cardboard boxes.

Tidy dressing rooms and sewing area.

Assist in the moving out of costumes etc.

Make arrangements with Stage Manager for transport of the costumes and supplies on the truck,
or make other transportation arrangements.
5. Cleanup

At Orpheus House, unpack and return all items to their proper place.

With the Costume Production Manager, arrange for cleaning, storage, dismantling, or disposal of
the various costumes, as appropriate

Prepare all rental costumes for their return to the rental company.
6. Other

Wardrobe Mistress/Masters are not permitted to have an apprentice.
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Appendix 4-R Makeup Designer
The Makeup Designer is responsible for the timely completion of the following tasks: designing the
makeup; obtaining and supervising the makeup crew; instructing the cast; overseeing the makeup; and
procurement and storage of supplies.
1. Design
The Makeup Designer develops the design of the makeup for the cast, in consultation with at least the
following people:

Artistic Director. The design must be acceptable to the Artistic Director and consistent with
his/her perception of the show. Depending on the requirements, historical research may be
required;

Hair Designer. The Makeup Designer and Hair Designer must agree on who will be doing what
in areas of potential overlap (facial hair, bald caps, etc), and on the overall look to be created;

Lighting Designer. The Makeup Designer needs to consider the effect the planned lighting may
have on the makeup;

Costume Designer. The Makeup Designer must be aware of performers who will require makeup
on areas other than faces (arms, legs, necks, chest, etc.), and of any other considerations dictated
by the costuming; and

Sound Designer. The Makeup Designer may have to consider the location of body microphones
and how the necessary wiring may best be concealed.
The Makeup Designer must identify to the Producer any unusual expenses to be expected.
2. Obtain and Supervise the Crew
The Makeup Designer must arrange for sufficient makeup staff to meet the needs of the show. Staff will
be required for all on-stage rehearsals using makeup (as determined by the production meetings) and all
performances. The Makeup Designer must ensure that the staff is suitably trained, as may be required.
The Makeup Designer shall determine the call time for the makeup crew, and the time that they require
the cast to be available. The Makeup Designer is responsible for supervising the crew. The Makeup
Designer is expected to be present for all on-stage rehearsals where makeup is used, and all performances
unless they have delegated a competent substitute. Someone should be clearly in charge of makeup for
every performance.
3. Instructing the Cast
The Makeup Designer must arrange one or more meetings with the cast before the move to the theatre.
This should be scheduled with the Production Assistant. During this meeting(s), the Makeup Designer
will describe the makeup to be used and the look expected. Agreement must be reached as to what the
cast can be expected to do for themselves, and what will be handled by the makeup crew. Note that this
may vary from performer to performer.
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The Makeup Designer should carefully inquire as to whether cast members have skin sensitivities or
allergies. The Makeup Designer must work with such cast members to reach an acceptable result. It is in
the Makeup Designer’s interests to determine this as early as possible in case it requires modifying the
overall design.
Coloured drawings and/or written notes are helpful for cast members and should be readily available in
the dressing rooms and makeup areas.
4. Overseeing the Makeup
The Makeup Designer must determine, in consultation with costumes, hair, and the Theatre staff which
dressing room(s) or other areas will be used for makeup. If additional mirrors, lights, etc are required, the
Makeup Designer must arrange for these.
Regardless of whether the makeup crew or cast members apply the makeup, the Makeup Designer is
responsible for the final result. The Makeup Designer must supply sufficient supervision to discharge this
duty.
5. Procurement and Storage of Supplies
Orpheus maintains a box of makeup supplies. Sufficiently far in advance of the show, the Makeup
Designer must investigate the supplies available and determine what additional supplies are necessary.
Assuming the required purchases can be accommodated within the assigned budget, the Makeup Designer
must arrange for the purchases from appropriate suppliers. Any expenses beyond the assigned budget
must be approved in advance by the Producer.
The Makeup Designer must ensure that all required supplies are packed in the makeup box or elsewhere,
and arrange with the Stage Manager for them to be transported to the theatre.
The Makeup Designer must ensure that the supplies are available to those who need them when they need
them, and that they are appropriately stored and cared for during the time in the theatre. The Makeup
Designer should ensure that supplies are being used reasonably, and must ensure that additional supplies
are obtained when needed, if necessary.
At the end of the run, the Makeup Designer is responsible to ensure all makeup is wiped clean, and all
supplies, including sponges etc., are cleaned and dried. All supplies must be packed away neatly in the
makeup container, and arrangements must be made with the Stage Manager for them to be returned to
Orpheus House. If a major restocking will be required before the next show, the Makeup Designer should
advise the Producer and the next show’s Makeup Designer.
6. Other Responsibilities
The Makeup Designer is expected to attend all Production Meetings, unless otherwise exempted, and be
readily available for consultation with the Artistic Director, other production staff, and cast members.
The Makeup Designer is expected to provide a learning experience for an apprentice if a suitable
candidate is available. First time Makeup Designers are not permitted to have an apprentice.
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Appendix 4-S Hair Designer
The Hair Designer is responsible for the timely completion of the following tasks: designing the hair
styles for the show; obtaining and supervising the hair crew; instructing the cast; overseeing the hair
styling; and procurement and storage of supplies.
1. Design
The Hair Designer develops the design of the hair styles for the cast, in consultation with at least the
following people:

Artistic Director. The design must be acceptable to the Artistic Director and consistent with
his/her perception of the show. Historical research may be required.

Makeup Artist. The Hair Designer and Makeup Artist must agree on who will be doing what in
areas of potential overlap (facial hair, bald caps, etc), and on the overall look to be created.

