 |
|
|
|
|
|
|
|
|
 |
 |
|
||||||
 |
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||
|
|
|
|
|
|
|
|
|
Volunteers:
Bring in the Big Guns
Volunteers can do much more than take tickets or stuff envelopes. Many theatres are tapping into mutually rewarding relationships with professionals or hiring skilled interns to save on costs and bring up their game
The Ensemble Studio Theatre in New York City suffered an
almost dysfunctional IT system. Only one person could send email at a time,
there was no virus protection, and staff members routinely brought their own
laptops into the office to have reliable computing power.
That all changed when they met Chris Cassanello through their local Business
Volunteers for the Arts program. Cassanello, who has an IT consulting firm,
volunteered to redesign the theatre's IT department. Their old building's
wiring still causes an occasional bad moment, but everyone can now use their
desktop machines, data can be readily shared to make all phases of production
and back office work together, and there is a plan to make the system even
more robust once the building renovations are completed.
The Maltz Jupiter Theatre in Jupiter, Fla., also needed IT help. One volunteer
– a retired database expert – came in every day for several weeks
to help the theatre restructure their network. "Phyllis Eisenstein's
help has been invaluable," says Jennifer Sardone-Shiner, director of
marketing.
The ability to create efficient administrative processes is another skill
many artistic organizations find in short supply—but it can be critical
to the success of a theatre. The Gingold Theatrical Group in New York was
a young company struggling to keep up with correspondence and build administrative
procedures when Fran Smyth, manager of arts services at the Arts & Business
Council of New York, matched them up with Lois Smigel.
"Lois Smigel is a retired IBM manager who came to us looking for something
that would be challenging and also give her the social interaction she missed
from her office," says Smyth. "She now works one day a week at Gingold
Theatrical Group creating administrative processes, helping with business
correspondence, tackling the many small crises that are part of a young arts
group’s life."
Ticket takers, ushers, and volunteers to help strike the set are the lifeblood
of many theatres, but volunteers can do so much more. Accountants, attorneys,
photographers, IT pros, web designers, graphic artists, advertising or marketing
pros, contractors, landscape designers – any number of professionals
whose services that you would pay for (or go without) could be available to
you pro bono – if you know how to find them, woo them, and keep them.
Understanding what your volunteers are looking for can go a long way towards
finding and keeping them.
Some volunteers, like Smigel, are looking for a way to recreate the social
interaction of a work place—but on their own terms. Others, like Laurie
Lauterbach, who volunteered for Ice Theatre planning a special event, are
exploring new careers. "Laurie is a woman in transition from a financial
services career. She finds marketing and event planning challenging and fun—and
possibly a way to a new career," says Smyth.
Some are hoping to put passion back into their lives. Others are hoping to
build a business virally, build references and job experience, or fill out
a portfolio.
And most volunteers blend some combination of these motivations.
Finding High Powered Volunteers
Finding these kinds of volunteers can take time, but can make a huge difference
in your bottom line. Gary Steuer, executive director of the Arts & Business
Council of Americans for the Arts, estimates that the cumulative value of
the donated professional services provided by BVA (Business Volunteers for
the Arts) volunteers since it was started 30 years ago is well over $125 million.
"In fact," he says, "when I was running the (then very new
and tiny) Vineyard Theatre, we used many BVA volunteers on such issues as
financial management, human resources, and marketing. I frankly don’t
know how I would have managed the organization without this assistance."
The BVA is a great resource for finding professional volunteers. For more
specific ideas and to learn how to find a volunteer, visit the Arts and Business
Council of American for the Arts Web site at www.artsandbusinesscouncil.org/bva.php.
According to Steuer, the BVA program works like this:
One key to this program is that you must really put some
thought into exactly what kinds of talents you need, and defining the project
or projects you need help with. Even if you don’t have a chapter of BVA
in your region, this can be an invaluable exercise.
Once you've identified who you need, you may find they're already in your
theatre.
Sardone-Shiner has found that most of the Maltz Jupiter's professional volunteers
have been friends or neighbors of board members, or are donors or volunteer
ushers who have mentioned their professional backgrounds to the director of
volunteers, Anna Berardi-Grant.
Todd Backus, owner of Blue Horse & Trumpet, an advertising agency who
has done pro bono work rebranding the Moonlight Cultural Foundation, was approached
by a MCF board member (and client of the agency). "Art Barter approached
us and asked if we were interested in providing support for the rebranding
of the MCF. It is always hard to say, 'No,' when a great client asks for some
support for a great organization."
Managing Volunteers
A lack of oversight can jeopardize an intern program; if a university is giving
credit for the work experience, they often expect regular hours, paperwork
documenting the hours spent (and the specific tasks), and scheduled evaluations.
Lindsey Buller at the New Victory Theater runs the New Vic Apprentice program—a
well-organized job training program for interns that pays each one minimum
wage for approximately 20 hours of work per week. The interns have contracts
that spell out their responsibilities and are required to keep a journal,
schedule mid-term and final evaluations with their mentor, and attend weekly
meetings. It's a tight ship, but a fun one--most of their applicants heard
about it from friends in the program.
The Indiana Repertory Theatre has a staff member who not only works with the
local universities to recruit unpaid interns, but also schedules and supervises
their work. Spending the time to plan (in advance) for your volunteers’
time is valuable for all your volunteers—not just interns.
"It's important to show volunteers and interns that you appreciate them
and that you respect them. If they show up and you don't have anything for
them to do, it makes them feel as though they don’t matter," says
Megan McKinney, senior marketing manager for the Indiana Repertory Theatre.
In fact, one of the most frequent reasons volunteers cite for quitting is
that their time is not valued by the organization.
"One of the biggest problems I've found is that nonprofits – not
the Ice Theatre, but others – call at the last minute desperately needing
volunteers, but when you arrive they don’t have any idea what they want
you to do, and you end up standing around with nothing to do," says volunteer
Laurie Lauterbach.
Your volunteers' time may be free to you, but it is valuable to them. You
wouldn't hire someone to come in at ten and then ignore them until noon; you
shouldn’t treat your volunteers with any less respect than you offer
your paid employees.
"Be professional and responsible," advises Steuer. "Be on time
for meetings. If the volunteer has asked for materials or questions to be
answered, deliver what is promised in a timely manner."
And be clear about what you need and what resources you can offer to get the
job accomplished. "It can become a real albatross if you don't set up
your agreement and expectations from the very beginning," says Backus.
Keep 'em Happy
Thank your volunteers warmly and often. It sounds basic, but it’s often
forgotten.
"The Ice Theatre was good at letting me know the results of my efforts
and recognizing my work," says Lauterbach. "But I've volunteered
at other organizations, and they never even thanked me, not even by email.
I was insulted."
When possible, let volunteers know exactly how they contributed ("The
event you planned helped raise $11,000 for the new roof."). They may
already know (or not), but they like to know that you know.
"Volunteers need to be part of the team, to share in the passion and
to believe that what they are contributing is making a difference," says
Diana Aaron, executive director of the MCF. "You can have recognition
events and give gifts. Keep them updated so they continue to feel in the know
and part of the inner circle. One way to reward expert volunteers is to give
them networking opportunities with other professionals associated with the
organization."
Above all make it fun. Steuer advises: "The more fun they have –
more exposure to the art and artists, etc., – the happier they will be,
more likely to stay engaged, involve their friends, become a donor, or even
join the board."
Volunteer to share your stories on
recruiting, retaining, and rewarding your volunteers at the DramaBiz Magazine
forums at www.dramabiz.com/forum.
