Part 2 of 3: Directing the Show

 As you saw in Part 1, selecting a show is anything but simple. It would be nice if the hardest decisions stopped there, but in reality, choosing the show is just the beginning. Once a show is selected, the next critical step is finding the right director. And that role comes with a lengthy list of responsibilities that many people never fully see. So, what does it actually mean to direct a show at Hamilton Players?

Directors are selected through an application process, typically in the spring for the following season. Our seasons run from January through December, so we aim to finalize show selections by mid-May, open director applications by June 1, and close that window by mid-July. Directors are usually hired by August 1, which gives the first production of the season several months of lead time before rehearsals begin.

Anyone is welcome to apply. However, preference may be given to directors with a history of successful productions at Hamilton Players, or those with experience across multiple areas of production (stage management, technical work, design, and more). That breadth of experience matters, because the director is not just guiding actors; they are overseeing the entire artistic vision of the show. In some cases, new directors may be asked to work alongside an experienced stage manager or mentor. Once selected, each director meets with the Executive Director to review policies, expectations, and the Director’s Handbook before contracts are finalized and the real work begins. And that work is substantial.

Unlike larger organizations, Hamilton Players does not have a standing technical director or design team. That means each director is responsible for assembling their own production crew. This can include a music director, choreographer, stage manager, designers for set, costumes, props, and technical elements, as well as backstage crew and board operators. Every show is different, but one thing remains the same: the director is responsible for bringing all those moving parts together into a cohesive whole. Collaboration is essential. Strong directors rely on the expertise of their team, delegate effectively, and create space for creative input. But at the end of the day, the final decisions, and the success or failure of those decisions, rest with the director.

From there, the director’s responsibilities continue to expand. They oversee the production budget, build the rehearsal schedule, lead production meetings, block the show, guide rehearsals, and approve all artistic elements. They are responsible for keeping the production on track, solving problems before they escalate, and ensuring the final product is the best it can be. They also wear a surprising number of unofficial hats: coach, mentor, mediator, cheerleader, organizer, and yes, sometimes the person who has to make difficult or unpopular decisions. Because directing is not just about creativity. It’s about leadership.

Long before auditions begin, directors are already deep in the process, developing their concept, recruiting their team, and laying the groundwork for rehearsals. Once rehearsals start, their time commitment increases significantly, with hours spent not only running rehearsals, but also meeting with designers, mentoring actors, adjusting plans, and responding to the constant evolution that happens in live theater. And all of this is often balanced alongside full-time jobs, family responsibilities, and the day-to-day realities of life. Many directors also contribute their own time and resources in ways that go unseen, from running errands to providing those small extras that help keep morale high. Homemade cookies, anyone?

It is a demanding role with a significant level of responsibility. And while directors do receive an honorarium, it rarely reflects the true scope of the work involved. Like so many roles in community theater, it is driven largely by passion; for the art, for the challenge, and for the opportunity to create something meaningful.

What’s often hardest to see from the outside is the scope of what a director is balancing. Actors are (rightfully) focused on their roles, their lines, their character, their costumes. Patrons are there to enjoy the final product. But the director is responsible for all of it. Every performance, every design element, every logistical decision must work together. That means constantly balancing competing needs, making trade-offs, and prioritizing what will best serve the production as a whole. Sometimes that means choosing what is necessary over what is preferred, and those decisions don’t always feel fair from an individual perspective. But that’s because no one else has the same vantage point.

It’s a bit like the story of the blind men and the elephant. Each person experiences one part and describes it accurately, but no single perspective captures the entire picture. The director is the one tasked with seeing and shaping the whole. And all that responsibility comes to a head in one of the most visible - and often most questioned - decisions a director makes: Casting the show. Because no matter how strong the vision or how detailed the preparation, they still need the most essential element to bring it all to life: the people on stage. And that’s where things become even more complex.

Next week, we will unpack the realities of casting: what goes into it, what limitations the directors face, and why casting decisions can be far more complicated than they appear. It is rarely as simple as it may seem from the outside.

Part 1of 3: Choosing a Show

Hamilton Players’ mission is simple on paper: to enrich our community by inspiring and educating through the performing arts. That doesn’t sound difficult, does it?