Costume Designer. The Hair Designer must be aware of planned hats and of any other
considerations dictated by the costuming. The Hair and Costume Designers must ensure that the
hair styles to be used and costumes are consistent as to period.
The Hair Designer must arrange one or more meetings with the cast as early in the production as possible
in order to determine the cast’s existing hair styles, lengths, colours, etc. This meeting should be
scheduled with the Production Assistant.
The Hair Designer must identify to the Producer any unusual expenses to be expected. Any expenses
beyond the assigned budget must be approved in advance by the Producer.
2. Obtain and Supervise the Crew
The Hair Designer must arrange for sufficient staff to meet the needs of the show. Staff will be required
for all on-stage rehearsals using makeup & hair (as determined by the Production meetings) and all
performances. The Hair Designer must ensure that the staff is suitably trained, as may be required. The
Hair Designer shall determine the call time for the hair crew, and the time that they require the cast to be
available. The Hair Designer is responsible for supervising the crew. The Hair Designer is expected to
be present for all on-stage rehearsals where makeup & hair are used, and all performances unless they
have delegated a competent substitute. Some individual should be clearly in charge of hair for every
performance.
3. Instructing the Cast
During the cast meeting(s), the Hair Designer will describe the hair styles to be used and the look
expected and if cast members will be required to grow, cut or remove hair (i.e. facial hair on men) for the
production. In general, cast members will not be expected or required to accept major permanent changes
to their “normal” hair style/length/colour unless this is freely agreed to by the cast member involved, or
clearly identified and accepted at the time they are cast. Wigs may provide a means to achieve major
changes without altering the cast members’ real hair.
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The Hair Designer should carefully inquire as to whether cast members have skin sensitivities or allergies.
The Hair Designer must work with such cast members to reach an acceptable result. It is in the Hair
Designer’s interests to determine this as early as possible in case it requires modifying the overall design.
4. Overseeing the Hair Styling
The Hair Designer must determine, in consultation with costumes, makeup, the Producer, and the Theatre
staff, the area(s) to be used for hair styling. If additional mirrors, lights, etc are required, the Hair
Designer must arrange for these, and any other equipment required.
In consultation with the cast, agreement must be reached as to what the cast members can be expected to
do for themselves, and what will be handled by the hair crew. Note that this may vary from performer to
performer. Regardless of whether the hair crew or cast members style their hair, the Hair Designer is
responsible for the final result. The Hair Designer must supply sufficient supervision to discharge this
duty.
The hair designer will need to work with the sound crew to accommodate body microphones that may be
placed in the performer’s hair.
5. Procurement and Storage of Supplies
Orpheus maintains a small inventory of hair styling supplies and equipment. Sufficiently far in advance
of the show, the Hair Designer must determine what additional supplies and equipment are necessary.
Assuming the required purchases can be accommodated within the assigned budget, the Hair Designer
must arrange for the purchases from appropriate suppliers.
Orpheus owns a small number of wigs that may be used as required. The Hair Designer is responsible to
ensure that these are properly used and cared for by the cast and hair crew. No substantial alterations
should be done to the wigs without explicit permission from the Board of Directors, via the First Vice
President. If additional wigs are required, the Hair Designer should arrange to obtain them. Any
expenses beyond the assigned budget must be approved in advance by the Producer
The Hair Designer must ensure that all required supplies, equipment, wigs, etc. are transported to the
theatre, or arrange with the Stage Manager for them to be transported to the theatre.
The Hair Designer must ensure that the supplies and wigs are available to those who need them when they
need them, and that they are appropriately stored and cared for during the time in the theatre. The Hair
Designer should ensure that supplies are being used reasonably, and must ensure that additional supplies
are obtained when needed, if necessary.
At the end of the run, the Hair Designer must ensure all supplies are prepared for the next show. This
includes combing out wigs, organizing the bobby pins etc. All supplies must be packed away neatly, and
arrangements must be made with the Stage Manager for them to be returned to Orpheus House.
6. Other Responsibilities
The Hair Designer is expected to attend all Production Meetings, unless otherwise exempted, and be
readily available for consultation with the Director, other production staff, and cast members.
The Hair Designer is expected to provide a learning experience for an apprentice if a suitable candidate is
available. First time Hair Designers are not permitted to have an apprentice.
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Appendix 4-T Orpheus House Social Convenor and Theatre Food Coordinator
The Hospitality Director, may fulfill the duties and obligations pertaining to a particular show, or an
Orpheus House Social Convener or a Theatre Food Coordinator may be approved by, and upon written
application to, the Board of Directors. The Orpheus House Social Convener and Theatre Food
Coordinator shall receive an honorarium as dictated by the Board of Directors.
A. Orpheus House Social Convener
The Orpheus House Social Convener shall:
1. Purchase the food/snacks that will be made available at Orpheus House for Friday night bar nights.
2. Arrange for:
a) Reception/warming and serving of food if there is a read-through/potluck, and
b) Volunteers from cast (Friday before potluck) to help bring out the food and then be responsible
for publicly thanking them for their service.
3. Arrange for music to be provided and for food/snacks to be made available on Karaoke Night.
4. Attend the first full production meeting and any others when requested.
5. Arrange, organize and serve food for:
a) Opening Night,
b) Leftover Saturday (First Saturday),
c) Pizza Friday (Second Friday), and
d) Closing Banquet (based on the number of Banquet tickets sold during production week).
6. Supervise cleanup after or during the events in #5 above.
7. In co-operation with the Theatre Social Convener and the Hospitality Director, sell banquet tickets
during the run of the show.
8. Be responsible to the Hospitality Director / Orpheus office staff for the recording of all monies
collected or spent in the running of the social events.
9. Work with the Facilities Manager, the Bar Manager and any other individuals as required, to arrange
for the setup of the hall, the provision and serving of food and the clean -up of the hall and kitchen for
any show related social events.
10. Form sub-committees, if needed at any time to assist with the organizing and running of any social
event.
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B. Theatre Food Coordinator
The Theatre Food Coordinator shall:
1. Attend the final production meeting before move-in to Centrepointe unless requested to attend any
other production meeting.
2. Organize all materials to be moved from Orpheus to the theatre on the first truck on move-in Sunday.
3. One week before move-in, or at the production meeting before move-in, confirm with the Stage
manager or TD, or designate, the numbers of meals required for move-in week.
4. Arrange for/ prepare food for
a) Mid-morning snack on move-in Sunday.
b) Lunch and dinner from Sunday-Thursday of move-in week.
c) Teardown on the final Sunday of production week.
5. Be responsible for cleanup after every meal during move-in week and after teardown Sunday chilli
dinner.
6. Return serving dishes to caterers, if required.
7. Ensure that there is a sufficient supply of coffee, milk, cream, stir sticks, napkins, cutlery and cups
etc. for move-in week and the run of the show.
8. Organize all materials to be returned from the theatre to Orpheus on move-out Sunday.
9. In co-operation with the Orpheus House Social Convener and the Hospitality Director, sell banquet
tickets during the run of the show.
10. Other theatre issues:
a) Meet with the cast on the final rehearsal before move-in to establish some ground rules for the
theatre,
b) Take names of cast members who offer to serve to clean up the Green Room at the theatre during
the run of the production, and
c) Set up a schedule whereby those volunteers from b) above serve on a rotational basis.
11. Submit all expense claims in the appropriate manner or arrange a cash advance through the
Hospitality Director or Orpheus office staff..
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Appendix 4-U Cutter
The (Costume) Cutter is responsible for the timely cutting of the costumes according to the specifications
provided by the Costume Designer. The Cutter must work closely with the Costume Designer, the
Costume Production Manager and the Wardrobe Mistress.
NOTE: The Cutter is expected to commit a significant number of hours to the cutting tasks for a show.
Depending on the show being staged, the specifications of the Costume Designer, and the number of cast
members, the cutting tasks can take on the order of 80 to 300 or more hours, usually spread over an eightto ten-week period.

Specific responsibilities include:

Attending meetings as called by the Production Coordinator and by the Costume Designer;

Reviewing the costume designs with the Costume Designer to ensure understanding of the styles,
the number of costumes to be cut, the fabrics to be used, and the time available to cut the
costumes. The Cutter is encouraged to suggest changes to facilitate the production of costumes
and/or reduce the cost of costumes;

Determining what specific measurements will be needed for the costumes to be cut, ensuring that
these measurements are taken in a consistent manner during the cast measurement process, and
supervising the cast measurement process;

Planning the cutting schedule, using information about the number and complexity of costumes to
be cut, the expected time it will take to cut each costume, the availability of suitable fabric and
patterns, and the elapsed and actual time available for the cutting activity. This must be
coordinated closely with the Costume Production Manager so that costumes are cut with
sufficient lead time allowed for the sewers to assemble them;

Obtaining, creating, adapting and/or modifying patterns as may be required to realize the designs,
to make custom sizes, and to facilitate costume “quick changes”;

Cutting, or directing the cutting, of the fabric for the costumes. The cutting process includes
marking cut fabric with sewing details (such as darts), labelling cut pieces, and writing any
special instructions for the sewers/Costume Production Manager. When necessary, the Cutter
may assemble other materials needed to complete the sewing task (e.g. zipper, buttons, thread,
etc.) and communicate directly with sewers to explain details. When multi-sized patterns are
used, the Cutter should attempt to use them in a manner such that all the sizes can be used next
time;

In anticipation of the establishment of a Costume Inventory System, keeping a log of costumes
cut, including the pattern and fabric used, any alterations made, and the key measurements of the
finished garments (such as bust/chest, waist, etc.). The Cutter is also encouraged to keep a log of
the time spent on the cutting process, which, over time, will add to the corporate knowledge of
the effort it takes to mount an Orpheus show;

Housekeeping, including keeping the cutting area organized and tidy on an ongoing basis, restocking items such as pins and cutter blades, appropriately disposing of unused material and the
correct (re)filing of patterns in a timely manner (i.e., by the end of the show’s run) so that the
cutting area is ready for the next show to start;

Providing a learning experience for an apprentice if a suitable candidate is available;
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
Preparing a post-production report on the cutting activity for submission to the Costume team and
the Post-Production meeting.
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Appendix 4-V Costume Production Manager
The Costume Production Manager is responsible for the timely creation of the costumes, as per the
Costume Designer's designs. In more detail, the responsibilities include:

Reviewing the costume designs with the Costume Designer and Cutter to ensure understanding,
and that it is feasible to construct the costumes. The Costume Production Manager is encouraged
to suggest changes to facilitate and/or reduce the cost of the costumes;

Ensuring that materials etc in stock are used to the greatest extent possible to minimize cost;

Advising the Costume Coordinator (if any) or Facility Director of any required maintenance of
the Workshop or tools;

Working with the Costume Designer and Cutter to develop detailed construction notes as may be
required;

Arranging for the cast to be measured. Normally this takes place at the “scripts and scores”
rehearsal, but the Production Team may agree on another time. Note that the actual measurement
should be carried out under the direct supervision of the Costume Designer and Cutter.

Supervising the costume production, as well as contributing actively to it. The Costume
Production Manager should ensure that there is sufficient work for the costume volunteers, and
that all volunteers are assigned work at an appropriate skill level. The Costume Production
Manager should provide instruction and direction to the costume crew, as required. The Costume
Production Manager must arrange for costume volunteers to be present when needed and should
advise the Membership Director if more volunteers are required;

Arranging the schedule of construction. The costumes must be complete at the time of move-in
to the theatre. For some shows, a costume parade may be planned for a week or so before the
move to the Theatre. The timing, requirements, and logistics for this will be determined by the
production team. Costumes that impose specific restrictions on cast members or the direction or
choreography of the show may be required earlier;

Providing direction to the Cutter as to when the various costumes must be cut and ready for
production;

Arranging for fittings as required. These should be scheduled in such a way as to minimize the
impact on rehearsals or other production activities. Under normal circumstances, the Director is
expected to be accommodating in releasing cast members briefly from rehearsals for costume
fittings. The Costume Production Manager is expected to be reasonable and flexible in the timing
of these requests, and to keep the fitting sessions brief. For simple fittings, it has been found that
indicating the cast members required on an evening and letting the cast members choose their
own free time works well. Leads may have to be accommodated before or after rehearsal, as they
are usually required all the time during rehearsal. Major fittings should be scheduled in advance
for before or after a rehearsal whenever possible. Except in unusual circumstances, a cast
member should not be called to Orpheus House just for costume fitting. Note that the actual
fitting should be completed by the Costume Designer as the Costume Designer is ultimately
responsible for the look of the costumes.

