DOCSLIB.ORG

Production Manager/Stage Manager

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Production Manager/Stage Manager Job Posting: Production Manager/Stage Manager Application Deadline: February 13, 2017 Website: http://www.tdt.org Position: Production Stage Manager Term: Contract: September 5, 2017 – April 15, 2018 Location: Toronto – Cabbagetown Salary: TBD Toronto Dance Theatre (TDT) is seeking a Production Manager/Stage Manager to join its small and dynamic team for its 50th anniversary season, 2017-18. This is the perfect contract for a technical professional eager to participate in all aspects of production, at home and on tour, for one of Canada’s leading contemporary dance companies. TDT is recognized for the intelligent, provocative vision of its choreography and the exceptional artistry of its dancers. The company was founded in 1968 by Peter Randazzo, Patricia Beatty and David Earle, and has been under the artistic direction of Christopher House since 1994. During these years, TDT has produced a remarkable body of original Canadian choreography and has had – and continues to have – a profound influence on the development of dance in Canada. The company performs annually at Toronto’s Harbourfront Centre and at its own Winchester Street Theatre in Cabbagetown, where it shares its home with the affiliated School of Toronto Dance Theatre. TDT maintains a regular presence from coast to coast in Canada, and has toured extensively in the USA, Europe and Asia. Reporting directly to the Artistic and Managing Directors, the Production Manager/Stage Manager will have an interest in collaborating with a variety of artists and playing an active part in the creative process. S/he will be responsible for all production and performance activities during the 2017-18 season, maintaining the quality of performances and overseeing all technical elements of Toronto Dance Theatre productions. The 2017-18 involves national and international touring, as well as a home season of commissioned work. The Production Manager/Stage Manager’s specific responsibilities will be: • Work with the Managing Director to set and manage budgets for all company productions including new creations, tours, and regular company activity. • Maintain an accurate and up-to-date schedule of all Company performances and activities, and ensure distribution to all relevant staff. • Schedule and attend all meetings involving the planning of season events, productions and tours. • Maintain a working knowledge of all works in the current repertoire. • Stage manage each TDT production, calling all lighting, sound, fly and other cues involved in each performance. • Create production schedules in collaboration with all relevant staff. • Collect and provide all information relating to technical, production and other information as it relates to the planning and management of tours. • Oversee preservation and transfer of archival video and audio materials. • Prepare and maintain adequate copies of rehearsal materials, both sound and video, prior to a rehearsal period. • Plan and oversee building of sets, costumes and props for new productions within budget guidelines • Maintain sets, costumes and props from previous productions • Ensure a clean and safe environment in the rehearsal studio with all sound and video equipment in working condition. • Develop and maintain production bibles on all works in current repertoire with records of music used, design information, lighting and stage management cues, and any other information deemed necessary for the successful re-mounting of the work. • Provide information as requested by administrative staff for inclusion in materials relating to promotion, fundraising etc. • Oversee activities at the Company’s storage facility and co-ordinate the movement of sets and props to and from storage. ON TOUR • Working with the Lighting Designer/Director, facilitate the creation of accurate lighting and set plots for each venue and ensure that they are delivered to the venue in a timely manner. • Oversee the installation of the Company’s productions in each venue, including lighting, set and audio elements, maintaining the highest possible quality. • Communicate information regarding schedules, crew calls and technical requirements to technical staff in tour venues. • Prepare and maintain all documents necessary for the transportation of all sets, props, costumes, technical supplies and other necessary equipment on tour in Canada and abroad. • Plan and co-ordinate all equipment transportation, maximizing the use of existing crates and cartage. Qualifications/Skills required • Minimum two years’ experience working in dance as a stage manager, technical director and/or production manager. • Minimum two years’ experience working in a touring environment (national and/or international) • Excellent technical theatre, stage and production management abilities, including experience in stage management, lighting, sets, wardrobe, rigging and audio. • Ability to work effectively with a wide variety of people including artistic, technical and administrative staff, as well as the crew and presenting staff in touring venues. • Strong interpersonal, communications and personnel management skills. • Excellent organizational skills for planning, coordinating and scheduling, and the ability to handle competing priorities in a small, fast-paced work environment Interested applicants should send a cover letter and resumé by email with the subject line “Production Manager/Stage Manager Search” by 5:00 p.m. on Monday, February 13, 2017 to: Andrea Vagianos, Managing Director, Toronto Dance Theatre, 80 Winchester Street, Toronto, ON M4X 1B2, [email protected] We thank all applicants in advance, but only those selected for an interview will be contacted. .