Well… surprise! It is far more complicated than it appears, and it all starts with choosing a season. In previous blog posts, we’ve talked about licensing restrictions, production costs, and the vital role of volunteers. But those are only part of the equation. Season selection brings its own set of challenges - many of which are invisible to the audience.

This is the first in a three-part series:

Part 1: Choosing a Show

Part 2: Directing a Show

Part 3: Casting a Show

In this post, we’re pulling back the curtain on how and why we choose the shows we do.

 The Core Question

As we prepare to announce our 2027 season, we find ourselves asking: How do we choose a lineup that serves our mission, reflects our community, provides opportunities for performers, and keeps the lights on? Every single show must satisfy all four of those goals. Miss one, and the entire system starts to wobble.

Constraint #1: We Don’t Program in a Vacuum

One of the first questions we ask is: “Is anyone else doing this show?” And more often than you might expect, the answer is yes. In fact, we recently rebuilt an entire season at the last minute because a neighboring theater announced overlapping titles first. We made the decision to pivot. Not because we had to, but because we believe community arts organizations should support, not compete destructively with, one another. That kind of collaboration matters. But it also narrows the field significantly.

Constraint #2: Representation and Reality

We are deeply committed to equity and thoughtful representation in storytelling. But we also have to work within the realities of our community. Ravalli County is approximately 94.7% white (U.S. Census data). Many shows require specific cultural representation that we simply cannot guarantee casting for, titles like Hairspray, In the Heights, The Lion King, West Side Story, or The King and I. Even a single role requiring a specific cultural identity can make a show unproducible for us. And it is important to say this clearly: Our actors of color are valued members of our community - not casting solutions. They should never feel tokenized or expected to participate based solely on identity. This creates a difficult but necessary balance between intention and reality.

Constraint #3: The Gender Paradox

Here’s where we often face actor dissatisfaction. Like many community theaters, we consistently see more female-presenting auditioners than male-presenting ones. So logically, you might think: “Great! Just pick shows with lots of women!” If only it were that simple. Many shows, especially well-known, licensable titles, are still written with male-heavy casts. And while some roles can be gender-flexible, licensing agreements often restrict how much we can alter. We hear the desire for more opportunities for women, and we share it. In fact, it is one of the most consistent factors we consider when building a season. But as you can see, it exists within a complex web of constraints that don’t always allow for simple solutions. So, we search for shows that feature strong and numerous female roles, allow (or don’t prohibit) gender flexibility, don’t require specific cultural casting we can’t fulfill, aren’t already being produced nearby, and are available for licensing. That Venn diagram gets very small, very fast.

Constraint #4: Audience Appeal vs. Artistic Responsibility

A show does not just need to be castable; it needs to sell. We must consider name recognition, audience interest, and content sensitivity. This is where another tension appears. Classic shows often come with outdated themes, stereotypes, or problematic language. Contemporary shows may include strong language or mature content that doesn’t align with all audience expectations. Every title becomes a balancing act. Is it engaging enough to draw a crowd, but thoughtful enough to present responsibly?

Constraint #5: One Community, Many Audiences

The Bitterroot Valley is not a monolith. Our audience includes people with different political views, different religious beliefs, different cultural expectations, and different comfort levels with language and themes. Now try this exercise: Pick one show that appeals broadly. Now pick another; different enough to reach a new audience, but not so different that it alienates the first. Now do it again. And again. By the time you’ve built a full season of 4–5 shows, you’re not just programming - you’re negotiating with an entire community’s tastes, values, and expectations.

Constraint #6: People Power (or Lack Thereof)

Even if a show checks every box on paper, there is still one final question: Do we have the people to make it happen? That means we need: a qualified, committed director, a cast willing to commit 8–10 weeks, designers and crew willing to commit 8-10 weeks, and musicians (if applicable). All those people are volunteers or part-time contributors with real lives, jobs, and obligations. A perfect show can fail simply because the right people aren’t available at the right time.

Constraint #7: Growth Without Alienation

Finally, we must think long-term. We need to grow our audience, attract new performers, and stay relevant. But growth requires risk. So, we constantly ask: How far can we stretch without losing the community that built us? Push too little, and we stagnate. Push too far, and we lose trust.

The Bigger Picture

Season selection isn’t just about picking shows. It’s about stewarding a 30-year legacy, balancing art and sustainability, creating opportunities, and serving a diverse and evolving community…and doing it all again… every single year.

