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FASS 2005: The Green Platter (Kristin Blackler): "I throw ze dish away..."

FASS 2004 - News and announcements

Annual General Meeting

posted 2004/03/01 by Nadia Ursacki

Yup, we have one every year. And it's fun. At this meeting we get to:

A great way to get a sneak peak at what FASS will be doing in the next year. So come one, come all. It won't be fun unless you're all there!

This year's AGM will be held:

Sunday, March 28th at 1 pm on the Humanities Theatre Stage

There will be munchies at the meeting and probably even pop. We'll probably decide there on a trip to a local eatery/drinkery after the meeting.

Committee Applications Open

posted 2004/03/01 by Nadia Ursacki

We need people to fill these important key positions in next year's show. Below is a list of the positions we are looking for, with a description of each position. If you want to know more about the positions then email me or the person who did the job this year (you can find this on the Committee page).

If you would like to apply for any of these position please send me an email (remove the .nospam) with what position you are applying for, when after 10am on March. 14th you are available for an interview, why you want the position and your contact information. I will contact with when your interview with the FASS committee is (its not painful, we all have been through it). The deadline for applications are Friday, March 5th at midnight. Remember FASS can't happen without these key people.

Here are the positions (descriptions stolen from 2002):

Director:

The Director needs to be aware of the script, to audition and cast the actors, to rehearse the scenes adequately, to select a Stage Manager and whatever of Music Director/Pianist/Choreographer/Acting Coach/other able bodied assistants you desire, to work closely with the technical crew to realize the show, and to assume full artistic responsibility for FASS. Whew.

Tech Director (TD):

The TD is responsible for making sure that all the following are done properly and safely: sets, props, costumes, makeup, lighting, sound, special effects, cost control (staying within budget), feasibility and creative review. Of course, this all can't be done by one person. The TD doesn't even have to know how to do all these things. A crew of techies is required. So really, the TD has to be able to wrangle a bunch of people who DO have these skills. Delegation and organization is what is needed most in a good TD.

Treasurer:

The Treasurer handles the company's finances. The overall duty of the FASS Treasurer is to act as a watchdog on the FASS budgets and accounts, pay all bills on time. But the Treasurer should not be treated as a mere bookkeeper. A large amount of money flows through FASS coffers and the Treasurer has an important job keeping track of the money.

Producer:

Visibly, the producer's job is publicity. (S)he needs to get people out to auditions and into the seats during the running of the show. In actuality, the producer's job entails a lot of organizing and delegation. You're the one that needs to do everything not covered by the other jobs. You're the one that needs to ensure that people are out performing in the show, and out watching the show. It's all up to you, pal. It's a good feeling when it's over. Some of the sub-jobs you'll be doing are: getting cameos, T-Shirts, Posters (for AGM, auditions, show), Programs, Advertising, Ticket sales, Show Video, Showbooks.

Chief Script Writer (CSW):

The job of the CSW is to be the force behind the scenes. The CSW needs to organize, arrange, and coordinate the script writing process. They need to have strong writing and editing skills, and need to be able to coordinate the various writers, which requires good time and people management. Most of all, they need to have a vision of what they would like the script to be (plot or sketch based, character or event driven, lots of little scenes or a few big ones, stuff like that). That said, the CSW needs to listen to the director, TD, committee and writers for what they would like, or when they say "that's nice, but a 14 hour long opera goes against the spirit of what FASS stands for." Especially the writers, who will help implement the vision. CSW applicants should be prepared at the interview to describe the type of show they would like to see FASS do next year, although that may change depending on the theme selected (for example, the CSW may want to have a cheery, fluffy pun-filled show (gods help us all), and the theme chosen may end up being "torture". Not something that is impossible, of course, but some themes will lend themselves more readily to some styles than others.

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