Using voice, body and movement, the actor breathes life into the character written by the playwright, as guided by the director.
QUALIFICATIONS
Experience is not necessary. Many actors appear on OLT’s stage for the first time. Key qualifications: commitment, reliability, ability to remember lines, creative use of body and voice, and willingness to take direction.
RESPONSIBILITIES
As a cast, actors work with the director to implement the playwright’s story as visualized by the directors. The director is fully in charge of the production. The actor:
- researches the role, and explores various options for characterization
- commits to the full production schedule
- attends all rehearsals
- memorizes lines and learns accents if required
- implements the director’s objective
- contributes to the rehearsal refreshments or weekend potluck parties as needed
ORIENTATION/TRAINING
- productions use a full range of actors – some with many years’ of experience and some with no experience at all
- directors choose a cast based on their vision of the play, and as dictated by the playwright
- auditions provide directors a general sense of experience and abilities, and some physical criteria (age, size, appearance) of the pool of those interested in performing
- the OLT website posts audition dates and details, including a description of the play, and the characters needed, several weeks in advance of each audition
- at auditions, actors generally read excerpts from the play. Auditions usually take place on the theatre stage with all those interested in attendance
- if cast, the director will work with inexperienced actors to develop their character and understand stage craft
- workshops such as voice and movement training are also provided to support actors
- for plays requiring special skills – dancing or sword fighting, etc. – training will be provided
TIME COMMITMENT
- from audition to closing night is approximately four months – the final five weeks requiring 5-6 evenings a week – a major commitment of time for all involved
SUPERVISION
The director is generally in charge during rehearsals, with extensive support from designers and various assistance. The Stage Manager is fully in charge once the show opens.
BENEFITS
- payback to performing is the opportunity to entertain thousands of people who come to the OLT and are part of a community
- community theatre is “amateur” in the true sense of the word – a team of artistic and creative individuals who are involved in theatre for the love of it
- interacting with people from all walks of life in all age groups
- it’s an avocation – by day a lawyer, a student, a civil servant, and by night … the characters to be played are limitless
- community theatre people are blessed to be doing what they enjoy – countless friendships are formed, relationships shared, and celebrations plentiful!
Jan 2023
QUALIFICATIONS
It is from the vision of the Director that all things flow. Vision, commitment, communication skills, maturity, reliability, people skills and problem-solving – Directors must have it all. They must be OLT “qualified” to be on the Directors List (see Orientation/Training below).
RESPONSIBILITIES
Directors submit an “expression-of-interest” to direct to the Season Planning Committee, and are selected by the Season Planning Committee, and approved by the Board of Directors well in advance of each season. It is their responsibility to:
• develop an overall vision of the play and select designers
• work with designers to communicate vision and generate enthusiastic support
• approve final design for set, costumes, lighting, sound, props, etc.
• oversee auditions and select a cast, and advise those not cast
• schedule and manage production meetings
• lead rehearsals
• manage the production from “page to stage”
• instruct cast and crew of theatre protocols, security, emergency procedures, etc.
• secure the theatre after rehearsals or performances (shared with the Assistant to the Director)
ORIENTATION/TRAINING
Familiarity with the OLT processes and culture is essential. An Associate Director program is in place for those new to directing, or new to the OLT. Directors must first have been an Associate Director before being added to the “Directors List” – see description of Associate Director for details. A production manual and directors/AD “kit” is provided for guidance and support.
TIME COMMITMENT – extensive
The Director is a key leader in the theatre; the position requires a major commitment of time and energy. Preparation begins as soon as the season is announced and directors are assigned. Rehearsals begin approximately ten weeks before each play starting with 3 rehearsals/week, then 4/week, then (in the two weeks before opening night) 6/week – followed by a 3-week run, Wednesday to Saturday, and two Sunday matinees.
ON-THE-JOB SUPERVISION
Directors are chosen by the Season Planning Committee, and are accountable to the Committee, the Board of Directors, and ultimately to our audiences. Active directors become members of a Directors “Team” which meets periodically to identify ways to enhance the experience and improve the product.
BENEFITS
As the artistic lead of the production, you will benefit from the entire incredibly challenging yet rewarding experience. OLT’s directors are entrusted with a great degree of responsibility and autonomy. The process of bringing a team and a production together for the entertainment of our audiences can be a cherished experience.
October 2018
The Assistant to the Director (AD) is a critical role in the production of any show. The AD is: the key administrator; the budget accountant; the eyes and ears for the Director; and, the glue that keeps the cast and crew together as a smooth functioning team. The AD is the key point of contact and liaison between the entire production team (cast and crew), theatre personnel, the Volunteer Committee and the Directors and Assistants of the plays both preceding and following the production.
All productions generally have at least one Assistant to the Director, but may have more than one. The shared responsibilities are determined jointly by the Director and AD(s).
QUALIFICATIONS
Commitment, maturity (not age-related), reliability, good people and problem-solving skills.
RESPONSIBILITIES
Responsibilities are fully laid-out in the Production Manual and a step-by-step AD Checklist is also available on the website. Here is overview:
Administrative:
- assist the Director in the audition process
- compile a list of cast/crew and distribute to the production team and front-of-house
- manage the $1,500 budget – re: production expenses, excluding set construction costs – advancing money as required to designers, so that no-one is out of pocket
- conduct an orientation and tour of the theatre for all newcomers, inform all on protocols, security, emergency procedures, etc.
- organize production meetings
- maintain regular communication with all members of the team about everything they need to know (schedules, changes, etc.)
- prepare and submit house programme information to the office; verify and proofread drafts before sign-off to printing
- provide/collect Volunteer Information cards/forms for all cast and crew – submit forms to the office ASAP
- coordinate “head shots” and production photos
- secure the theatre each night after rehearsal – responsibility shared with the Director and, on performance nights with Director, a Board member or a staff member)
Artistic:
As requested by the director, taking blocking notes, verifying sound levels and sight lines, and providing an accurate copy of the script with sound and light cues sheets to the Stage Manager.
Social:
Coordinate ‘party nights‘ and food and refreshments for each night of the run
ORIENTATION/TRAINING
Familiarity with the OLT is an asset, but no experience is required. The AD is involved from before Day One, and there is time to learn on the job.
TIME COMMITMENT
It is extensive. The AD is usually the first to arrive and the last to leave. The AD requires a major commitment of time and energy: auditions; rehearsals; and, performances. If a production has more than one AD, this responsibility can be divided.
