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					Vena Cava Productions

September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

Vena Cava Productions Executive Officers Breakdown Artistic Director  The artistic director is the public face for the company. They are to be the primary organiser and initial liaison for Mainhouse directors for the current and upcoming year. Their role also requires them to keep the company’s manifesto, vision and values intact and active in the plays produced by the company.  They are to maintain a good relationship with the Creative Industries Faculty as well as those who give a lot of their time to the company.  The Artistic Director will focus on attending occasional production meetings and rehearsals and assist Mainhouse Directors in casting and other matters.  The Artistic Director has the final say in any company disputes if no agreement can be made, and they are to offer support and advice to all those involved with the company who may require it.   The Artistic Director convenes and chairs all fortnightly meetings of the company. The Artistic Director is the President of the National Association of Australian Student Theatre (NAAST) and will work closely with the NAAST Coordinator to organise NAAST events.  The Artistic Director liaises with everyone in the executive particularly the members of the Core Executive – the Associate Artistic Directors, the General Manager and the Company Administrator.  This is a year long role.

From Ben Schostakowski, 2009 Artistic Director: “The role of Artistic Director is the most demanding role in the Vena Cava Productions executive committee. This is a year-long role that begins the moment of election through to the following year’s AGM, and again following into the next year. There are set roles and responsibilities, which are pertinent to the company’s running, however this job entails a significant amount of ‘little jobs’ that occur nearly every day throughout the year. The biggest piece of advice I can give to anyone interested in this role is to be sure that you have excellent time-management skills. You have to be able to deal with tricky situations under immense pressure, and be prepared to sacrifice a lot of time to make sure the company continues to run as smoothly as possible. The type of person best suited to this role will be able build good working relationships with all exec members and be prepared to do a lot of work ‘behind the scenes’. This person will need to have already have built a strong relationship with the Performance Studies Faculty and Venue Technicians; without these the role could be very difficult to fulfil as they make most of what happens in Vena Cava possible. This person will need to have great networking skills and be able to talk comfortably with industry directors and practitioners. Most importantly, this person will need to be able to provide strength for Vena Cava, as the role requires someone who can make sure the right thing happens for the company regardless of personal opinions. This said, it is not all doom and gloom. The role is extremely beneficial in developing people skills, arts management skills and extremely fulfilling if you have a passion for the exciting theatre that can be creating in this environment. Anyone interested in this role please feel free to contact me so as I can share any advice that may be beneficial to you. I won’t pretend to know all the best advice in the world, however I am sure I can provide some helpful tips. This role is not for the light-hearted or the easily stressed out but it is a very fulfilling role to have the privilege of doing.“

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

Associate Artistic Director, Head of Production  The Associate Artistic Director offers support and advice to all those involved with the company who may require it. They also must assist the Artistic Director in any artistic decisions regarding the plays produced or the company manifesto and be a sounding board for the AD.  The Associate Artistic Director, Head of Production will work closely with all Mainhouse Production Managers (Production Managers of Mainhouse 1 and 2 and Atrium.) They will attend all production meetings and liaise between the Production Managers, the Artistic Director, technical roles and theatre management.  The Associate Artistic Director, Head of Production will coordinate the $2 Tech programme and will liaise with Theatre Technicians with regards to the scheduling and safety of these afternoons.  The Associate Artistic Director will need to be present for all production meetings and tech events throughout the course of a season, festival or event.  If possible, the Associate Artistic Director should offer technical support and to be willing to step into production roles if ever necessary and fulfil the responsibilities of the AD in the absence of the Artistic Director.  This is a year-long role.

From Leah Johns, 2009 Associate Artistic Director (head of production) “The role of Associate Artistic Director (head of production) requires a lot of extra time on top of VC meetings and production meetings, so it would suit a person who has good availability. You will be required to assist production managers, stage managers, FOH managers and any technical crew, so some technical knowledge (even basic) would be ideal. You must also be a supporting member of the core executive and be able to make decisions which are in the company’s best interest.” Associate Artistic Director, Head of Marketing and Festivals  The Associate Artistic Director offers support and advice to all those involved with the company who may require it. They also must assist the Artistic Director in any artistic decisions regarding the plays produced or the company manifesto and be a sounding board for the Artistic Director.  The Associate Artistic Director, Head of Marketing and Festivals will work closely with the Internal and External Publicity Officers, the Sponsorship Officer, the Graphic Designer, the Web Designer and the festival coordinators (for Fusion and Capillaries). The Associate Artistic Director will liaise with these people and the Artistic Director and Directors of Mainhouse Shows.  If possible, the Associate Artistic Director should offer technical support and to be willing to step into production roles if ever necessary and fulfil the responsibilities of the AD in the absence of the Artistic Director.  This is a year-long role.

