Key Players
Volunteers make the show go on

By Natalia Maldonado

Behind the glitz, the glamour and the magic that an audience experiences in the arts, there's more than a busy backstage and the central players. Many arts organizations have formed a relationship with volunteers that is beneficial to both artists and the volunteers who dedicate their time to making sure that the show really does go on.

“Their help means the world to me,” says Betty Alvarez, office manager at the Actors' Playhouse at the Miracle Theatre. “They come with a very go get'em attitude and to me that makes a difference.”

The Actors' Playhouse in Coral Gables has over 200 volunteers with about 125 volunteers serving as board members. The rest of the volunteers help coordinate events such as opening nights and the annual gala auction event.

“The ushers are tremendous for us,” says Barbara Stein, executive producing director. “They help with seating, hosting and passing out programs on show nights.”

Ushers at the Playhouse also get perks—once they're done with helping audience members find their seats, they get to become part of the audience and watch the show.

“Many of them come back again and again and again,” says Stein. “It's a great resource for them, keeps a lot of seniors very vital and busy and it's a great support for us as well.”

In fact, it would be difficult for someone not to encounter a volunteer on a regular day at the Playhouse, from the moment they buy tickets at the box office to when they take their seats. People from all areas and of all ages put in hours each week at the Playhouse, including students from local high schools and colleges, who serve as unpaid interns and get school credit for their work.

“They handle a lot of day-to-day detail work,” says Stein. “It's mind-boggling how difficult the work is to handle, and their support really helps the wheel turn around here.”

Usually, students from nearby schools such as Coral Gables Senior High and the University of Miami intern at the Actor's Playhouse in all areas, from public relations to accounting and costuming. The administrative offices recruit interns year-round, sending out e-mails and faxes to let schools know that positions are open.

“What's interesting is that lately, the schools have been calling me,” says Alvarez, who is also in charge of the volunteer department. Volunteers are coming from as far away as the beach to work at the Playhouse. “Right now we have an intern from Mast Academy in Key Biscayne, two from UM, and a costume intern from Design and Architecture Senior High School in Miami Beach. They're finding me instead of me finding them, which is great.”

Aside from getting an inside look at backstage and in the business department of a theatre, volunteers also have the opportunity for employment later on.

“Many students that start as interns with us go on to get a paying job,” says Alvarez. “For example, we had an intern who started as a public relations intern. When the position opened up, she went on to substitute for our previous PR manager and she did a very good job.”

“We're giving them the learning experience about the business world of theatre,” adds Stein. “Everything you see magical on stage has a totally different meaning behind the scenes.”

But it's not only in the theatre world that volunteers can make a difference. Anyone can volunteer at an arts organization as a way to further pursue their passions and interests, whether they be theatre, film, photography, or dance.

At Bellymotions, Inc., a dance studio dedicated to the art of belly dance, co-founders Portia and Sergio Sanchez have had the support of volunteers since their opening in January of 2005. And, unlike in many organizations, the volunteers often take center stage—literally.

“We have a lot of dancers that volunteer,” says Portia, who also teaches and directs weekly and monthly performances around South Florida. “They pretty much are the core of the studio.”

Many of the dancers who volunteer for performances at Bellymotions are professionals who have danced around the globe for audiences that include Gloria and Emilio Estefan, the president of Lebanon, and recently at the MTV Video Music Awards. Performances not only provide exposure for the dancers and for Bellymotions, they also educate audiences about an art form that is widely misunderstood.

“The goal is to expose belly dance to the public and to those who haven't seen belly dance or may misinterpret what belly dancing is,” Portia says. “It is a form of movement for women of all ages and sizes, it's feminine and beautiful.”

Recently, dancers and supporters of the art came together to put on a Hurricane Relief Benefit show at the Shops at Sunset Place. Over 40 dancers came from all areas of South Florida including Kendall, the Beach, even Hollywood and Fort Lauderdale, to dance for the cause. Volunteers did more than shake their stuff; they organized the show, assisted in setting up the stage area and lighting, and collected money in Red Cross canisters.

“Even before the show dancers donated their time and made flyers for the show, sent out e-mails and faxes to get the word out,” says Portia.