Load more

Recommended publications
  • Arbez Drama Fringe 2017 Company Bios
    Arbez Drama Projects in association with The Toronto Fringe Festival 2017 THE OLD WOLF and the SACRED TROUT by Donald Molnar COMPANY HISTORY & BIOS Arbez Drama Projects Arbez Drama Projects is a not-for-profit theatre company based in Toronto. Our mandate is to pursue theatre projects that we feel passionate about. We create, develop, and produce new Canadian plays. The creation of our company is intimately connected to Sara's Cave by Donald Molnar, which was accepted into the City of Brampton’s 2nd Annual NewWorks Playwright Festival (2005). In order to produce the play, Donald Molnar, John Sader, and Alicia Payne created Arbez Drama Projects. Arbez Drama Projects now has several plays at various stages of development and has produced readings and workshop presentations at theatre festivals as well as social justice and academic conferences including: Readers’ Theatre of New Works at the National Black Theatre Festival, Winston Salem, North Carolina (2013 and 2015); 33rd Annual Teaching Public Administration Conference, Grand Rapids, Michigan (2010); Innocence Network Conference, at the South Texas College of Law, Houston, Texas (2009); and the rock.paper.sistahaz 7 festival, Toronto (2008). Anna Braumberger – Wolf Masks Anna Braumberger delights in the whimsical and bizzare which suits her very well in her work in the Vancouver Film industry set decoration department (IATSE Local 891). Having been professionally tasked in the last two years with everything from fabricating 80's neon art to occult decorated cow skulls for use in TV shows she still finds time for the occasional personal project. Starting in 2003 Anna began in a community Shakespeare group called "The Pressgang Theater Company" which worked every year on a shoestring budget to produce a play under the funding of the Society for Creative Anachronism.
    [Show full text]
  • Season of Events
    2014.2015 SEASON OF EVENTS Path to Paradise: Miserere Mei Saturday, November 8, 2014 7:30 p.m. Trinity College Chapel The Coronation of King George II Sunday, November 9, 2014 7:30 p.m. Trinity College Chapel The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors Saturday, November 8, 2014 Path to Paradise: Miserere Mei SCHOLA CANTORUM & THE CHOIR OF THE THEATRE OF EARLY MUSIC Daniel Taylor, conductor PROGRAM Jesus Christ the Apple Tree Elizabeth Poston (1905-1987) If Ye Love Me Thomas Tallis (1505-1585) Ubi Caritas Maurice Duruflé (1902-1986) Jesus’ blood never failed me yet Gavin Bryars (b.1943) Danced by Coleman Lemieux & Company Original choreography by James Kudelka Ave Verum William Byrd (1540-1623) Remember Not O Lord Henry Purcell (1659-1695) Hymn to the Virgin Benjamin Britten (1913-1976) Miserere Mei Deus Gregorio Allegri (1582-1652) Soloists: Agnes Zsigovics, Rebecca Genge, Rebecca Claborn, David Roth Danced by Dancetheatre David Earle Original choreography by David Earle This evening’s concert has been made possible through a generous gift from Jean Edwards. This concert is presented with the support of the Canada Council for the Arts and with the significant assistance of the Ontario Arts Council. an Ontario government agency un organisme du gouvernement de l’Ontario Translations Ubi Caritas - Maurice Durufle Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Congregavit nos in unum Christi amor. Christ’s love has gathered us into one. Exultemus, et in ipso iucundemur. Let us rejoice and be pleased in Him.
