Board Position Descriptions

President

  • The President shall preside at all Board, General and Special meetings of the Society. In his or her absence, the Vice President shall preside. The President may be a member of all committees, except the nominating committee.
  • The President is the primary point of contact for the Administrator and is responsible for taking the lead in the oversight of the Administrator position, including evaluation and contract negotiation.
  • The President shall have signing authority.
  • The President shall be responsible, along with the Vice President and Past President, for the ongoing evaluation of policy relating to the operation of the theatre.
  • The President, with the Vice President and current Artistic Director, is responsible for interviewing and selecting the incoming Artistic Director.

Vice President

  • The Vice President shall perform all Presidential duties at the President’s or Board’s request, usually due to the President’s absence. This includes (but is not confined to) chairing board meetings if the President is unable to attend for any reason.
  • The Vice President shall have signing authority.
  • The Vice President should be familiar with Walterdale bylaws and chairing meetings.
  • The Vice President, along with the President and Past President, takes part in the ongoing evaluation of policy.
  • The Vice President is not usually assigned a portfolio. He or she may, however, participate on committees.
  • The Vice President facilitates the choice of the “Volunteer of the Year Award” recipient, also known as the Outstanding Season Contribution. Typically, the board suggests names and votes if there is more than one suggestion. This is not necessarily a yearly award. The Vice President will order the plaque.
  • The Vice President co-ordinates the “Jack Wilson Award”. This includes consultation with all past recipients (in person, via phone or email) to choose the next year’s recipient. The Vice President has no vote in this but is the liaison for the group. The former recipient will present the award to the new recipient at the AGM. The Vice President will keep the archivist involved in the communications as the archivist is a valuable resource for recipient suggestions. The new recipient should be selected, at least 2 months before the AGM so that the archivist can prepare a slide presentation. The Vice President will order the plaque.
  • The Vice President coordinates the Member of the Month award. This includes setting a schedule for awards as well as communicating with Board, nominators, nominees, the artistic director, the administrator, and the publicity team.
  • The Vice President manages requests for ticket or Flex Pass donations by community organizations. Procedure is as follows:
    • Donation requests are forwarded to the Vice President by the administrator.
    • The Vice President determines the appropriate level of donation.
    • Things to consider:
      • Has the group made a similar request recently? Is this the first request, what was provided last time?
      • Does their request/audience fit with our organization and the audiences/areas we want to support/promote?
    • The administrator:
      • Keeps a spreadsheet on google docs up to date with who has been given donations.
      • Prints off donation certificates and coordinates with the charity for delivery.
      • Provides information to TIX on the Square for their records.
  • With the President and the current Artistic Director, interviews and selects the incoming Artistic Director.

Past President

  • The immediate Past President, or the most recently available Past President, shall automatically be a member of the board.
  • The Past President will be the chair of the nominating committee and present a list of nominees to the Annual General Meeting in accordance with the provisions in the Walterdale by-laws.
  • The Past President shall serve as a resource to the President, and with the President and Vice President keep a watching brief on governance issues.

Secretary

  • Cheques: As an Executive member of the Board, the secretary has signing authority. As such, the secretary is required to sign cheques when needed.
  • Reminders: Prior to Board meetings, the secretary sends a reminder to Board Members about the upcoming meeting and requests reports from those who provide written reports. These reminders and all other routine correspondence are normally done by email.
  • Agenda & Reports: The secretary or president compiles reports received and distributes to Board Members, along with the agenda which is received from the President or designate.
  • Meetings: The secretary is required to attend all regular and special meetings of the board. If an absence is required, the secretary should arrange in advance for an alternate person to record the minutes. 
  • Attendance:  Attendance at Board Meetings is recorded in the minutes. The secretary should also record any regrets or absences, or when a member arrives late or leaves the meeting early.
  • Minutes: The secretary records minutes of all meetings of the Board of Directors. In this process it is important that records are kept accurately, particularly with regards to motions made and passed by the Board. The secretary also makes note of any corrections to past minutes as required.
  • Distribute Minutes: After the meeting, the secretary types draft minutes and distributes to members, preferably within one week of the meeting date.  Members are asked to provide notice of any errors or omissions. Prior to the next meeting, the corrected minutes are re-distributed to the board.
  • Contact Information: In conjunction with the Administrator, the secretary keeps Contact Information on the Board of Directors up to date and distributes to Board Members as required.
  • Cards of Congratulations or Bereavement: The secretary sends cards of congratulations or bereavement to members as required. Flowers may also be sent for such occurrences.