Rehearsals begin approximately ten weeks before each play starting with 3 rehearsals per week, then 4 per week, then (in the two weeks before opening night) often 6 per week. Then there is the 3-week run of performances is Wednesday to Saturday plus two Sunday matinees. The AD is also required at most production meetings.
ON-THE-JOB SUPERVISION
Assistants to the Director report to the Director
BENEFITS
The AD is the administrative and social heart of the production. You will get to know everyone and be involved in all aspects of the process from audition to closing night.
Feb 2023
QUALIFICATIONS
There are two ways to be considered for the Associate Director program:
• You are a director with a proven body of work elsewhere who would now like to be considered for directing at the Ottawa Little Theatre.
• You are an OLT volunteer with enough varied experience on a number of productions to feel that you now have the qualifications to be considered for directing at the OLT.
A potential Associate must make their interest known to the Artistic Quality Committee. The candidate will be asked to provide a resume of experience, and to go through an interview process with the chairs of the Artistic Quality, Season Planning and Volunteer Committees.
If the interviewers are convinced that the candidate has the potential to direct at the OLT, they must then be paired with a play director willing to take on an Associate. There is limit to the number of Associates allowed to participate in a given season.
A person who thinks they might one day like to direct should gain as much experience in all areas of the theatre as possible. Opportunities specific to directing include attending workshops in directing, or directing Play Readings or EODL One-Act Festival entries.
RESPONSIBILITIES
The Associate Director audits the OLT production process, observing rehearsals from the director’s point of view “behind the table” and learning how a specific director works. If an Associate Director wants the role to be more than that, they are advised to sit down beforehand with the director and discuss expectations on both sides. An Associate Director sometimes takes on some of the responsibilities of Assistant to the Director.
TIME COMMITMENT
Once an Associate Director has been accepted by a director, they should be involved in the production process from the very beginning – including auditions, production meetings, rehearsals and post-production meeting – a time commitment of more than four months.
ON-THE-JOB SUPERVISION
Supervision will be provided by the play director.
BECOMING A DIRECTOR
All OLT Directors started as Associate Directors, or the equivalent at the time. Although an Associate Director hopes eventually to direct at the OLT, being on the Directors List brings no guarantees. There are currently more than twice as many names on the Directors List as there are plays in a season. In choosing a slate of directors to recommend to the Board of Directors, the Season Planning Committee’s goal is artistic quality and to attract and please an audience, and ultimately to ensure the financial stability of the OLT. The Committee must entrust the season of plays to the set of interested directors they believe will bring the best product to the stage. There needs to be a full roster of strong, active directors to ensure that there will always be enough available.
October 2018
QUALIFICATIONS
All Costume Assistants must have a willingness to learn; the ability to follow instructions and take direction; and be punctual and reliable.
Dressers
• Dexterity, energy, and composure to rapidly and calmly dress and assist actors
• Ability to do small mending jobs, and to iron, launder, ozone or steam costumes
Seamstresses
• Dressmaking and alteration skills to assist the Costume Designer in constructing costumes from scratch, or altering existing costumes to fit the actors.
SWAG
• Knowledge and/or interest in history of costumes
• Willingness to work cooperatively on decision-making within a group
RESPONSIBILITIES
Dressers
• Check that all costumes are in place prior to the show according to the Designer’s instructions, and moved to the dressing room after the show
• Support actors with fast costume changes if required
• Do any minor repairs (sew on buttons, fix hems, etc.) or alert Costume Designer if repairs are required
• Iron clothing; start a load of laundry if required
Even if there are no costume changes that need support, an assistant is always required in case there is a malfunction during a performance.
Seamstresses
• Create garments or alter them according to Costume Designer’s instructions
SWAG
• Work in teams to sort and cull the OLT’s extensive costume collection and to organize and assist at Wardrobe Sales
ORIENTATION/TRAINING
All Costume Assistants receive a tour of the sewing room and wardrobe storage. Dressers receive a tour of backstage area.
Dressers
• Watch a run-through of the play in rehearsal then assist backstage with costume changes during two rehearsals
• Receive training in ironing, laundry, the mechanics of fast changes, and random skills such as corset lacing and tying bow ties as required.
Seamstresses
• Learn how to use OLT sewing machines, steamers, etc.
SWAG
• Learn OLT costume history and organizational system of wardrobe storage
• Receive advice on organization, costume maintenance and repair
TIME COMMITMENT
Dressers
• Training per show requires approximately 2 to 4 rehearsals during 1 or 2 weeks before the show opens depending on the complexity of the changes.
• During the 3-week run of the show, dressers should commit to a minimum of 6 performances to ensure consistency. The dresser is required to arrive one hour before curtain and stay until the final curtain.
• Be on time. If you cannot do a show that you have signed up for, find a replacement and/or inform the Costume Designer. If you are unavailable at the last minute, inform the Costume Designer or the Stage Manager.
Seamstresses
• Sewing or altering costumes may take place over a number of days in the weeks and months prior to the beginning of the run. The work can be done in OLT’s sewing room or taken home. Many shows do not require costume creation but all require at least a few alterations.
SWAG
• Meets once a week (usually Wednesday) as a drop-in from noon-5 PM. Volunteers are encouraged to come in whenever they are able.
• When wardrobe sales are pending, more meetings might be arranged and volunteers are encouraged to attend the sale day.
ON-THE-JOB SUPERVISION
• Dressers report to the Costume Designer and the Stage Manager.
• Seamstresses report to the Costume Designer.
• SWAG members report to the SWAG coordinator.
BENEFITS
You will play an integral role in the success of the production or the wardrobe, and you will meet and become friends with an eclectic mix of individuals from all walks of life.
October 2018
QUALIFICATIONS
• Design skills and understanding of colours and fabrics, and of fashion styles of the period of the play
• Familiarity with the OLT wardrobe storage system, and of other Ottawa resources such as second-hand and consignment shops, fabric outlets, other theatre groups’ wardrobes
• Willingness to spend time researching and tracking down appropriate costumes
• Initiative and the ability to bargain and think creatively
• Seamstress and alteration skills are required (or the Designer must have an assistant with these skills)
• Good people skills
RESPONSIBILITIES
Before Rehearsals Begin:
• Attend Production Meeting to collaborate on establishing a costume design
• Consult Assistant Director regarding budget
• Research the time period of the play in which the costume designs will be used
• Collaborate with Director, Set and Lighting Designers on a colour palette
After Rehearsals Begin:
• Start recruiting production wardrobe teams (sewers and dressers); a list of potential volunteers is available from the office
• Purchase supplies as needed after checking what is already available
• Attend first rehearsal and present design concept
• Take measurements of all cast members and record these measurements on individual charts for each actor
• Attend additional rehearsals as required
• Provide rehearsal costumes if necessary (eg. long skirts for a period piece)
• Do preliminary fittings and keep a record of progress on individual charts; which costume pieces are finished; what is lacking and what needs to be changed
• Locate in OLT wardrobe, or buy, rent, borrow or create costumes and accessories (shoes, hats, gloves, jewellery, purses, etc.)
