1St ASSISTANT TREASURER Center Theatre Group, Los Angeles, CA

Total Page:16

File Type:pdf, Size:1020Kb

1St ASSISTANT TREASURER Center Theatre Group, Los Angeles, CA ! Position Title: BOX OFFICE 1st ASSISTANT TREASURER Center Theatre Group, Los Angeles, CA Position Summary: Assists the Box Office Treasurer in managing and supervising box office staff for Center Theatre Group productions primarily at the Ahmanson Theatre, Mark Taper Forum and Kirk Douglas Theatre and additional venues used by CTG. Supervises the day-to-day box office activities associated with selling tickets to CTG events while ensuring fiscal accountability and !superior customer service. Primary Responsibilities: 1. Assists Box Office Treasurer in supervising and managing overall day-to-day operations of the Ahmanson Theatre, Mark Taper Forum and Kirk Douglas Theatre Box Offices and additional venues when required 2. Supervises and schedules a staff providing customer sales and superior services to subscribers, donors, single ticket buyers, groups and others 3. Oversees ticketing accounting and cash handling procedures with regard to daily receipts and deposits 4. Supervises the processing of a large volume of ticket exchanges, donations, window transactions, fax and mail orders 5. Coordinates manifests, inventory and ticket allotments to outside companies for third party ticket sales 6. Manages the resolution of patron complaints 7. Supervises and controls venue ticket inventory, including the assignment of seat status codes ! 8. Maintains an enthusiastic attitude toward CTG and its productions Secondary Responsibilities: 1. Provides special reports for general managers, outside producers and/or company managers as required 2. Becomes informed about and attends all CTG season productions at the Ahmanson, Taper and all other theatres where CTG performances occur 3. Other duties as may be required. CTG provides a dynamic working environment, one in which duties and responsibilities ! may change. Employees are expected to be flexible and responsive to changes in the scope of duties. Qualifications: A. Knowledge and essential skills 1. Maintain enthusiastic rapport with staff and patrons 2. Possess excellent skills in customer relations, co-worker communication and problem solving 3. Possess excellent communication skills (written and verbal), sense of humor, flexibility and willingness to take initiative 4. Ability to manage multiple large-scale tasks simultaneously 5. Familiarity with integrated ticketing/patron systems (Tessitura preferred); Microsoft Word, Excel and Access 6. Must be a self-starter and able to handle a multitude of situations and challenges on a day-to-day basis 7. Possess a good working knowledge of theatre arts and the productions presented and produced by CTG ! 8. Demonstrated ability to work well with people of diverse backgrounds B. Minimum requirements: Essential functions and abilities 1. Ability to work under pressure in a fast paced environment !2. Must be able to physically type and concentrate for long periods for accurate data entry to a computerized system C. Education, Experience and Licensing 1. A minimum of 3 years of ticketing operations management ! 2. Proven success in customer service and staff management This is a Full-time position, under the jurisdiction of IATSE local 857. Compensation will be commensurate with experience, plus full benefits package. Hours worked will include evenings, weekends and holidays as production schedules require. CTG is an equal !opportunity employer. .