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

General Manager  They are required to oversee all financial aspects of all events held by the company and regularly overview the company’s annual budget. They must be as fair and consistent as possible in the distribution of company funds.  The General Manager along the Artistic Director are signatories of all company finances and as such has access to funds, thus must be determined, responsible and trustworthy.  They must ensure all financial legalities are considered (i.e. ensuring all royalties are paid, all liquor licences are obtained etc).  The General Manager will oversee the duties of the Front of House Manager, and will liaise with them regarding float, FOH budget, and season takings.  They must also ensure that all other legalities are considered, and must oversee all contracts and agreements between Vena Cava Productions and other parties. The General Manager the only member of the company with the ability to remove any member of the executive from their designated role, after consultation with the Artistic Director.  This is a year-long role.

From Belinda Locke, 2009 General Manager: “The role of General Manager involves setting the company’s annual budget and overseeing all financial and legal issues related to the production of events, festivals and other expenditures as well as overseeing general company business. This requires the General Manager to be in close communication with the rest of the Core Executive, the Front of House Manager and the Production Managers or Coordinators for each event. The General Manager must keep detailed records of all expenditures and obtain proof of purchase for each item from the relevant individual. They must also approve the final production and graphic designs, distribute contracts and attend production meetings as often as possible. This role would suit someone who is highly organised, trustworthy, competent in basic mathematics and able to make considered, rational decisions that keep the company’s best interests in mind at all times. In my experience as General Manager this year, the position has been far from dry or boring and has been invaluable to my professional development. The highlights for me have been the energetic conversations with the rest of the core executive about the running of the company, helping to pick up the pieces when disaster strikes and giving advice to and mentoring younger students. The relationship between the Artistic Director and the General Manager is vital to the well being of all theatre companies and has been described to me in the simple terms that the AD provides the vision for the annual season and the GM makes it happen (financially, logistically etc). This role is a significant undertaking and requires on average two hours of your time every day, differing according to the number of events occurring and your familiarity with the role.“

Company Administrator  They are a general overseer of all aspects of the company and the key liaison with the Clubs & Societies Officer of the QUT Student Guild in order to organise and facilitate the QUT Market Days, BBQ’s etc.  They record minutes, and organise dates, times and attendance of all company meetings as well as creating an agenda for all meetings. They are responsible for the communications of Vena Cava Productions, including email. The company administrator also takes responsibility for membership records and recruiting new members to the company.  This is a year-long role. 3

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

From Bec Hewitt, 2009 Company Administrator: As Company Admin, I was in constant communication with members and supporters of Vena Cava Productions and the dynamic creative and administrative people in the company. While the role does not necessarily require a huge amount of time around festivals, productions or events, you will be in constant communication with your Core Executive team regarding the day-to-day running of the company. A mature person with good time management skills, direct and diplomatic communication skills, and an ability to assist in the decision-making process of the company will be best suited to the role. You will DEFINITELY be there for all executive and core executive meetings!

