Call for volunteers!

Getting involved in Burl-Oak Theatre Group is easy fun and very rewarding. From the call for audition to the final curtain call, there is a spot for everyone.  You will love the excitement, the camaraderie, the entertainment. So catch the buzz and join us as a volunteer with our next production. Just fill out the form on the right or email at president[at]


Auditions are held three months before the performance dates. While directors may have a certain vision as to the requirements for a specific role, it is often the combination of talent, enthusiasm and willingness to learn that will ensure an actor gets a part in a play. If you would like to audition for any of our productions keep an eye out for casting call notices on our website, Facebook and Twitter. 


The Director is responsible for taking a play from the script to the stage using his/her own creative vision. They work with the actors during the rehearsal process to help them understand and develop their roles and with technical crew and set designers to help the production achieve a specific look. Directors have incredible communication and creative skills to help draw performances from the actors and exceptional leadership and collaborative skills to work in a community theatre environment.

Production Management


It is a Producer’s job to oversee a production from beginning to end. The Producer initiates, coordinates, supervises and controls, either on her/his own authority, or with the authority of the organization in charge, everything that is not the Director’s job. This covers the creative, financial, technological and administrative aspects related to a production. Traditionally, the producer is considered the chief of staff of the production team while the director is in charge of the actors and is responsible for the style and interpretation of the play. A Producer manages the budget, assists the director in hiring the cast, finds all the crew and manages them throughout the production and is the person who troubleshoots all issues. Organization, perseverance and a sense of humour are good qualities to have in this role.

Stage Manager

A stage manager is essentially the main traffic controller of a live theatre. Once the director has issued his or her final notes to the cast, the stage manager usually assumes command of the physical stage area. All of the various technical crews, such as lighting, sound, props and scenery, report directly to the stage manager. Various members of the technical crew are connected by wireless headset to facilitate communication during a show. The head stage manager has a number of duties to perform, some of which may be delegated to assistant stage managers.

During the rehearsal process, the stage manager's most important role is to record all of the blocking, lighting cues, prop usage, costume changes and entrances of all the performers. This usually requires participating in all rehearsals, watching early rehearsals carefully, and taking many jot notes.

The Stage Manager is usually found at the back of the theatre in a separate booth where directions and cues can be given using headsets. The assistant stage managers work backstage to help deliver these cues and instructions to cast and crew.


Theatre is a collaborative art form that brings a story to life before a live audience. Performers may tell the story through dialogue, song, or dance but it is the theatre properties or “props” that help to enhance the experience.

Many props are ordinary objects however they must “read well” from the audience. They are often designed to be visually graphic or vivid so that they can be seen by the audience from a distance of thirty feet or more. They may be colourful with exaggerated features or details. The art of props is central to creating the illusion in a theatrical performance.

If you were to tour backstage, you would find one or two props tables as well as a Props person whose job it is to see that the actors have all of these objects ready to use as indicated by the director. Most props have been borrowed, made or purchased and will be laid out in order of use.

We are always looking for theatre volunteers to help out with obtaining props and/or working back stage to assist with the props.


Costumes are important because they immediately support the characters in the story being told. They help an actor find his/her character. If the actors are not believable as their characters then the audience won’t suspend their disbelief. The costume designer is probably one of the most important parts of a theater crew. He/she has to understand each of the characters as well as the time and setting of the play in order to make the character understandable to the audience. They portray these things by the type of fabrics they choose, the colors and the accessories, the shape of the clothing.

If you were to tour backstage, you would find several costumes that have been made bought or borrowed in the weeks leading up to the play. You would also find a costume coordinator or key dresser and/or additional costume assistants. These people are responsible for dressing the actors, for assisting with fast costume changes or complicated costume changes and ensuring they walk on stage in their full and proper costume. They monitor each actor’s costume before the performance and, if necessary, help them get dressed. We are always in need of volunteers to help out prior to the show and each night during the show. .