Recommended publications
  • More- for Immediate Release CENTER THEATRE GROUP
    For immediate release CENTER THEATRE GROUP ANNOUNCES 2018 — 2019 SEASON AT THE MARK TAPER FORUM AND KIRK DOUGLAS THEATRE THE 2018 — 2019 SEASONS FEATURE TWO WORLD PREMIERES, A PULITZER PRIZE-WINNING PLAY, A NEW WORK BY A PULITZER WINNER, A POWERFUL WORK BY A LOS ANGELES FAVORITE, AN EXCITING SOLO WORK, A RECENT NEW YORK HIT, AN ACCLAIMED PRODUCTION OF A CLASSIC PIECE AND THE THIRD ANNUAL BLOCK PARTY: CELEBRATING LOS ANGELES THEATRE The 2018-2019 Season at the Mark Taper Forum Includes “Sweat,” “Valley of the Heart,” “Linda Vista,” “Lackawanna Blues” and “Happy Days” Begins August 29, 2018, and Runs Through June 30, 2019 The 2018-2019 Season at the Kirk Douglas Theatre Includes “School Girls; Or, the African Mean Girls Play,” “Quack,” Block Party: Celebrating Los Angeles Theatre and “From the Words and Writings of Dana H.” Begins September 2, 2018, and Runs Through June 23, 2019 Two Subscriber Bonus Options Offered as Part of Off Center Center Theatre Group Collaborations with Arts Partners Around Town [For complete listing of plays and performance dates, please see final pages of release.] Center Theatre Group Artistic Director Michael Ritchie has set the 2018 — 2019 seasons at both the Mark Taper Forum and Kirk Douglas Theatre. Together, the seasons feature new plays, classic works and the continuation of Block Party, which celebrates the rich array of theatre produced every year in Los Angeles. “The eight shows scheduled in the 51st season at the Taper and the 15th season at the Douglas run the gamut from world premiere comedies to enduring classics,” said Ritchie.
    [Show full text]
  • Ripe Frenzy Program (Download PDF)
    WELCOME Greenway Arts Alliance has been honored to serve thousands of students, artists and community members for the last twenty years. Did you know that you are on the campus of Fairfax High School in a building designed and constructed by Fairfax students as a “Social Hall” in the 1940’s? Based on articles in the school newspaper, the students were committed to building a home in which to “socialize.” Greenway continues this commit- ment through our mission to unite communities through our productions at the Greenway Court Theatre, which give our patrons the opportunity to share in the communal experience of live theatre. Jennifer Barclay's Ripe Frenzy, produced through the National New Play Network's Rolling World Premiere program, is the culminating production of Greenway's 20th Anniversary season. In it we showcase our recommitment to producing important new works that explore the pressing social issues of our time. As we write this letter in preparation for Opening Night, we do so with the knowledge that students, teachers and parents in Santa Fe, Texas, are mourning their friends and children lost in yet another school shooting. Since Columbine, we have watched in horror as 85 similar shootings have occurred, killing 223 people. As a theatre in residence on a high school campus, we say ENOUGH, and hope that this produc- tion will inspire our audiences to interrogate society's role in the proliferation of these events, and look for ways to work toward ending them. We regard Greenway Court Theatre as our home and are grateful that you are here.
    [Show full text]
  • The 2017 Remodel of LA Theater
    The 2017 remodel of LA theater laobserved.com/intell/2017/12/the_2017_remodel_of_la_theater.php By Don Shirley | December 23, 2017 9:09 AM If you see only one satire of musicals this month, "Something Rotten!" is the better choice. Photo by Jeremy Daniel. 2017 was a pivotal year for Los Angeles theater, but not because the quality was better or worse than usual. It's because of institutional changes. After two years of heated debate, new Actors' Equity rules finally took full effect in smaller theaters. Receiving far less attention were changes in the leadership of four of LA's larger nonprofit theater companies. Meanwhile, "Hamilton" - at the Pantages -- dominated the second half of the year, not only in terms of attendance, attention and profits but also in terms of innovation. In most of my previous year-end summaries, I briefly comment on my favorite shows, arranged in alphabetical order. I'm still mentioning most of my personal theatrical faves this year, but I'm weaving my references to them into the context of discussions about these larger changes. Because I've already written about most of my favorites in earlier columns (which are available here), I'm going to restrict longer mentions only to those few shows that were highlights but which didn't fit into earlier columns. 1/7 Also, for those readers who simply want some recommendations about what to see during the holidays, feel free to skip to the last section of the column. Let's start with our biggest nonprofit company, Center Theatre Group - the proprietor of the Ahmanson, Mark Taper Forum and Kirk Douglas Theatre.