• Adapt clothing to suit a character and the actor’s activities (safety, comfort and movability)
• Sew or adjust costumes if necessary
• Provide crew names for house program
Once Show is on Stage:
• Arrange costume parade on stage to view the costumes as a whole before play opens
• Attend first run-through
• Label costumes for each character if necessary
• Lay out costume policies and rules to actors regarding activities while in costume, such as smoking, eating, etc. and the wearing of costume covers
• Provide trays for each actor to hold jewellery, etc.
• Arrange for backstage quick-change areas if necessary
• Coordinate having costumes in correct location (dressing room, stage right, stage left) and schedule dressers for costume changes
• Ensure costumes are cleaned as needed
Once Show Opens:
• Arrange to repair, clean and iron costumes during the run
• Instruct actors to hang up their costumes and take proper care of them, and to immediately report any problems requiring care or repair
• Check costumes daily for damage
• Take photos for portfolio if desired
After the Run:
• Separate OLT costumes from personal items and costumes from other sources
• Ensure the actors have cleared and cleaned their sections
• Arrange for cleaning of OLT costumes
• Restock all OLT costumes and accessories
• Return any rented costumes
• Launder or dry-clean any clothing article that has been used and return to appropriate location
• Spray disinfectant in shoes used
• Attend post-production meeting
ORIENTATION/TRAINING
• A novice should work alongside an experienced OLT Costume Designer through all stages of the production from script reading to helping backstage during the run for at least one production to provide a solid grounding for proceeding with an independent design or a co-design.
• Costume design courses are available and can be extremely useful. Training in fashion design and alteration is an asset.
• If someone has designed costumes elsewhere, mentoring by an experienced OLT Costume Designer through an OLT production should be sufficient. This might not be necessary if previous proven experience is considerable.
TIME COMMITMENT
• Work needs to begin 3 months before the play opens. Meetings with the Director will require 3 to 6 hours at this stage.
• Locating and creating costumes will vary widely depending on how many actors there are in a play, how many costume changes each requires, and the era in which the play is set.
• All production meetings (usually evenings) should be attended, as well as the first read-through and a number of evening rehearsals to meet with the actors and have them try on costumes.
• The Costume Designer should attend the post-production meeting.
ON-THE-JOB SUPERVISION
• Supervision will be provided by the OLT Technical Director, Play Director and, in the case of a mentoring situation, another OLT Costume Designer.
BENEFITS
• Costume design is a specialized creative artistic endeavour with many rewards. The result is an artistic product that is on view on stage for a period of three weeks. At the OLT, your costumes will be seen by thousands of people for over 2 hours per performance. Costumes are critical to the success of a production and are recognized as such.
• The Costume Designer becomes involved in almost all facets of a production.
• The Costume Designer is named prominently in the show’s house program.
• The Costume Designer participates in all the social aspects of a production
Addendum:
WARDROBE FACILITIES GUIDELINES
The wardrobe storage area is very busy, with 3 shows in production at any given time and ongoing maintenance and inventorying. Help in keeping the wardrobe and sewing room tidy and clean is essential. A common system is used to locate inventory.
• Before anything is placed in the wardrobe storage, it should be:
– sized using the consistent sizing grid
– placed in the appropriate place on the racks or bins according to The Map
• When in doubt, ask.
• If possible, please clean up before leaving for the day. If you are in the middle of a project, leave a note showing your name and the play. Any boxes or bins which are moved during a rehearsal should be replaced.
• The costumes in the wardrobe are inventoried – do not take costumes off-site without permission, and do not, under any circumstances, take apart or significantly change a garment without prior consultation. If inventory tags fall off, they should be replaced. If you find a stray one with an inventory number, please pin it to the bulletin board.
• Report all equipment problems to the Technical Director.
• The two middle racks in the Sewing Room are for the use of the shows in rehearsal. Once on stage, costumes should be moved into the dressing rooms and the ones not being used returned to wardrobe storage. If one part of a suit is not being used, keep it, with a note, in the far left section of the rack in the sewing room.
• The wardrobe often receives donations from patrons and friends. If you see a bag or box of donations, feel free to take a look, but do not take anything away from the donation or remove the tag with the donor’s name. If you wish to use something for a show, please pin a note to it saying you want it and it will be put aside for you.
• When a show closes, all costumes must be cleaned (ozoned or washed) and put back in the wardrobe.
Any questions/concerns please contact wardrobe@ottawalittletheatre.com
October 2018
QUALIFICATIONS
• You must speak English well.
• You must be well groomed and dressed in black to meet dress code requirements
• Congeniality and good manners are a must.
• Your fitness level must be adequate for you to stand for more than one hour and to walk up the staircase repeatedly while assisting patrons.
• CPR, AED and First Aid training are definite assets.
RESPONSIBILITIES
• Advise the House Manager that you have arrived. This is your direct supervisor who will assign volunteer duties for each performance.
• Know your way around the Foyer and familiarize yourself with the basics of each production (running time, number of intermissions, comedy/drama) so that you can answer patron inquiries.
• Welcome each patron with a smile while taking tickets and/or handing out house programs.
• Assist patrons with walkers and/or wheelchairs and inform them where to store their mobility aids during the show.
• If someone is in need of assistance or must exit the auditorium during the show, quietly lead them out and wait for them to return before you sit down again.
• Assist the House Manager in the event of an incident and/or emergency.
• Assist in opening and closing all doors to the auditorium before the show, at intermission, and while patrons are leaving.
• Remain after the final curtain until the House Manager has confirmed that you are no longer required.
ORIENTATION
The House Manager will provide you with all information you need during the pre-show briefing at the beginning of your shift. Volunteer orientation sessions will provide you with a broader overview of the OLT.