For Annual General Meeting:

  • Previous Year’s Minutes: The secretary compiles and distributes the minutes of the previous year’s AGM for approval by the membership.
  • Agenda: After receiving the agenda from the President, the agenda is sent to the general membership. This may be done in conjunction with the Administrator or other board members. The publicity committee are also advised and advertising of the meeting is conducted accordingly.
  • Attendance: The secretary attends the AGM and records attendance of membership at the AGM to ensure Quorum (10% of current membership).
  • Minutes & Distribution: The secretary records minutes of the meeting and distributes them to the Board for approval. Once finalized, the minutes are filed until the next annual general membership, when they are distributed to the Board and General Membership. 

Treasurer

  • Management of all financial affairs of Walterdale Theatre including:
    • preparation of budget;
    • preparation of monthly reports to the Board and yearly annual reports to the membership.
  • The Treasurer shall report on the financial position of the Society to the Board, when requested, and shall prepare for submission to the Annual General Meeting of the membership, a duly audited statement of the current financial position of the Society. This statement must contain particulars of the assets and liabilities, receipts and expenditures of the Society, with a copy being forwarded to the provincial government in accordance with the Societies Act. The Treasurer must be bondable.
  • The Treasurer shall have signing authority.
  • The Treasurer supervises the Administrator in their daily financial functions including:
    • bookkeeping (Simply Accounting);
    • issuance of cheques, arranging international money orders, bank deposits, and GIC’s;
    • setting up box office, bar, and concession floats as well as box office documentation for each show; dealing with royalty and rental agreements;
    • management of insurance policies;
    • preparation of yearly grant applications to EAC and AFA;
    • issuing of donation tax receipts and letters;
    • setting up production expense manuals and advances, counting box office, bar/concession money, and reconciling box office, bar/concession and production accounts for each show;
    • maintaining yearly business license, lease agreements, food, and liquor licenses;
    • setting up credit accounts;
    • preparing grant and casino reports, GST, society, and charitable annual returns;
    • compiling year-end books;
    • meetings and liaison with auditor.

