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Colored Theatre Lights

CREW

Interested in applying for crew for one of our productions? Amazing, we'd love to have you.

 

Before you commit, take a moment to read these guidelines so you know what you’re walking into. We’re all tech professionals with jobs we care about and workloads that occasionally attempt to consume us whole, and yet we still choose to make theatre because it genuinely brings us joy. Our troupe works because we respect that balance — so this page is simply here to make sure we’re all aligned on how to honor our jobs, our castmates, and the production without losing our minds (or our day jobs).

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Looking for open crew opportunities?

COMMITTING TO THE CREW

Once crew offers go out, we ask for your formal acceptance of the crew position. We totally understand that real emergencies can happen, but accepting a role means you’ve genuinely thought through the multi-month commitment and aren’t planning to back out because, say, pickleball suddenly becomes your entire personality. Saying “yes” means you’re all in — for the production, your cast, fellow crew members, and the beautifully chaotic journey ahead.

DIRECTOR

  • Shapes the creative vision and works with actors, designers, and crew to ensure everyone is—more or less—telling the same story.

  • Interfaces with both actors and the production team.

  • Makes final artistic decisions while genuinely welcoming ideas, suggestions, and the occasional bold reinterpretation.

  • Guides blocking, pacing, tone, and overall vibes, keeping rehearsals moving with equal parts clarity and good humor.

  • Serves as one of the production’s key guiding leaders — the person making sure the whole operation stays on track.

TIME COMMITMENT
 

  • Present for all auditions, rehearsals, tech, and dress. 

  • Should attend most performances 

PRODUCER

  • Manages logistics: schedules, budgets, venue coordination, and everything else that causes email fatigue.

  • Oversees purchasing (supplies, props, emotional support snacks).

  • Ensures the show actually happens and doesn’t implode.

​TIME COMMITMENT
 

  • Mostly remote/async work — rarely needs to attend rehearsals.

  • Expected at tech week and all performances.

     

STAGE MANAGER

  • Owns calendar invites for rehearsals.

  • On-book during rehearsals, takes blocking notes, keeps everyone on schedule.

  • Calls cues during tech and performances (“Lights… GO”).

  • Manages backstage, actors, props, and general sanity.

TIME COMMITMENT
 

  • Ideally present at most if not all rehearsals, required for tech week and all performances.

  • Earlier involvement = smoother show.


     

PRODUCTION MANAGER

  • Coordinates all backstage departments (costumes, props, scenic, tech).

  • Manages timelines, deadlines, and inter-department communication.

  • Keeps creative team on track so the producer doesn’t cry.

​TIME COMMITMENT
 

  • Mostly remote; periodic check-ins.

  • Helpful during tech week.

  • Not required for rehearsals.

SOUND DESIGNER & TECH

  • DESIGNER: Creates or sources sound effects, ambiance, audio cues, and pre/post/intermission music; collaborates with director.

  • DESIGNER: Works with SM on cue sheet.

  • TECH: Programs + operates sound board.

  • Sound Designer and Tech can but does not have to be the same person.

TIME COMMITMENT
 

  • DESIGNER: Mostly remote work; design done independently.

  • DESIGNER: Should attend at least one tech rehearsal.

  • TECH: Needed for tech & dress rehearsals, and all performances.

SET DESIGN & CONSTRUCTION

  • DESIGNER: Designs and creates set pieces: walls, platforms, doors, furniture, and any projections.

  • DESIGNER: Plans build days and oversees construction and painting.

  • DESIGNER: Works closely with director, Production Manager, and SM.

  • SCENE CONSTRUCTION CREW can comprise of several people working with the Scene Designer. 

TIME COMMITMENT
 

  • Design work early, construction mid-process, installation during tech.

  • Set Designer should attend a couple of rehearsals to get a good understanding of set requirements.

  • Must attend tech week.

  • Present for performances if scene changes require oversight

STAGE HANDS

  • Execute scene changes, set moves, prop placements, and quick resets.

  • Help keep backstage calm, organized, and not on fire.

  • Support ASM during the run.

TIME COMMITMENT
 

  • Required for tech week and all performances.

  • Rehearsal involvement optional unless practicing major transitions.

MUSICAL DIRECTOR

  • Runs musical rehearsals and ensures people sing the same song… ideally in the same key.

  • Interprets sheet music, sets harmonies, teaches parts.

  • Guides vocal health and technique.

​TIME COMMITMENT
 

  • Required at all musical rehearsals and the last 2–3 weeks of runthroughs.

  • Must attend tech week and performances.

  • Not needed at non-musical rehearsals.

CHOREOGRAPHER

  • Designs and teaches movement for musical numbers or stylized sequences.

  • Ensures actors look coordinated and feel confident doing so.

  • Collaborates closely with director & musical director.

​TIME COMMITMENT
 

  • Needed at movement-heavy rehearsals.

  • Must attend tech week + at least first performance; optional afterward.

MARKETING & COMMUNICATIONS LEAD (+ TEAM)

  • Promotes the show through posters, internal comms, social media, and other clever strategies that help fill seats.

  • Coordinates messaging with the Producer/Director and manages timelines for promotions and ticket announcements.