    [Show full text]
  • F Ou Gl Orieu X
    4528, rue de Bullion Montréal (Québec) Canada H2T 1Y6 F ou gl orieu x PHOTO: ANGELO BARSETTI www.louiselecavalier.com AGENT : URIEL LUFT, ATMO PRODUCTIONS \ [email protected] \ T. : 1 819-842-1919 \ F. : 1 819-842-1818 \ ADMINISTRATION : SUZANNE BENOIT \ [email protected] \ T. : 1 450-258-3061 \ COORDINATION DE TOURNÉE ET COMMUNICATIONS_ TOUR COORDINATION AND COMMUNICATIONS: ANNE VIAU \ [email protected] \ T. : 1 514-273-5478 \ louise LECAVALIER LONE EPIC (2006) Solo Choreography: Crystal Pite Dancer: Louise Lecavalier Music: excerpts from Bernard Herrmann’s music for Citizen Kane Lighting Design: Lucie Bazzo Rehearsal Mistress: France Bruyère Costume designed and built by: Anne-Marie Veevaete Sound engineering: Owen Belton, Diane Labrosse Length: 16 minutes LULA AND THE SAILOR (2005) Duet from Cobalt rouge Choreography:Tedd Robinson Dancers: Louise Lecavalier, Éric Beauchesne* Original Music: Yannick Rieu Lighting Design: Jean-Philippe Trépanier Rehearsal Mistress: France Bruyère Costumes: Yso, Dubuc Length: 12 minutes * with alternate performances by Elijah Brown Production: Louise Lecavalier/Fou glorieux,Ten Gates Dancing In co-production with Théâtre de la Ville, Paris, the Venice Biennale, and the National Arts Centre, Ottawa “I” IS MEMORY (2006) Solo Choreography: Benoît Lachambre Dancer: Louise Lecavalier Original Music: Laurent Maslé Lighting: Jean-Philippe Trépanier Props: Louis-Philippe Saint-Arnault Rehearsal Mistress: France Bruyère Length: 45 minutes Production of “I” Is Memory and Lone Epic: Louise Lecavalier/Fou glorieux, in co-production with STEPS # 10, Switzerland; Théâtre de la Ville, Paris; Tanz im August – Internationales Tanzfest, Berlin; Aarhus Festuge, Aarhus; National Arts Centre, Ottawa; Usine C, Montreal; in partnership with Quebec presenters.
    [Show full text]
  • Full Program
    The School is passionately committed to training and education in the art of IMPULSE contemporary dance. Through our Professional Programs, the School: • provides training, education, and artistic and skills development, and networking opportunities to aspiring professional dancers; • supports the art form, contributing well-trained graduates to the profession; • engages exceptional professional faculty to provide outstanding and relevant instruction; • provides mentorship, connection, and exposure to current professional artists, 2019 and links to the professional world; and • SURYLGHVOHDGHUVKLSWRWKHÀHOGDQGOHDGHUVIRUWKHÀHOG November 28-30 & December 5-7, 8 PM Winchester Street Theatre 7KH6FKRRORI7RURQWR'DQFH7KHDWUH·V3URIHVVLRQDO7UDLQLQJ3URJUDPLVDSSURYHGDVDYRFDWLRQDO program under the Private Career Colleges Act, 2005. 80 Winchester Street 7KH6FKRRORI7RURQWR'DQFH7KHDWUHLVDIÀOLDWHGZLWKToronto Dance Theatre (Christopher House, Artistic Director). For more information about the company, please visit: tdt.org. For more information on the Winchester Street Theatre, please visit: winchester.tdt.org ACKNOWLEDGMENT OF TRADITIONAL LAND The School of Toronto Dance Theatre would like to acknowledge the sacred land on which we operate, the site of human activity for over 15,000 years. This land is the traditional territory of many nations: the Wendat, the Haudenosaunee, and the Anishinaabe, including the Mississaugas of the Credit First Nation. We are grateful to have the opportunity to work on this land and to share our space with all peoples – those
    [Show full text]
  • 2014 Keynote Panels & Workshops
    2014 KEYNOTE PANELS & WORKSHOPS KEYNOTE ADDRESS - NICOLE ROSE BOND Nicole Rose Bond began her formal dance training at York University, graduating cum laude with a BFAH in Dance in 2005. Since graduating, Nicole has felt privileged to perform in works by esteemed dance artists, choreographers and companies including Patricia Beatty, Coleman Lemieux et Compagnie, Dance Theatre David Earle, Danny Grossman Dance Company, Learie McNicholl, Susan Cash and Yvonne Ng. In the fall of 2012, Nicole was invited to work with Toronto Dance Theatre as a guest artist. Since that time, she has felt privileged to be a part of two cross-country tours of Christopher House’s Rivers, as well as many performances in Toronto, including Rare Mix, and Christopher House’s newest creation: Eleven Accords. Nicole feels incredibly grateful to be able to dance professionally in Canada, and deeply honoured to be working within a community of such gifted artists, whom inspire her every day. Q&A Play An interactive session to help establish your own goals for the day. And to give you a quick introduction to some of the other people in the room. Amanda Hancox is a graduate of the Arts Educational School in England. Over her 30 year performance career she worked extensively across Canada as a dancer and an actress in theatre, film, and television. Amanda has been Executive Director of the Dancer Transition Resource Centre since 2006. Throughout her tenure at the DTRC, Amanda has contributed her expertise to a number of major international and national conferences. Additionally she acts as a consultant and presents workshops on career transition within and outside the arts community.