Artistic Director

  • Season Selection (Presented to the Board in late January/early February – Season Approved by early March). Read through the submitted plays and accompanying documents (Resumes, Directorial Proposals, etc…). What components are needed?
  • Variety: Balance the season with comedy, drama, modern, classical, period, Canadian, musicals, thrillers, farces, pantomimes, etc… Take into consideration what has been done recently both at Walterdale and at other theatre companies in town.
  • Casting Considerations: Far more women than men audition at Walterdale, but far fewer roles exist in plays for women; find scripts that serve the membership; consider a variety of roles for different ages and genders spread out throughout the season; consider diversity and inclusion priorities.
  • Assess the Proposer: Can they handle the demands of Walterdale? What does Walterdale know of them? Recognizing that there are different groups within the overall community of Walterdale, are they all represented or can they be?
  • Composing a Season: Select a variety that appeals to as many members as possible in terms of wanting to work at Walterdale. If you do not get all those needs met by submissions, look at other plays that might fill in the gaps, and go to the pool of Directors who submitted or expressed interest in directing to see if they can direct.
  • Find an Order for the Plays:
    • The first show follows tightly after Fringe, so a large cast or musical is not recommended. You want to be sure that it can be cast and built and rehearsed in time.
    • Which show you want to direct? Where does it fit? It is recommended that you direct the Feb or April show for your first season because of the timing, but it is up to the individual demands of each person’s life; Walterdale strongly recommends that a newly appointed AD does not direct the first show of the season – it is overwhelming. It is also strongly recommended that if the AD is not in a position to be largely involved with the One-Acts that a festival coordinator is appointed.
    • For the second show in December, a comedy is recommended. Avoid musicals as musicians often get paid gigs in December.
    • Balance cast sizes throughout the season (e.g. small cast then large cast then small cast…). You do not want 2 shows back to back that both require a lot of men.
    • Musicals are best in the April or July show slot because of other company’s schedules.
  • Select one or two season back-ups – plays that might fit in if the Board does not approve the selected plays.
  • Season Proposal: Explain reasoning for choosing each play, why it will be good for Walterdale, and list cast sizes and special concerns (large cast, period – budget, etc…)
  • After the scripts are presented to the Board, they get a couple of weeks to read them, and then the Board meets and goes through each play. This process can be hard on your ego – take all input as constructive. It is better to know concerns ahead of time then later and the foreknowledge will help in building the budgets.
  • The Board votes – you may or may not have to go to the back-ups.
  • Obtaining the Rights – a lot of this is done online. Many companies have online application forms and you find out right away. Others you might have to hunt for. Rights will likely be $600-$1000 for Straight Plays and considerably more for musicals. Remember to order the Orchestration and materials for 16 weeks. The Administrator will help you with questions on this.
  • Once the Rights are obtained you move on to Media…
  • Media – Do not discuss the season outside of the Board of Directors and the selected directors until the rights are secured. Sit down next with the Directors of Publicity to figure out the plan for announcing.
  • Season Launch – includes a soft launch (online only) and hard launch (launch party), brochures and a media release.
  • Party – have a committee formed to help with all of the details. Select a date that will allow enough time to secure rights and put the brochure together but is not too late in the season; mid-May is ideal.
  • Brochure – Work on Brochure and Artwork to support the shows with the Directors of Publicity. You need to write descriptions for each play (you can ask the Directors to do this).
  • Media Release – the administrator puts this together – it goes out after the launch party.
    • Aim for the brochure to be printed in time for the One Acts (May).
    • Work with the Administrator to ensure that the Press Release and updated Website and Facebook pages coincide with the Season Launch.
  • Communication with the Directors – There is a fair amount of communication with the Directors.
  • The first thing is talk about auditions and show dates – you set the dates so there is very little flexibility on this. These dates are printed in the season brochure – once they are printed, they are not flexible.
  • Send out the Handbook with Best Practices and Policies – There are many that the Directors should be aware of – most importantly is the Audition Policy – NO PRE-CASTING.
  • Try to sit in on every audition at Walterdale over the 2 seasons. Give a brief intro to every group about Walterdale membership.
  • Send the directors their budgets, once set by the Board of Directors.
  • Send out an example of the audition notice for each director to update with their show information. Audition notices are due to the Administrator roughly 6 weeks before the auditions (for editing and the posting 4 weeks prior).
  • Try to attend the first read of each production and/or sit in on a run. Attend production meetings as much as possible. Be sure to communicate with the director if you will be dropping by.
  • Budget
  • Talk to Directors of Production and The Costume Mistress about Props, Set and costume budgets based on period, concept and cast size.
  • Look at similar shows done the in immediate past and compare.
  • Try to keep the overall season budget around the same as it was in the previous year.
  • Ongoing –
  • Responding to emails from members.
  • Connecting members with the appropriate person.
  • Checking in with productions – via the director to make sure everything is going well and to provide assistance and reassurance where needed.
  • Open House and AGM – various responsibilities
    • Coordinating the Director and Show tables
    • MCing the non-business portion of the meeting
    • Coordinating with first show for presentation
    • Coordinating with first show for space usage
  • Workshops – talk to the Membership director about what workshops to hold and when to hold them. Scheduling them within the season appropriately and communicating that to the shows.

Committees – Be as involved with as many committees as is possible.

