Hear Them Roar
Dirty Rotten Scoundrels
The Addams Family
The Boy From Oz
Monty Python's Spamalot
The Wedding Singer
The Pajama Game
City of Angels
Pearls of Wisdom
Priscilla Queen of the Desert
Jekyll & Hyde
Through the Decades
How to Succeed in Business Without Really Trying
Little Shop of Horrors
The Mystery of Edwin Drood
The Who's Tommy
It's Good to be Bad
Catch Me If You Can
Iconic Broadway (Opera in the Village)
Members Login (For Show Participants current and Past)Click Here for Ticket Login
The Director brings the actors and the playwright's words and ideas together under one artistic vision. Whatever interpretative approach the director takes, it involves research, collaboration with designers, leadership, an ability to match actors with suitable roles and an understanding of the actors' craft.
Directors are chosen by the FRC Board of Directors under the advice of the Artistic Director. A public call for direction proposals is made in the fall of each year for the following season. A typical direction proposal must include information about the director, the show and the director's vision for the show. Incomplete proposals are not considered.
Keep watch on the News Page for the call for proposals, or join the Calgary ACTS theatre e-mail list.
The Producer (a.k.a. Production Manager) provides the interface between the Board of Directors and the crew of the show. The key role of the producer is to manage the production team with a balanced budget and support the Director in the realisation of their vision. Critical skills for a producer are project management and the ability to bring a team together towards the same goal. An understanding of the technical aspects of the theatre is very helpful, as well as gaining satisfaction from seeing a huge project come together under your direction.
The Producer is chosen by the President/Vice President of the society.
The Stage Manager is effectively the lieutenant of the theatre world. During rehearsals, the Stage Manager works closely with the director to record the details of the show and to communicate information between the producer, the director and the cast of the show to mediate all of the varied needs of the show. During the run of show, it is the responsibility of the Stage Manager to maintain the director's vision.
The Stage Manager is chosen by the Producer and Director.
The Musical Director is responsible to the director for all musical aspects of the production and assists the director in casting.
The Musical Director rehearses the musicians, teaches the cast the music, chooses the orchestra and, depending on the show, conducts the orchestra as well.
The Music Director is chosen by the Director and/or Producer.
The Choreographer creates all of the dance and movement for the production, auditions the dancers and assists the director in casting. The choreographer also teaches the cast members how to execute the choreography and rehearses them.
The Choreographer is chosen by the Director and/or Producer.
The Technical Director is a resource that brings knowledge and experience of the technical issues of theatre to the table. This is a role that is not often filled by a separate person, but usually covered by the Producer of the show.
When required, the Technical Director is chosen by the Producer.
The Lighting Design is the process of creating a lighting concept for the show based on and supporting the costume design, set design and the Director's vision. The Lighting Designer must complement all the aspects of the show within the limitations of the available equipment and budget.
The Lighting Designer is chosen by the Director and/or Producer.
The Projection Design is the process of creating a projection concept for the show based on and supporting the set design and the Director's vision. The Projection Designer must complement the lighting design within the limitations of the available equipment and budget.
The Projection Designer is chosen by the Director and/or Producer.
The Set Design is the process of creating a concept and set that mirrors the director's artistic vision, taking into account the available space and budget. The Set Designer must create a model that easily communicates the final set. Often the Set Designer will also construct the set, so construction skills are a definite asset.
The Set Designer is chosen by the Director and/or Producer.
The Scenic Artist creates the visuals in each scene, usually taking a lead in the painting as well.
The Costume Design is the process of creating a concept for the costumes of the show, designing clothes that are functional, affordable and imaginative while taking into account the activity, safety and comfort of the actors. The Costume Designer and/or Coordinator is responsible for assembling a team to build and/or acquire the costumes.
The Costume Designer and/or Coordinator is chosen by the Director and/or Producer.
The Prop Design is the process of designing and/or acquiring props that meet the artistic vision of the Director. Typically, the Prop Designer will beg, borrow, buy or make everything with a team for Prop construction and is usually present backstage to monitor the props placement, needs and storage.
The Props Coordinator is chosen by the Director and/or Producer.
The Sound Design is the process of designing an audio concept for the show, including the needs and placements of microphones and speakers as well as required sound effects to fulfill the artistic vision of the Director. Often the Sound Designer also runs the sound board during the run of the show.
The Sound Designer is chosen by the Director and/or Producer.
The Hair & Makeup Design is the finishing touch on the actors and the designer must work closely with the Costume Designer and Director to help the cast present themselves onstage with hair that reflects the right period and faces that don't wash out or stand out too much. This role is both a design role and a backstage role as often a team is required when in the theatre, especially with larger casts.