TIME COMMITMENT
• A core group of FOH volunteers commits to one shift per production for the nine shows per season and is able to work most of them. On average this will involve approximately 4 hours every 5 weeks.
• An additional group of FOH volunteers is invited to fill in as required.
• You are required to arrive 1 hour and 30 minutes PRIOR to show time: 6:00 PM for evening shows at 7:30 PM, and 1:00 PM for matinees at 2:30 PM.
• You should stay for the duration of the show, unless you have made prior arrangements with the coordinator.
BENEFITS
• You’ll be part of a great community of patrons and volunteers who come to OLT for an entertaining experience.
• You’ll gain experience in hospitality and interact directly with our patrons.
• You’ll be able to watch the show, as most volunteers are seated in the auditorium for the full duration of each performance!
October 2018
Working with the Chair of the Hospitality Committee, you will assist in food preparation and clean-up before, during and after special events in the OLT Foyer. These include activities such as the Christmas party, the AGM, Volunteer and Donor Appreciation events, and post-show parties for the audience, cast and crew on one night of each play run.
QUALIFICATIONS
• Interest in planning and organizing menus and creating fun theme nights
• Understanding of safe food handling practices by following Ottawa Public Health’s Food Safety Guidelines
• Ability to work well in a team environment
RESPONSIBILITIES
• Help decide on a menu for the event
• Pick up groceries where needed within allocated budget
• Help decorate the foyer if necessary (not generally required)
• Organize and prepare food, including presentation of contributed offerings
• Put out dishes, cutlery and napkins (Beverages, both alcoholic and non, are handled by the OLT professional bar staff as the cash bar is generally open for these events)
• Remain to assist with clean up during and afterwards
ORIENTATION/TRAINING
Introduction to the OLT: policies, expectations, etiquette, safe food handling practices, environment, etc. will be explained by the Chair of the Hospitality Committee. You will be given a complete briefing of required duties.
To learn more about food safety, you can test your knowledge at no cost through “In Good Hands”
TIME COMMITMENT
Members of the Hospitality Committee are given advance notice when there is an upcoming event. You can volunteer as often as you are available. There is seldom more than one event per month.
ON-THE-JOB SUPERVISION
Chair of the Hospitality Committee
BENEFITS
Great way to meet and party with the fun and dedicated people of our theatre family
January 2020
QUALIFICATIONS
• Understanding of safe food handling practices
• Good organizational skills
• Ability to move quickly and efficiently
• Reliability (must show up when scheduled)
• Interest in planning and organizing menus and creating fun theme nights
RESPONSIBILITIES
Opening Night:
• Decide on a menu for the evening
• Pick up groceries where needed within allocated budget
• If there is a toast at the end of the show, place champagne glasses on a tray and take backstage
• Organize and prepare food prior to final curtain
• Put out dishes, cutlery, napkins, and wine and beverage glasses
• Ensure that cast and crew get priority followed by guests
• Remain to assist with clean up (it is not coordinator’s responsibility to lock up)
Before shows (this can be coordinated with the Assistant to the Director(s):
• Prepare tea, coffee (supplied by OLT) and ice water
• Put out cups, glasses, etc.
• Put out snacks including protein foods for those who come directly from work
• Ensure there is coffee and tea available during the evening and especially at intermission
Friday and possibly Saturday nights:
• Decide with cast and crew on theme for the evening
• Post sign-up sheet for parties
• Coordinate potluck contributions from cast and crew and pick up groceries where needed
• Organize and prepare food including cast and crew donations prior to the end of the play
• Put out dishes, cutlery, napkins, and wine and beverage glasses
• Ensure that cast and crew get priority followed by guests
• Remain to assist with clean up (Once food is put away and dishwasher is loaded, coordinator can leave.)
Closing night:
• Decide on a menu for the evening
• Pick up groceries within allocated budget
• Organize and prepare food prior to the end of the play
• Put out dishes, cutlery, napkins, and wine and beverage glasses
• Ensure that cast and crew get priority followed by guests
• Ensure that kitchen and refrigerator are clean and tidy for the next production
• Inform next production if there is leftover food for them
ORIENTATION/TRAINING
Introduction to the OLT: policies, expectations, etiquette, safe food-handling practices, environment, etc. will be explained by the Assistant to the Director. You will be given a complete briefing of required duties before, during and after the production.
TIME COMMITMENT
Minimum of two shows per week for the 3-week run of the production (6 hours per night – 36 hours total)
ON-THE-JOB SUPERVISION
Assistant to the Director
BENEFITS
Great way to meet and party with the fun and dedicated people of our theatre family
October 2018
To help build a solid and supportive artistic component of the theatre, that contributes to the theatre’s sustainability by ensuring the highest quality product, and by doing everything feasible to optimize box office revenue and enhance staff and volunteer capacity and experience.
Qualifications
A love of event planning, education planning, and / or organizing.
Responsibilities
• Attend meetings set by the Chair and vote on all deliberations and decisions.
• Assist in the development, amendment and maintenance of policies of the committee
• Aid in development and integration of a full program of training and development opportunities – working with the Volunteer Committee, Technical Director/Stage Manager, and Director of Education
• Help administer professional development programs/opportunities: directors, acting company, technical
• Help to identify opportunities and administer such activities as:
Eastern Ontario One Act Festival
Janigan Studio
One-Act Playwriting Competition
• Liaise with Volunteer Committee and other special project committees
• Ensure optimal opportunity for success through interaction and involvement with the “creative” process as necessary
• Help implement changes as required to ensure highest quality performance and audience experience
Orientation/Training
No training required. Some experience in event planning or theatre production is desirable. Connections and/or research know-how is an asset. Have you ever planned a party or an event at work? – that counts!
Time Commitment
• Evening meetings once a month
• Evenings and weekends if helping plan a Festival event in collaboration with a sub-committee.
On-the-job supervision
Co-Chairs of the Learning and Special Programming Sub-Committee
Benefits
• Be part of the changing face of the Ottawa little Theatre and the quality of its product.
• Connect with artistic training opportunities within the Ottawa theatre community.
• Gain experience in event planning.
The Lighting Designer creates and implements a lighting design to advance the Set Designer’s stage plan, and to achieve the Director’s vision of the play. The Lighting Designer schedules and trains a crew to operate the lights for the set-up and run of the show.
QUALIFICATIONS
The Lighting Designer needs to be qualified – with a solid working knowledge of the equipment available and be knowledgeable of the theories and practice of stage lighting design.