Production Managers Mainhouse 1 & 2 What is a Mainhouse? Our Mainhouse Productions are performances that have been directed by a professional director. Mainhouse One is a text-based work that is true to the intention of the playwright, whilst Mainhouse Two is an innovative interpretation of a text. Students work under the direction of a professional to create inspiring performance. From Joc McLeod, 2009 Production Manager for Mainhouse Production 1: The role of Production Manager is a challenging and rewarding position that involves responsibility, motivation and above all, organisation. A suitable candidate for the position will be someone who has the social skills to liaise with the VC executive committee, the director, performers, creatives and crew. Proficient organisational skills will be necessary to manage call-outs and auditions, the booking of rehearsal and performance spaces, and to develop rehearsal and production schedules. A person who handles the pressure of time deadlines, can coordinate negotiations between several groups, and is confident in the organisation and management aspects of a production, will flourish in this position. From Rachael Darnell, 2009 Production Manager for Mainhouse Production 2: The role of the Production Manager for a mainhouse Vena Cava production provides hands on experience with an industry professional director, a strong outlook on and understanding of all of the roles required for a professional theatre production and a chance to basically be in charge of ensuring that a quality production goes up during the season. The role requires a lot of time during a smaller period than some of the other Exec positions. Although the role does not stretch for the entire year, I would encourage not applying if you feel that you will be too busy with study next year, or have other shows in the works for that time period. Also, education students: do not apply for a show that goes up during one of your field placements. As the Production Manager, you will be in charge of all crew, cast and the industry professional director that joins Vena Cava for the show. This role needs a highly organised, assertive and well-spoken person who knows a bit about all of the technical and creative roles that are needed for a professional theatre production. It would benefit if the person has already undertaken some technical, creative and/or performative positions in previous Vena Cava productions. Atrium (Mainhouse 3) What is Atrium? Atrium is Vena Cava’s annual student collaboratively devised performance with facilitation from a director who has a strong belief in the values of collaborative performance. In 2007, Atrium was the highly successful production titled 20Something, in 2008 we celebrated the success of Rooms and in 2009 was When You Fell Off. From Ryanna Clayton, 2009 Atrium Production Manager: “This role involves organisational skills and a passion for the backstage arena of theatre. Atrium is different from other Vena Cava Mainhouse shows - it is of a collaborative nature and nothing is set in stone. The role requires patience, diligence and previous knowledge of backstage technical roles is essential. It is also vital that you have ready access to the internet as most correspondence is done over email. You are responsible for the callouts, management of crew, creating production timeline/schedule etc., maintaining deadlines and running production meetings. If this is your first time doing a management position I would recommend doing a callout for an assistant production 4

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

manager. The job can be lonely and having help would be make the position even more rewarding as you would have someone to share the journey with!” Fresh Blood Fresh Blood is a student work (either a written text and/or a devised performance) created by students. Students can pitch an original concept to be used in the devising process and/or an original written text by a current QUT student. The production manager will fulfil all responsibilities that any other production manager would do with the addition of assisting the Artistic Director and the Associate Artistic Directors in the process of choosing a text and or concept for Fresh Blood. Productions Managers are responsible for supporting the director in their vision of the project, by ensuring its realisation. They are the link between the Executive Committee and the director, and must ensure that communication between executives and director is maintained.  They must organise call-outs and auditions for performers, creatives and crew, and have a say in their selection. They must ensure that all involved in the production are aware of the responsibilities they have undertaken, and to co-ordinate communication between them.  In addition, the Fresh Blood Production Manager organises call-outs for performance submissions and provides these submissions to the Artistic Director and Associate Artistic Directors for consideration.  It is the Production Manager’s responsibility to book venue and rehearsal rooms, and ensure these are kept in an orderly state during and after production and performance period. They are required to develop rehearsal and production schedules, and must chair weekly production meetings attended by the director, all creatives and crew.  They liaise with executive committee regarding set design decisions, lighting designs and other issues that may arise. If need be, this communication also needs to happen between the company and the faculty, and the Production Manager should be a part of this.  The Production Manager will seek approval from the General Manager regarding all company expenditures for the production and will provide the General Manager with a record of all purchases made upon the completion of the event.  They MUST be available throughout Production and Performance week, as well as the day after Bump Out, to ensure any potential issues and problems are dealt with.  At all times, they must act in a professional manner, and ensure that this professionalism is maintained throughout the entire team. From Yvette Turnbull, 2009 Fresh Blood Production Manager: “As Production Manager for Fresh Blood, you will be responsible for the planning and physical realisation of each production. The PM manages and strictly control the production budget as set by the General Manager, abiding by the company’s financial systems, experience of working with small, tight budgets and bringing projects in within budget is ideal, organises and lead regular production meetings and all Bump In/Out crew and transportation for the production in liaison with the Head of Production. The role calls for superb management and communication skills, as well as excellent problem-solving skills with an attention to detail. The role also asks for a great deal of initiative and the ability to foresee tasks/possibilities and responsibilities.”