The Hair & Makeup Designer is chosen by the Director and/or Producer.
The Orchestra Conductor is needed for larger orchestras, please let us know if you have the skills to conduct an orchestra and can accommodate doing a show just for the fun of it.
The Orchestra Conductor is chosen by the Musical Director.
The Costume Assistant helps build costumes during the months leading up the show, as well as provide wardrobe maintenance during the run of the show. Sewing skills are essential in either case, while Wardrobe maintenance will involve repairs, ironing, and cleaning of the costumes throughout the run of the show.
Costume Assistants are chosen by the Costume Designer and/or Producer.
The Lighting Crew will hang and focus the lights under the supervision of the Lighting Designer and the Director. At the close of the show, they participate in the taking down and safe storage of lights.
The Lighting Crew is chosen by the Lighting Designer and/or Producer.
The Set Construction (a.k.a Set Builder or Scenic Carpenter) interprets the set designer's drawings and set model into a functional set and consults with the set designer. The Scenic Carpenter assembles the set at the theatre, with the assistance of other volunteers, often from the cast. There is often cross over with Set Painting and Dressing.
The Scenic Carpenter is chosen by the Set Designer and/or the Producer.
The Set Painting is responsible for the painting and decorating of the set and is responsible for painting and texturing backdrops, furniture, flats and set pieces. There is often cross over with Set Dressing.
The set painters are recruited by the Scenic Artist and/or Set Designer.
The Set Decoration (a.k.a. Set Dresser) is responsible for accessories and decorations on the set, for example curtains and other physical objects that are not used as props. There is often cross over with Set Painting and Set Construction.
The Set Dresser is chosen by the Set Builder, Set Designer and/or the Producer.
The Props Construction is responsible for building props as required by the Props Coordinator.
The Props Construction team is assembled by the Props Coordinator and/or the Producer.
The Fight Choreographer is needed on some shows in order to ensure the safety of fight scenes.
The Actors get out there on the stage! Rehearsals are usually 3 times a week for 3-4 hours each time with a huge commitment required right before the show and during the show. We always expect our actors to do more than just strut around the boards though, we need volunteer help throughout the production to make sure that we have something we can all be proud of.
Actors are cast through the audition process, with appointments made online, visit our Audition Page, keep watch on the News Page for the announcements, or join the Calgary ACTS theatre e-mail list.
The Puppeteer : Whether it be Audrey II or the muppet-like people of Avenue Q, we occasionally find ourselves in need of a puppeteer, so let us know if you're interested.
The Choral Support is sometimes needed to add a few extra voices from backstage, so if you love to sing but don't want to get out on the stage, this is an opportunity for you.
The General Musician : All of FRC's shows are accompanied by a live band or orchestra, with varying sizes from just a few pieces to upwards of 17-20. We are always on the lookout for skilled musicians who can accommodate a show for fun into their schedules.
The musicians are chosen by the Musical Director.
The Piano is required throughout the rehearsal process and is a critical task. During rehearsals, repeated playing and listening is required to assist the Musical Director in getting the right music from the actors. The piano player is usually required to be the same person for both rehearsals and performances.
The Rehearsal/Performance Pianist is chosen by the Musical Director.
The Reeds (aka Woodwinds) play multiple woodwinds instruments and is a rare commodity, please tick off this one if you can play at least flute and clarinet.
The Assistant Stage Manager directs the running crew backstage, is usually on headset communication with the Stage Manager during performances to call backstage cues. The ASM also ensures that the stage is set properly, safely and is clean before the show opens each night.
The ASMs are chosen by the Stage Manager and/or Producer.
The Running Crew are backstage, moving scenery, furniture, set and props as needed throughout the run of the show, under the direction of the Assistant Stage Manager.
Running Crew are chosen by the Stage Manager and/or Producer.
The Lighting Board Operator is responsible for handling and operating of lighting equipment throughout the run of the show, checking the equipment prior to each run and reporting any failures to the Stage Manager.
The Lighting Board Operator is chosen by the Lighting Designer, Stage Manager and/or Producer.
The Follow Spot Operator is responsible for the handling and operating of the Follow Spot, when required. Familiarity with the equipment is an asset, but many people can learn it easily if desired.
The Follow Spot Operator is chosen by the Lighting Designer, Stage Manager and/or Producer.
The Sound Operator is responsible for the sound effects and sound levels during the run of the show.
The Sound Operator is chosen by the Sound Designer, Stage Manager and/or Producer.
The Hair and/or Makeup Assistant is backstage during performance helping the cast to prepare their hair and makeup for each performance.
The Photography is needed to provide marketing shots as well as to keep a record of our show for future reference. Headshot photos are also taken of all the cast and crew for incorporation in the program and for display at the front of house.