    [Show full text]
  • Canadian Dance Artists Modern Dance
    Canadian Dance Artists Modern Dance Recognized as ‘one of the foremost dance artists in the country’ (The Dance Current), Julia Sasso is an established choreographer, performer, master teacher and artistic mentor. Sasso began dancing in 1960 in Detroit where she trained with Cecchetti ballet master, Rose Marie Floyd. In her teens she was a scholarship student at the Joffrey Ballet School and an apprentice with the Harkness Ballet both, in New York City. Her artistry has since been shaped by curiosity, inquiry, experimentation and investment in a variety of practices including the Skinner Releasing Technique™, improvisation, theatre, voice, Pilates, ballet and contemporary movement techniques. Sasso performed internationally with Toronto’s Dancemakers (1984-2000) and was the company’s Assistant Artistic Director and principal teacher for a dozen years. Sasso has created choreography for all of Canada’s professional contemporary dance conservatories and since 1995 has created numerous pieces for The School of Toronto Dance Theatre’s Professional Training " Program. Santee Smith is from the Kahnyen’kehàka (Mohawk) Nation, Turtle Clan from Six Nations of the Grand River, Ontario. Recovering from two broken legs, completing six years of training at Canada’s National Ballet School, Physical Education and Psychology degrees from McMaster University and theatre training, Santee returned to dance in 1996 as a choreographer. Dedicating six years to create and produce her first dance work, Kaha:wi, a family creation story, she also completed a M.A. in Dance at York University in 2004. Following her passion she founded Kaha:wi Dance Theatre (KDT), a vehicle for her artistic voice in 2005.
    [Show full text]
  • Toronto Dance Theatre Celebrates 10Th Anniversary of Chiasmata With
    MEDIA CONTACT CATHY WASZCZUK P. 416 967 1365 x 23 [email protected] FOR IMMEDIATE RELEASE Toronto Dance Theatre Celebrates 10th Anniversary of Chiasmata with Electric Remount (Toronto, ON) – Christopher House’s Chiasmata returns to the stage for the first time in eight years in a fresh new iteration by Toronto Dance Theatre (TDT) at the Winchester Street Theatre from March 30 – April 2 and April 5 – 8, 2017, presented as part of TDT’s ground-breaking Reimagining Repertoire project. Created in 2007 in collaboration with Gemini-award winning sound designer and composer Phil Strong, critics lauded Chiasmata as “a cacophony of dance that plays out as if on a charged magnetic field” (Deborah Meyers, The Vancouver Sun) and “the birth of a new aesthetic” (Paula Citron, The Globe and Mail). Christopher House developed new improvisation and editing techniques while making Chiasmata, giving greater agency to his interpreters in a desire to craft a new movement vocabulary. The choreography unfolds through large ensembles, tense duets, and eccentric solos, moving from percussive gestures to rich, full-bodied movements that are at times hieratic and at times unbridled. Twelve dancers negotiate this landscape to evoke an enigmatic community speaking its own language. In gene theory, a chiasma is a point of crossing where DNA is exchanged. Ten years after its premiere, House and the company continue this exchange of information, drawing on their recent creative research to redefine the potential of the work. The cast for this new production of Chiasmata includes both original performers and new company members. TDT’s three-year Reimagining Repertoire project supported by the Metcalf Foundation.