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

Front of House Manager  This newly-created role entails coordinating front-of-house volunteer rosters and the general running of frontof-house for seasons, festivals and other Vena Cava Production events throughout the year.  This person will be responsible to the General Manager throughout the year to handle incoming and outgoing cash-flow from the sale of tickets and beverages, and will maintain reconciliation sheets and the cash float throughout seasons. The Front of House Manager will prepare an end-of-season report for the General Manager with regards to takings, unexplained cash-flow discrepancies and other issues that may arise in the course of their business.  This person will also work with respective show directors to implement and realise front-of-house design schemes, and Production Managers with regards to bump-in, bump-out, purchase of alcohol and consumables, and collecting catering if/when necessary.  It is necessary that the person who undertakes this position will have an RSA license. Full or partial funding may be provided by the Vena Cava Productions budget for an eligible candidate to undertake this training.  This is a year-long position.

Fusion Festival Coordinators X 2 What is the Fusion Festival? Fusion is a joint festival between the UQ Theatre Company, Underground Productions, and Vena Cava Productions from QUT. It is held early every year and has been growing more and more successful over since 2005. There are opening and closing night parties, held at both UQ and QUT. There are 4 days of workshops and fun and games, shared between campuses, involving industry professionals and students. 

A Coordinator’s role is similar to that of a Production Manager. However, their primary role is to organise and liaise with artists who will be running and co-ordinating workshops in the festival, as well as liaise with the UQ Underground co-ordinators, and ensure communication is maintained. They are to organise Opening/Closing night parties, attendance of the workshops, and recruit students to them through Fusion stalls and promotional material. They are also to liaise with executive committee regarding any issues that may arise.

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To accept responsibility for the state of the chosen venue during and after workshops. They also MUST be available throughout all workshops in March, as well as the day after Closing Night to ensure any potential issues and problems are dealt with.

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You will be required to start in this role almost immediately, with approaching potential workshop facilitators and getting in contact with UQ’s Underground team, and even beginning to design promotional material.

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The Coordinators will seek approval from the General Manager regarding all company expenditures for the festival and will provide the General Manager with a record of all purchases made upon the completion of the event.

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

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At all times, they must act in a professional manner, and ensure that this professionalism is maintained throughout the entire team.

From Jill Franklin, 2009 Fusion Festival Co-Coordinator: “This role is demanding in time and applicants should be available for weekly meetings with UQ representatives leading up to the festival. The role requires someone who is not stressed under pressure and has creative ideas in terms of festival planning. Email contact is essential throughout the process, and the applicant should have strong communication skills and be able to liaise between students and professionals. The successful applicants will find the role very beneficial and rewarding as they are given the opportunity to create and design a four day festival. The role demands the coordinator possesses organizational skills, a passion for performance festivals and an enthusiastic attitude.” From Melissa Dorge, 2009 Fusion Festival Co-Coordinator: “As Fusion was the first event of the year (this may change) an exceeding amount of time was taken from the December holidays and dedicated to the organization of the festival. People wishing to apply for the position of coordinator need to be able to communicate, negotiate, compromise and have skills that allow them to communicate with a number of varying professional artist. They will also need to be able to cope under extreme pressure, organize timetabling and numerous room bookings and be able to source performers for opening and closing nights. One of the most important things to remember as a coordinator, is to keep EVERYBODY updated, otherwise miscommunication can lead to a number of unnecessary issues.”

Capillaries Festival Coordinators X 2 What is the Capillaries Festival? Capillaries is an opportunity for young writers and performers to pitch an idea to Vena Cava and have it put on display as a short creative development piece. It is especially beneficial to individuals who wish to invite specific people to attend in order to gain feedback, so they can further develop their work into festivals such as 2High and Woodford. 

Capillaries works best when it is stripped away as much as possible.