RESPONSIBILITIES
- attend production meeting(s) to discuss vision and concepts for the show
- attend rehearsals as needed to create the lighting design
- ensure the design can be managed within the resources available
- hang and focus the lights on a schedule pre-arranged with the production construction team – typically the initial hang takes place on the Sunday before the set build starts
- ensure all work is done according to safety standards specified by the Technical Director
- program the lighting board with the cues required for the show
- recruit and schedule a lighting crew for each show and provide training as required
- provide training, instruction, notes, and/or supervision to the crew
- provide direction and arrange training if the lighting crew runs video projections
- Note: the Lighting Designer is not responsible for design or setup of video
- advise the Technical Director of defective or damaged lighting equipment
- maintain the lighting work areas per OLT technical standards
ORIENTATION/TRAINING
Training is usually as an apprentice working with an experienced Lighting Designer. The OLT sometimes offers courses in design.
TIME COMMITMENT
The Lighting Designer is part of the production team. The Designer’s involvement begins several months before the play opens.
Implementing the lighting design requires considerable time in the two weeks before the show opens – designer and crew often have to work when the cast is not on-set, before rehearsals and often during the daytime and on weekends. Once the show opens, the Lighting Designer should monitor the production, ensure crew coverage and to address issues and problems.
BENEFITS
Lighting design is a fulfilling technical and creative activity – building a visual atmosphere that brings a production to life – has many visible and hidden rewards. The Lighting Designer has plenty of opportunity to interact with the Director, Designers, Actors and Crew for social events.
April 2020
The lighting and sound operators (separate volunteers for each position) operate the lighting and sound boards during onstage rehearsals and the run of the production as instructed by the stage manager. Training is provided by the lighting and sound designers and the production support team. The lighting operators may also assist the lighting designer with the setup for the show
QUALIFICATIONS
Being “tech savvy” is a bonus, however no formal qualifications are required. A willingness to learn, ability to take on responsibility for the productions, and commitment of required time are most essential qualities.
RESPONSIBILITIES
- arrive one hour before show time and report to the stage manager
- perform preshow checks or setup as required
- be “standing-by” in the sound/lighting booth at least 5 minutes before curtain time
- respond to instructions from the stage manager to execute the sound/lighting cues as directed
- remain in the booth until the stage manager advises you that they have “control” and you may proceed to shut-down operations
ORIENTATION/TRAINING
Lighting and sound designers and production support will schedule activities during the two weeks of onstage rehearsals prior to opening night. Crews will be scheduled to ensure they watch the show, and are fully trained on the equipment and the cue-calling process. New sound/lighting crew members will be assigned an experienced operator to “mentor” them for their first show(s) until they are comfortable with the systems and process.
TIME COMMITMENT
Operator shifts will be scheduled and communicated by the designers and stage manager for both the onstage rehearsal period and the run of the show – a 5-week commitment of time. Operators are “called” one hour prior to the 7:30 evening curtain or 2:30 matinee. Shows generally run between 2 to 2.5 hours, and the operators do not leave until the stage manager has given the “all clear” after shutdown and maintenance activities. Operators must meet their scheduled shifts, and are obligated to provide a substitute in the event of unforeseen conflicts.
BENEFITS
Crew teams are essential to the artistic team, and perform critical roles in the success of the productions. Crewing provides opportunities to learn and practise technical skills, and can lead to taking on design roles on productions. And, of course, there is always the important social benefit of being part of a well-functioning team.
October 2023
QUALIFICATIONS
• An interest in theatrical makeup and/or hair design
• Good visual colour perception and ability to distinguish colours including shades and brightness under stage lighting
• Deductive reasoning and visualization skills to deal with various methods of creatively solving problems
• Good communications and research skills
• Patience and tact
• Ability to work under pressure
• Attention to detail
• Flexibility
• Training in theatrical makeup (including such things as character aging or wound simulation) is a definite asset
• Beautician training is also an asset
RESPONSIBILITIES
• Discuss the vision of the play with the play director and, if necessary, research period makeup and hair styles, the latter sometimes involving wigs
• Know the makeup and/or hair requirements for a show and ensure that appropriate products are available well in advance of the production
• Meet and discuss with each cast member their makeup requirements, allergies and your ideas for their makeup and/or hair
• Set up the dressing room with a designated place for each cast member
• Ensure that each designated actor’s place has hygienic makeup, sponge applicators, tissues, Q-tips and other necessary supplies (some actors will bring some of their own makeup)
• Instruct and explain, when necessary, application of products and/or detail of characterization methods
• Be available for help and problem solving until the cast member feels confident in their own application abilities
• Ensure that all products used by the actors are clean, in good repair and maintained
• Clean dressing room after the production, and sanitize all hair and makeup products and equipment which are the property of the theatre
ORIENTATION/TRAINING
Assist an experienced Makeup/Hair Designer for a few shows before working on one of your own.
TIME COMMITMENT
This varies per show depending on the number of cast members in a play and the complexity of the requirements. Some plays require a makeup and/or hair supervisor for every performance of a three-week run, but for many productions the actors can manage on their own once they have been shown what to do. Makeup and hair training usually takes place for two or three nights and one Sunday afternoon during the final week before opening night. Supplies should be checked once or twice a week during the run. Cleanup takes place on closing night of a production.
ON-THE-JOB SUPERVISION
The Director or Assistant to the Director of the production. Interested designers should work on at least one production as an assistant to the designer.
BENEFITS
You will enjoy the satisfaction of being involved in the “look” of a production that is on stage for three weeks in front of thousands of audience members. You’ll also benefit from the camaraderie, backstage theatre training and experience, and social events.
October 2018
The prompter supports the Director during the rehearsal period, by following the script to ensure Actors are accurate in their line memorization – helping them be “off-book.” Once the play has moved, from rehearsal to performance on stage, a prompter is no longer used; however, the Prompter often transitions to the props or running crew teams to stay involved with the play.
QUALIFICATIONS
Strong reading skills are a requirement, as a prompter must closely follow the script and monitor diversions from the script made by Actors during rehearsal.
RESPONSIBILITIES
- attend rehearsals from the point in time when Actors are to be “off” script
- monitor deviations from the script – often making script notes for Actors
- “feed “the Actors a line as requested
- identify problem lines and blockages
- support Actors as requested by the Director – line runs, additional practice , etc.
ORIENTATION/TRAINING
Director or Assistant Director will provide prompting instructions. Prompters also work with individual Actors re preferred way to receive prompts.