 If we do not continue to grow our audiences, our volunteers, and our performers, then eventually, the system stops working. And when that happens, community theater doesn’t fade dramatically. It simply… stops. The lights go out. The doors close. The stage goes quiet. We are not planning to let that happen. Because what we have here matters. It is rare. It is meaningful. And it is worth the effort it takes behind the scenes to keep it alive.

So, when you see our upcoming season and are disposed to grumble or criticize, please remember how difficult the task was, and know that we are trying to serve our community - our whole community in the best way we know how.  Take a risk, step outside of your comfort zone, and go on the journey with us. You just might like it!

What Does It Really Cost to Put on a Show?

In previous blog posts, I’ve talked about royalties, licensing, and the legal requirements behind producing a show. But what does it actually cost to put a production on stage?

The answer is: more than most people realize.

Here’s a real-world breakdown of what it cost Hamilton Players to produce our February 2026 production of My Fair Lady.

The Starting Point: Licensing and Rights

Before a single note is sung or a line is rehearsed, we must secure the rights to perform the show. For My Fair Lady, our contract included:

• $425 per performance × 9 performances = $3,825
• $900 for materials rental (librettos and scores)
• $400 refundable security fee
• $1,100 for rehearsal and show accompaniment

That brought our initial licensing total to $6,225, plus an additional $90 for extra script rentals, including the stage manager’s copy.

Building the Show

Next comes the artistic and production side.  Our artistic team, including the director, music director/accompanist, and choreographer, totaled $2,450. 

The broader artistic budget covered everything you see (and a lot you don’t), including:

• Set construction materials and décor
• Costumes (hats, gloves, shoes, accessories, and cleaning)
• Wigs and makeup
• Props
• Backstage supplies (everything from hairspray to bobby pins)
• Technical elements like gobos and light gels
• We budgeted $3,500 and came in at $3,653.

We also made a late artistic decision to pivot to live musicians. While we are still working to recover previously paid digital accompaniment fees, live musicians added another $500.

And then there’s food, because theater people run on snacks:

• $125 to feed our work crew
• $325 in backstage snacks

(During cold and flu season, we opted for individual snack bags for each cast member rather than shared food. With actors arriving up to two hours early and performing a three-hour show, keeping people fueled and healthy matters.)

The Invisible (But Essential) Costs

Beyond what’s on stage, there are significant administrative and operational costs tied to each production. These include:

Box Office Operations: Ticket materials, processing fees, and staffing (15 hours/week for 6 weeks): $2,580

Administrative Time: Scheduling, marketing, social media, playbill design, licensing oversight, errands, and general show support - Approximately 150 hours: $3,000

Printing and Marketing

• Programs/playbills: $1,610
• Posters: $175
• Advertising (social media, print, email): $1,100

Building Overhead: Utilities, insurance, cleaning, and maintenance for the 7-week production period
(13.5% of annual costs): $3,718

The Total (Direct Costs)

As shown in the chart at the end of this post, the direct cost of producing My Fair Lady came to: $25,376

What That Total Doesn’t Include

That number, while significant, still doesn’t tell the full story.

It does not include:

• $936 in food, supplies, and cast appreciation items personally donated by the director
• $350+ contributed by a generous donor to cover the cast party

And most importantly, it does not include the value of volunteer labor. For My Fair Lady, we recorded 3,761.25 volunteer hours. At estimated value, that equals $120,924.18 in contributed time.

If we include those contributions, the true cost of the production rises to: $147,586.18

So… Do We Make Money?

If every performance sold out:

• 168 seats × $25 × 9 performances = $37,800
• Minus expenses: $25,376
• Potential profit: $12,424

But that’s the best-case scenario. For a classic musical, we typically average about 80% attendance, or roughly 135 seats per performance:

• 135 seats × $25 × 9 performances = $30,375
• Minus expenses: $25,376
• Estimated profit: $4,999

Why This Matters

Even with strong attendance, the profit margin is narrow. And these figures only reflect the cost of producing one show. They do not include the many other expenses required to operate year-round programming, maintain a historic facility, and serve our community. This is why sponsorships, donations, and community support are not just helpful, they are essential.

Here’s a quick and easy look at the expenses.