It works best having 4 or 5

performances of any style, all scheduled on the same night at staggered half-hour intervals repeated over a period of 2 or 3 nights. It is the responsibility of the person in charge of the individual performances to decide who or if they want to invite, to organise their own rehearsals, and to advise the Capillaries Coordinator of their technical requirements for their piece.  A Coordinator’s role is similar to that of a Production Manager. However, their primary role is to support each individual/group in their vision of the project and organise call-outs for performance, creatives and performers, and have a say in their selection. The Co-ordinators must also organise performance and rehearsal venues.  They MUST be available throughout Production and Performance week, as well as the day after Bump Out, to ensure any potential issues and problems are dealt with.  The Coordinators will seek approval from the General Manager regarding all company expenditures for the festival and will provide the General Manager with a record of all purchases made upon the completion of the event.  At all times, they must act in a professional manner, and ensure that this professionalism is maintained throughout the entire team. 7

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

From Tom Quirk, 2009 Capillaries Co-Coordinator: “This position allowed me to coordinate and curate a festival of student theatre spanning across three days. As Capillaries Coordinators, we had the capacity to shape the themes, theatrical forms, event running and feel for a distinctive Capillaries Festival in 2009! Anyone considering the role of Capillaries Festival Coordinator should be confident in working collaboratively and cooperatively with other people. A high standard of organisation and time management is required to meet the requirements of the role. Capillaries Coordinators should be passionate about facilitating emerging and work-inprogress art and have the ability to liaise with the core Vena Cava executive committee, technical manager and uphold a strong dialogue with the festival’s artists. Anyone considering the position would need to be able to coordinate various groups of people within the festival including artists, technical staff and volunteers. Capillaries Coordinators for 2010 should be keen to expand the festival and alter the current structure to make the festival an even more distinctive part of the Vena Cava Productions 2010 season.” From Kimberley Twiner, 2009 Capillaries Co-Coordinator: “This role involves sourcing artists for the festival, artist call outs, communicating to all networks, working with the exec to sort through applications and selecting successful applicants, liaising and communicating with the artists and technicians, and assessing the subject matter of the works and giving creative advice when needed. To successfully conduct yourself in this role you need to be comfortable in a leadership position, articulate, and passionate and respectful about other people’s works. All in all this is a very fun role and very rewarding!”

National Association of Australian Student Theatre Coordinator (NAAST)  The NAAST Coordinator will work closely with the Artistic Director to create a greater dialogue between student theatre companies in Australia. The NAAST Coordinator will be required to organise the inaugural NAAST Conference that will be held at QUT in 2009 and organise quarterly newsletter to be sent to all member student theatre companies of NAAST.  The NAAST Coordinator will liase between FAST (Festival of Australian Student Theatre) and Vena Cava Productions.  This is a year-long role.

From Sandra Carluccio, 2009 NAAST Coordinator: “NAAST (National Associate of Australian Student Theatre) requires dedication of half an hour a day to contact and respond to national universities via email or phone. Once you have collated a contact list from other universities in Australia you can create a website or another form of data basing so that other universities can have access to this information. This role is flexible, however the premise for this position is to form a network and dialogue with national student theatre companies. NAAST requires someone who is proactive, able to manage their time by creating personal deadlines, and someone who wishes to find innovation within national student theatre networks.”

Theatresports Coordinator  This person will be the face of the Theatresports group and will be energetic, outgoing, and committed to performing in Theatresports and stand-up comedy events.  The role will also entail finding out about various comedy and Theatresport events around Brisbane, advertising these events to the broader Vena Cava Productions community, and encouraging emerging talent to enter into these events.

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

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This person will run the Theatresports workshops throughout the year at QUT, and will coordinate workshops and events for the Fusion Festival in 2010.

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This is a year-long role.

From Tom Noble, 2009 Theatresports Coordinator: “The role includes weekly co-ordination of workshops, based on improvised theatre. Whilst the workshops content will be at the discretion of the new co-ordinator, they are of a highly energized and physical manner, and any co-ordinator would need to be of a similar disposition. Someone with experience in the field is somewhat essential as it is primarily a teaching position. The group, and co-coordinator, should look to expand its numbers, working with affiliated companies in Brisbane, and remain in touch with the live comedy scene in the Brisbane area. Whilst the position doesn’t require a great measure of contact time, it requires dedication, as it is year-long position and a relatively newly formed group.”