    [Show full text]
  • Tao Dance Theatre
    ALTERNATIVE TECHNIQUE CLASS (ATC) PROGRAMS FOR 2012/2013 Series 8:08 is an artist-initiated, artist-run organisation that was founded in 1993 in Toronto, Canada. Series 8:08 is a unique organisation that supports the professional development of dance and dance artists, in various disciplines and of diverse aesthetics, through our two programmes: the Choreographic Performance Workshop (CPW) and Alternative Technique Class (ATC). The Alternative Technique Class Program offers innovative professional development workshops to professional dance artists, taught by established dance professionals. These are opportunities to explore alternative techniques and practices, as well as the creative visions and processes of diverse dance artists. SALLY MORGAN DANCING THE LANDSCAPE: EMBODYING AND PERFORMING PLACE October 1–5, 2012 10.00 a.m.–5.00 p.m. (with lunch break) Location: 10.00 a.m.–12:30 p.m. at Dovehouse Dance Ballroom 2.00–5.00 p.m. in High Park (sites will change daily) Fee: $300.00 ($270.00 if you register with $25 non-refundable deposit by September 14, 2012) This ATC is open to all levels of movers Each day will be structured around a Reflection and feedback will be part of (dancers, artists, scholars etc). If needed, specific theme. our daily process. If participants agree, mornings can be attended without taking Day 1 The Body as the First Site/Place feedback will contribute to both Morgan’s part in the afternoon workshops. Day 2 Extending the Fields of Self/ MES thesis work and to the writing of Fields of Care a (as-of yet untitled) field guide for the Using an interdisciplinary praxis based Day 3 Exploring Boundaries/Making somatic investigation of ‘place’.
    [Show full text]
  • Educator's Notes
    EDUCATOR’S NOTES The School of Toronto Dance Theatre Outreach Program Let our students inspire yours! Message from the Artistic Director Dear Dance Educator, Each year, The School of Toronto Dance Theatre’s Outreach Programs encourage hundreds of students to experience and explore the physicality and excitement of contemporary dance. We are delighted to invite you to participate in our Master Class & Matinée program for your students, the perfect complement to your arts curriculum. Our hope is that this unique experience will encourage your students to be curious, intrigued, and inspired by our dancers. We have put together this booklet to give you some helpful information and guidance as you prepare your students for our program. It provides background information on the School, how to prepare for your visit, how to book with us, and suggested activities to follow up on your visit. We welcome your feedback and hope you enjoy your time with us. Patricia Fraser Artistic Director TABLE OF CONTENTS About The School of Toronto Dance Theatre .............................................................. 3 Curriculum links ............................................................................................................ 4 Master Class & Matinée program ................................................................................. 5 Booking information ..................................................................................................... 5 Preparing for your experience .......................................................................................6
    [Show full text]
  • Sacred Dance David Earle, Choreographer Gerald Neufeld, Conductor
    Alison MacNeill accompanist Sacred Dance David Earle, Choreographer Gerald Neufeld, Conductor Dancetheatre David Earle Musica Viva Orchestra Saturday April 11, 2015 River Run Centre | 7:30 pm PHOTO BY KAROLINA KURAS concert sponsors soloist sponsors government & community support Program sacred dance In Paradisum . Ēriks Ešenvalds Mary-Katherine Finch, cello Kathleen Kajioka, viola Hymn to the Waters . Gustav Holst Alison MacNeill, piano Stabat Mater . Giovanni Battista Pergolesi Ave, Maris Stella . Diane Loomer Chris Fischer, soloist Miserere . Gregorio Allegri Solo Quartet Rebecca Whelan, Carolynne Davy, Chris Fischer, Neil McLaren Intermission Requiem . Wolfgang Amadeus Mozart Introitus Kyrie Dies irae Tuba mirum Recordare Domine Deus Lacrimosa Soloists: Rebecca Whelan, Janice Coles, Chris Fischer, Neil