Volunteer With Us

TAG is well known for engaging a wide variety of actors, from professionally trained to those who have never acted before. If acting is something you’d like to try, take a chance and audition, which is how many volunteers get started in community theatre! A list of what you may do once cast:

• Read script for first read-through with cast and crew
• Attend a tour of the theatre that explains safety procedures
• Attend all rehearsals (as determined by the Stage Manager)
• Learn lines as quickly as possible to be off book
• Make the character your own by bringing your own ideas/thoughts about the character forward, while remembering that the Director has the final say.
• Learn the blocking as it develops
• Be attentive and flexible during rehearsals to the Director’s vision
• Provide a bio by the deadline provided for the program
• Be available for costume fittings as needed
• Be available for photo shoots for the lobby display (and occasionally with press photographers)
• Collaborate with Props person regarding your personal props
• Attend technical rehearsal and cue-to-cue and be attentive to the purpose of the day
• Provide your own makeup (specialized stage makeup not usually necessary) and be prepared to do your own hair/makeup unless the show calls for otherwise
• Arrive at call time (usually one hour before performance) during the run of the play
• Provide or arrange for your transportation to the theatre
• Give it your all and don’t get sick
• Attend the closing party with gusto

You may not be required to attend all rehearsals e.g. if a scene is being rehearsed that you are not in. However, dedication to the show and the rehearsal schedule is a must. TAG often has smaller roles that are perfect for new actors, so please don’t be shy to audition. We love seeing new people treading our boards!

Time Commitment: High

“Act as if it were impossible to fail.”  ~Dorothea Brande

If you’ve ever wondered what goes on backstage and who’s in charge, well the answer is “A lot, and the ASM has it all under control!” The Assistant Stage Manager (ASM) is on a headset, communicating with the Stage Manager (ASM) who is up in the lighting booth watching and calling the show. The ASM cues the actors, helps with props and costumes and makes sure the show runs smoothly. A list of what you may do:

• Attend rehearsals
• Work with props person to be informed on prop prepping for each performance
• Act as liaison between cast and SM during dress rehearsals and performances
• Attend every performance and be in charge of backstage
• Double check that stage/props/actors are ready for each performance
• Remain backstage during performance to cue actors and handle props
• Complete onstage set/scene changes during performance if needed
• Communicate with SM in booth (via headset) re: cues/actors standing by
• Cleanup backstage/props/stage (with SM) after each performance to be ready for the next one
• Attend the closing party with gusto

A great job for you if you are efficient and organized or if you are new to the theatre and looking to get your feet wet.

Time Commitment: High

What a great way to get to know the theatre, our volunteers and our patrons! You can volunteer for one night or 10 nights, that’s entirely up to you. You are always paired up with another bar volunteer, as well as a Front of House Manager who deals with any issues a patron may have, so you get to have fun, chat with our guests and watch the show, provided you’ve booked a ticket! A list of what you may do:

• Arrive 75 minutes before showtime to get the lobby ready for our patrons
• Read the Bar Staff Checklist at the bar to remind you of your duties
• Check bar stock and refill from stock room if necessary
• Count float
• Help tidy the lobby
• Serve patrons according to Liquor License rules (provided by TAG)
• Stay for one round at the end of the show
• Collect tickets – check date and time
• Restock bar at end of performance
• Count float and tidy up
• Bar staff can watch the show on the same night they work the bar if they have a ticket
• Attend the closing party with gusto

Time Commitment: Low

These activities can vary from the mundane to the monumental, from weekly tweaks to the regular upkeep of the Playhouse, from minor construction to major additions and structural changes to the building and grounds. Most work is light, but heavy lifting is sometimes required. As of 2025, the “Wednesday Crew”** meets each week to assess the current state of the theatre and perform a variety of maintenance tasks that can include:

• Identifying and replacing burned-out lights
• Repair and replacement of batteries in emergency lights
• Drinking tea and eating the recent offering of scones and sweets
• Sweeping the yard of debris in the summer, of leaves in the fall and keeping the entrances/exits and paths around the building free of ice and snow in the winter months
• Emptying garbage receptacles throughout the building and collecting recyclables for removal
• Fixing faulty door handles
• Washing and repainting the floor of the auditorium and stage area between productions
• Touch-up painting
• Drinking tea and eating the recent offering of scones and sweets
• Simple repairs to exterior lights
• Organization of tools and set construction lumber
• Assisting with set construction and maintenance of lights for shows
• Vacuuming carpeted areas
• Defrosting fridges
• Plumbing repairs
• Drinking tea and eating the recent offering of scones and sweets

More major undertakings can include careful demolition of old structures prior to rebuilding; assisting with simple frame construction, plumbing and wiring; installing fans and light fixtures and the painting of new interior walls.