TIME COMMITMENT
The time commitment will vary depending on the play and the demands of the Director/Actors – generally 2 months is “normal.” Prompting generally begins once the Director feels the Actors are at a point of abandoning scripts and working “off-book,” often thru to opening night. Occasionally, extra rehearsals might be scheduled for additional cast line runs.
BENEFITS
The Prompter is involved in the creative development process of the production, and generally builds strong associations with both the Actors and the management team. The Prompter is the custodian of the playwright’s words. All Actors know how valuable this position truly is!
April 2020
Properties (props) are the movable items used by the actors during a play. The Props Designer must find/create all required props. With the help of an assembled and trained crew, ensure all props are in-place and maintained for rehearsals and performances.
QUALIFICATIONS
- Knowledge/experience with design trends – furniture, kitchenware, accessories etc.
- Capacity to find/make props
- Skills to recruit, train and manage props crew
- Ability to collaborate with Director, Actors and production crews
RESPONSIBILITIES
- read the script and create a preliminary props list
- attend first read-through and all production meetings
- develop a complete props inventory and identify special (seasonal) requirements
- attend rehearsals to provide rehearsal props as required and, to clarify what/where props are placed both on stage and off
- prepare a finalized props list, and create/obtain production props
- identify team requirements and prepare detailed and team schedules
- tape props tables showing positions of all carry-on props
- attend all on-stage rehearsals with team to watch the play, and do the props work
- fully brief the props team re theatre’s policies, expectations, etiquette, etc.
- monitor consumables and maintain props
- keep records of all expenses
- On closing night – remove all props, clean and return props to storage
ORIENTATION/TRAINING
Work as a member of several production prop crews, and then apprentice with a Designer
TIME COMMITMENT
Depends on the complexity of the play, but normally the Designer is required for the full 15 weeks of a production including: well before rehearsals or performance to well after; many meetings; time to source or create properties. Larger cast shows are generally more props complex and more time consuming.
BENEFITS
Outlet for creative energy, recognition and admiration of all involved in the production, audience appreciation, and being a critical part of a collegial, well-functioning team.
April 2020
QUALIFICATIONS
- Reliability and focus to ensure proper placement of props before, during and after the show
- Ability to move quickly and efficiently and to collaborate with director, actors and production crew
- Ability to follow written and verbal instructions accurately
- Creativity to find and/or create props if required by the Props Designer
- Understanding of backstage etiquette related to noise and distractions
RESPONSIBILITIES
Once the show is onstage for rehearsals (2 weeks before opening):
- Attend onstage rehearsals, first to watch from the front, then to observe backstage, then to work the rehearsal
- During onstage rehearsals and the 3-week run, ensure all required props are ready and in the correct position on stage or on the taped props tables in the wings
- Prepare consumables (cold and hot food) if required
- Fix any broken props and/or alert Props Designer
- On closing night, help to remove all props from backstage and return them to the correct place in the props cupboard or the drapes cupboards
Props crew sometimes doubles as Stage Crew, helping to change sets and furniture between scenes.
ORIENTATION/TRAINING
Props Crew members are given a complete briefing of their duties before, during and after the show by the Props Designer. This includes the theatre’s policies, expectations, etiquette, etc. No prior experience is necessary.
TIME COMMITMENT
Be prepared to do at least two shifts a week during the standard 3-week run in addition to some evenings during the two final weeks of rehearsal on stage.
You must arrive at least one hour before curtain up, and plays are normally 2 to 2.5 hours in duration. Shows with more than usual props, or shows with open curtain as audience arrives may require crew to arrive even earlier.
Commitment is what we are looking for from all volunteers. If you sign up to do props for a performance, you MUST be prepared to fill that obligation or arrange for a fellow crew member to cover your shift. Note that OLT does not cancel shows due to inclement weather.
PERSONAL COMMITMENT
Everyone who commits to working on- or off-stage is agreeing to do all they can to ensure the best possible product. This includes adding to the calmness required backstage so that actors and crew can deliver their best performance.
ON-THE-JOB SUPERVISION
Props Designer, Stage Manager
BENEFITS
Outlet for creative energy, collegial atmosphere, parties.
Once you have assisted Props Designers on a few shows, you might want to become a Props Designer yourself.
October 2018
The Season Planning Committee (SPC) fills the role of an Artistic Director – researching and reading scripts, proposing a season of plays and shadow plays, as well as identifying Directors for each play.
The SPC is made up of seven members including representation from: audiences, actors, backstage crews, and no more than three play Directors, plus a non-voting member of the Board of Directors.
RESPONSIBILITIES
- identify and propose plays for consideration
- participate in discussion and decisions on scripts to be read each year
- read, evaluate and rate all chosen scripts (60-70) between March and January
- participate (January) in a meeting to select the season and shadow season of plays
- participate (June) in a meeting to select the best director for each play
QUALIFICATIONS
- interest in extensive play reading and the time to undertake it
- attendance at OLT performances regularly over multiple seasons
- knowledge of the tastes and interests of the OLT audience, and of the success of previous productions
- ability to assess scripts for audience appeal and OLT cast and crew capability
ORIENTATION/TRAINING
The SPC Chair will explain the activities and guide the process.
TIME COMMITMENT
- to ensure continuity of discussion/decisions, this is a two-year commitment
- three meetings per year, plus regular communication via email
- 200 hours of reading time – each script probably requires 2-3 hours of reading and evaluation
- attendance at all OLT productions to assess their success – regular attendance at other theatres both in and outside Ottawa is an asset
BENEFITS
The SPC has enormous responsibility for the planning and quality of OLT productions. The committee contributes hundreds of hours of effort, but knows that the enjoyment and satisfaction of audiences is their reward.
December 2024
The Set Designer creates the design for a production, including a coloured scale model (1/2 inch = 1 foot) and full mechanical and construction drawings (plan and elevation at the same scale) for the construction and painting crew.
RESPONSIBILITIES
- read script in advance of the production meeting
- analyse requirements (setting, entrances, exits, scene changes) in full detail
- develop preliminary drawings and sketches in consultation with production team
- build scale model for review with cast and crew
- monitor rehearsals to address problem areas discuss/negotiate/respond to changes
- provide construction drawings
- select furniture and set dressing materials in collaboration with Set Dresser
- meetings with construction and paint crew before and as the set is built
- dress the set as it is built – furnishings, drapes, carpets, pictures, lighting, vegetation
- support the set strike at the end of the production
QUALIFICATIONS
- training/experience in set design – translating a script into a visual and physical setting
- understand the practicalities of the theatre space – sight lines, flying, scene changes etc.
