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JOB TITLE: Maintenance Worker

The Seminole Theatre seeks a highly motivated Marketing Associate with excellent organizational, communication and logistical skills to join our team. The Seminole Theatre, a historic icon in Homestead, re-opened its doors in December of 2015 and now serves as the premier performing arts center and cultural hub for the greater Homestead and South Miami Dade area. The Seminole Theatre is managed by Oak View Group Facilities, founded in 2015 by Irving Azoff, Tim Leiweke, with Madison Square Garden Entertainment, a full-service venue management company. They operate and book arenas, theatres, convention centers, and amphitheaters throughout the U.S. delivering customized management plans for each of their venues.

Job description:
We are looking for a skilled Maintenance worker to perform upkeep tasks such as repairs and light cleaning. You will be responsible for applying basic fixes to equipment and building systems and ensure facilities are tidy and functional.
Being reliable with a keen eye for detail is the first step to getting this job. The ideal candidate will have experience and solid technical knowledge. You must also possess manual dexterity and physical stamina.

Responsibilities:
• Perform cleaning activities such as dusting, mopping etc.
• Perform minor fixes such as repairing broken locks, filling gaps on walls, painting etc.
• Check control panels and electrical wiring to identify issues
• Install appliances and equipment
• Do minor yard upkeep
• Schedule vendor visits
• Conduct maintenance tasks such as replacing light bulbs
• Inspect and troubleshoot equipment and systems (e.g. ventilation)
• Check functionality of safety systems (e.g. fire alarm)
• Collaborate with workers and other professionals to set up for events

Requirements
• Basic knowledge of HVAC, plumbing and electrical systems
• Experience using hand and electrical tools
• Very good communication and interpersonal skills
• Physical stamina and dexterity
• High school diploma or equivalent

This position will be a part-time, If you are interested in this opportunity, please send your cover letter, resume, and three references to Associate Director Katherine Rubio [email protected]

Enter now for a chance to win 2 Premium tickets to see John Sebastian of The Lovin’ Spoonful along with backstage passes for a private meet & greet! Winners will be selected Thursday at 5pm.  Make sure you enter a valid email so that we can send you the winning confirmation.

By submitting your email address you are agreeing to receive communications from The Seminole Theatre and to be added into a database receiving future communications on upcoming performances.  You may opt out at any time.  

Thank you to everyone who auditioned for Aida and The Little Mermaid. We had an overwhelming turnout with hundreds of people at open calls. We wish we could fit everyone in the shows, but unfortunately there is only so much space on stage.  If you were not called back this time, please know that we are still happy you auditioned, and it is not a statement on your talent, just that there may not be a place for you in these productions.  We want to see you again, or that you’ll help in other ways.

The callback lists are listed below by date and alphabetical by first name (we apologize in advance for misspelling your name).  You may be called for one, two or all days, so please make sure to check all three.

Sunday’s callbacks are for ensemble and supporting roles for both shows. Those called back should wear comfortable clothing for dance and be prepared to learn more routines. We will also be teaching songs from the show to hear sung from on stage. Tuesday’s callback is for lead and featured roles in Aida, while Wednesday is for lead and featured roles in The Little Mermaid. We may send some breakdowns In advance with songs or scenes, but for now, try to familiarize yourself with the show so you are prepared to try out the roles.

Whether or not you were called back, please check out this list with other opportunities to help.
http://seminoletheatre.org/stp-how-to-help 

If you told us about a conflict with a callback date, please remind us by emailing [email protected] and we’ll see what can be worked out.

The Seminole Theatre Players is a non-profit organization made up largely of volunteers. For some positions, fees and stipends may be available to help with transportation.

Below is a list of the key positions and their full duties. Some positions require prior experience, but in many cases we train you as we go along. If you would like to help, but not sure how, that is ok too! Send us a note with your interest and availability, and we will find a way for you to help!

The Seminole Theatre Players is a non-profit organization made up largely of volunteers. For some positions, fees and stipends may be available to help with transportation.

Below is a list of the key positions and their full duties. Some positions require prior experience, but in many cases we train you as we go along. If you would like to help, but not sure how, that is ok too! Send us a note with your interest and availability, and we will find a way for you to help!

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Production Stage Manager
Assistant Stage Manager
Assistant Director / Production Assistant
Set Designer
Costume Designer
Props Master
Lighting / Sound Designer
Other – Crew, Hair & Makeup, Painters, etc

Disney’s The Lion King JR:  Tech Week March 3- April 4.  Performances April 5-7

AIDA:  Rehearsal begin April 8.  Tech Week June 15-20. Performances June 21-23 and June 28-30

The Little Mermaid: Rehearsals beging May 28.  Tech Week July 27 – August 1.  Performances August 2-4 and August 9-11.