    [Show full text]
  • Arts, Culture, & Creative Economy
    • • • • • • • • • • • Give Me Your Hand by Milton Davis, 1995. Art in Public Places Program. Source: Art in Public Places Program. Culver City’s first movie studio, circa 1915. Source: Culver City Historical Society. 1 Sources for this section are: 1) the City’s history webpages, https://www.culverCity.org/how-do-i/learn/about-culver- City/history-of-culver-City, 2) Culver City, California: The First Hundred Years, Julie Lugo Cerra, 3) Culver City Chronicles, Julie Lugo Cerra, 2013, and 4) stakeholder interviews. Umbrella by Eric Owen Moss, 1999, in the Hayden Tract. Designated Architecture as Art, Art in Public Places Program. Source: Eric Owen Moss Architects 2 Creatives are individuals with advanced training and experience in the design and production of a broad range of cultural products and services, including many individual artists of all disciplines. 3 John Howkins. The Creative Economy, www.creativeeconomy.com 4 United Nations Development Program, http://www.hdr.undp.org/en/content/how-cultural-and-creative-industries-can- power-human-development-21st-century 5 WESTAF Creative Suite 2017 6 Creative sector jobs include four classes of workers: Extended Proprietors, Non-QCEW Employees, QCEW Employees, Self-employed. Source: Economic Modeling Specialists International (EMSI). The arrival of Amazon Studios brings new creative jobs to Culver City. Source: Culver Steps. ▪ ▪ ▪ ▪ ▪ The Kirk Douglas Theatre is located in downtown Culver City and available for rentals. Source: EKYR Architects. ▪ ▪ ▪ ▪ ▪ ▪ ▪ VMB hosts creative programming in Culver City. Source: City of Culver City ▪ ▪ Arlette Cardenes, Music Director, Culver City Chamber Orchestra Source: Culver City Chamber Orchestra Table 1: Nonprofit Arts and Cultural Organizations in Culver City 1.
    [Show full text]
  • Bengal Tiger at the Baghdad Zoo
    BENGAL TIGER AT THE BAGHDAD ZOO BY RAJIV JOSEPH DRAMATISTS PLAY SERVICE INC. BENGAL TIGER AT THE BAGHDAD ZOO Copyright © 2012, Rajiv Joseph All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BENGAL TIGER AT THE BAGHDAD ZOO is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BENGAL TIGER AT THE BAGHDAD ZOO are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
    [Show full text]
  • A Century of Supporting Creative Expression in L.A
    Center Theatre Group I Corporate Circle A Century of Supporting Creative Expression in L.A. Mitchell Silberberg &, Knupp's Tony Amendola Loves Great Musicals—and Is Committed to the Arts Tony Amendola Ton y Amendola is a partner at Mitchell Silberberg & Knupp What playwright would you trust to write your life story? I LLP, a member of Center Theatre Group's Corporate Who would you cast as yourself? Circle. He represents private sector and nonprofit Moises Kaufman. I love his writing. (Perhaps he would team employers in all areas of labor and employment law. up with Sondheim and make it a musical!) As for the actor, He is also an advisor to Center Theatre Group's Human it's a toss-up between Bradley Cooper and Nathan Lane. Resources department. What is the most important quality in a Why does Mitchell Silberberg & Knupp LLP support charitable organization? theatre in Los Angeles? Unwavering commitment to its mission. For more than a century, Mitchell Silberberg & Knupp has been an integral part of the arts and entertainment Which theatrical skill would you most like to have? community in Los Angeles. As attorneys, we are committed The ability to sing. to supporting creative expression in all forms. A significant portion of our firm's client base has always been comprised What play feels most relevant to your life? of arts organizations, motion picture studios, television networks, independent producers, actors, writers, and Tony Kushner's Angels in America. directors. We are thrilled to continue our support of Which playwright would make the best lunch date? Center Theatre Group and its invaluable artistic, cultural, and educational contributions to Los Angeles.