- knowledge of mechanical and construction drawings (possibly computer assisted)
- knowledge of scenery construction, stagecraft, painting and lighting
ORIENTATION/TRAINING
- mentoring by an experienced OLT Set Designer through one production
TIME COMMITMENT
- 2 to 3 weeks designing, modelling and producing drawings
- locating furniture and set dressing material
- attending all production meetings, first read-through and some rehearsals
- meetings with the construction and painting crew – ~ 10 hours
- attending daily set construction, first on-stage rehearsals and all technical rehearsals
- summer set design courses (residential) are available through Theatre Ontario
BENEFITS
Set design is a special creative artistic endeavour with many rewards. The result is an artistic product that is seen by thousands of audience members. Its contribution to the success of a production is critical and is widely recognized by the other Designers, Director, cast and crew. The Set Designer becomes involved in almost all facets of a production.
April 2020
The set dresser adds design elements to a set to create the style and atmosphere required by the script, the director and the set designer. These include window coverings, foliage, ornaments, pictures and other wall hangings, etc., all of which are distinct from the properties, which are movable items used by the actors.
RESPONSIBILITIES
- read script in advance of the production meeting
- analyse requirements in collaboration with the set designer
- source set dressing materials from OLT properties storage, OLT warehouse, and outside sources such as thrift shops
- Create items from scratch if required
- dress the set as it is built – furnishings, drapes, carpets, pictures, lighting, vegetation
- support the set strike at the end of the production to ensure materials are stored or returned as required
QUALIFICATIONS
- interior design, or general design experience is an asset
- knowledge of, or ability to research, different period styles is important for plays set in a distinct time and place
- a good eye and ability to collaborate
ORIENTATION/TRAINING
- mentoring by an experienced OLT set dresser or set designer through one production
TIME COMMITMENT
- sourcing can be done in advance, but most work takes place in the two weeks before the show opens – after the set is constructed and rehearsals move to the stage
BENEFITS
You will contribute to an artistic product seen by thousands of audience members and be a valued member of the team.
December 2023
The Sound Designer creates the overall sound – scape, environment and design for a production – all music, ambience, effects, vocal reinforcement and announcements, reflecting the Director’s vision of the play. The Designer also schedules and trains a running crew.
QUALIFICATIONS
- training/experience in theatre sound design
- knowledge/experience in obtaining, using and creating sound effects
- knowledge/experience with audio equipment, use and operation
- ability to translate a script into an appropriate aural and theatrical setting
- ability to make clear notes and instructions for Stage Managers and crew
- ability to discuss and negotiate concepts with the support people
RESPONSIBILITIES
- read the play well in advance of the first production meeting
- understand the Director’s vision for the production and develop the sound concept
- address sound needs – ambience, period, effects, bridge music, critical effects, etc.
- source, procure, record or obtain sound effects and music clips
- provide sound as needed for rehearsals
- communication with Director and monitor rehearsals, adjust sound as required
- provide pre-show music and pre-show announcements
- co-ordinate special technical needs with Technical Director
- configure and test sound playback and amplification system
- create required show media and/or program SFX system
- adjust and set levels and identify cue trigger points and timing
- confirm cue sheets, and instructions for operators with the Stage Manager
- schedule and train operating crew
ORIENTATION/TRAINING
A novice should work as a sound operator on a production and then apprentice an existing Sound Designer through all stages in at least 2 productions
TIME COMMITMENT
Generally 3 months (may total 40-120 hours) including: Director and production meetings; locating music and effects (internet sources, CD libraries, Public Libraries, field recording, etc.); running the show for on-stage tech rehearsals (3 to 4 hours/night).
External Sound design courses are useful and training in sound editing software can be an asset.
BENEFITS
Sound design is a fulfilling technical and creative activity, highly appreciated by production teams, recognized by patrons, actors and crew, and critical part of the success.
April 2020
During the run of many plays, stage crews are needed for moving sets and/or furniture between acts or scenes. Crew can be required to work the pinrail (“flying”) to move scrims, screens and set pieces in and out as needed. Props crew and/or dressers sometimes double as stage crew.
QUALIFICATIONS
- Strength specific to moving and lifting furniture, set pieces
- Ability to follow stage crew chief or stage manager’s instructions quickly and accurately at each performance to ensure consistent, efficient, and precise scene changes
- Ability to work closely with fellow stage crew members, director, actors and production crew
- If working pinrail, ability to work at heights, and strength to manage the batten lines/ropes
RESPONSIBILITIES
- Move sets/furniture/props quickly, safely, unobtrusively, quietly and efficiently into the correct positions according to plans and specified “choreography”
- Work backstage (often in the “dark”) with care and calmness to reduce distractions
- Alert the stage manager of anything that is unsafe or in need of repair
- Make suggestions to ensure well managed set changes
- Operate the pinrail (if required) at high speeds and with great precision
ORIENTATION/TRAINING
No prior experience is required. Crew members are trained by the crew chief or stage manager, and may work closely with the properties crew.
If working pinrail, training/qualification is required. Pinrail work has a high degree of risk, due to the weight and heights of the battens.
TIME COMMITMENT
Stage crews arrive one hour before curtain, and work 3 to 3.5 hours depending on the play. Crews attends most on-stage rehearsals, both to watch from the “house” and backstage, and to work the rehearsals. Once the run starts, crew will be assigned specific shifts during the 3-week run.
Stage Crews MUST be prepared to attend all assigned shifts or arrange for another crew member to cover.
BENEFITS
Gain experience backstage in a creative, collegial atmosphere!
February 2024
The stage manager (SM) for each production is chosen by the play director. The SM can provide support throughout the rehearsal process; but, when the show is “running,” (last few weeks of rehearsal downstairs and on-stage weeks) the SM is fully “engaged”, and the critical liaison over all departments – including Front of House. The SM is the pivot point (think of the ring-master in a three-ring circus) between the director and assistants, the cast, the crew, the designers and their technical teams, and the bar and house manager.