Directors for Front of House

  • Attend board meetings and be informed regarding issues relating to the theatre and FOH responsibilities. FOH includes all lobby and audience areas, coffee bar and box office.
  • Provide a FOH report for the board meeting. Ask Volunteer Co-ordinator, Concession/Bar Manager and Box Office Manager for their reports which are included in the FOH report to the board.
  • If appropriate set up alternating pattern for the season shows with the co-director. Alert the PM for the shows and board members and administration staff as to who is responsible for what shows during the season.
  • Keep FOH documentation up to date, including procedural documents and email contact lists.
  • 3 weeks before a show opens monitor the Volunteer Co-ordinator’s call for volunteers through SignUp to ensure accurate information is being provided to the volunteers. This will include the correct codes to the actor door, lock box, art alarm and storage area off the disabled stall in the Ladies washroom.  Be aware of the information from the by-laws: (from the bylaws “Ensure there are knowledgeable members at each performance to serve and assist patrons at, for example, the box office and coffee bar; and for ensuring all public areas of the playhouse are clean and prepared before public events.)
  • All signups for FOH Volunteer positions are done through the SignUp app. Complete information about each position is provided there as well as in the FOH Manager’s binder, Coffee Bar binder and the Box Office binder which are kept in the appropriate places in the concession/box office counters.
  • A week before the preview volunteer positions should be filled. If they are not, contact the Volunteer Co-ordinator to see if she/he requires further assistance in getting volunteers for the positions. The weekend before the preview if positions still need filling it may be necessary for the FOH Co-directors to contact board members and very reliable past volunteers to see if they can fill the empty shifts. It may also be necessary for the FOH Co-directors to take on extra shifts.
  • Comp list is to be sent to TIX by the Box Office Manager. Be aware that requests for comps may be sent through the SignUp App or be sent to the Walterdalefoh Gmail account. FOH co-directors are responsible for checking this Gmail account or making sure emails to that account are forwarded to their private email account so that they are in the know regarding communications having to do with FOH.
  • FOH director and/or Volunteer co-ordinator must contact the building director to get the code for the actor door if this has not been provided by the Production Manager
  • During the run of the show be aware that FOH Managers may communicate concerns or problems. Be able to get back to them regarding these concerns. i.e. running low on concession items (relay this to the Concession manager) or Float money is incorrect or low (relay this to the administrator and Box Office manager).
  • Volunteer Co-ordinator will provide the FOH Co-directors with the shift schedule for the run of a show. One of these will have phone numbers and this schedule is kept in the Box Office binder. The other schedule has only names and is posted on the supply room door. Changes which may occur during the run of a show should be recorded so that an accurate list of volunteers is provided to the Membership director and the administrator. The administrator will need the names to be printed in the next show’s program on the Thank You page. There is a template to use for this.
  • Post the appropriate volunteer schedules on the bulletin board on the storage room door and in the Box Office binder.
  • Make sure that the responsibilities of al the volunteer positions are posted in the appropriate places and that the responsibilities check list is accurate.
  • After the run: Provide the administrator with an updated Volunteer schedule showing the number of shifts each volunteer worked and provide emails for those volunteers which the administrator does not have emails.
  • To provide assistance and/or back up to the Bar/Concession Manager for serving at functions held at Walterdale such as Opening Night Reception and AGM.

Directors for Public Relations:

  • Organizes all media events.
  • Media calls:
    • Ensures our media photographer is present at all media calls to take photos.
    • Follows up with media to see who can attend, who needs to do phone interviews and who needs media photos. Ensures media gets what they need in a timely fashion.
    • Coordinates with director and stage manager about media call. Ensures cast is informed as to what will happen during media call. Sometimes selects scenes for media call to ensure maximum coverage
    • Sends media photos to the media right after media call.
    • Attends all media calls and coordinates all media activities at the call such as interviews, photos. 
    • Seeks out new media by email, phone and makes them aware of our season and shows
  • Posts all previews and reviews in FB
  • Sends invites to media for opening night
  • Maintains a media contact list
  • Coordinates and assists with season launch activities: catering, media materials, readings, invites to media and follows up with media to see who will attend.
  • Single point of contact with media and the theatre. 
  • Negotiates new sponsorship deals and renews existing deals.

Works closely with co-director on promotions.

