Get Involved

Directing

Directors are appointed by the Programme Advisory Group. The Artistic Director for our 2026/27 season will be Guy Evans.

Director's Assistant

Directors may also require an assistant, or if you want to try your hand at a small piece of directing without taking on a whole show, this is a good entry point.

Producing

If you are a good organiser and like the idea of performing admin tasks for a show without the creative flare of directing, producing could be for you.

If you want further information on Producing please contact Gill Scott.

Casting Advisor

All shows need a cast and in the interest of fairness we have two casting advisors to assist every director in selecting their cast. The advisors are responsible for informing the auditionees of the outcome, finding potential people for roles that couldn't be cast and following the process for assuring all those cast meet the expectations of their membership.

If you are interested in training up as a casting advisor please contact Carol Parkinson.

Stage Manager

The SM is responsible for co-ordinating the whole production. It demands a great commitment but is very rewarding. You would attend rehearsals and get an idea of the director’s concept, attend production meetings and ultimately be responsible for coordinating the whole play during dress rehearsals and performance. If you have stage-managed elsewhere you should find no difficulty in adapting to the Lace Market Theatre.

Assistant Stage Manager

Being an ASM is a good place to start if you have never done anything of this nature. You would shadow the SM, help with scene changes, preparing props, and other backstage tasks during the performances.

Deputy Stage Manager

Some productions have very complicated lighting and sound plots and the DSM is responsible for calling the cues as they arise to assist the lighting and sound engineers to achieve precision during the play. You would need to work closely with director, SM and lighting and sound engineers so you need to be committed and attend several rehearsals particularly in the fortnight before performance.

If you want further information on any of these roles please contact Gill Scott.

Set Designing

Set designers are appointed by the Programme Advisory Group. The Artistic Director for our 2025/26 season is Jae Marriott.

Set Building / Construction

Set building demands a variety of skills in wood-work, construction and ingenuity in assisting the set designer to achieve their concept. If you aren’t an expert you can still help and gradually acquire the knowledge needed. DIY practitioners are off to a head start and are very welcome.

Scene Painting

Perhaps you are more of an artist and are willing to offer your expertise in painting a set after it is built?

If you want further information on any of these roles please contact Gill Scott.

Lighting Design / Operating

Lighting design requires a certain amount of expertise, so if you have some experience you would quickly get accustomed to our equipment. If you are keen to learn then becoming part of a lighting crew is good move. You would learn about rigging, focusing and the rudiments of design. You may also be asked to run the lighting board during a performance. We have had several people who have gone on to become successful lighting designers having started as a crew member.

If you want further information on the lighting team please contact Simon Carter.

Sound Design / Operating

If you are interested in designing and operating the soundscape for a production we can readily give you training. A sound designer would have to source sound effects to be programmed into our SCS software on a laptop from which we run our sound desk. In some cases you might be asked to similarly find suitable music for a play.

If you want further information on the sound team please contact Simon Carter.

Projection Design

Projection is becoming increasingly popular to enhance the setting of a scene. Having an eye for photo editing, graphic design or animation is an advantage, but advice for tools and learning is available.

If you want further information on projection please contact Matt Allcock.

Photography

One of the few roles where equipment isn't supplied, you will need to have your own camera. All shows require a photographer to provide dress photos for use in both the foyer and for social media activities. Often rehearsal photos are advantageous and sometimes staged promotional photos outside of the theatre can be arranged an a alot of fun to be involved with. Any costs incured when printing photos for the theatre will be reimbursed.

Props

The props person on a production has to be flexible, patient and ingenious. You would be responsible for researching, finding and in some cases making the props necessary for a play. In addition, you would need to provide practical props for rehearsal and manage the actual props during the dress rehearsals and run of a production.

If you want further information on props please contact Lesley Brown.

Wardrobe

We have an extensive wardrobe department on Radford Boulevard from which we source most of our costuming requirements. Each production would have a wardrobe person tasked with dressing the cast from stock, purchasing or occasionally renting for those specialist items such as uniforms.

If you want further information on wardrobe please contact Wardrobe.

Makeup

Some shows require particular makeup styles as an enhancement to the costuming.

Musician

Some shows benefit from original music to be composed, or event live musicians on stage. If you have skills in this area be sure to let us know so we may call upon you when a play has such a requirement.

Singing

Some plays include songs, so it's good to know if you have a decent singing voice.

Choreography

Do you know how to dance, can you teach others? Some plays have scenes that require dancing and we'd love to give those skilled people the opportunity to teach those dances.

Box Office

Being good with computers is a bonus, but training on our box office system will be provided. On show nights you'd be required from 18:45 until 22:00 for evening performances and 13:45 until 17:00 for matinees. We also open the box office on Friday evenings and Saturday lunchtimes to give people the chance to purchase tickets if they're not comfortable doing so online.

Coffee Bar

It's not just coffee, we alse sell tea! This is a simple role that comes with full instructions. Only required on show nights from 18:45 for evening performances and from 13:45 for matinees, until after the interval. You will be serving drinks from the coffee bar hatch for auditorium shows only for pre-show and intervals. You will not be required for a post-show service.

Front of House

Being good with customers is essential. You will greet patrons, check their tickets and assist them into the auditorium. Training is required for this role to cover evacuation and health and safety knowledge. You will also be required to sell ice creams in the foyer during the interval. Only required on show nights from 18:45 for evening performances and 13:45 for matinees, until 10 minutes or so after the show finishes.