The Photographer is chosen by the Producer and/or Marketing Director of the society.
The Videographer is a role that is occasionally needed when we have the rights to make an archive video and/or when video effects are used in the show.
The Videographer, when required, is chosen by the Producer and/or Marketing Director of the society.
The Poster Design is done early in the season and is a critical part of the marketing plan for each show as it is the image that is used to promote the show. The posters are created with the input of the Director to ensure that they match the artistic vision of the show.
The Poster Designer is chosen by the Marketing Director of the society.
The Program Design is done for each show to present literature that gives a brief introduction to the show, the cast, and FRC itself. It is also a medium for advertising and promotion of upcoming events.
The Program Designer is chosen by the Producer and/or Marketing Director of the society.
The Marketing and Publicity volunteers are needed for each show to help identify opportunities to promote the show and ensure that the audience that would like to see our shows know when and where they are happening and how to buy tickets.
Marketing and Publicity volunteers are chosen by the Marketing Director of the society.
The Front of House Manager supervises all activities at the front of the house, coordinating audience traffic before the show and during intermission and uses ushers to ensure that the audience is in their seats on time for a prompt start to the performance.
The Front of House Manager is chosen by the Producer.
The Box Office Manager is responsible for the courteous and efficient sale of tickets at the door, including the handout of pre-purchased tickets and keeping accurate track of ticket sales using the provided computer system. They are responsible for the security of the cash on hand throughout the performance.
The Box Office Manager is chosen by the Front of House Manager and/or the Producer
The Opening Night Volunteers are needed to support the event that is opening night. We've made it a tradition to do something special on our opening nights, be it a sandwich table or a full-blown gala, but to support that we need people who are willing to help out setting up during the show and cleaning up afterwards. It's a fun experience and of course you'll be invited to see the show on a different night as a reward.
The Usher s, ticket takers and will call people are required to help guide our audience into the theatre and to their seats. Typically we open up each night to a number of volunteers to bring exposure to the idea of helping us out to as many people as possible.
A call is usually made to those that have made themselves known to us by the Volunteer Director and/or Front of House Manager.
The Bartender is required to serve drinks & snacks to patrons before the show and at intermission. In Alberta bartenders must have ProServe certification, please confirm that you have this if you are checking off this box.
The Administration volunteers are needed from time to time to help with specific projects.
The Casino Volunteers are needed every 18 months to help run a casino for fundraising purposes, which is a critical part of our revenues. Volunteers are needed as Chip Runners, Cashiers, Count Room, and others. Volunteering for a Casino is only a one or two day commitment, but a vital necessity for the continuation and survival of any theatre company in Alberta.
The Board Members are part of the ultimate decision making. The FRC Board of Directors is made up of 9-13 people who meet monthly to discuss the policies and overall direction of the company.
There are 4 elected roles, President, Vice-President, Treasurer and Secretary, plus a slate of Directors as proposed by the executive of Artistic Director, Marketing Director, Volunteer Director, Inventory Director and Events & Fundraising Director, all of whom play critical roles in the ongoing health of FRC. In addition to these 9, the executive appoints 3-4 members as Members at Large to be the eyes and ears on the board of the membership (and vice-versa) and take on projects related to the company on an as-needed basis.
Elections to the Board of Directors are held at the AGM in approximately September of each year. The AGM is announced on the News page and via e-mail to all registered members.
The Volunteer Committee participates in interviewing newly interested volunteers to determine their best fit in the organization, recruiting volunteers at the request of board directors and producers, seeking out new volunteers and new methods of finding volunteers to fill frequently required roles, and researching new ideas for volunteer rewards.
The Fundraising & Sponsorship Committee participates in seeking out new fundraising and sponsorship opportunities, and coordinating fundraising activities.
The Events Committee participates in planning and coordinating opening night galas for each show, and planning and coordinating an annual gala to announce the upcoming season, including fundraising needs if/when possible.
The Inventory Committee participates in organising assets, maintaining a database of significant assets, superviseing the return of assets after a show, and determining and discarding under-utilised or unnecessary assets.
The General Volunteer is needed from time to time to fill volunteer positions that don't fit in any other place. As an example, we will use this category for one-time events that require volunteers such as warehouse purges or marketing events.
Check the positions in which you are interested (Please select at least one):
Please tell us some more about yourself, you may include a brief listing of any relevent experience (Position, Year, Play,
Company and Director), any relevant training and what skills you feel you can bring for us. If you are a musician and do not see your instrument listed, please select "General
Musician" and add it here.
Want to sign up for notices for auditions or other volunteer positions? Please use this form instead.