  • Creates or sources show collateral — programs, flyers, digital graphics, on-brand posters and signage.

  • Brainstorms creative outreach ideas (QR codes, teasers, themed displays, etc.).

  • Graphic design skills are a plus, but not required if you have Canva and determination.

  • May recruit or work with a small marketing team (design help, social media support, photographers).

TIME COMMITMENT
 

  • Mostly remote/async; some early meetings with the most work in mid-late part of the production timeline.

  • Occasional rehearsal visits for photos or video content.

  • Optional at performances, though useful for capturing content.

ASSISTANT DIRECTOR

  • Works closely with the Director as a creative second brain, sounding board, and note-giver.

  • Helps track blocking, flag continuity issues, run scenes, and keep rehearsals moving when the Director is juggling 47 things.

  • Offers creative input — though ultimate decisions rest with the Director. 

  • An opportunity to learn the ropes as a Director. If no prior directing experience, can primary Direct after 2 AD stints.

TIME COMMITMENT
 

  • Expected at most rehearsals, especially blocking and runthrough weeks.

  • Not strictly required at auditions, but helpful.

  • Strongly encouraged during tech week + performances (but flexible depending on show needs).

ASSISTANT PRODUCER

  • Supports the Producer with scheduling, communication, budgets, purchasing, and general organizational wizardry.

  • Manages tasks that require follow-through when the Producer is handling bigger-picture logistics.

  • Opportunity to learn the ropes as Producer. If no producing experience, can primary produce after 2 AP stints.

​TIME COMMITMENT
 

  • Largely remote and async.

  • Minimal rehearsal presence.

  • Recommended (not required) during tech week; optional at performances.

ASSISTANT STAGE MANAGER

  • Works alongside the Stage Manager as their right hand.

  • Oversees backstage operations during rehearsal and performance: props, costumes, stagehands, transitions.

  • Helps track blocking, line notes, continuity, and preshow checklists.

  • During performances, leads backstage traffic while the SM runs the booth.

TIME COMMITMENT
 

  • Present at many rehearsals, especially once blocking begins.

  • Required during tech week and all performances.

  • Put simply: backstage doesn’t move without them.

LIGHT DESIGNER + TECH

  • Designs + programs lighting (if space allows); collaborates with director.

  • Runs the light board during performances.

  • Creates atmosphere, mood, and shadows that enhance the production. 

  • Works with SM to build cue sheet.

TIME COMMITMENT
 

  • Light design meetings + required during tech.

  • Must run lights for all performances.

  • Not required at regular rehearsals.

COSTUME MASTER

  • Designs, sources, organizes, fits, and maintains costumes.

  • Handles sewing, alterations, laundering, and last-minute “my button fell off” emergencies.

  • Collaborates with director and actors to ensure everyone looks in line with the overall artistic vision, not accidental.

TIME COMMITMENT
 

  • Needed for early design meetings + several rehearsals for fittings.

  • Must be present for tech week + performances.

  • Can do much of the work remotely.

PROP MASTER

  • Sources, builds, organizes, tracks, and stores all handheld objects.

  • Creates everything from daggers to love letters to questionable potions.

  • Maintains prop table order (the holy grail).

  • Connects with director, SM, and scenic designer on needs.

TIME COMMITMENT
 

  • Sporadic early-on; heavier as show nears.

  • Must attend tech week + performances (props break. They always break.)

  • Not needed at most rehearsals.

INTIMACY COORDINATOR

  • Ensures actor comfort and consent for any physical closeness: hugs, kisses, intimacy, etc.

  • Facilitates choreography of contact safely and non-awkwardly.

  • Acts as a neutral party.

​TIME COMMITMENT
 

  • Needed for any rehearsal involving intimacy.

  • On call during tech week + advisable at performances if intimate moments exist.

COMBAT COORDINATOR

  • Choreographs and teaches any staged combat: slaps, falls, sword fights, etc.

  • Ensures all physical sequences are repeatable, safe, and look good enough that the audience doesn’t panic (or laugh unintentionally).

  • Works with Director to integrate fight moments smoothly into the story.

  • Checks in regularly with actors to maintain safety, spacing, and comfort.

TIME COMMITMENT
 

  • Needed for all rehearsals involving combat sequences.

  • Required during tech week and strongly recommended for at least the first performance or two to ensure everything runs safely.

  • Otherwise: on call for safety questions and updates.

HOUSE MANAGER

  • Oversees audience entry, ticketing, seating, and lobby operations.

  • Handles preshow announcements, safety info, and any unexpected audience shenanigans.

  • Ensures patrons feel welcomed, guided, and not lost in a hallway.

  • Interfaces with security to handle Microsoft security requirements during performances.

TIME COMMITMENT
 

  • Only needed for performances.

  • If there are in-audience actor seating or entries, comes to dress rehearsal for a walkthrough of any audience considerations.

  • No other rehearsal involvement required.

USHERS

  • Greet audience members, check tickets, hand out programs, and guide patrons to seats.

  • Serve as the friendly public-facing side of the production.

  • Assist House Manager with lobby flow and preshow tasks.

​TIME COMMITMENT

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  • Needed only during performances — usually arriving 30–45 minutes before curtain.

  • Zero rehearsal involvement.

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