Licensed Bar

Training is required to be part of the bar team and there is some paperwork required to be able to serve alcoholic drinks. The till and card machine are digital so being comfortable with a bit of technology and some maths for cashing up the float are essential. Only required on show nights from 18:45 until 10:30 for evening performances and 13:45 until 17:30 for matinees, however Saturday evenings often include a party for the cast and crew after the getout so being willing to serve drinks up until midnight or later is greatly appreciated.

If you want further information on any of these roles please contact Aaron Connelly.

Pub Grub

When we have sufficient volunteers we like to offer sandwiches on a Saturday lunchtime to our members.

Publicity

The publicity team are responsible for, among other things, our social media output, flyers and posters, arranging reviewers, advertising, producing our season's playbill and our souvenir programs.

If you want further information on the publicity team please contact Alison Hope.

Theatre Maintenance

The building on Halifax Place is our own and it requires maintenance. Some thing are a periodic checks, but others are on demand such as repairs or ordering supplies for customer toilets. If you have practical skill sthat could be of assistance here please let us know.

If you want further information on theatre maintenance team please contact TBC.

Duty Officer

There is no checkbox on the membership form to be a duty officer, but if you are trained on the bar and feel you could be responsible for opening and closing the building on a non-show night please let us know and we can supply you with the additional training.

House Manager

There is no checkbox on the membership form to be a house manager, but if you feel you could be responsible for opening and closing the theatre on show nights, chasing up absentees for other roles for the evening and resolving any patron queries let us know and we can supply you with additional training.

PAG Chair role and responsibilities

The role of the Programme Advisory Group (PAG) is to plan and propose to the Board the composition of the forthcoming artistic season. The Board, having agreed this with PAG, recommends the programme to the membership at the AGM.

The Chair of the PAG is appointed, at the latest, at the March Board meeting prior to the start of the preceding season and will subsequently invite about six other members to form the Group. The list of PAG members should be sent to the Board Secretary who will distribute it to Board members and display it on the Members Noticeboard in the Bar.

Following confirmation of the proposed programme at the AGM the PAG Chair becomes the Incoming Artistic Director and from 1 August the Artistic Director for the new season.

The calendar of key events and decisions is attached.

Role of the PAG Chair

The principal responsibilities of the PAG Chair are to:

1. Develop, with PAG colleagues, a balanced programme of productions that will appeal to members and visitors alike and will provide opportunities for the exercise of a wide variety of skills by a large proportion of the Theatre membership, both male and female.
   
   
2. To provide opportunities for all members of the Theatre to suggest plays they wish to be considered for inclusion in the programme.
   
   
3. To consider the workload of the programme and specific production requirements of shows by consulting with the technical. staging and wardrobe departments through their heads.
   
   
4. Confirm that all plays proposed are available for performance by amateurs by checking with the licencing bodies before presenting the proposed programme to the Board.
   
   
5. To invite, after the Board’s approval of the draft programme for recommendation to the membership, members interested in directing to express an interest in directing specific plays, and, after the acceptance of the programme at the AGM, to present a draft list of directors for specific plays to the Board for comment before offering the opportunity to the named directors.
   
   
6. Appoint the Casting Advisor Co-ordinator from PAG members.
   
   
7. Encourage new directors to come forward by encouraging members to act as production assistants
   
   
8. Liaise with the Youth Theatre Director on chosen performances
   
   
9. Attend Board meetings as indicated in the calendar.

Artistic Director role and responsibilities

Following confirmation of the proposed programme at the AGM the PAG Chair becomes the Incoming Artistic Director and from 1 August the Artistic Director for the new season.

Role of the Artistic Director

The Artistic Director will be head of the Artistic Group. Principal responsibilities of are to:

1. Manage the smooth and effective implementation of the accepted programme for the season, bearing in mind the requirements of any visiting companies, approved lettings or special events
   
   
2. Ensure that all performance licences are secured for all productions in the accepted programme, and then forward licences to the treasurer for immediate payment as soon as they are obtained as well as notifying the publicity department of any licencing requirements for advertising performance.
   
   
3. Coordinate with the Head of Publicity the design and content of the brochure for the season, in particular the Introduction, the images and text for each of the plays and the calendar. Discuss with directors the auditorium layouts required and marketing information, including warnings [eg. Strong language, smoking on stage] for inclusion in the brochure and then co-ordinate with the head of publicity.
   
   
4. Ensure that directors let the Librarian know the number of copies required for each production noting that six technical copies are required in addition to those for the actors.
   
   
5. Organise the dates of auditions in collaboration with directors and the diary keeper. It is useful to include a second audition date for directors which may not be needed and is therefore not publicised.
   
   
6. Attending the monthly Theatre Management Committee (TMC) to report on the progress of the season. If unable to attend in person arrange for a representative from the Artistic Group attend.
   
   
7. Seek agreement from the Board for any proposed change in the programme or change of director or designer if this should become necessary.
   
   
8. Maintain a watching brief on the progress of the accepted programme and to be ready to offer assistance should this be required.
   
   
9. Liaise through the season with those responsible for publicity and marketing.
   
   
10. Appoint casting advisors for each audition and ensuring that they fulfil the requirements. Ideally there should be a male and female casting advisor for each production. The casting advisors pack is in the office.
    
    
11. Liaising with directors on the organisation of any play discussions or linked events.