Building Director

Overview

  • The building director is in charge of the entire building, its contents and overall systems and public safety.
  • In conjunction with the Technical Director in charge of cleaning, shop supervision, shop supplies, systems, safety walk thru and the alarm system.

Scope of Supervision:

  • The Building Director is responsible for the upkeep and maintenance of the entire building, from the roof through to the basement. The Director is also in charge of all the systems including plumbing, air conditioning, heating, electrical, access codes, keys, and communications, as well as fire and intrusion alarms. Additionally, all the furniture, stored props, as well as washroom and cleaning supplies fall under his purview. The building director is also responsible for maintenance, rental contracts, and cleaning and snow-removal contracts.

The Building:

  • The building director should schedule an annual visual inspection of the roof and parapet flashing. There are roofing inspectors available who specialize in flat roof systems who could be called in to perform this.
  • The locks and security devices are also the responsibility of the building director. Building director should change the security codes for each new show.
  • Ordos Fire Systems (extinguishers and emergency lights) and Revolution Fire (sensors and fire suppression system) come yearly for inspections.  

Pianos:

  • Regular tunings and cleanings.

Props Room:

  • Production Co-Directors handle props.

Furnaces and heaters:

  • Weathermakers currently has a service contract to maintain and service our heating and air-conditioning systems. They are scheduled for their regular maintenance each year during the last week of October. Weathermakers will come in swiftly to correct problems when called . . .
  • Additionally, the building director should be aware that there are two locations in the building where furnaces are located. The first location is on the mezzanine above the shop; care should be taken that nothing is stored on the half of the mezzanine where the furnaces are located. Storing materials around the furnaces creates several problems: fire hazard, blocking air circulation, freeze up of air conditioning units and the risk of frozen and broken plumbing pipes.
  • The other furnace locations are on the second floor above the sound booth – this is accessible through the sound booth door. Care should also be taken to assure that flammable items not be stored in this space.

Supplies:

  • Washroom supplies, cleaning supplies; we have supply contracts with Regent supply.

Light Fixtures:

  • Maintenance of fixtures and replacement of bulbs.

Directors for Production

The Directors of Production are responsible for activities related directly to productions in non-technical matters including:

  • Maintaining a roster of volunteers interested in working on production crews.
    • Assisting Directors in finding Production Managers or other production team members, as required.
    • Maintaining the Production Manual https://members.walterdaletheatre.com/production/
    • Liaising with Production Managers during productions. This includes attending production meetings and chairing the post mortem meeting.
    • Ensuring all space scheduling (auditions, meetings, rehearsals, costumes, props) is communicated to the administrator for inclusion in the Walterdale Theatre calendar. https://members.walterdaletheatre.com/theatre-calendar/
    • Maintaining a list of possible rental venues.
    • Liaising with the archival photographer and the Walterdale archivist.
    • Reporting to the Board on the activities of non-technical production departments. This includes presenting the departments’ budget requests.
    • Handling aspects of non-technical production activities that are not assigned to departments, e.g. script archive; initiating contact with potential volunteers.

The Directors for Production also oversee the acquisition, maintenance and rentals of properties, makeup and costumes. Currently both these departments each have assigned supervisors who report to the Directors of Production.

Director for Memberships

The Director for Membership shall be responsible for all activities related to increasing membership for Walterdale Theatre, for assisting members to become actively involved in the productions and providing opportunities for members to acquire the skills and knowledge related to Walterdale’s activities.