Ensuring a safe working environment in the Costume Area.

Determining, in consultation with the Costume Designer and Wardrobe Mistress/Master, their
respective roles during the move-in to the Theatre and Dress Rehearsals;
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
Cleanup of the Costume area during and, especially, after the production. All supplies and
material should be stored in the appropriate areas. The costume area must be cleaned up and tidy
before the crew for the next show needs to start work.

Dealing with the costumes after the production. Arrange for the laundering or cleaning and
storage of Costumes to be kept. Dismantle for salvageable parts and/or dispose of anything not
being kept. Assist the Costume Designer in returning pulled items to correct storage after
cleaning.

Attending meetings as called by the Producer; and

Providing a learning experience for an apprentice if a suitable candidate is available. First time
Costume Production Managers are not permitted to have an apprentice.
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Appendix 4-W Sample Audition Forms
See attached:
Audition Application Form
and
Audition Appraisal Form
and
Audition Roster Form
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AUDITION APPLICATION FORM
For Office Use Only
Callback: _______________________
Cast as: ________________________
Contacted: ___________/__________
Date and Initial
Insert name of the show: ____________________________________________________
Name:_______________________________________________________________________________
Address:_____________________________________________________________________________
Street
City
Phone: ________________________
Prov
Postal
_________________
Home
_______________
Work
Cell
Email: _____________________________________________________________
Height: ___________Ft___________In
Age if under 18:__________
AUDITION AND PRODUCTION INFORMATION
IMPORTANT - PLEASE READ CAREFULLY
If you are cast and accept a part in an Orpheus show, you must be prepared to give your total
commitment to the show. You will be required to attend all rehearsals of scenes and numbers in
which you appear. Rehearsals are usually on Sunday afternoons from 1-5 PM and weekday evenings
from 7:00 to 10:00 pm. Closer to show time, this may increase to every evening and Sunday
afternoons. Failure to fulfill these commitments could result in you being asked to leave the show.
Please initial here that you have read this and understand it. ___________
Please list all specific times and dates when it is IMPOSSIBLE for you to rehearse:
Indicate part(s) auditioning for:
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1:__________________________2: ___________________________3:________________________
Would you accept another part?
YES ____ NO ____
Would you accept a role in the chorus?
YES ____ NO ____
Would you accept a role in the dance chorus?
YES ____ NO ____
Would you agree to understudy a role?
YES ____ NO ____
Would you agree to be an alternate for a specific role?
YES ____ NO ____
Do you have any special talents? (e.g. gymnastics, acrobatics, dancing, etc)
Are you a member of Equity, Actra or other performer’s association? Please specify.
Briefly indicate training (singing, dancing, and acting &/or performing credits) or attach your résumé:
If you are not cast but would like to work behind the scenes, please indicate area of interest:
Set Building [ ] Set Painting [ ]
_______________ ]
Costumes [ ] Stage Crew [ ]
Props [ ]
Other [
OVER
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ORPHEUS AUDITION PROCEDURES AND PRODUCTION INFORMATION
Unless otherwise exempted, cast members should not participate in any other show or activities which
may conflict with Orpheus rehearsals as called by the Directors. If you are, or will be, please discuss the
situation with the Directors when you audition.
Auditions are held on a private basis and no guests or other applicants are allowed in the hall during
your audition. During the dance-movement and call back part of the audition, you may be required to
perform with other applicants.
As per the Orpheus Policy and Procedures Manual, unless you specifically want a speaking-only part, you
should be prepared to sing a song of your own choice, read, and dance at your audition.
Please ensure that you have the vocal range required for the specific part for which you are
auditioning. Prepared monologues or dance routines are not normally required.
We recommend that you bring your own sheet music if you wish to ensure appropriate musical
accompaniment. Singing a cappella, self-accompanied, or with taped accompaniment are not permitted.
If required, are you willing to:

alter your hair-style or colour?
_________


grow or remove a beard or moustache? _________
Respond Yes or No or N/A
Do you have any visible tattoos or piercings that are not able to be disguised or removed? Y____N____
You will be responsible for providing your own under garments, tights, and character shoes/oxfords.
The Director will choose all the readings. They may not necessarily contain the actual lines spoken by
the character(s) for which you are auditioning.
All cast members 18 years of age or over, who are not already current members of Orpheus, must apply
for membership ($30 per year).
A $10 refundable deposit will be required to cover the rental cost of your script and/or vocal score.
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You will be advised of your acceptance or rejection by one of the production team.
Rehearsals are private and no guests are permitted.
You must agree not disclose or discuss your acceptance or rejection on any social networking site
(Facebook, Twitter, MySpace, etc.) until after the first rehearsal.
Performance Dates: ______insert dates of the show____
Initial here that you have read all of the above______
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Audition Appraisal Form
Insert name of the show: ______________________________________________
Appraiser:________________________
#
Name
Auditioning
For
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Movement
Audition Date:___________________
Singing
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Reading
Height/No
Call Back
tes
30 September 2013
Cast as
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AUDITION ROSTER FORM
Insert name of the show: ______________________________
DAYof week: ______________________________, Date: ________________
Group 1 – arrive at 6 PM
Name and e-mail address
Home Phone
Other Phone
Home Phone
Other Phone
Home Phone
Other Phone
1.
2.
3.
4.
5.
6.
7.
8.
1.
2.
3.
4.
5.
6.
7.
8.
1.
2.
3.
4.
5.
6.
7.
8.
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Appendix 4-X Sample Medical Information Form
See attached form
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MEDICAL INFORMATION FORM
(This information will be kept strictly confidential
and only used in case of Emergency)
NAME:
ADDRESS:
E-MAIL:
PHONE:
HOME:
WORK:
EMERGENCY
CONTACT:
NAME:
PHONE:
PHYSICIAN:
NAME:
PHONE:
DATE OF BIRTH:
HEALTH CARD
ALLERGIES:
FOOD:
DRUGS:
FIBRE:
Note: The information in this section is only required if it should be of concern to the Directing
Team or Stage Management
CURRENT
MEDICATION:
INJURIES (E.G.
FRACTURES,
SURGERIES)
MEDICAL
CONCERNS (E.G.
DIABETES, EPILEPSY,
HYPERTENSION)
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Appendix 4-Y Sample Publicity Form
See attached form
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Appendix 4-Z Guidelines for Set Construction, Flying and Rigging
These guidelines are intended to provide information to the Master Carpenter and other production
personnel as to the expected standards of set construction.
1. General
The set is to be built with the functionality and appearance as described in the Set Designer's drawings.
Any significant deviation must be approved in advance by the Set Designer and any other affected
members of the production team, such as the Director.
The Set Designer will provide all relevant plan and elevation drawings (scale at 1/2 inch equals 1 foot, or
metric equivalent if preferred) necessary to describe the appearance and functionality of the set. Unless
otherwise indicated, the constructed set should be within 1 inch of the specified dimensions with riser and
stair heights within a 1/4 inch.
The Set Designer is not required to indicate the method of construction; nonetheless, the Set Designer
must be able, if requested, to indicate how any particular portion of the design can be executed with the
resources available. Upon request, the Set Designer will draw, at full scale, upon the construction
material provided, any irregular or unusual shapes required.
The set is to be constructed using techniques, materials, and standards typical for stage carpentry and to
the satisfaction of the Theatre. The Master Carpenter may employ whatever construction techniques are,
in his/her opinion, appropriate, subject to any conditions described below, and with regard to the Society's
budget and the practical concerns of transporting, erecting, and using the set. The Stage
Manager/Technical Director must concur with the proposed techniques.
If requested, the Master Carpenter will prepare an estimate of the cost of construction, based on the
intended construction technique(s). Discussions with the Set Designer and/or other members of the
production team may be required in order to achieve a satisfactory trade-off between the artistic
requirements and cost.
The Master Carpenter must adhere to any agreed upon schedules, to allow time for painting and
rehearsals.
2. Platforms, Risers, Stairs

All riser units should be constructed from the minimum number of separate sections possible.

All risers should be topped with smooth, undamaged (top surface) 3/4 inch plywood.

All tops should be securely fastened, preferably with screws.

All units must be sufficiently robust and rigid for the purpose intended - especially if used to be
danced upon.

No protruding nails, screws, or other objects or parts should be present.

All sections of a multi-section unit that is intended to be of constant height must be exactly the
same height.