**This group meets regularly on Wednesday mornings because most of its members are retired. We could accommodate non-retirees who would prefer to volunteer on weekends.

Time Commitment: Low to Medium

“Ask not what your theatre can do for you, but what you can do for your theatre!” ~John F. Kennedy, Building Manager

You will assist the Costume Designer/Coordinator in sourcing, possibly making and fitting the clothing and accessories that will support the actors and the story, in order to make the script come to life! A list of what you may do:

• Read script
• Meet with Costume Designer/Coordinator to determine needs
• Assist with measuring the cast
• Assist with creation of a list of items to be pulled from costume stock or borrowed
• Attend Production meetings and provide updates if asked
• Attend fittings for cast members (may be multiple fittings)
• Assist with alterations
• Attend costume parade for SM when actors are off book; for final Director approval
• During the run, be available for laundry and repairs/alterations. You may be asked to participate as a dresser if the production requires
• After the run, assist in cleaning and returning the costumes to where they came from
• Attend Closing Party with gusto!

Time Commitment: Low to Medium

As a Director, you are the creative force who makes the vision in your head a reality for the audience to enjoy. This is done thanks to the collaboration you’ll do with all of the other team members – cast and crew! A list of what you may do:

•  Find a play you love and read it repeatedly, first for the story, then for the sub-plot, then for the characters, then for the staging
• Find a Producer and a Stage Manager (SM)
• Discuss with the Producer the job of assembling the rest of the production team
• Create a mental vision of set, sound, lights and costumes and then meet with the SM, Set, Sound, Light and Costume designers to ensure your vision is clear and that all team members are working towards it
• Plan audition dates with Executive Producer as per the theatre’s schedule
• Prepare a synopsis of the play, as well as characters required for audition, with approximate ages and sex
• Select excerpts from scripts for each character for audition
• Work with Publicity Lead to promote audition through various media outlets
• Hold auditions with Producer and SM to find your cast
• Attend first read-through with cast and crew
• Attend all rehearsals
• Establish blocking for the actors
• Provide effective feedback
• Work with the design team to ensure they implement the vision you have for the set, lights, sounds and costumes
• Be clear about your vision to cast and crew, especially the SM – the more they know, the better equipped they are to help you achieve it
• Attend Production meetings and provide updates
• Keep design/crew issues separate from the actors
• Let go and let the actors/crew take over as the weeks pass
• Pass the reins to the SM for dress rehearsal
• Once the show opens you can relax and hand the show over to the SM
• Attend Closing Party with gusto

Time Commitment: High

    “A musical is only as good as its director. The same can also be said for the CIA.” Martin Short

As a Lighting Board Operator you will run the lighting software during rehearsals and performances, following the cues given by the Stage Manager. You will sit in the technical booth with the Stage Manager and Sound Board Operator during the shows, so you will get to watch the show each night from the booth, which is an experience on its own! A list of what you may do:

•  Attend technical rehearsals (the last 1-3 weeks of rehearsal) after the Lighting Designer has completed the first stages of design so that you can become familiar with the show and cues
• Complete a pre-show check each night to ensure all the lights are working, focused and coloured correctly
• Change any bulbs or gels that are not working before a performance
• Execute the lighting cues during the show as per cueing from the SM
• Execute visual cues independently, such as a table lamp turning on and off
• Attend the closing party with gusto

Some operators are involved in all aspects of the lighting and others will simply fill in and operate the board during the show’s run. You can help program the lighting board to the needs of the Lighting Designer if you are interested in being a Lighting Designer in the future. It is preferable to have only 1-2 people running the board during the 3-week show run.

Time Commitment: Low to Medium

    “A musical is only as good as its director. The same can also be said for the CIA.” ~Martin Short

As a Lighting Designer, you will create and oversee the lighting for the production using Light Factory software on the computer at the theatre. You will contribute to setting the mood on stage by choosing lighting and colours that support the script and the actors to create a play that will engage our audiences. A list of what you may do:

•  Analyze the script/score while thinking of how lighting can support and aid it
• Meet with Director and Design team (set, sound, costume) to coordinate vision and create the schedule
• Attend a lot of rehearsals early on to check blocking and alter your plans
• Attend Production Meetings and provide updates
• Make a lighting plot by choosing which lights to use, where they need to be hung and pointed to achieve the desired effects and what colours need to be added
• Attend light hang day – direct crew of technicians who hang, cable, focus and colour the lights
• Meet with Director and SM to create and audit light cues
• Program the lighting software to allow control of the lights and create the individual cues with the Director and SM
• Modify the lights with any changes as rehearsals progress
• Attend paper tech, cue-to-cue, as well as technical rehearsal (the last 1-3 weeks before opening) to adjust timing of cues and intensity of lights
• Ensure the Lighting Board Operators (if that’s not you) are trained and comfortable with the system. If the Lighting Designer is also the Operator for the run, attend all performances and run the lighting board/computer during the performance as per the Stage Manager’s cues
• Attend the closing party with gusto

Time Commitment: Medium

An effective producer is invisible to the cast and the production organically happens, amid catastrophes, low budgets and hilarious deadlines. As the Theatrical Producer you oversee all aspects of mounting a TAG production! You are the Go-To person for the entire cast and crew, as you will manage the overall financial and managerial functions of the production. You gather the team who will turn the play into a performance that will WOW our patrons! A list of what you may do:

•  Follow TAG’s Production Operations Manual at all times.
• Ensure the Executive Producer and Treasurer have obtained the rights to the play
• Meet with Director and Executive Producer to discuss rights, cue-to-cue, budget, crew requirements
• Gather your crew (in consultation with Director) and Stage Manager (SM) with assistance from the Volunteer Coordinator
• Delegate tasks (with a deadline!) to appropriate person in cooperation with the Director and Stage Manager
• Prior to the auditions, arrange a planning meeting between the Director and various team members, i.e., Design Teams for the set, lights and sound, etc.
• Be responsible for everything that happens off stage and for ensuring that all volunteer positions for the production are filled
• Create Production schedule and ensure SM has made a Rehearsal Schedule
• Work with the Director and SM to arrange for the auditions and ensure that they are adequately promoted
• Schedule and chair Production meetings to ensure deadlines are being met (building the set, Publicity, Props…).  These happen weekly at first and less frequently as deadlines are met and things are in place
• Prepare and supervise the budget – all expenses are approved by the Producer
• Create the show’s Lobby Display Board– find a photographer and schedule the photo session(s) with cast and crew, collaborate with photographer to get the pictures printed, complete the display with labeling and ‘flair’ for an attractive display for our patrons
• Arrange for printing of the publicity sandwich boards, pick them up and place them in the designated areas
• Set up the cleaning of the theatre for the show
• Create and send invites to the Board Members for the dress rehearsal of the show
• Arrange Closing Cast Party and attend with gusto!
• Arrange the hard strike of the set
• Responsible for presenting the Producer’s Report to the TAG Board of Directors, usually one month after the show

You don’t have to attend every rehearsal or performance, but drop in on rehearsals and talk with the Director and Stage Manager to stay informed. You will likely have to respond to or send out emails 3-7 days/week during the production period of about 3 months. You handle the seamless running of the show, i.e. to ensure that the actors concentrate on their lines and do not become involved in the politics going on behind the scenes. The Producer has to pick up the gaps in the show e.g. if a volunteer is not getting work done or is missing deadlines, it is up to the Producer to step in.

Time Commitment: Medium to High

You will use your skills to create an attractive Production Program that informs our patrons about the production (see sample program). You will adhere to rights guidelines, but will have creative freedom with the design, that will be approved by the Director. A list of what you may do:

•  Work with the Director and Producer to determine content
• Adhere to Production Rights Agreement
• Be aware of deadlines: cast/crew bios, ads, printer
• Attend Production Meetings and provide updates
• Coordinate with Poster Designer to obtain graphics
• Ensure advertisers/sponsors are given the agreed upon size ad (coordinate with Treasurer and Producer)
• Prepare and circulate draft, allowing time for corrections before going to print
• Circulate final draft for approval
• Consult with Producer on the amount of programs to print
• Coordinate printing, pickup and delivery of programs with Producer
• Attend the closing party with gusto

You will be expected to attend production meetings (at the theatre or online) and are welcome to sit in on rehearsals. Typically, the work is done on your own time at home. The job takes approximately 10-15 hours, plus edits. The time needed depends on your level of computer skills.

