House Staff Positions

Theatre Concierge

Name Pj Phillips Date 06/25/2018 Venue Center Theatre Group Email ctgjobs@ctgla.org Job Discription POSITION TITLE: Theatre Concierge REPORTS TO: House Manager DIRECT REPORTS: None WORK SCHEDULE: Part-Time, typically nights & weekends STATUS: Non-Exempt, Hourly ABOUT THE COMPANY: Center Theatre Group is one of the nation’s most influential and ambitious nonprofit theatre companies, producing and presenting a wide variety of plays and musicals each year in our three Los Angeles venues: the Ahmanson Theatre, the Mark Taper Forum and the Kirk Douglas Theatre. A beacon of creativity and a driving force in the creation, development and production of new work, Center Theatre Group has been the birthplace of plays that have been honored with Tony Awards, Ovation Awards, L.A. Drama Critic Circ...

Creede Repertory – Now Hiring FULL TIME PM & Facilities Manager

Current Full-Time Openings PRODUCTION AND FACILITIES MANAGER Creede Repertory Theatre’s Production Manager has primary responsibility for the scheduling, budgeting, staffing and execution of all aspects of physical production, including scenery, lights, costumes, props, paint, sound, and stage management for all productions, on site workshops, readings and events. CRT’s Facilities Manager is responsible for the buildings and grounds of the theatre, directing the Maintenance Employee and overseeing the upkeep of equipment and vehicles. The Facilities Manager is in charge of the Facilities budget and must negotiate with outside vendors for supplies and repairs. Click HERE for a PDF of full job description

Nice Work if You Can Get It: Being a Volunteer Usher on Broadway

BY JOANNE KAUFMAN via www.nytimes.com Greet audience members, take tickets, work the concession stands, run the elevator. Point the way to seats, restrooms, box offices and exits. These are some of the tasks of a volunteer usher at theaters across New York City. The lure: a free ticket. The competition: increasingly fierce. Richard Ponce, the house manager of the Helen Hayes Theater, said he has 250 more requests than slots he needs to fill for the 10-week run of “Lobby Hero,” which opens March 26, and has Chris Evans and Michael Cera in starring roles. “It used to be this sort of secret thing,” Mr. Ponce said of the volunteer program. “Now there are hundreds and hundreds more people who want to do it.” Comparatively rare at Broadway houses like the Hayes, volunteer ushers have long staffe...

REGISTER NOW for the Best Practices: Inclusive and Accessible Theatre Symposium

It’s not too late to register for the Best Practices: Inclusive and Accessible Theatre Symposium! HOSTED BY: The American Alliance for Theatre & Education WHEN: February 2 – 4, 2018 WHERE: The Kentucky Center, 501 W Main St, Louisville, KY 40202 Join theatre educators, artists and scholars from near and far for this exciting gathering in downtown Louisville, KY. Hosted by the Kentucky Center for the Arts, one of the nation’s most accessible performing arts complexes, this weekend intensive will offer keynote speakers, hands-on workshops, and a sensory-friendly performance including a pre-show touch tour. Come explore one of the country’s most arts-rich communities, and leave with practical tools you can use at home: in your classroom, and your theatre! Keynote: Storyteller, Playw...

National Theatre Launches Captioning Glasses for Deaf Audiences

BY: GEORGIA SNOW via www.thestage.co.uk The National Theatre (United Kingdom) has unveiled new technology that will enable D/deaf audiences to see captions for performances in front of their eyes using special glasses. The move, announced today (10/3/17), could transform the theatre experience for D/deaf and hard of hearing audiences, the NT has said. The glasses will enable D/deaf and hard of hearing audiences to read live captioning on the lenses during a performance, removing the need for captioning screens in the auditorium. NT director Rufus Norris said the glasses mean that for the first time, D/deaf audiences will be able to attend any performance during a production’s run, rather then rely on the limited number of captioned performances – up to four per show – that are curren...