There should be no gaps between sections of adjoining pieces and where unavoidable any gaps
should be less than a 1/4 inch.
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
Exposed sides of risers must be faced with thin plywood or masonite, solidly attached, unless a
set design calls for otherwise.
3. Other Constructed Objects (Trees, furniture, rocks, etc.)

Must be solid and strong enough for the intended purpose.

Must be built in sections as large as possible consistent with transportation and storage concerns.

Should be built, subject to discussed changes, according to plans provided.
4. Flats

Should be framed with wood and covered with canvas unless otherwise indicated by the Set
Designer.

Wood must be 1 by 3 (nominal) and reasonably straight.

All joints, corners, braces should be reinforced with at least 1/4 inch securely fastened plywood.
If the flat is to be flown, the plywood pieces must be glued in place, in addition to being
mechanically fastened. The bottom rail of such flats should extend the full width of the flat.

Canvas must be securely glued at all exterior edges, but not on any interior bracing or supports.

Peeling edges are not acceptable and must be re-glued.

Canvas must cover entire flat (including any plywood or other non-rectangular extensions) in one
continuous unbroken, un-torn, unjointed piece, unless agreed otherwise by the set designer.

Regardless of the underlying construction, the canvassed surface must be flat and on one plane.
That is, without steps caused by nailing plywood cut-outs onto a frame, etc.).

Canvas used must be unbleached and not pre-shrunk, so that after sizing the surface is tight and
free of wrinkles.

Wrinkled or sagging canvas surfaces (after sizing) are not acceptable.

Set sections which require more than one flat (minimum dimension larger than 7 feet
approximately) must be built using the minimum practical number of separate flats. Normally,
individual flat sections will be 6 to 7 feet wide and the specified height, unless the placement of
openings or other details specify otherwise. To the extent possible, rectangular flats should be an
exact number (4,5,6 etc) of feet in width and an even (10, 12, 14, 16 etc) number of feet in height.

All sections within a group of flats should be of similar construction and surface material.

The builder must supply/build appropriate bracing and rigging for flats, as per the Stage
Manager/Technical Director' directives.

Only with the explicit consent of the Set Designer or Scenic Artist, should flats be covered with
thin plywood or other wood products. If so, the following should be noted:

The minimum number of joints possible using 4 by 8 sheets should be employed;

All joints between panels must be made over solid wooden supports; and

All panels should be firmly affixed to the framing at all edges and all nails, staples, and screws
should be flush with the wood surface. If the flat is to be flown, the panels must be glued in
addition to the mechanical fasteners.
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5. Centrepointe Rigging/Flying
Note that this applies to flats and any other flying objects built from or incorporating anything solid
(objects composed only of soft fabrics or the like may be flown from nylon line or similar, with
appropriate permission from the Theatre). All flying and especially anything especially heavy or
otherwise unusual must be reviewed in advance with the Theatre staff to assure the acceptability of the
intended approach.

All flying is to be done using aircraft cable and appropriate load rated hardware.

Each piece of flying hardware must be affixed with at least one bolt. Other fasteners may be bolts
or screws.

All flats being flown must have all cleats and other joint reinforcements securely glued in
addition to being mechanically fastened.

Multi-flat units must be joined by cleats of 3/4” plywood or steel straps. At a minimum, the cleats
or straps at the top, bottom, and middle (approx.) must be secured by at least one bolt through
each flat. Additional fasteners as appropriate may be bolts or screws. Additional cleats or straps
are recommended at (approx.) 4 ft intervals. These are not required to be bolted but must be
securely fastened.

All attachments to flying flats (e.g. doors, etc.) must be securely attached. At least one bolt
through each of the flat and the attachment is required for each hinge or other hardware used to
attach the attachment.

Stiffening boards, etc may be secured by screws or bolts. Bolts are recommended but not
mandatory.

Flats, drops, draperies, etc must be treated with flame retardant. For flats and drops, Roscoflamex
C26 diluted 1:2 with water should be used in place of water for all dilution of size and paint.
Draperies, curtains, etc require treatment with Roscoflamex C26 or S33 as appropriate, according
to the manufacturer’s instructions.

Styrofoam must be securely attached and covered with a suitable flame retardant coating (e.g.
Rosco Foamcoat™ ).
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Appendix 4-AA Technical Guidelines for Centrepointe Theatre
See attached:
“Centrepointe Information for Orpheus Production People”
and
“Centrepointe Theatre Production Services – Technical Notes”
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5 Orpheus Choral Group Operations
5.1
Orpheus Choral Group Mission Statement
Orpheus Choral Group is part of the Orpheus Musical Theatre Society. The Choral Group’s role is to
take music out into the community. The Choral Group’s main performance venues are public concerts;
seniors’ residences and hospitals; charity, church and community fund-raising events; and service club
functions. The Choral Group routinely has two performance seasons: Christmas Season (late November
through to the new year); and Spring Season (mid-May through mid-June). On occasion, OCG performs
at other times during the year for special events.
OCG does not charge for its public-service performances in service of the community, but does accept
donations from the organizations that directly benefit from these performances. For performances that are
specifically for fundraising purposes or for service club functions, OCG negotiates a fee or an agreement
for revenue sharing.
5.2
Tenure and Honoraria
Only two positions within the OCG receive honoraria as determined by the OMTS Board, as follows, for
each Christmas Season, and Spring Season:
Choral Group
Position
Initial
Increment 1
Increment 2
Max
Director
$900.00
Accompanist
$525.00
Note: The Board will decide if a change from annual to a seasonal payment and to the amount is
required.
Appointments to the positions of Director or Accompanist are for three-year terms.
Incumbents wishing to leave their positions of the Director or Accompanist are requested to provide at
least a six-month notice.
Assessments of the Director’s and Accompanist’s performance shall be done on an annual basis, and will
be based, in part, on the responses from OCG members to the questionnaire administered each year by the
CGAC. The CGC will forward a recommendation to the Board on the Director’s and Accompanist’s
tenure, in normal situations that the incumbent be confirmed for the next three years.
Should the CGC determine that the term should not be automatically extended for the full three years, the
CGC will notify the incumbent and the Board. An incumbent being found responsible for an illegal act or
demonstrating unacceptable behaviour would constitute grounds for immediate dismissal.
Note: The Board will decide as to the process to be followed for unsatisfactory performance as
contained in the “Bylaws Of Orpheus Musical Theatre Society Incorporated”, and in Section 5.5
Choral Group Committee Procedures”.
The CGC is responsible for initiating and managing the search process to fill vacancies in these positions.
Appendix 5B to this section details the search and selection process for these positions.
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5.3
Orpheus Choral Group Membership
To participate in Orpheus Choral Group, an individual must be an active or a life member of the Orpheus
Musical Theatre Society and must pay the associated membership fee. From time to time, other ad hoc
financial contributions to the OCG may be requested for items such as the following: social fund, social
events, refreshments, costumes, music, and etc.
Members are expected to attend rehearsals regularly, learn their music, and take direction from the
Director. Members are also expected to take part in scheduled performances. Members are asked to
notify the Director, in advance, if they cannot make rehearsals or performances.
The following two committees serve the interests of the OCG and its members: the Choral Group
Committee (CGC), a Standing Committee of the OMTS Board; and, the Choral Group Administration
Committee (CGAC). The responsibilities and functioning of these committees are detailed in the
following sections.
5.4
Choral Group Administration Committee (CGAC)
The CGAC’s mandate is to assist OCG members by performing various administrative or coordinating
tasks affecting the Choral Group.
The CGAC comprises at least six members of OCG. Any OCG member may serve on this committee if
elected by the general membership. The term for all CGAC positions shall be two years. Terms may be
repeated. The CGAC may ask other members to participate on particular issues.
The CGAC is responsible for preparing OCG budget inputs, for ensuring that expenditures are in line
with the budgets, and for preparing reports as necessary, all for consideration by the CGC.
The CGAC is responsible for its own renewal. Elections for CGAC members are held by the end of
September each year, with 3 positions being turned over each year. Elections may be held at any time to
fill vacant positions.
The members of the CGAC elect the Chairperson of the CGAC. The Chairperson of the CGAC also
serves as the Chairperson of the Choral Group Committee (CGC). In addition, the members of the CGAC
may be required to serve as OCG representatives on the CGC.
The Board will be informed through the CGC whenever changes to CGAC occur, including the
Chairperson.
No one who based on their duties within the OCG receives an honorarium or financial benefit from
OMTS or OCG, or who is a spouse or close relative of such, may serve on the CGAC.
The CGAC normally meets monthly and more frequently when required.
The CGAC also plays an administrative and advisory role for the CGC, such as identifying, evaluating
and recommending persons for the positions of Director and Accompanist, as well as making
recommendations regarding the continuation of incumbents of the positions of Director and Accompanist
for specific periods, not to exceed three years.
The CGAC administers an annual feedback questionnaire to OCG Members, and reports back to the
membership on an annual basis.
The CGAC is also responsible for finding volunteers for other tasks, such as riser crews, bookings, social
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convenor, communications, major show positions, and etc.
Appendix 5-B to this section details additional information on the responsibilities and functioning of this
committee.
5.5
Choral Group Committee
The Orpheus Choral Group Committee (CGC) is a Standing Committee of the Board of the Orpheus
Musical Theatre Society (OMTS). The CGC serves as the link between OCG members and the Board.
The CGC is primarily responsible for preparing recommendations to the Board on matters affecting the
OCG, and for submitting them to the Board for discussion and ratification, in part including
recommendations concerning budget and finances, positions with honoraria (e.g. Choral Director and
Accompanist), and any other significant issues affecting OCG operations.
The CGC is also responsible for dealing with all aspects of decisions concerning OCG and the
communications and interactions between the Board and the OCG. All communications on all issues
affecting OCG shall be done through the CGC.
The CGC has at least six members: at least four from OCG (Chairperson and three members of the OCG
Administration Committee), and at least two from the OMTS Board (2nd Vice President and a Member at
Large, or designates). OCG members are normally drawn from the membership of the Choral Group
Administration Committee (CGAC). The CGC may invite other members of the Board or of the OCG
when specific expertise is required to facilitate the CGC’s work, but as long as such attendance does not
result in a conflict of interest.
The Chairperson of the CGC is a member of the CGAC.
The terms for members of the CGC will be as decided by the Board for Board members and by the CGAC
for OCG members.
The CGC normally meets quarterly, and more frequently when required.
The CGC ensures that an annual review of positions with honoraria (Choral Director & Accompanist) is
carried out.
The CGC is responsible for launching and managing a search process should a new incumbent be
required. If a position becomes vacant, the CGC will make arrangements to fill the position on an interim
basis.
Appendix 5-A to this section details additional information on the responsibilities and functioning of this
committee, including the formal search process to fill these position(s).
5.6
Choral Group Director
The Director of Orpheus Choral Group is responsible for ensuring that OCG provides quality music and
performances. This responsibility includes selection of music and costumes, member auditions,
production of training material, conduct of rehearsals, provision of artistic musical direction, nomination
of performance MCs, and selection of training facilities.
The Choral Director is normally appointed for a three-year term.
The Director is expected to attend rehearsals and all scheduled performances.
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Regarding music selection, the Director consults regularly with the Accompanist and Section Leads and,
from time to time, with the OCG generally.
Regarding regular OCG performances, the Director, in consultation with the Booking Coordinator, selects
the performance venues.
Regarding large-show productions, due to the significant financial and human resource considerations
involved, the CGAC and the Director jointly approve this type of event after consultation with the Choral
Group. The Director in consultation with the CGAC selects production personnel.
Occasionally, OCG performs in support of other performers. The Director, in consultation with the
Booking Coordinator and OCG members, approves such performances and negotiates the terms and
conditions that will apply.
The Choral Director is paid an honorarium as determined by the OMTS, as specified in Section 5.2 of this
manual.
Appendix 5-C to this section details additional information and guidelines on the responsibilities and
duties of the Director.
5.7
Choral Group Accompanist
The Choral Group Accompanist is responsible for providing music accompaniment for OCG practice
sessions and performances, and the preparation of learning tapes or CDs.
The Accompanist is consulted by the Director on the selection of music.
The Accompanist is appointed for a three-year term.
The Accompanist is expected to attend rehearsals regularly, learn the music, and take direction from the
Director. The Accompanist is also expected to take part in all scheduled performances. The Accompanist
is asked to notify the Director, in advance, if she/he cannot make rehearsals or performances.
The Accompanist is paid an honorarium as determined by the OMTS as specified in Section 5.2 of this
manual.
5.8
Booking Coordinator
The OCG Booking Coordinator is responsible for the following: searching for and evaluating the facilities
and pianos for performance venues; for preparing and maintaining the schedule of OCG performances for
the Christmas Season and Spring Season, and for other routine performances that fall outside of these
performance seasons. The Director is responsible for approving the performance schedule and venues.
Where the need arises, the Booking Coordinator is responsible for negotiating any performance fees or
agreements on revenue sharing for OCG performances.
Appendix 5-D to this section details additional information and guidelines on the duties of the Booking
Coordinator.
5.9
Major Productions
OCG may get involved in large, musical stage productions, either in a lead role or a supporting role. Such
a production requires major facilities and significant human and financial resources for both the planning
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and production phases. Therefore, a more formal management approach is required for such
performances.
An OCG show committee should be established to review the factors involved in such a production, and
to provide its report and recommendation to the Director and the CGAC.
Factors to be considered by the review shall include but not be restricted to the following factors:

Availability and capacity of Orpheus members for both cast and crew;

Audience pool, and likely ticket sales;

Financial factors, including facilities, costumes, support services, existing budget and monies
available;

Level of commitment by OCG members; and,

Impact on the normal Christmas and spring schedules.
The report must include the show committee’s assessment of the above factors, including projected costs,
assumptions, and risk factors. The report should also include the proposed date(s) and facility, and the
names of the production crew, including the producer, stage manager, lighting person, ticket-sales person,
and publicity person.
The decision regarding large-show productions rests jointly with the Director and the CGAC, except for
the financial aspect, which must be approved by the CGC.
Appendix 5-J to this section details additional information and guidelines regarding the OCG major
productions.
5.10 Other OCG Positions
OCG relies on the readiness of all OCG members to voluntarily take on a number of functions needed to
support the effective running of the Group and to address the needs of its individual members.
The following are some of these functions:

Social Convenor: Appendix 5-H (with input from Mary/Rey/Ellen)

Membership Coordinator: Appendix 5- G (with input from Sue Rose)

Attendance Taker: (with input from Cathy Wilson)?

Performance MC: Appendix 5- I (with input from Claire/Bill/Anne)

Performance Coordinator: Appendix 5-E (Riser crew, sound and etc )

Communications Coordinator: Appendix 5- F (with input from Tom/Sue/David)

Music inventory?

Costume inventory?

Riser & trailer storage & maintenance?

Other???
Note: Appendices to this section detail additional information and guidelines on these areas of
responsibility.)
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Appendix 5-A Choral Group Committee
The Orpheus Choral Group Committee (CGC) is the link between OCG members and the Board and
responsible for dealing with all aspects of decisions concerning OCG and the communications and
interactions between the Board and the OCG. The CGC is primarily responsible for preparing
recommendations to the Board on matters affecting the OCG, and for submitting them to the Board for
discussion and ratification, in part including recommendations concerning budget and finances, and OCG
positions with honoraria.
Membership
The CGC has at least six members: at least four from OCG (Chairperson and three members of the OCG
Administration Committee), and at least two from the OMTS Board (2nd Vice President and a Member at
Large or designates). OCG members are normally drawn from the membership of the Choral Group
Advisory Committee (CGAC). The CGC may invite other members of the Board or of the OCG when
specific expertise is required to facilitate the CGC’s work, but as long as such attendance does not result
in a conflict of interest.
The Chairperson of the CGC is a member of the CGAC.
The terms for members of the CGC will be as decided by the Board for Board members and by the CGAC
for OCG members.
Meetings
The CGC normally meets quarterly, and more frequently when required.
The agendas for the meetings will be as agreed by the CGC members
A meeting record of significant issues, decisions, action items and members responsible should be
prepared.
Search & Evaluations for Key Positions
The responsibility for the appointments to the positions of Director and Accompanist is vested in the
CGC. The CGC ensures that an annual review of these positions carried out. In this regard, the CGAC
plays an important administrative and advisory role for the CGC by annually reviewing the performance
of the incumbents of the positions of Director and Accompanist, and by making recommendations
regarding the continuation of their terms for specific periods, not to exceed three years.
Should a new incumbent be required, the CGC is responsible for ensuring that a search process is initiated
by the CGAC, using the “Choral Group Administration Committee Search Process”, which is
documented in Appendix 5-B of this manual..
If a position becomes vacant, the CGC will make arrangements to fill the position on an interim basis.
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OCG Budgets and Finances
The CGC is responsible to both OCG and Board for both the preparation and the administration of the
OCG annual budget.
The CGAC shall, in consultation with the Director and other parties as necessary, prepare budget
proposals for the next two fiscal years for discussion by the CGC in April or May, with the resulting
budget to be presented to the OMTS Board as part of the overall OMTS annual budget discussions.
The OCG normally requires funding: for rental of a rehearsal facility; for the purchase of sheet music; for
maintenance and storage of a trailer, risers and other equipment; for publicity, administration and
miscellaneous needs; and for honoraria for the Director and Accompanist, as determined by the Board.
Since the OCG does not charge for its public service performances, it is understood that the OMTS will
approve and provide funding for normal operating costs up to some agreed level.
From time-to-time, OCG may propose special spending, such as when new performance costumes are
needed, or when new equipment is needed. The CGAC shall make every effort to bring such issues to the
budget discussions in advance of the requirement. OCG may be required to enter into specific fundraising
initiatives in support of such special spending requirements.
The CGAC shall prepare documentation of spending relative to budget for discussion by the CGC in the
first meeting in each fiscal year. The CGC will use this accountability session to consider any changes of
administration of OCG spending that may be necessary. The CGAC shall also monitor spending and
provide periodic reports to the CGC through the fiscal year.
The CGAC shall establish a process for administering requests for use of approved funds that is
acceptable to the CGC and the Treasurer of OMTS.
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Appendix 5-B Choral Group Administration Committee (CGAC)
The CGAC’s mandate is to assist OCG members by performing various administrative or coordinating
tasks affecting the Choral Group.
Membership
The CGAC comprises six members of OCG, who are elected by OCG members. The members of the
CGAC elect the Chairperson of the CGAC. The Chairperson of the CGAC also serves as the Chairperson
of the Choral Group Committee (CGC). In addition, the members of the CGAC may be asked to serve as
OCG representatives on the CGC. The term for all CGAC positions shall be two years. Terms may be
repeated.
No one who based on their duties within the OCG receives an honorarium or financial benefit from
OMTS or OCG, or who is a spouse or close relative of such, may serve on the CGAC.
Meetings
The CGAC normally meets monthly and more frequently when required.
The agendas for the meetings will be as agreed by the CGAC members
A meeting record of significant issues, decisions, action items and members responsible should be
prepared.
Elections
Elections for CGAC members are held by the end of September each year. To ensure continuity, three
positions are turned over each year. Elections may be held at any time to fill vacant positions.
By end August each year, the CGAC shall notify OCG members of the elections, asking members to
submit nominations, by mid September, for the positions being turned over.
CGAC election tasks include the following:

Contact the nominees to determine their willingness to serve as CGAC members.

Contact the retiring members of CGAC to determine their willingness to serve again as CGAC
members.

If there are insufficient willing nominees or incumbents, canvas OCG members for volunteers.

Run the election process no later than at the last rehearsal in September.
If the person filling the Chairperson position is retiring, the CGAC at its first meeting will elect a new
Chairperson.
CGAC shall advise OCG members, the CGC, and the OMTS Board of the names of the CGAC
Chairperson and CGAC members.
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Annual Review of OCG Operations
The CGAC shall conduct an annual review of OCG operations in order to:

identify problem areas and lessons learned;

solicit OCG members’ feedback and suggestions;

evaluate opportunities for improvement;

review the positions receiving honoraria; and,

report back on the results of the review to the OCG members and the CGC.
To achieve these objectives, the CGAC will review the “OCG Performance Review Questionnaire” in
Appendix 5-??, update it if necessary, and then, distribute it to all OCG members, by June 1st, requesting
their feedback, no later than June 30th.
Budgets and Finances
The CGAC is responsible for the preparation of annual budget proposals for presentation to the CGC and
the Board of OMTS.
The CGAC shall, in consultation with the Director and other parties as necessary, prepare budget
proposals for the next two fiscal years for discussion by the CGC in April or May, with the resulting
budget to be presented to the OMTS Board as part of the overall OMTS annual budget discussions. Any
need for large or special capital spending should be identified well in advance and included in the
discussions in the CGC.
The CGAC shall prepare documentation of spending relative to budget for discussion by the CGC in the
first meeting in each fiscal year. The CGC will use this accountability session to consider any changes of
administration of OCG spending that may be necessary. The CGAC shall also monitor spending and
provide periodic reports to the CGC through the fiscal year.
The CGAC shall establish a process for administering requests for use of approved funds that is
acceptable to the CGC and the Treasurer of OMTS.
The CGAC shall keep OCG members informed on the budget, and on issues of any necessary special
fundraising.
Search & Evaluations for Key Positions
Although the responsibility for the appointments to the positions of Director and Accompanist is vested in
the CGC, the CGAC plays an important administrative and advisory role for the CGC by annually
reviewing the performance of the incumbents of the positions of Director and Accompanist, and by
making recommendations regarding the continuation of their terms for specific periods, not to exceed
three years.
In addition, if the positions are or are becoming vacant, CGAC is responsible for initiating a search
process to identify, evaluate and recommend persons to fill these positions, using the “Choral Group
Administration Committee Search Process”, which is documented in Appendix 5-?? of this manual.
OCG Volunteer Positions
The CGAC is also responsible for ensuring that a number of other volunteer tasks are being properly
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handled, such as the following: bookings, performance logistics (riser and sound system), social
convenor, communications, major show production, and etc.
The CGAC is responsible finding volunteers for these tasks, and ensuring that the mandates are being
achieved. The specific duties related to these tasks are contained in the appendices to this part of this
manual.
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Appendix 5-B-1
Guidelines on the OCG Search Process for a Director
Search Selection Process
Comments
CGAC - Establish draft timeline
Factors that should be considered
Allow sufficient time to have a disciplined process
Urgency of the situation (any risk to the survival of the OCG)
Time to establish a search and evaluation committee
The existing search and evaluation process, including the scope, depth, and the number of
steps of the process
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Comments
CGAC - Determine the Search Committee
Communicate the decision to form the Search & Evaluation Committee (S&EC)
Persons with skills required to assess technical
music and director skills
Without delay, consider persons from:
Persons with backgrounds required to assess
leadership skills.
Board
OCG
OMTS
Current Director, past Director,
Outside OMTS – Other directors
Select the members of the S&EC
Announce the members making up the S&EC
The Chairperson and Secretary could be established by the CGAC or be determined by the
S&EC
Task the S&EC members to:
Conduct the competition, informing them of the existing process and criteria, (musical
knowledge and background, communication & interpersonal skills, leadership, long-term
commitment, vision and drive. The final list of desired skills and qualities);
Review the adequacy of the job description and evaluation criteria, and the application
screening tool, the interview tool, the practical assessment tools, and the final decisionmaking tool; and, if necessary, propose changes.
Develop the competition notice.
Report monthly to the CGC on progress
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Comments
S&EC – Validate the search and evaluation
process, and timelines
Review the existing search and evaluation process, including the scope, depth, and the
number of steps of the process
A five-month timeline from the position being posted
Two months later, close applications and start Interviews
One month later, start the practical evaluations
One month later, complete assessments; and
One month later, submit the report to the CGAC.
Take into consideration delays associated with performance seasons and national holidays
Consider any unique factors that might require amending the existing process.
The process must be comprehensive enough to find and select the best candidate
Acquire CGAC concurrence with any changes (Any major changes would require CGC
approval)
S&EC – Establish the search and evaluation criteria
Consider the existing evaluation criteria
Review all submissions and come up with a criteria
list organized by priority of the criteria.
Consider the existing job description
Ask for OCG members for input on the job description and criteria that should be used to
evaluate a new director. (possibly using a questionnaire)
Ask S&EC members to submit their input on the job description and evaluation criteria to
be used during the selection process.
Acquire CGAC concurrence with any changes
Update the job description
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Comments
S&EC– Establish the Evaluation Tools
Consider the existing evaluation tools
Develop the screening evaluations too
Develop the interview tool, including specific interview questions
Develop the practical evaluation tool
Develop the reference assessment tool
Develop the final, overall evaluation tool.
Acquire CGAC concurrence with any changes
S&EC – Prepare the competition notice:
Competition notice requirements, including:
Job description
The essential and desirable qualifications
The closing date for applications;
The method(s) for submitting applications, which must be in writing; and
The application information required, including references.
Determine the publication methods for the competition notice (including the timing and
duration of the notices)
Presidents and directors of pertinent local choral groups, choruses, and choirs.
Music teachers’ associations, and high school music teachers, in the local area.
OMTS web site and publications (including Centrepointe show brochures), and the sites
and publications of other musical organizations.
Respected music leaders in the local area.
Newspapers and media (with interest in and known to support to music organizations)
Notify the CGAC, CGC, Board, and OCG members of the impending posting of the
competition notice
Publish the competition notice.
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Comments
S&EC – Screen Candidate Applications
Review applications using the criteria-based screening tool.
Advise the successful applicants that they are being considered and thank the unsuccessful
applicants for their interest.
Schedule interviews.
Provide CGC and members with a progress report as to the progress of the competition,
and regarding the next steps. (Chairperson of CGC advises the Board)
If required, modify the interview questions to facilitate ranking the candidates
S&EC – Evaluate Candidate Interviews
Conduct the interviews using the prepared questions
Assess the candidates’ performances using the interview tool.
Establish the short-list of candidates for practicum.
Schedule practical evaluation sessions for the short-listed candidates
Provide each candidate with an outline of the practical evaluation process and directions to
follow.
Provide OCG members with a progress report as to the progress of the competition, and
outlines process for upcoming practical evaluations. (Chairperson of CGC advises the
Board)
S&EC – Evaluate Candidate Practical Evaluations
Conduct the practical evaluation sessions, using the prepared tools,
Direct the OCG members to rate each candidate using the practical evaluation tool
(includes the brief set of standard criteria).
Complete the evaluation of each of the candidates using the evaluation tool on the
assessments of the OCG members and S&EC members.
Review results of practical evaluation, including evaluation of candidates by chorus
members and evaluation by CGAC members.
S&EC - Conduct Reference Checks
If required, update the reference questions and tool to facilitate the final ranking of the
candidates
Establish a short-list of those candidates who have met all the criteria and who will be
ranked high in the competition standings.
Conduct the reference check of the short-listed candidates using the reference check tool.
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Comments
S&EC – Complete Evaluations and Ranking of the
Candidates
Consider the results of the interview, practical, and reference-check evaluations,
Complete the evaluations of the candidates using the final, overall evaluation tool
Rank the candidates.
Prepare the report on the competition process.
Submit the S&EC’s report, including recommendations, to the CGAC.
– Verify Final Evaluations
Consider the S&EC report, in particular the recommendations regarding rankings.
Forward the S&EC report to the CGC, with an assessment of the recommendations.
CGC - Forward the results of the competition to the
Board.
Consider the S&EC report and CGAC’s assessment of the recommendations.
Draft the letter of appointment, which will include the terms and conditions of the
appointment.
Draft the announcement regarding the appointment of the new Director,
Forward the letter of appointment, S&EC report, CGAC’s assessment, CGC’s
recommendation as to the proposed winner of the competition to Board for its approval.
OMTS Board – Endorses the competition standings
Evaluate the S&EC report, CGAC’s assessment, and CGC’s recommendation.
Approve CGC’s recommendation.
If the Board has reservations regarding the CBC’s recommendation, the competition is
returned to the CBC for reconsideration.
CGC – Reports on the Completion of the
competition.
Meet with the successful candidate to offer the position.
CGAC – Announces Decision to OCG
Advise the unsuccessful candidates as to the Board’s decision.
Release the appointment announcement to OCG members.
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Appendix 5-B-2
OCG Director Job Description
Appendix 5-B-3
OCG Director Screening Tool
(Under development)
(Under development)
Appendix 5-B-4
OCG Director Interview Evaluation Tool
(Under development)
Appendix 5-B-5
OCG Director Practical Evaluation Tool
(Under development)
Appendix 5-B-6
OCG Director Final Scoring Tool
(Under development)
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Appendix 5-C OCG Director
The Director of Orpheus Choral Group is responsible for ensuring that OCG provides quality music and
performances. This responsibility includes the selection of music and costumes, production of training
material, conduct of rehearsals, provision of artistic musical direction, and selection of training facilities.
The Director also approves routine performance venues and schedules in consultation with the Booking
Coordinator, and major shows, in consultation with the CGAC.
Music Selection