Valerie Rodriguez, a student a Bellymotions, went beyond her duties when she took charge of rehearsals to fill in for Portia.

“There were two groups, the choreography class, with six girls, and a beginners' class with seven girls,” Rodriguez says. “Portia was so busy that I helped her to handle rehearsal. I told the students that people wouldn't be filling money in those buckets if we didn't dance.”

The show ran for three hours, with dancers collecting donations throughout, which is little time compared to the several weeks of preparation.

“The rewards are purely emotional,” Rodriguez says. “I feel that I helped put something back into the community, which is the only way to grow—you put back into the community what you get out of it.”

Portia agrees.

“There's something special there,” she says.. The girls just really enjoy working together, it's almost like a small family,” she says.

“That's what I love most about volunteering through dancing,” says Rodriguez. “There's such a spirit of cooperation and sisterhood.”

Career Volunteerism 101
Even in the wake of a hurricane, a dedicated volunteer mans his post and gives tips for a successful experience

by Jeffrey Wilkinson

vol•un•teer\noun: one who enters into or offers him/herself for a service of his/her own free will.

Here it was, the weekend right after Katrina's Thursday curve ball through South Florida. My partner and I were lucky—after 24 hours without power (yes, we were counting, and yes we realize, then and now, it could have been much worse), we were able to gather up our dog and some basic necessities to stake out temporary residency at an out-of state friend's unoccupied Miami apartment.

As we all know, it was a few days of somewhat suspended animation. While I had cleared my schedule for work, remaining was a prior volunteer commitment to staff the box office for the last weekend of Hannah Free , a beautiful production brought to Miami-Dade County by Creative Arts Enterprises (CAE), our only local arts organization focused on creating a healthy environment for the expression of gay, lesbian, bisexual and transgender art and culture, as well as producing visual or performance arts targeted to this community.

Fortunately, even in the hurricane's wake, the phone call came in from the producers that the show was still going on. I say fortunately for a couple of reasons. First and foremost, as a long-term “survivor” of what I call career volunteerism, I had long ago learned that when volunteering it is much more meaningful when the supporting organization or project is particularly close to your heart. I love CAE's work and mission (www.caemiami.org), so my box office stint fit the bill and I had been looking forward to it. I had also seen the tender play during its opening weekend and was glad others were going to have the same opportunity. And of course, on a very selfish level, it would provide welcome relief from the media's vexing hurricane coverage that had me transfixed to the television .

I hurried home to get the proper attire for my designated duty, running the gauntlet there and back of a Biscayne Boulevard sans the majority of its traffic lights. With curtain time at 8 p.m., as requested I arrived at the theater an hour before, pressed and dressed, and ready to work and enjoy the evening. Take note of these paramount career volunteerism rules: always be on time, dress accordingly (don't forget comfortably, too), and be prepared to work and have fun. The latter two go hand-in-hand and should never be seen as oxymoronic. Our arts organizations need our contributions to perform an essential task to make things happen, and for us to always do so with a good, positive vibe.

A proverbial “people person” by nature, in volunteering for the box office I had followed yet another career volunteerism rule. Namely, try to match what you're good at with the needs of the organization. Settling into my appointed workstation, I knew my skill set had to be in particularly high gear. Many patrons, if not all, were in the midst of their own personal storm crisis, either themselves directly or their loved ones, but they were still coming out to support the organization. From selling tickets and handling the will call list, to distributing playbills and information on CAE, it was all the more important that I made them feel welcomed, attended to and appreciated. It's a no-brainer that this is de rigueur on any night, but especially on this evening.

Finally the bell rang to indicate the production was minutes away from beginning. Patrons lingering in the lobby area finished their drinks and went in to find their seats. The lights were dimmed and the opening acknowledgments started, followed by the hush of the first actor padding onto the stage.

As I sat there waiting for any last-minute stragglers, I knew my volunteer tour of duty was soon to end , at least until the next time. And as I sit here now in front of my computer sharing my story, I know for me there will definitely be that next time — once a career volunteer, always a career volunteer — just as I hope there is a next or first time for many people.