McLaren Page 2 Program cont’d Musica Viva Orchestra Violin 1 Viola Clarinet Trombone Joe Lanza Kathleen Kajioka Steve Pierre Rob Tilley Michelle Odorico Mary McGeer Stephen Fox Cathy Stone Valerie Gordon Peter Collins Cello Bassoon Violin 2 Mary-Katherine Finch Heather Carruthers Timpani Andrew Chung Laura Jones Ondrej Golias John Brownell Sheila Smyth Adele Pierre Contrabass Trumpet Organ Jeff Stokes Aaron Hodgson Christopher Dawes Andras Molnar Dancetheatre David Earle Lighting Design: Aaron Kelly Stage Manager: Dorothy Fisher Dancers Danielle Baskerville Michael English Julia Garlisi Evadne Kelly Georgia Simms Suzette Sherman Kelly Steadman Meredith Thompson Susan Bowden Lisa Bush Corrado Cerruto Jordana Deveau Andrea Gregorio Samantha
    [Show full text]
  • 1997Dance1112 Perfchoreo.Pdf
    DANCE 11 AND 12 • Performance • Choreography Integrated Resource Package 1997 Ministry of Education, Skills and Training IRP 066 Copyright © 1997 Ministry of Education, Skills and Training, Province of British Columbia. Copyright Notice No part of the content of this document may be reproduced in any form or by any means, including electronic storage, reproduction, execution or transmission without the prior written permission of the Province. Proprietary Notice This document contains information that is proprietary and confidential to the Province. Any reproduction, disclosure or other use of this document is expressly prohibited except as the Province may authorize in writing. Limited Exception to Non-reproduction Permission to copy and use this publication in part, or in its entirety, for non-profit educational purposes within British Columbia and the Yukon, is granted to all staff of B.C. school board trustees, including teachers and administrators; organizations comprising the Educational Advisory Council as identified by Ministerial Order; and other parties providing direct or indirect education programs to entitled students as identified by the School Act or the Independent School Act. TABLE OF CONTENTS PREFACE: USING THIS INTEGRATED RESOURCE PACKAGE Preface . III INTRODUCTION TO DANCE 11 AND 12 Rationale . 1 The Dance 11 and 12 Curriculum . 1 Curriculum Organizers . 2 Dance Kindergarten to Grade 12 Objectives . 3 Suggested Instructional Strategies . 4 Suggested Assessment Strategies . 4 Integration of Cross-Curricular Interests . 5 Learning Resources . 5 Organizing for Instruction . 6 THE PERFORMANCE 11 AND 12 CURRICULUM Course Description . 17 Grade 11 . 20 Grade 12 . 28 THE CHOREOGRAPHY 11 AND 12 CURRICULUM Course Description . 39 Grade 11 .
    [Show full text]
  • ATM 3M: Choreographer Study
    BLM #2 Student/Teacher Resource ATM 3M: Choreographer Study GOAL: Students will participate in a unit of study on a Canadian dancer. This unit may be replicated using various topics such as a dancer, choreographer, company, dance style, or cultural style. TOPIC: Dancer/Choreographer David Earle RESOURCES: • Encyclopedia of Theatre Dance in Canada • Dance websites such as http://www.dtde.ca/index.php; http://www.dcd.ca/ • “David Earle” video from the Dancemakers series 1. Watch videos of dances created by David Earle. What are some of the qualities of movement that are seen in most of Earle’s dances? 2. Select a few shapes, movements, and/or qualities from Earle's choreography. Physically explore the selected movements, allowing the opportunity to improvise on any of them. 3. Read biographical information or stories on David Earle. 4. Complete a research project on David Earle. Students can be assigned a research topic to prepare and bring to class to share with each other. Examples: biographical information, compositions from various decades, the founding of the Toronto Dance Theatre, Dancetheatre David Earl etc. 5. As a class, learn a portion from one of Earle's pieces as accurately as possible. In pairs or small groups, create variations of a phrase and add it onto the original phrase. Variations may include changing the speed, the quality of movement, or the locomotor methods. 6. Write letters to David Earle (via Dancetheatre David Earle) to obtain any information about him. Have each student write a letter. Select one, preferably as a class, to send to David Earle and share the responses with the class.
    [Show full text]