Technical Director

  • Ensure that all of the stage, workshop and paint shop equipment is properly maintained and used in an effective and safe manner.
  • Manage and maintain all stage drapery. This includes working with all production teams to hang the drapery, ensure its proper use during the show and ensure it is stored properly. If necessary, this also includes arranging for cleaning or replacement of any soiled or damaged drapery. Note: All stage drapery must be fire protected, so it must be cleaned by a facility that has the ability to re-certify the fire rating of the drapery after cleaning.
  • Ensure that all standard consumable supplies and equipment above are adequately stocked for use by all production teams. This includes items such as light bulbs used in the stage and backstage area, spike and gaffer’s tape, safety glasses, ear plugs, saw blades, drill bits, etc.
  • Maintain the technical documentation for the theatre. This includes the house hang plot, stage drawings, standard equipment configurations, equipment lists, as well as the technical hand guide that provides documentation on equipment use and safety as well as other stage based items of concern.
  • Guide all production teams in the safe and effective use of the stage area. This includes ensuring that sets are designed and built in a safe manner and that the “Safe Stages” guidelines are adhered to. This is done by one of the technical team members, assigned to the show, who:
    • Will represent the technical team as the show’s “Technical Advisor”
    • Attends production meetings to assist in the technical needs of the show, to identify any specific technical needs, and to ensure appropriate use of the theatre’s technical facilities.
    • May recommend to the production manager the names of appropriate volunteers for technical positions on the team.
    • Provides the technical guide, lighting plot and other documentation to the necessary members of the production team.
    • Reviews the set design for the show in the production meetings to ensure it is safe and effective for the theatre.
    • Monitors the set construction to ensure that safe building practices are being used and all safety requirements are met.
    • Reviews ALL safety concerns brought forward to the production team by actors or crew and work with the team to resolve the issues. No safety concern will be ignored, regardless of significance. All significant safety concerns will be documented and presented, including resolution in the post-mortem of the show by the Technical Advisor for board review.
    • Works with the set builder and/or production team to get the required drapery hung in a timely and effective manner. It is important to ensure that the director of the production identifies any special entrance requirements in the drapery.
    • Trains the stage management, lighting and sound designers, and lighting and sound operators on the various pieces of equipment they will need to use to work in the theatre.
    • Attends the beginning portion of the technical week and assists where necessary.
    • Is available during the technical week as well as during the run of the show to assist in any technical issues encountered by the production team.
    • Attends the strike of the show to ensure safe practices and to ensure that the equipment is correctly stowed away and/or restored to “house” default status.
  • Take care of the audience seating area in the auditorium. This role overlaps with the Building Director and may be jointly maintained. The technical team must ensure that shows do not interfere with the audience safety features and emergency pathways required by law.
  • Oversee all use of fire, pyrotechnics and/or other special effects that directly pertain to any audience-attended performances. This includes, if required, getting detailed plans from the productions of any expected use of the effect and getting any required permits or permissions from the governing bodies, such as fire marshal and/or other government agencies. Productions must not use fire or pyrotechnics in any rehearsal space, including Walterdale, unless given express permission by the facility operator, or Technical Director in the case of a Walterdale rehearsal space.
  • Oversee all use of firearms (regardless of whether it is a toy prop or a practical firing weapon) or other non-standard or dangerous weapons and/or equipment that directly pertain to any audience-attended performances. This includes, if required, getting detailed plans from the productions of any expected use of the effect and getting any required permits or permissions from the governing bodies such as fire marshal and/or other government agencies.
  • Maintain sound, lighting and other equipment in the lobby, rehearsal hall and green room pertaining to audience, rehearsals or stage-based activities.
  • Assist in supporting other electronics in the building where necessary. This includes Box-office payment systems, office computer equipment and software.
  • Regularly ensure all clocks in the building are set to the same time.
  • During the season selection process, the Technical Director is required to review the selected shows to assist in identifying any technical challenges of the proposed shows and to help assess whether the shows proposed by the Artistic Director suit the theatre and the other shows of the season.
  • Attend the regular meetings of the Board of Directors to report activities to the Board and to assist in theatre and association management decisions.
  • Provide the Board of Directors with an effective annual budget, as well as a maintenance and replacement plan for the theatre’s technical equipment.
  • Technical Liaison for all rentals utilizing the venue, including Fringe
  • Provide technical support for rentals that use the stage area. If appropriate, assign a Walterdale approved technician to be present and oversee or support the rental.

Director at Large

The Director at Large positions are learning positions designed for those who wish to learn more about being a member of a Board of Directors. In these positions, you are encouraged to assist other directors in your areas of interest to with the hopes that you might move into one of those other Director positions in future seasons