Time Commitment: Low

“There are 3 responses to a piece of design –  Yes, No and WOW! Wow is the one to aim for.”  ~Milton Glaser

As a Prop lead or team member, you will gather and source all the items handled by actors during a show, all within a budget provided to you by the Producer. Some of these props are already at TAG, however some will need to be bought or even made! This is a great role for someone who is new to the theatre and is resourceful and creative with arts and crafts. Most of the work is done on your own time, but you will need to attend a few rehearsals, and possibly all performances if needed. A list of what you may do:

•  Read the play and make a list of props if one is not provided with the script.
• Consult with Director regarding changes or additions to the list
• Attend rehearsals early on and consult with the Director to ensure you are getting the right color, material, period and size for each prop
• Attend Production Meetings and provide updates
• Collaborate with Costume Designer and Set Dresser regarding items that may overlap (purses, flowers)
• Check the theatre’s Prop storage area and gather as much as possible
• Source the rest from cast/crew, or as cheaply as possible from stores (Dollar Store, Value Village)
• Some props will need to be created – consult with TAG’s gifted props crew if you need help
• Ensure all props are approved by the Director, and that all actors are comfortable with each one (not slippery, too big, too stiff to open)
• If consumables (wet props such as drinks or fake vomit), ensure you purchase or create as needed
• Attend the closing party with gusto

Time Commitment: Low to High

As a production’s Publicist, you are responsible for publicizing the show through various mediums, reaching out to the media and the community. You will be given TAG’s Publicity Manual, which is a great resource, plus you are encouraged to find and use new ways to reach a larger or different audience for TAG. This is a great role for a person who likes to be creative with writing and works well with deadlines. You also need to be a self-starter and open to text changes/suggestions. A list of what you may do:

•  Meet with TAG’s Publicity Director to receive any instruction and information you will need
• Send media releases, working from a media list that will be provided to you in the Publicity Manual, along with samples of past media releases
• Update Publicity Director on any changes necessary on the Media List
• Ensure media releases are sent according to each outlet’s deadline
• Arrange ticket giveaways with Producer
• Invite appropriate media to the show (typically during opening week or dress rehearsal)
• Work with the Social Media Manager and Publicity Director to create content for social media
• Providing the Producer has allowed for room in the budget, arrange for ads (e.g. Facebook, email blasts)
• Share social media posts to various groups
• Attend Production meetings and provide updates
• Attend the closing party with gusto

Time Commitment: Medium

As a member of the Construction Team, you will build the set for the play that may include walls, furniture, mobile pieces, stairs, door frames, room entrances and more! You will do this under the guidance of the Set Designer, or designated construction lead, who could be you! A list of what you may do:

•  Consult with Set Designer and Director to understand the action in the play
• Plan materials based on action on stage (styrofoam vs. wood stairs)
• Create a list of materials and budget for approval by Producer
• Assemble flats to form walls, allowing for windows, doors and entrances
• Build set and set pieces
• Attend Production Meetings and provide updates if asked
• Consult with Set Dresser and Director regarding any safety issues, insecure or sticky things (doors, stairs) as rehearsals continue
• Attend the closing party with gusto

Time Commitment: Low to Medium

As Set Designer, your job is to design a set that reflects both the playwright’s story and the Director’s vision! The set should support the actors and story without being a distraction for the audience. A list of what your role may involve:

•  Read the script repeatedly
• Consult with the Director on their vision and if it’s a Presentational (non-realistic) or a Representational (realistic) approach
• Consult with Technical Director, Lighting, and Costume Designer/Coordinator
  • Obtain stage dimensions and restrictions
  • Discuss any potential logistical or technical challenges (space, lighting)
  • Make sure everyone agrees and is working towards the Director’s goals
• Based on the script, determine the locations needed and if any set pieces have to appear and be removed (beds, trees)
• Attend Production meetings and provide updates
• Present initial concept to the Director (via model or drawing) and refine it to incorporate the Director’s input
• Determine with the Producer whether you or a designated construction person will take the lead to supervise the volunteers who will build the set
• If you are not the lead, provide sufficient drawings and on-site consultation to the Lead to ensure a smooth construction process
• Consult with the Set Dresser to begin procurement of pieces needed for the set and to establish a colour palette with them and the Set Painter
• Attend the closing party with gusto

Your time is required during the pre-rehearsal and early rehearsal periods. Most sets are completed 50-75% of the way through rehearsals.