Sponsorship Officer  They are to be the company’s one and only point of contact with other companies providing continual or one-off sponsorship to Vena Cava. Starting from when they are elected, they are to seek CONTINUAL sponsors throughout the year eg. hairdressers, supermarkets, caterers (HairColourCafe, IGA, Beadles etc) who can be continual sponsors for all events and be put on all our promotional material. They are also to seek INDIVIDUAL PERFORMANCE sponsorships by mailing out proposals to relevant companies, requesting fair and justified items – not money – to assist in the production of the company or individual performance. The Marketing Manager of the approached company should be the preferred point of contact. The Sponsorship Officer is to be prepared to follow up these mail outs with phone calls.  They are to liaise with the sponsor about a fair arrangement between companies and are to organise pickup and drop off (if required) of items given in kind to Vena Cava.   Very importantly, they are to compose and mail or e-mail thank-you letters to all sponsors involved. This is a year-long role but is not as large as it sounds once you have your base sponsorship proposals & letters in writing, which the 2008 executive will supply you with. From Renee Hood, 2009 Sponsorship Officer: “Arranging sponsorship was quite time consuming early in the year, but if you are able to find a sponsor who will provide goods for the whole year then it's just a matter of maintaining a good relationship with the business owner. A person in this position needs to have good communication skills (both verbal and written) and they need to be wellorganised to make sure that the businesses have enough warning about an upcoming event. Also, you need to care about the businesses that are supporting Vena Cava; you are their representative at exec meetings and it is up to you to make sure that they are getting a return on the sponsorship arrangement.”

Internal Relations Publicity Officer  The role of the Internal Relations Publicity Officer is primarily to oversee the promotion of the company and its activities to members of Vena Cava Productions and the entire student body of QUT. They will work to maintain and increase the positive presence of the company within the university community.  To organise the printing of the print materials, obtaining costings, etc, after receiving the design from the Graphic Designer. Also they are to organise the distribution of the print material throughout QUT campuses and other locations with the assistance of the rest of the company. 9

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

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To obtain listings and/or advertisements and/or articles in university and student magazines and media (QUTE, News Unlimited, etc) for the company and current production.

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At the commencement of the teaching year, they are to send out a notice to all first year students as an introduction to the company. They will continue to provide Vena Cava members, the mailing list and QUT students with information on the company’s activities throughout the year, through emails, QUT Blackboard notices and other appropriate tactics.

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They will work with the Company Administrator to ensure the company’s presence at QUT Student Guild Market Days.

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This is a year-long role.

From Amy Zaghini, 2009 Internal Relations Publicity Officer: “Internal Publicity demanded some time around three weeks before until the week of a production/event but not necessarily during. With the help of Associate Artistic Director, Head of Marketing and Festivals this role is about getting assigned jobs done properly and on time. This role would suit anyone interested in the creative industries, as marketing is essential to everything these days, as well as anyone wanting to work in PR. This role definitely needs someone who has great writing skills, and who is competent in writing persuasive emails. They also need to be reliable, as they will need to pick up posters on time and distribute them around the campus. And most of all, they need to be friendly and interested in what Vena Cava does because how can anyone give a good spiel about the company and promote its productions if can't even convince yourself?”

External Relations Publicity Officer  The role of the External Relations Publicity Officer is primarily to oversee the promotion of the company as a whole and its activities outside of the QUT student body. This includes to the Brisbane performing arts industry, other universities and TAFE’s in Brisbane, and other potential audiences in Brisbane in general – if appropriate, this may include schools. They will work to maintain and increase the positive presence of the company within the industry and the Brisbane community.  They are in charge of sending mailouts (red envelopes, with typed addresses on the front and stamped with the Vena Cava logo on the back) to invited industry members for the 2 x Mainhouses & Atrium. They are to send email invites to all past Fusion Festival Facilitators inviting them to our Mainhouse shows & Atrium.  To obtain listings and/or advertisements and/or articles in street press and any other relevant magazines and media (Time Off, Australian Stage Online etc) for the company and current production, and to contact radio and TV stations about the company and endeavour to establish important relationships with other companies around Brisbane.  They are also responsible for keeping the Vena Cava Productions MySpace website and facebook group page up to date with event information and photos, as well as working with the Website Designer on content for the official website for the company.  This is a year-long role.