    [Show full text]
  • Return of Organization Exempt from Income
    l efile GRAPHIC p rint - DO NOT PROCESS As Filed Data - DLN: 93490135002428 Return of Organization Exempt From Income Tax OMB No 1545-0047 Form 990 Under section 501 (c), 527, or 4947( a)(1) of the Internal Revenue Code (except black lung benefit trust or private foundation) 2 00 6_ Department of the Open to Public Treasury -The organization may have to use a copy of this return to satisfy state reporting requirements Inspection Internal Revenue Service A For the 2006 calendar year, or tax year beginning 07 -01-2006 and ending 06 -30-2007 C Name of organization D Employer identification number B Check if applicable Please CENTER THEATRE GROUP 1 Address change use IRS 95-2466183 label or Number and street (or P 0 box if mail is not delivered to street address ) Room/ suite E Telephone number (- Name change print or 601 W Temple St type . See (213 ) 972-7349 F Initial return S p ecific Instruc - City or town, state or country, and ZIP + 4 FAccounting method fl Cash F Accrual (- Final return tions . Los Angeles, CA 90012 Other ( specify) 0- F-Amended return (- Application pending * Section 501(c)(3) organizations and 4947(a)(1) nonexempt charitable H and I are not applicable to section 527 organizations trusts must attach a completed Schedule A (Form 990 or 990-EZ). H(a) Is this a group return for affiliates? 1 Yes F No H(b) If "Yes" enter number of affiliates 0- G Web site: - www centertheatregroup org H(c) Are all affiliates included? (- Yes F_ No (If "No," attach a list See instructions ) I Organization type (check only one) 1- F 95 501(c)
    [Show full text]
  • Los Feliz Ledger Read by 100,000+ Residents and Business Owners in Los Feliz, Silver Lake, Vol 13
    Los Feliz Ledger Read by 100,000+ Residents and Business Owners in Los Feliz, Silver Lake, Vol 13. No. 1 July 2017 Atwater Village, Echo Park & Hollywood Hills “Triangle” New Budget Makeover Targets Delayed Homelessness & By Erin Hickey, Infrastructure Ledger Contributing Writer By Michael Aushenker LOS FELIZ—Despite being Ledger Contributing Writer billed as an “immediate solu- Mayor Eric Garcetti’s tion” by its proponents when $9.2 billion city budget for it was approved in February, fiscal year 2017-2017, which there appears to have been lit- the city council approved tle movement on the redesign on May 18th, includes new of the “Vermont Triangle” funding from two critical median, which has housed a measures approved by voters steady rotation of homeless last November to fight home- encampments since its conver- lessness and to improve pub- sion to a mini-park in 2008 by lic transportation. then Los Angeles City Coun- In the budget—which cilmember Tom LaBonge. takes effect July 1st—$89 The proposed redesign million of the $176 million would include the installation approved by voters to fight of large planters to narrow the homelessness will come from sidewalk through the median Measure HHH for home- in order to deter encampments, lessness supportive housing and is estimated to cost under while another $35 million, $100,000—an eighth of what from Measure M, will go to- the 2008 renovation cost. ward transporation improve- According to Estevan SHAKESPEARE MEANS SUMMER—Lorenzo Gonzalez, as Trinculo, during last season’s Independent Shake- ments. Montemayor, a spokesperson speare Company staging of The Tempest in Griffith Park.