Theatrical lighting is used to make certain that the actors are visible. It is important that the designer has ensured that all areas of the stage and all actors on that stage can be seen during the action of the play.

Lighting is also vital to establishing the setting of a play. Lighting tells the audience whether they are inside or outside, what time of year it is, and what time of day it is. Depending on the lighting (including light from set pieces), the lights may even help to establish what period in time the play takes place. Lights are also the most effective way to set the mood or tone for a play or for any given scene.

The lighting designer is an important and respected member of any production. This designer collaborates with the director and with other designers (set and costume) to ensure that the production is properly and suitable illuminated in all respects, from inception to completion.


Sound effects have traditionally been of great importance in the theatre, where many effects, too vast in scope, too dangerous, or simply too expensive to be presented on stage, must be represented as taking place behind the scenes. Sound effects must often be coordinated with actions on stage; when the hero pretends to punch the villain on the jaw, a sound technician backstage must provide a realistic “smack!”

Many ingenious methods have been devised for the faithful reproduction of various sounds but today most sound effects are recorded on records or tapes, which provide greater realism and allow for the production of an almost limitless range of effects.

The Sound Operator sets up and operates the sound equipment for a production. That individual works alongside the Director and Designer to discuss the intended atmosphere of a scene then he/she goes away, records sounds and plays them at the appropriate time. If this is an area of interest for you, let us know!

The Stage Manager is usually found at the back of the theatre in a separate booth where directions and cues can be given using headsets. The assistant stage managers work backstage to help deliver these cues and instructions to cast and crew.

Set Designer

The Set Designer works with the Director to sketch designs and make a scale model which is then used by the construction crew as a guide for the building and painting of the real thing. Other tasks involve research, sourcing materials, attending production meetings, attending rehearsals and making adjustments. It takes many hours to design and assemble a set. We are always eager to have volunteers assist with construction, painting, or assembly of the set. This process is begun weeks ahead of the performance. A week before the show begins a crew will move the set to the Oakville Centre for the Performing Arts and will assemble it there.

Set Décor

Once the set designer and director have agreed on the set design then the actual process of “dressing” of the set can occur. The set decorator or set dresser is in charge of sourcing and obtaining the furnishings, wallpaper, lighting fixtures, rugs, paintings and many of the other accessories or objects that will be seen on stage. Props and set dressing often overlap, but are provided sometimes by different teams. Props are defined as items which are handled directly by actors, and discussions take place between set decorators and prop masters in order to check that everything is being covered. The set decorator is also in charge of arranging the set pieces according to the designer’s plan and will monitor the set each night of the production to ensure that all items are in good order.

Make-up Artist

Make-up plays an important role in visibility and aesthetics in a play. Make-up is necessary for ensuring that the features of an actor's face are easy to see and don't get "washed out" by the bright stage lights. Make-up adds to the character and makes it easier for the actor to immerse him/herself in a role. A Make-Up Artist uses cosmetics, expertise to create a wide variety of looks for the actors varying on the performance. During a production they will make up the actors before a performance, monitoring how the make-up looks under the hot light and touching it up, and the making sure the actors remove it all to protect their skin for the run. They then clean their kit ready for the next night. They may work alongside the Director to create a suitable and effective make-up scheme for the character and production. If you have expertise in the fine art of “make-up, “we’d love to have you join us!

Marketing Department

The Marketing Department develops and initiates a coordinated campaign to promote a single production or a season of plays. They need to determine how effective campaigns have been in the past and raise money through sponsorships, ads to defray production costs. They examine demographics and attract audiences to productions. Do you know any corporate sponsors or small businesses that would like to advertise with us? Do you have ideas that would increase membership and /or seat sales for our productions? If so, send us a message - we’d love to hear from you!

Front of House- Greeters

Each performance night we strive to make our guests feel welcome by greeting them just inside the lobby at the Oakville Centre for the Performing Arts. If needed, we assist with seating and try to make their stay with us an even more enjoyable one. We would love to have you join us in this fun –filled position as a BOTG greeter!




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