Production Stage Manager – PAID

The Production stage manager (PSM) provides practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process. The PSM is also the director’s representative during performances, making sure that the production runs smoothly.

MUST be available for all rehearsals, tech and performances.

The responsibilities of the PSM Include, but are not limited to:

• Attend all rehearsals and performances.
• Create a master calendar of rehearsals, target dates and deadlines, and performances. Prepare cast and crew contact lists. Handle script distribution and collection.
• Conduct auditions with the director, including coordinating audition forms and information sheets.
• Ability to read a scenic design ground plan and tape out rehearsal area as needed.
• Open and prepare theatre or rehearsal space for all rehearsals (includes sweeping and mopping the stage, pre-setting furniture and props, etc.). Clean up after all rehearsals and performances spaces (includes returning props and furniture to storage as needed, backstage custodial duties, etc.).
• Record director’s blocking in production book and assist actors with blocking as needed. Take line notes when actors are off book and prompt actors as needed.
• Assist the properties team and coordinate rehearsal props and furniture as necessary. This also includes creating and maintaining a master props list.
• Develop preset lists and running order lists.
• Write and distribute daily rehearsal, production meeting, and performance reports in a timely fashion.
• Facilitate communication between production staff members as necessary for smooth production operations.
• Record all deck cues, lighting cues, sound cues, etc. and stand-by’s in production book in advance of the first technical rehearsal.
• Facilitate communication between production staff members and cast members as necessary, i.e. costume fittings, makeup orders, program proofing, etc.
• Manage the production callboard, including sign-in sheets, and announcements.
• Monitor actors’ attendance and punctuality for all rehearsals and performances and deliver all pre-show time calls.
• Coordinate all scene shift rehearsals, technical, and dress rehearsals in cooperation with the director and other members of the production team.
• Supervise the work (as needed) of technicians, deck hands, and board operators.
• Organize and supervise special rehearsals for fight calls, dance combinations and special effects.
• Call all cues during the run of the show including light, sound, and deck cues.

Assistant Stage Manager – PAID

The Assistant Stage Manager assists the Stage manager in completing a wide number and variety of responsibilities, which can be broken down into three primary categories: handling the majority of the administrative duties related to a production, assisting the director during rehearsals, and being responsible for all backstage activity once the show opens.

MUST be available for all rehearsals, tech and performances.

Responsibilities may include:

• Help the Stage Manager with all day-to-day tasks including clerical and administrative duties, help pull rehearsal props and furniture, help ensure the stage or rehearsal space is ready for each rehearsal. This could include sweeping, setting up furniture, set pieces, and props. The SM may ask the ASM to contact late company members.
• Notate blocking if asked by the Stage Manager.
• Be “on book” if asked by the Stage Manager. A procedure for prompting should be arranged with the actors and director.
• The ASM will run the “deck” during tech rehearsals and performances. It is important the ASM has a complete understanding of the placement and movement of scenic pieces and props.
• The ASM will be responsible for training the running crew, including stage hands, costume crew, props runners, etc.
• Should the Stage Manager be unable to fulfill their duties, the ASM should be prepared to take over those responsibilities during both rehearsal and performance.

Assistant Director – Stipend May be available

The Assistant Director (AD) position is an opportunity to learn firsthand an individual director’s process and the production process as a whole. The duties of the AD are quite flexible and will vary from production to production and Director to Director. The AD’s responsibilities may include facilitating the rehearsal process, taking notes, and facilitating the smooth running of the entire production process, and/or other duties as assigned. When asked, the AD will offer constructive suggestions to the Director regarding any elements of the production from design to performances.

Preferred availability for all rehearsals, tech and performances.

Responsibilities may include:

• Read and study the play; discuss the interpretation and production concept with the Director.
• Attend all production conferences and meetings.
• Assist the Director as needed. Sit in on all rehearsals, taking notes and actively watching and listening. Communicate regularly with the Director regarding the progress of the production.
• Run special rehearsals such as line-throughs, speed-throughs, etc. if the Director requests it.
• Although typically the Stage Manager’s duty, the AD may be asked to walk through scenes for an absent actor.
• Some Directors may ask the Assistant Director to take blocking, line, and/or dialect notes. The Assistant Director should always be prepared for such duties.
• Insure that appropriate people and/or organizations are thanked in the program for their contributions to the production.
• Makes notes for the Director as instructed during rehearsals and tech. Share these notes with the Director who may communicate them to the cast and/or crew.
• The Assistant Director may be asked to type up any rehearsal notes taken by the Director for distribution to the cast and/or crew.