    [Show full text]
  • Hopscotch-Takes-Opera-Into-The- Streets.Html
    CLIP BOOK PREVIEWS/ FEATURES October 31, 2015 Also ran online: http://www.nytimes.com/2015/10/31/arts/music/hopscotch-takes-opera-into-the- streets.html September 13, 2015 Also ran online: http://www.latimes.com/entertainment/arts/la-ca-cm-fall-arts-hopscotch-opera-la- 20150913-story.html October 8, 2015 Also ran online: http://www.latimes.com/entertainment/arts/la-et-cm-hopscotch-opera-industry-20151008-story.html November 21, 2015 Also ran online: http://www.latimes.com/entertainment/arts/la-et-cm-hopscotch-hawthorne- 20151121-column.html December 13, 2015 Also ran online: http://www.latimes.com/entertainment/arts/la-ca-cm-best-classical-music-2015- 20151213-column.html November 16, 2015 Opera on Location A high-tech work of Wagnerian scale is being staged across Los Angeles. BY ALEX ROSS Parts of “Hopscotch” are staged inside a fleet of limousines. Other scenes take place on rooftops and in city parks. CREDITPHOTOGRAPH BY ANGIE SMITH FOR THE NEW YORKER Jonah Levy, a thirty-year-old trumpet player based in Los Angeles, has lately developed a curious weekend routine. On Saturday and Sunday mornings, he puts on a white shirt, a black tie, black pants, and a motorcycle jacket, and heads to the ETO Doors warehouse, in downtown L.A. He takes an elevator to the sixth floor and walks up a flight of stairs to the roof, where a disused water tower rises an additional fifty feet. Levy straps his trumpet case to his back and climbs the tower’s spindly, rusty ladder. He wears a safety harness, attaching clamps to the rungs, and uses weight-lifting gloves to avoid cutting his palms.
    [Show full text]
  • MAGGIE MORGAN Costume Designer for Stage and Screen
    MAGGIE MORGAN costume designer for stage and screen Mobile phone 818.298.7802 [email protected] Costume Designers Guild, Local 892 Online Portfolio www.maggiemorgandesign.com United Scenic Artists, Local 829 NEW YORK THEATRE SOUL DOCTOR Broadway, Circle in the Square, Daniel Wise SOUL DOCTOR Off-Broadway, NYTW, Daniel Wise A LITTLE TRAVELLING MUSIC, Helen’s, NYC (cabaret revue), Michael Kostroff DAVID’S RED-HAIRED DEATH, SOHO Rep, Julian Weber THE ROADBLOCK, HB Playwrights Foundation, Glenn Paris THE LOVE OF THE NIGHTINGALE, Women’s Workshop/Charas, Deanna Duplechain NEW VICTORIANS IN AMERICA, West Bank Theatre, Ernie Barbarash OUTSIDE THE DOOR, NADA, Doug Langworthy BAY AREA THEATRE Berkeley Rep Aurora Theatre Company OFFICE HOUR Lisa Peterson THE REAL THING Timothy Near Center Rep TheatreWorks IT SHOULDA BEEN YOU Marc Jacobs THE CLEAN HOUSE Juliette Carrillo DON’T DRESS FOR DINNER Michael Butler Magic Theatre TENDERLY:The ROSEMARY CLOONEY MUSICAL Jenny Sullivan A RECKONING Richard Seyd BLUES IN THE NIGHT Robert Barry Fleming San Jose Rep ENCHANTED APRIL Michael Butler GROUNDSWELL Kirsten Brandt Capital Stage HAUNTING OF WINCHESTER Michael Butler MISS BENNET: CHRISTMAS AT PEMBERLEY Peter Mohrmann Playground Sacramento Theatre Co Best of Playground Festival, Jim Kleinman, et al DIRTY BLONDE, Barbara Bosch California Musical Theatre @ Cosmopolitan Cabaret TEA, Peggy Shannon I LOVE YOU, YOU’RE PERFECT…,Glenn Casale A GRAND NIGHT FOR SINGING, Mindy Cooper LOS ANGELES AREA THEATRE Kirk Douglas Theatre Hollywood Bowl ENDGAME Alan Mandell
    [Show full text]
  • Playwright Quiara Alegría Hudes on Veterans, John Coltrane and Puerto Rican Identity