Time Commitment: Low to Medium

Together with the Set Designer and a team of painters, you will bring to life the set that has been created in the Set Designer’s mind. You may paint a wall one colour, splatter paint across the floor, detail a piece of furniture, and/or create a mural of a magical land. You will paint, you will get messy, you may dance, and you will have fun! Your role may involve:

•  Act as team leader or team member
• Meet with Set Designer to ensure the correct paint colour is being used in the right places
• One to three or more sessions, depending on how much needs to be painted
• Clean up set after each session so the space can be used
• Clean up supplies and return them all to the painting cupboard backstage after each session
• Paint all walls and furniture as determined by Set Designer/Dresser
• Decorative/artistic painting may be required
• May need to pick up paint, but this is usually done by Set Designer or Producer
• Be available for touch-ups or changes (lighting can affect colour inadvertently)
• Attend the closing party with gusto

Time Commitment: Low to Medium

“Painting is silent poetry and poetry is painting that speaks.”  ~Plutarch

As a Sound Board Operator you will run the sound software (Show Cue System) during rehearsals and performances, as per the cues given by the Stage Manager. You will sit in the technical booth with the Stage Manager and Lighting Board Operator during the shows. You will get to watch the show each night from the booth, which is an experience on its own! Your role may involve:

•  Attend technical rehearsal (the last couple weeks of rehearsal) after the Sound Designer has completed the first stages of design so that you can become familiar with the show and cues
• Complete a pre-show check before each performance to ensure all the audio systems are working properly – allow time to correct any problems
• Execute the cues during the show as per cueing from the SM
• Execute visual cues independently – such as door slamming or phone ringing
• Attend the closing party with gusto

You can be as involved as you wish during the rehearsal process. You can even help program the sound board to the needs of the Sound Designer if you are interested in being a Sound Designer in the future. Alternatively, you may simply run the board during the performance. It is preferable to have only 1-2 people running the board during a 3-week show run.

Time Commitment: Low to Medium

As the Sound Designer you help to set the mood for the show! You choose the music the audience hears before the show starts and every tune or sound effect heard during the show and scene changes. This is a great job for someone who has a love of music and atmosphere! If the show is a musical, there will be a Music Director who may need help from the Sound Designer to amplify instruments or source/provide sound effects not created by the onstage musicians. You will use the Show Cue System (SCS) software to program the sound for the operators to use. Your role may involve:

• Analyze the script or score with a view of how sound can support and aid the production
• Meet with the Director and other Designers (set, lights, costumes) to coordinate vision and create the schedule
• Attend rehearsals to see how blocking and action can influence the sound beyond the script
• Attend Production Meetings and provide updates
• Research as necessary for period and appropriateness of music and sounds
• Source all sound effects and music
• Coordinate any placing of speakers that may be necessary
• Meet with Director and SM to create and audit sound cues
• Create sound plot and program SCS on the audio CD
• Attend paper tech, cue-to-cue, as well as technical rehearsals (the last couple weeks before opening) to adjust timing, fade and volume levels
• Ensure the sound board operators (if that’s not you) are trained and comfortable with the system
• If the Sound Designer is also the Operator for the run, attend all performances and run the sound board/computer during the performance as per Stage Manager’s cues
• Attend the closing party with gusto

Time Commitment: Medium

A prior knowledge of the technical/management aspect of productions would be an asset. There are opportunities for first-time stage mangers to be mentored/trained.. Your role may involve:

• Read script and attend/manage auditions
• Attend all rehearsals and Production Meetings
• Collaborate with director to create rehearsal schedule
• During Rehearsals:
  • Set up/clean up ‘stage’
  • Ensure all props are in place
  • Prep wet props
  • Make note of blocking as Director and actors are determining it
  • Correct actors on any missed blocking or lines
  • Call lines when actors are off book
  • Keep cast to a schedule – set break times
  • Lock up any dangerous or valuable props
  • SM is usually first in and last out of the building: ensure theatre is kept tidy and hazard free, building is secure, and communicate any issues to the Producer and/or Building Manager
  • Communicate to cast/crew regarding changes to schedule/rehearsals
  • Communicate to Design team, Props and Costume Lead of changes or issues
  • Collaborate with Lighting and Sound Designers to determine cues
  • Attend paper tech
  • Attend Lighting and Sound level set sessions to establish cues
  • In charge of technical rehearsal and cue-to-cue
• During the Run:
  • In charge of the show
  • Ensure cast and crew have arrived, parked where they should and entered through the back door
  • Collaborate with Front of House Manager on start/end timing
  • Double check all actors, props and stage before each performance
  • Call cues for Lighting and Sound Board Operators
  • Communicate with Assistant Stage Manager (ASM) backstage, via headset
  • Attend to any issues that may arise
  • Clean up with ASM (stage, dishes)
  • Ensure security of building after each show
• Coordinate and complete the soft strike on closing night
• Attend the closing party with gusto

Time Commitment: High