With music team, selects music for following seasons, using music from the OCG library and
purchasing new music.

With the music team, screens new music. Initially, just a few copies would be purchased, and a
full purchase (enough copies for OCG members) would be made when the decision is made to
use the music.
Member Selection

Interviews new members to determine their interests and motivation to contribute to the OCG
mandate.

Auditions new members to determine their singing abilities and best fit within the Group.

Assess the readiness of existing members and new members to perform with the Group.
Rehearsals

Appoint teaching quartet and assign parts

Arrange with teaching quartet and accompanist for taping sessions

Contract for weekly practice facilities

In August each year, with City of Ottawa for Brookfield High School music room and teachers’
lounge.

Additional rental facilities for nights bumped by the school

Arrange for copying of tapes and CDs for each member

Distribute training tapes/CDs and music to all OCG members

Plan and direct weekly rehearsals

Define interpretation of music selections

Note difficult portions of music requiring additional teaching time

Try people in different performing positions on risers to maximize sound

For new members assign a “buddy”.
Performances
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For the routine Christmas Season and Spring Season performances:

Approve the schedule and venues, in consultation with the Booking Coordinator.

Design the performance program

Specify the performance costumes

Direct performances – approx 10 per season
For large-show productions:

In conjunction with the CGAC, approve the performance venues

Select production personnel and, in consultation with the CGAC and the Booking Coordinator.

Design and approve the performance program and scripts.

Specify the performance costumes

Direct the performances.
Miscellaneous & Logistics
The following are miscellaneous factors related to the Director:

Consult with the CGAC on the preparation of the annual budget, and monitoring of financial
resources and forecasts.

Consult with the CGAC and CGC on other factors affecting the OCG

Search out and take additional director and/or vocal teaching training

Nominate performance MCs

Arrange for current season Sing-A-Long books to be transported to all performances

Arrange for director’s music stand to be at all performances

Control the costume inventory:

Store all extra costumes

Distribute costumes to new members

Receives back costumes from departing members

Ensure trailer storage, pickup and take to all performances and back (Performance Logistics
Coordinator)

Arrange for Christmas corsages to be transported to all performance (a Choral Group member?)

Arrange for Santa Claus and elves and stuffed animals for the Christmas Family and friends
performance (Attend Boxing Day sales to purchase 30 – remove price tags and replace with new
red bows where applicable)
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Appendix 5-D OCG Booking Coordinator
The OCG Booking Coordinator is responsible for the following: searching for and evaluating the facilities
and pianos for performance venues; for preparing and maintaining the schedule of OCG performances for
the Christmas Season and Spring Season, and for other, routine performances that fall outside of these
performance seasons.
Specifically, the OCG Booking Coordinator is responsible for the following:

Maintain a list of performance venues, including logistics requirements and contacts;

Look for new performance venues and assess their suitability, including location, size, layout,
accessibility, and equipment requirements (piano, sound, warm-up area);

Coordinate with the Director and Accompanist regarding locations and dates (The Director is
responsible for approving the performance schedule);

Establish the performance schedule (August/September for the Christmas Season, and JanuaryFebruary for Spring Season);

Book performances (on behalf of OCG making commitments to perform);

Publishing and distribute the performance calendar and driving instructions for the OCG
members;

Providing OCG performance schedule and the performance repertoire to the OMTS webmaster;
and

Maintain a history of performances.
Miscellaneous & Logistics
The following are miscellaneous factors related to the Booking Coordinator:

Ensure that the performance sound equipment and risers arrive at the performance venues, 45
minutes before the performance time (Appendix 5-I Performance Coordinator).

Ensure that the performance venue has:

A good, well-tuned piano

Water available in the warm-up area before the performance

Water available for the mid-show break

Snack and juices after the performance.
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
Appendix 5-E Performance Coordinator
The Performance Coordinator is responsible for ensuring that all the required equipment arrives at, is set
up and is dismantled for all routine Christmas Season and Spring Season performances.
The specific duties and responsibilities are as follows:

Ensure that the performance equipment arrives at the venue, at least 45 minutes before the
scheduled performance:
Risers (currently the Director)
Sound system (currently, Booking Coordinator))
Piano, (facility), or the OCG keyboard (currently the Director)
Director’s stand (currently the Director)
Sing-along books (currently the Director, or delegate)
Corsages (currently the Director) or delegate

Ensure that the performance equipment is set up and ready, at least 30 minutes before the
scheduled performance:
Riser crew arrives early for every performance
Set up the performance area (move any furniture that is in the way and make sure audience chairs are
arranged with enough room for risers and the Director)
Unload trailer and move risers to performance room (may involve stairs)
Set up risers in appropriate configuration for site
Unload and set up sound system
Position/set up the piano/keyboard
Position/set up the microphones for the MC and the Director (mid-show sing-along)
Test the sound system
Set up lighting and bench for accompanist
Tape wires down if required at site
Set up the Director’s music stand and hang up the performance list
Position the sing-along books in convenient places
Set up any special stools or supports needed for the walking wounded

Ensure that after the performance equipment is taken down:
Risers in the trailer (currently the OCG trailer)
Sound system (currently, Booking Coordinator’s car)
OCG Keyboard (currently the Director’s van)
Director’s stand (currently the Director’s van)
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Sing-along books (currently the Director’s van)
Corsages (currently the Director’s van or a delegated member’s vehicle)
Sing-along Books (currently the Director’s van)
Reposition facility’s furniture and piano
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Appendix 5-F Communications Coordinator
The Communications Coordinator’s primary role is to distribute pertinent OCG information to all OCG
members. In addition, the Communications Coordinator will provide OCG information to the editor of
Orpheus Lyre, and to any other individuals or entities to promote OCG performances.
OCG Members
The Communications Coordinator is the link to all OCG members ensuring they are well informed on
issues and opportunities presented to the chorus, including schedules and/or venue changes and further
information on announcements made.