Production Assistant – Stipend May be Available

The Production Assistant (PA) will work closely with the Stage Management team and Production team on a variety of tasks that may change daily. The PA may help Stage Managers set up and run rehearsals, and work with the ASM to run “the deck” during performances.

Set Designer – Fee or Stipend may be available for the right candidate

The set designer is in charge of designing and creating the set for a production. The role involves working and communicating with directors, producers, costume designers and other members of staff on artistic and budgetary items.

Responsibilities include:

• Read script and consult with Director and artistic staff on vision and use of set.
• Produce plans, drawings and models of sets
• Work with production manager to prepare estimates of set costs and manage budget
• Help recruit and oversee build crew, in conjunction with Production Manager, to ensure completion of set.
• Reading rehearsal reports and attending rehearsals when possible to stay in communication about set needs during the process

Most work can be done independently to ensure set is complete prior to tech week load-in. Some availability during tech week is preferred to oversee any changes.

Costume Designer – Fee or Stipend may be available for the right candidate

The costume designer will design the costume plot and work with team to source costumes through renting, purchasing or fabricating. Designer will work closely with Director, Choreographer, and Producer on design and budget restrictions.

Responsibilities include:

• Read script and consult with Director and artistic staff on vision and use of costume pieces
• Produce costume plot of all costumes / costume pieces, as well as drawings / sketches / vision boards
• Work with Artistic Director, Director and Production manager to establish an estimate for the costume design through renting, purchasing, and building the pieces, as needed.
• Help recruit costume teams to sew or fabricate costumes, and also to organize and care for costumes during the run. Work to ensure costumes are complete, fit, and approved by Director prior to tech week.
• Reading rehearsal reports and attending rehearsals when possible to stay in communication about set needs during the process

Much of this work can be done independently to source costumes prior to tech week. Availability during tech week and performances is preferred, but can be substituted with a backstage team.

Props Master / Designer – Fee or Stipend may be available for the right candidate

The props master is responsible for the supervision of the prop shop personnel in the acquisition and construction of the various decorative and functional props in a collaborative design process with the scenic designer. The props master closely coordinates with the scenic, lighting, sound, and costuming departments when any technical needs overlap among those departments.

• Read the script and create a prop list. Get preliminary prop list from the stage management team. Compare with your own. Combine into a master list. Consult with Director and design team about the vision and use of all props needed.
• Attend all production meetings. Check rehearsal reports and email daily to update prop lists as needed.
• Arrange to pull or source rehearsal props and furniture for the rehearsal process until final props are ready.
• Discuss furniture and set dressing needs with the scenic designer. Get a list of set dressing props. Depending on your skills you may also be responsible for upholstery, picture framing, and the like.
• Work with Production Manager and Producer to determine cost estimates and a list of props to be purchased, borrowed or built. Work independently or with a team to source or build the approved props.
• During load-in, prepare offstage props tables with a member of the stage management team who will tell you where everything needs to be placed offstage. Create a pre and post-show check-in sheet for all props Make sure it is updated during tech week if needed.
• Attend strike to coordinate the removal of props and set dressings. Inventory to make sure nothing is missing. Separate into disposable, stock, and borrowed/rented items.
• After strike return all borrowed or rented props first. Have all loan forms signed and dated when returning items. Deliver signed forms to the technical director and discuss storage or stock items. Clean and then store hand props and set dressings.

Lighting Designer Fee or Stipend may be available for the right candidate

The lighting designer (LD) is responsible for the design, installation, and operation of the lighting and special electrical effects used in the production. The Lighting Designer will work closely with Director, Choreographer and theater’s tech staff on the placement of lighting instruments. The LD will find out in advance if any special effects are required that require additional rental or purchase including lighting fixtures, gobos and gels. The LD will ensure the lighting plot is installed and focused prior to tech week, and preferably that cues are written in advance. The LD will work with Director and tech staff / board operator to write and set lighting cues during the tech week rehearsals.

Must be available for tech week of production, plus advance production meetings. Board operators and programmers will work the actual tech rehearsals and performances.

Sound Designer – Fee or Stipend may be available for the right candidate

Design and help program the music, sound effects, and sound balance for the production. The sound designer will work closely with the Director, Music Director and Stage Manager to review any sound cues, microphone lists, and other effects. The Designer will help build or source any special effects or music cues needed, and organize them for the sound tech at the theater.

Must be available for tech week of production, plus advance production meetings. Sound mixers will work the actual tech rehearsals and performances.

Other volunteer positions we are seeking include:

-Stage Hands

-Followspot Operators

-Hair & Makeup Design

-Carpenters

-Painters

-Orchestra Musicians