General Information
- SM requires a major commitment of time and energy
- SM is usually the first to arrive and the often last to leave the theatre
- SM is the critical point of contact for everyone involved in the production – cast, crew, FOH and administration
- SM is in charge of all rehearsal/performance activities in the later stages of the production process – last two weeks in rehearsal hall, and all onstage rehearsals and performances
- rehearsals begin approximately ten weeks before each play starting with 3 per week, then 4 per week, then in the two weeks before opening night up to 6 per week.
- the 3-week, 14-show run is Wednesday to Saturday plus two Sunday matinees
- Once the show is running, the SM ensures the show is executed consistently every night
Qualifications
- Commitment, maturity (not age), reliability, people and problem-solving skills
- Hands-on experience
- Certification – through targeted training, courses, and demonstrated skills
- “Shadow” an experienced OLT stage manager to learn all facets of the role and responsibilities
Primary Responsibilities
- Rehearsals
- schedule and lead all production meetings
- “learn” the show – sometimes functioning as both an SM and assistant director – actively supporting the director
- take blocking notes
- circulate rehearsal notes
- prepare “cue sheets/call book”
- provide an accurate copy of the script with sound and light cues
- assess risks and resolve issues
- schedule stage crews (unless there is a stage crew chief to do this)
- ensure that sound, lighting, props and costume designers have scheduled their crews
- Load–in and tech weeks
- provide on-hand support to set-build as needed
- meet and support training and orientation of all crew and operators
- after build – oversee all on-stage activities associated with the two weeks prior to run
- Run weeks
- manage all activities backstage
- oversee all pre-show checks and preparation
- liaise with FOH, and “downstairs” from doors open to all-clear for pre-show and intermissions
- call the cues (lighting, sound etc.)
- execute the calling of cues consistently and accurately each night in keeping with the director’s and designers’ wishes as established in the technical rehearsals
- prepare a nightly report of “happenings” and leave notes for technical director on stage issues and repairs
Other Responsibilities
- Follow procedures and guidelines as set out in the Production Manual, and Policies
- Assist the director in the audition process
- Conduct “first night” orientation and tour of the theatre for all newcomers
- Ensure that cast and crew follow protocols, security procedures, etc.
- Secure the theatre each night after rehearsal or performance
Overview of typical SM performance – evening/matinee
- 6:30/1:30
- check that stage notes from previous night were completed
- support props/costumes and running crew as needed
- supervise pre-show checks with booth sound/light operators, running crew
- check levels of pre-show music in upper lobby and auditorium
- turn on pre-show stage lights
- hand over house lights to booth
- 6:45/1:45
- announce downstairs mic – 15 minutes for actors/crew to check props and do stage warmups before house opens
- 6:55/1:55
- backstage work lights off – only blue lights
- inform house manager to open house
- 7:00/2:00
- call the “half-hour” – welcome cast/crew – 30 minutes to curtain – downstairs mic
- 7:15/2:15
- call the “quarter” – 15 minutes to curtain – downstairs mic
- walk about lobby – check on arrivals or issues
- 7:23/2:23
- ring lobby chimes, flash lobby lights
- 7:25/2:25
- call 5 minutes to curtain – Act 1 beginners/cast to the stage – downstairs mic
- 7:30/2:30
- wait for “ALL CLEAR” from bar
- fade pre-show music – auditorium lights to half
- GO – announcements
- begin calling cue sheet cues
- Intermission
- working lights up if necessary (if curtain is closed)
- set your timer to 12-13 minutes
- attend to any issues from Act 1
- at 15 minutes – ring lobby chimes, flash lobby lights
- downstairs mic – 5-minute call to Act 2 beginners/crew to stage
- wait to get “ALL CLEAR” from bar
- call cues as per cue sheet
- End of show
- calls through curtain calls
- working lights up
- check with operators and running crew re. issues with stage or equipment
- complete end-of show report and email notes as necessary to technical director and tech lead
- do walk-about – stage and lobbies – to look for issues and offer support
- lock down stage as needed
- do walk-about downstairs to ensure responsible person in green room and rehearsal hall
- leave theatre – only when satisfied that all is well and all areas are in “good hands”
The role of the SM is the most critical role in the theatre and all responsibilities must be addressed well and consistently for the theatre to function well.
February 2024
QUALIFICATIONS
• Detailed knowledge of OLT’s artistic accomplishments and challenges and of the volunteer body.
• Experience in a leadership role in several OLT productions or special events.
Volunteers interested in joining VOLT should contact the Chair by emailing volunteer@ottawalittletheatre.com.
RESPONSIBILITIES
• Work with other committee members to develop recruitment and retention strategies for volunteers
• Encourage the sustainability of the OLT and its members, volunteers and audience by creating a welcoming and rewarding environment for our volunteers
• Take a leadership role on various ad-hoc projects that will support the recruitment and retention of volunteers, such as volunteer appreciation events, etc.
• Provide input on the educational opportunities that will be offered at OLT each year
• Ensure that every production has the full team of appropriately trained volunteers it requires to be successful
• Perform the duties of Volunteer Liaison on approx. 1-2 productions per season (see below)
VOLUNTEER LIAISON RESPONSIBILITIES
• Each production is assigned a Volunteer Liaison to support any member of the production team who has a production-related question or problem that cannot be otherwise resolved or that they prefer to discuss with a person less directly involved with the production.
• At the play’s audition, the Volunteer Liaison will invite anyone interested in volunteering back-stage or front-of-house to an Orientation about the various opportunities available. After the briefing, the potential volunteers will be given a tour of the theatre. The Liaison will continue to be a contact for potential volunteers and continue to assist them in integrating into the theatre.
ORIENTATION/TRAINING
Once you have become a member of VOLT, the Chair will invite you to the next VOLT meeting (approximately 2 hours) where you will be brought up to date on the latest plans.
TIME COMMITMENT
• One 2-3 hour meeting every five weeks
• 5-20 hours a month for various volunteer activities you get involved with and take the lead on (depends on each individual and the nature of the project)
• Additional work as assigned by VOLT (variable depending upon what project you are working on).This is a two-year commitment to ensure continuity.
ON-THE-JOB SUPERVISION
Chair of the Volunteer Committee or the head of your Sub-Committee.
BENEFITS
The opportunity to shape the environment in which we all come to play. VOLT members are the ambassadors to the volunteer body at large and have the opportunity to create a warm, welcoming environment for newcomers, and a rewarding, empowering environment for existing volunteers. Creativity is key and opportunities are endless to come up with new ideas to support the volunteers. There is great freedom and support on this committee to develop and implement your ideas as long as the objective is to make OLT a better place to spend our time.
October 2018