DIRECT EXPENSES

Licensing/Royalties/Fees.............. ....... $6,225

Scripts......................................... ......... $90

Art Direction...................................... $2,450

Artistic Show Budget........................... $3,653

Music................................. ................. $500

Food.................................. ................. $450

Box Office......................... ................ $1,080

Ticketing & Fees................................. $1,500

Admin...................................... ........ $3,000

Programs.......................... ................ $1,610

Bldg. Overhead.................................. $3,718

Marketing.......................................... $1,100

TOTAL........................................... $25,376

 

ADDITIONAL EXPENSES

Cast Party Donations............................. $350

Director Incidentals Donations................ $936

Volunteer Hours......................... $120,924.18

  

If you are interested in being a sponsor for an upcoming Hamilton Players production or event, please feel free to reach out to us at info@hamiltonplayers.com

 

 

Guest Blogger: A Day in the Life of...the Executive Assistant

Amy B., Executive Assistant, Volunteer Coordinator, Box Office Manager

When I’m at the theater I wear a name tag that says, “Executive Assistant.” Hamilton Players consists of two employees, the Executive Director (denise) and myself. When you are one of two employees you end up doing a little bit of everything. We are fortunate that we have so many amazing volunteers that help us fill many gaps. That aside, when I come to work I never know what I might be doing that day.

Of course there is desk work. I help denise process donations and send out correspondence – everything from thank you letters to mass mailings. I also process theater school applications for our youth after school and summer camps. I contact and coordinate the volunteers that work in the lobby at our shows and special events. Managing the box office consists of communicating with our season ticket holders, selling tickets, answering questions, printing tickets, and working at the Will Call window. This is the part of my job that most people see.

What are some of the other things that I do here at Hamilton Players?

Clean and vacuum the lobby and theater. Ever wonder why we are so adamant that cookies stay in the lobby? Even with our reminders it’s amazing how many ground in cookie crumbs are found in the carpet in the house (theater), not to mention the wadded up Kleenexes, candy wrappers, ticket stubs, crumpled programs, etc. Cleaning the house after shows is one of my tasks. Please know that when we ask you to eat your cookies in the lobby, our concern is that food crumbs in the theater can attract unwanted pests.

The seat numbers on the arms of the theater seats sometimes fall off, so when we find those I glue them back on.

Other day to day tasks are cleaning bathrooms, changing light bulbs, and taking the trash out.

For our Reader’s Theaters or Theater Camp Productions, I often help denise position lights in the theater. On a few occasions I’ve been recruited to control the lights from the booth for these shows. Something a little different for me and a fun experience!

When we have tickets going on sale for our next production, I typically spend a couple of hours hanging up posters in Hamilton and the surrounding area. If it’s a nice sunny day this is one of my more favorite tasks!

Every once in a while I’m asked to help with painting - painting the stage black, painting our lobby, or even painting the parking lot stripes.

On occasion, during the spring thaw or during a heavy rain fall we experience some leaks in the roof. I will find myself climbing up into the attic with buckets or bowls to access the situation and catch the drips. We then call the necessary volunteer or contractor to remedy the situation.

Ah spring! We love spring, but with spring comes a rise in the water table and our crawl space begins to fill with water. Our trusty sump pump kicks into gear, or at least that is the plan. If it doesn’t, then down to the crawlspace I go to see if I can get it going. If you drive by and it looks as though we left our hose running in the parking lot, it is actually the water from the crawl space being directed to our parking lot drain. If it’s a warm spring, the run off begins to grow algae. denise and I can be found outside scrubbing the parking lot as the algae can become rather slippery.

April showers bring May flowers, and weeds. During late spring and summer we work to keep the weeds at bay around the building. We are hopeful to resurface the parking lot soon, but in the meantime the cracks in the pavement are also home to weeds. I spend quite a bit of time outdoors taking care of the weeds. Fortunately, yard work is another task that that our fantastic volunteers that are willing to help out with.

When winter arrives I get the shovels and ice melt out. We shovel and spread ice melt on the patio and ADA ramp to ensure safety for our patrons as well as ourselves. Hamilton Players does contract to have the parking lot plowed. We are so grateful that when the snow gets really deep we have volunteers willing join us in the heavy lifting.

Ever wonder about all of the costumes and props you see on stage, where they come from and where they go after a show? We store the costumes and props here at the playhouse and in several storage units off site. Our storage seems to be always shrinking, because despite our current inventory, a new show always brings some new costumes. I often am asked to retrieve certain costumes or props for a show and after the show I put them away.  

