Why Clear Scheduling is Key in Community Theatre

Hannah Crawford, Guest Editorial

No matter what you do or where you go in life, communication seems to be the central theme of what we can all do better. Whether it is relationships, work, volunteering, or extracurricular activities, communication is always room for improvement. The majority of the time, when things go wrong, it is simply a lack of communication that has caused this disruption. 

Clear communication is needed with scheduling in the theatre, as is simple mutual respect for those you are trying to work with. But not only for that reason but also for productivity. If we, as the production team, are not clearly communicating schedules, we are doing more work for ourselves when people can’t show up or cast members aren’t aware of schedule changes. It disrupts the process and the flow of productivity. 

The Reality of Balancing Theatre and Full-Time Jobs

As a gig worker over the years, one of the most difficult things has been finding like-minded theatre partners who understand that community theatre professionals have day jobs. As a youth theatre director, I will admit that for many years, I treated my shows like they were the absolute most important thing in the world and that everyone needed to be at every rehearsal and on schedule with the show as I road-mapped out.

However, through the years, I have gained the understanding that people have lives outside of the show they are working on. Not only should we, as theatres, be flexible with our cast, but we should also be realistic in our scheduling. You can’t have a show without your cast and crew, so if you set unrealistic expectations, you will find yourself black-listed as a director and people unwilling to work with you.

Transparency Before Casting and Contracting

I cannot tell you how vital this is. Too often, theatres wait until after casting the show to determine scheduling and other logistics. I am sure you might find those willing to press forward in the process, hoping they will get selected. But, then what happens when they get cast or contracted for the show but then have to back out after due to your schedule that now conflicts with things they already have committed to in their lives? In professional terms, it screws you over is what it does. 

I’m not saying I did everything right as a youth theatre director, but if there is one thing I was good at and excelled at, it was my ability to be very clear on everything that was happening. Yes, yes, yes, I am one of those people. I never arrive late, my work is always completed before it’s due, and I’m prepared with a plan before the project begins. 

As annoying as that might be to some people, it has prevented misunderstandings and ensures everyone I’m working with is on the same page. It is a more efficient process, to say the least.

How I Got Screwed When Clear Scheduling Was Missing 

There is a theatre close by that I’ve been trying to get with for years; it’s just never happened. They are a very closed group already with “their people,” which is fine; I understand. But I was elated last year to finally connect with the right person, and I was excited to see my portfolio in stage management and other backstage crew experiences. 

The full-time stage manager asked me to come to a show so she and the Artistic Director could meet me in person, show me around, and just get to see me in person. So, I carved out the time in my schedule to do that, which was amazing. 

We discussed my theatrical experience, and I mentioned that, at the time, I was working about 40 minutes away from the theatre during the day. I attended the show, and it was a beautiful performance of “Rent.” 

After that was over, the stage manager contacted me quickly, letting me know they loved me and wanted to offer me an assistant stage manager position for the show in the fall. She told me the stipend, sent me the tentative schedule, and asked if I had any conflicts. I combed through the schedule, and everything looked great, with no conflicts on my end. 

I renegotiated the stipend from the get-go to get them to a higher price point that better fit my experience. (Side tip: never accept the stipend at first. You can always go higher. Don’t be greedy, but you can always negotiate higher.)

After figuring that out, I was told I would be contacted next month with the contract once we got closer to the fall. A month later, I received communication from the stage manager about the next steps. But then I received a revised schedule with only 3 conflicts. All three were at about 3 or 4 in the afternoon, and I wouldn’t be able to make it that early due to my day schedule, which remember I was clear about upfront. 

This theatre backed out, stating that they couldn't have me if I couldn’t be there at the start. To say that I was shocked would be putting it mildly. If anyone understands that sometimes you just can’t work with other people’s schedules, truly, I get that. especially when there are so many conflicts that it just doesn’t make sense. But three times? And just because I couldn’t be there for the first two hours? 

Let’s just say I didn’t fight that. If you’re willing to be stingy and unwilling to work with artists, then that tells me you’re not the type of theatre I want to work with. 

If we prioritize clear scheduling and open communication from the get-go, we, as theatre professionals, can create an environment where the cast and crew feel valued and respected. Just as we wish for our cast and crew to respect our time and what we put into the show, we must appreciate their time and schedules. At the end of the day, the magic of the stage is better created for the audience when everyone can be on the same page and work in harmony without being stressed out.