Email is the preferred medium for keeping members informed;

For those members who do not have access to email, information is passed by phone or by hard
copy at the next practice;

Break time at rehearsals is limited to presenting the essential points of announcements.
Orpheus Lyre
The Orpheus Lyre is a good medium for providing OCG information to the wider OMTS membership.
The Communications Coordinator is the OCG link to the editor of the Orpheus Lyre, which is published
on a monthly basis.

Keep in contact with the editor to ascertain cut-off dates for the next publication.

The following are examples of the types of information that could be published in the Lyre:
OCG Christmas Season and Spring Season performances
Special OCG performances, including major OCG shows, performances for OCG families and friends,
and etc
Special achievements of the OCG or its members.
Other Media
Promoting public awareness of OCG events and achievements, and eliciting support for these events can
be achieved through judicious use of the media (print, audio and video) and other advertizing
mechanisms. The Communications Coordinator is the link to non-Orpheus entities for the following types
of events:

OCG major shows

OCG community and fundraising events
Orpheus Web Site
The Orpheus Web Site is also a medium for communications to OCG and OMTS members, as well as the
public. The following are some examples: (currently done by Nick)

General information about the OCG;
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
OCG photos

OCG performance schedules

OCG repertoires

OCG major shows

Miscellaneous Notes

Maintain a list of current email addresses and phone numbers for members, divided into parts

Use a secure computer, free of viruses

Keep OCG members aware of your role to help distribute OCG information

Monitor incoming mail frequently

Forward messages received to the chorus group or individual sections as required, using the BCC
function

Where necessary, print hard copies of notices for those who do not have an email (3 or 4
members)

Get to know who in OCG is ready to help with communications

If you are going to be absent for an extended period, appoint someone to take over the
Communications Coordinator’s responsibilities.
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Appendix 5-G Membership Coordinator
To participate in Orpheus Choral Group, an individual must be an active or a life member of the Orpheus
Musical Theatre Society (OMTS) and must pay the associated, annual membership fee. In accordance
with Section 3.1 of this manual, the Board of Directors must approve all OMTS memberships.
Membership Registration
The OCG Membership Coordinator ensures that all those participating in OCG are registered members of
OMTS and have paid the required membership fee, as follows:

Late August or early September, send out electronic version of membership form

Make hard copies available at the first few rehearsal

Collect completed forms and money

Maintain records of payments. (It is acceptable to take cash and consolidate it in one cheque).

Deliver money and forms to the Office Administrator of Orpheus House.

Obtain membership cards from the Office Administrator and distribute them to OCG member

Follow up with new members; they can audit for a couple of weeks before registering

Consult with Director regarding new members or members sitting out a term

Annual registrations should be completed by end October each year.

Repeat process in January, if there are new members
Membership List

Maintain a membership list with names, addresses, phone numbers and email addresses by parts

Distribute initial list to members and ask them to indicate any errors/corrections

Ensure all changes in details and additions/deletions are recorded at start of term

Provide new or changed email addresses to Communications Coordinator or team

Distribute completed membership list to Orpheus Choral Group
Miscellaneous Notes

This position requires some skills with simple spreadsheets and basic bookkeeping. Desirable
skills include multi-tasking, patience, humour and perseverance.

As currently done, the job requires some basic knowledge of managing a spreadsheet and a table
embedded in a Word document.

OMTS membership data is maintained at Orpheus House. Returning members with no changes in
contact information can simply enter "same" or "no change" in those parts of the form.

You will be bombarded on the first night as people thrust cheques, cash and forms at you faster
than you can deal with them. Extra hands are very useful at this time -- find a friend to help.

Keep notes as to who has paid, when they paid, and by what form (cheque or cash).
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
Pass the registrations and money to the Office Administrator in a timely manner (bi-weekly may
be appropriate for the September/October time period)

The Office Administrator appreciates it if everything is well organized and easy for her to
process. Bonus points are earned if you can assure that all names and other info on the forms are
legible, especially where the information is new.

Collect the membership cards from the Office Administrator and distribute them to OCG
members.

Update the membership list and forward to Communications Coordinator

Make sure changes of addresses, phone numbers, e-mails etc are recorded.
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Appendix 5-H Social Convenor
The Social Convenor, on behalf of the OCG, runs the social program to meet the requirements of the
Group and its members.
The Social Convenor’s special duties, in part, include the following:

Ensuring that OCG members are aware of the Social Convenor’s role;

Organizing social events, such as, parties, and etc.

Purchasing and delivering condolence cards, get-well cards, flowers or small gifts.

Purchasing, on an annual basis or for special occasions, gifts for members of the OCG who have
contributed significantly to the success of the Group, such as the Director, Accompanist and
booking and production coordinators, departing long-term members, and etc.

Raising funds from OCG members to cover the costs of the social program.
The Social Convenor is also responsible for arranging refreshments for the break during rehearsals. This
duty includes finding a volunteer to take on this responsibility, which in part includes the following:

Collecting funds from OCG members to support the program

Ensuring adequate supplies; purchasing tea, cups, milk, sugar and sugar substitute, stir sticks and
cookies.

Ensuring that coffee pot (which is used to heat the water) and the teapots are clean and ready for
use.

Transporting the coffee pot and the supplies to the rehearsal location.

Fill the coffee pot with cold water and plug in so that it heats up during the first part of rehearsal.

Close to break-time set the tea (at least two tea pots) and set up a table with cups, milk, sugar and
goodies.


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Appendix 5-I Performance Master of Ceremonies
The MC is responsible for introducing the OCG and its songs in each performance; including the
preparation and delivery of a script that underscores the theme and tone of each performance.
This position to be appointed, possibly with audition, by Choral Director
This position requires a good level of comfort in front of an audience, good diction, familiarity with using
a microphone, ability to cope with last minute changes or unexpected happenings during the performance;
ability to ad lib useful.
Once performance song list has been finalized, the MC:
For regular shows:

Checks on location and type of microphone in use for each show (set up by riser crew)

Prepares and delivers short introductory messages (one or two sentences) to open show; link
songs; spark audience interest; maintain pace of show;

Passes microphone to Choral Director for sing-along and retrieves it for second act;

Thanks sponsors, introduces Choral Director and Accompanist;

Closes the show;
For major productions, in addition to those listed above:

In advance of show, confirms song list, and music/songs of guest artists

Prepares set script and runs it by Choral Director;

Shares written script with Stage Administrator, sound crew etc.

Wears head set, with transmitter at waist

Introduces show and songs when OCG is on stage; (sing-along microphone will be provided
separately to Choral Director);

Introduces and thanks other acts from the wings, as directed by Stage Manager

Thanks sponsors and closes show.
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Appendix 5-J Major Performance Producer
OCG gets involved in large, musical stage productions, either in a lead role or a supporting role. Such a
production requires major facilities and significant human and financial resources for both the planning
and production phases. The decision regarding major-show productions rests jointly with the Director and
the CGAC, except for the financial aspect, which must be approved by the CGC.
To ensure the viability of a major show, a show committee is established to review the factors involved in
such a production, and to provide its report and recommendation to the Director and the CGAC. Factors
to be considered by the review shall include but not be restricted to the following factors:

Availability and capacity of Orpheus members for both cast and crew;

Audience pool, and likely ticket sales;

Financial factors, including facilities, costumes, support services, existing budget and monies
available;

Level of commitment by OCG members; and,

Impact on the normal Christmas and spring schedules.
The report must include the show committee’s assessment of projected costs, assumptions, and risk
factors. The report should also include the proposed date(s) and facility, and the names of the production
crew, including the producer, stage manager, lighting person, ticket-sales person, and publicity person.
The Major Show Producer’s responsibilities include the following:

Establish the show production committee.

Assign responsibilities to the members of the show committee, including performance
expectations and task-completion dates.

Deadlines.

Meet with venue staff to secure a date for the following year – usually done in September for the
following June – should try to establish a date two years ahead if possible

Ensure that contract is signed and necessary deposits paid to City of Ottawa

Meet with director to assist in music selection – noting the number of segments that will require
openers and closers – as well as any interaction with guest performers

Meet with venue’s production manager to determine necessary staff for the performance

Meet with venue’s staff re ticket printing and date tickets to go on sale to the public

Engage a ticket person to distribute tickets purchased from Centrepointe

Prepare show poster and distribute to members as requested, ensure posters are prominently
shown at Orpheus House

Arrange for e-mail blast from Orpheus House

Arrange for ad in last Lyre distributed before show

Arrange for ad in June Orpheus program
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
Engage assistance to prepare program and arrange to have copies run at Orpheus House

Prepare and distribute a move-in move-out schedule for distribution

Engage riser crew for move-in and move-out

Ensure that there is sufficient time for each group to have a sound check

Prepare list of names for stage door including all guests

Ensure that there is water backstage for performers

Arrange for a committee Chairperson to provide supper for stage crew, plus show director and
producer

Arrange for a stage manager.
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Policy and Procedures Manual - Orpheus Musical Theatre Society

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