    Playwright Quiara Alegría Hudes on veterans, John Coltrane and Puerto Rican identity scpr.org/programs/the-frame/2018/02/06/61597/playwright-quiara-alegria-hudes-on-veterans-john-c/ Slideshow Rubén Garfias, Peter Mendoza and Jason Manuel Olazábal in “Elliot, A Soldier’s Fugue” at Center Theatre Group’s Kirk Douglas Theatre. Craig Schwartz Quiara Alegría Hudes won the Pulitzer Prize for drama in 2012 for “Water By the Spoonful.” It’s the centerpiece of a trilogy of plays originally inspired by a cousin of the playwright’s — a former Marine who served in Iraq. For the first time ever, the three plays are being produced simultaneously. Three venues here in Los Angeles are mounting the productions: The Kirk Douglas Theater in Culver City; and the Mark Taper Forum and the Los Angeles Theater Center, both in downtown L.A. The plays are an exploration of family ties that bind — and that sometimes sadly unravel. 1/5 When Hudes visited The Frame studio, she discussed writing about war, staging productions for veterans, and using Bach and John Coltrane as musical metaphors. Interview Highlights: How she based the plays on of her cousin Elliot's military service: When he returned from his first deployment with a leg injury, he was on base in San Diego. We met up because I was working on a theater project, coincidentally, nearby. So we went out for dinner and I hadn't seen him since he had left for boot camp. He clearly had some traumatic experiences in the line of duty. So we ate a big dinner and laughed, as cousins do.
    [Show full text]
  • Ciclavia Ciclavia.Org / ’
    0 ’ LINCOLN @ 55 ciclavia ciclavia.org / ’ Hub West Hub West Pit Stop Pit Mar Vista Mar Washington 213.355.8500 [email protected] / 0 1 1 ’ Washington Venice Hub Culver Hub Culver Centinela/ ELEVATION CHANGE ELEVATION 65 1 s District s t r A ’ Para más información más Para Downtown A FOR MORE INFORMATION INFORMATION MORE FOR L A L WEST HUB WEST near the info booth at each hub. each at booth info the near WASHINGTON CENTINE 9 CENTINE LINCOLN to you by AARP. Pedicab stops are are stops Pedicab AARP. by you to INGLEWOOD CULVER Estaciones de Metro de Estaciones —brought —brought ride pedicab free a Catch PALMS HUB Stations Rail Metro MAR VISTA MAR VENICE and bike parking. parking. bike and WASHIN WASHIN aid first water, free repair, bike Carril para bicicleta para Carril 8 G TON PL TON restrooms, have will hubs All Bike Path Bike 7 HOVEN T G E TON BLVD TON E route! the along specials and B WALGROVE Puntos de cruce para carros para cruce de Puntos activities for map.ciclavia.org Visit A Cars for Points Crossing L CULVER BALLONA CREEK BALLONA PIT STOP STOP PIT WASHINGTON ENTINE Ruta de CicLAvía de Ruta C JEFFERSON GRAND VIEW GRAND Route CicLAvia UGHLIN INGLEWOOD VENICE A 4 L TELLE MC W W A A 1/2 mile 1/2 S SHIN LA CIENEGA LA G SEPULVEDA T 5 DUQUESNE PALMS O AND 6.5 miles N BLVD N L 405 NATIONAL 3 OVER 1 CULVER HUB CULVER MOTOR Presented by Metro by Presented DOWNTOWN NATIONAL HUB OLYMPIC OLYMPIC Bundy 6 PALMS MAR VISTA + PALMS + VISTA MAR Expo/ 2 0 1 OLYMPIC Palms Culver City Culver EXPOSITION Sepulveda HUB NATIONAL CULVER CITY MEETS CITY CULVER Expo/ ARTS DISTRICT ARTS Rancho Park Rancho wood/ t s We CICLAVIA VENICE PICO March 3, 2019 The first CicLAvia of 2019, CicLAvia—Culver City Meets Mar Vista + Palms marks the 29th CicLAvia event since 2010.
    [Show full text]