From Errin Rodger, 2009 External Relations Publicity Officer: 10

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September 2009 R. Hewitt, B. Schostakowski, N. Paine, B. Locke, L. Johns

“As opposed to the Internal Publicity Publicity Officer who promotes each individual show, the External Publicity Officer promotes the company as a whole. The role demands roughly 2-4 hours of work per week. Applicants must have excellent written skills, a strong understanding of Facebook, MySpace and website text layout, a clear focus on time management and achieving deadlines. Owning a car, or access to one, would help with dropping off publicity material, and fast, reliable internet access would allow quick online publicity updates. I believe the role would suit someone with an outgoing, friendly, talkative personality; someone who has had a previous association with Vena Cava Productions and is proud of its past and future. An interest in the craft of writing would be beneficial, but a love of theatre and the natural compulsion to tell people about it would benefit more than a minor in marketing, journalism or PR.”

Graphic Designer  The graphic designer is to provide a design for each event that has an element of consistency throughout the year (stylistically) but still keeps each event unique. The design will include a poster, business card and e-flyer. Part of the design may include a photographic element. They are to meet the deadline provided by the Production Manager.  This is a year-long role.

Website Designer  The Website Designer will work to create a user friendly website for Vena Cava. They will work heavily with the External publicity officer and Associate Artistic Director, Head of Marketing and Festivals to design the website and keep it updated.  This is a year-long role.

From Sandra Cantarutti, 2009 Website Designer: “As Vena Cava Productions Web designer, you are required to update the Vena Cava website and post new details about upcoming shows. This position does not require you to have any previous experience with web design. Posting new information is simple and can be mastered by anyone. It’s just as easy as modifying your Myspace page as requires some creative flare and some patience with HTML codes.”

Archival Photographer  The Archival Photographer is responsible for photographing a dress run of all performances as well as parts of the rehearsal process for publicity and archiving purposes. These photographs do not need to be ‘professional’.  They must keep a record of the subjects of each photograph for legal considerations and ensure that release forms have been signed by all participants before publishing the image.  This is a year-long role.

From Robyn Shenfield, 2009 Archival Photographer: “You will need to own, or have access to a digital camera. This camera need not be professional - a small 8 or 9 megapixal camera would be fine. You will need to attend preview nights, opening nights, rehearsals to take pictures of the show itself, in addition to pictures of patrons. You will be uploading photos to Facebook in a timely fashion, ensuring that all pictures are also placed in the photos section of the Vena Cava Productions group. Ensure that you provide 11

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digital copies of images to production manager, director etc if requested, and you will ideally be able to liaise with Company Archivist and website designer.”

Company Archivist  The Company Archivist will organise and maintain the records of the company’s history of events and activities.  They will work to provide the Executive Committee and Vena Cava members with an

understanding of the history of the company and those who have been involved with it. They will work with the Company Administrator and Archival Photographer to ensure that documentation of current activities is made.  This is a year-long role.

From Anna Molnar, 2009 Company Archivist: “The role of the Company Archivist is quite small compared to other roles in the Executive Committee, not needing as much time to fulfil responsibilities, but it is still important. It suits a person who cares deeply about Vena Cava Productions and its purpose; someone who has previously been involved in numerous activities with the company would be most appropriate, as they have been part of the company’s history and would have knowledge of our practices and objectives. The Company Archivist needs to be well-organised and capable with administrative tasks such as filing. Vena Cava’s archives are sometimes overwhelming to deal with, so it is important that the Company Archivist is not put off by handling a lot of paperwork. The Company Archivist needs to understand Vena Cava’s history so they can be a resource to the rest of the Executive Committee, who need to be aware of how issues and activities were dealt with in the past to inform their present practices and strategies. They may also be required to provide archival information for the website and other mediums.”

Office Bearer(s)  An Office Bearer does not have any specific responsibilities; however they are able to attend all Vena Cava executive committee meetings to take part in the decision making process and are usually called upon to assist others with their roles. They are often asked to provide assistance as technical and front of house crew. This is a great role for people who are unsure of an area they would like to dedicate more time to and to see how Vena Cava works and operates.

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