As mentioned already, sometimes we get pests. A portion of our building is over 130 years old! Needless to say it has a few cracks and crevices. Despite our best efforts to plug them all up we do deal with an occasional unwanted guest. Sometimes this requires me to haul the live trap up to the attic, or to the back of the shop. denise and have an agreement. She doesn’t do spiders and I don’t do snakes. Recently, while cleaning the theater I found a pile of bird feathers in a seat. I feared that a bird had gotten in and died! Upon further inspection a nest had been built in a void in our brick wall and the feathers had been pushed through a small gap. I was tasked with filling the hole (at least temporarily) and cleaning up the debris. This definitely made the list of things I didn’t expect to do at work that day!

If you ever see me at the grocery store with a cart full of bottled water, hard candy, pretzels, and toilet paper, it’s likely not for me. You can bet we have a show that weekend. In addition to show night errands you may also see me out at the UPS Store, The Paper Clip, Evans Ace, the post office or the bank. Running errands is something I do on a regular basis.

While I’m not going to lie and say I love cleaning the bathrooms or picking up waded tissues in the theater after our shows, I do love my job. It is fun to have a job that is a little different every day. It is also fun to get to be part of the Hamilton Players community. A community of creative people, talented people, and people who enjoy the performing arts!

 

 

Nonprofit is a tax designation, NOT a business model!

“Nonprofit” Misconception: Why the Name Gets It Wrong

It’s time to talk about the elephant in the room. And by that, I mean the term “nonprofit.” At best, the term is misleading. At worst, it becomes a catastrophic obstacle to success. Many people hear the word “nonprofit” and assume it means an organization cannot make money, must operate at break-even, or should always be on the verge of financial scarcity. Some even believe nonprofits are not allowed to have significant funds in the bank.

None of that is true.

The word nonprofit does not mean an organization cannot generate revenue or even operate with a surplus. That would be financially unsustainable and, frankly, unrealistic. No organization, charitable or otherwise, can survive long while operating in a perpetual deficit. Instead, the term nonprofit refers to a tax status, not a financial performance requirement. For example, organizations recognized under 501(c)(3) status are exempt from federal income tax because they operate for charitable, educational, religious, scientific, or other qualifying public purposes. The key distinction is this: profits cannot be distributed to private owners, shareholders, or insiders. Any surplus revenue must be reinvested back into the organization’s mission. This structure is also why donations to qualifying charities are tax deductible. Donors can trust that their contributions are supporting programs, services, and community impact; not lining the pockets of private investors.

Yes, Nonprofits Should Make Money

In fact, healthy nonprofits should generate more revenue than they spend. Financial sustainability requires reserves, planning, and long-term stability. Responsible organizations maintain cash reserves to protect against unexpected disruptions, whether that’s an economic downturn, a delayed grant payment, or a facility emergency. A common myth circulating in nonprofit circles is that organizations cannot keep more than a certain amount of money in their accounts. You may have heard statements like, “A nonprofit can’t have more than X dollars in the bank.”

There is no such federal rule.

The Internal Revenue Service does not impose a specific limit on nonprofit cash reserves. What the IRS does require is that funds ultimately be used to support the organization’s charitable purpose. Accumulating money indefinitely without a clear mission-related reason can raise questions, but maintaining reserves for stability, growth, and planned investments is not only permitted, it is good governance. Financial best practices generally recommend that nonprofits maintain three to six months of operating reserves, though many organizations aim for more depending on their size, risk exposure, and funding volatility. These reserves can cover emergency costs, program continuity, and planned capital improvements. As long as funds are used to support the mission, whether through programs, infrastructure, staffing, or future projects, there is no prohibition against maintaining healthy reserves.

The Myth of “Psychic Income”

Another harmful misconception in the nonprofit sector is the idea that employees and leaders should accept low wages because the work itself is meaningful. This idea is often described as “psychic income.” Psychic income refers to the emotional satisfaction someone receives from doing work they care deeply about. And while purpose-driven work can absolutely be fulfilling, psychic income does not pay rent, student loans, groceries, or healthcare bills. Unfortunately, nonprofit professionals are frequently expected, or subtly pressured, to accept lower pay in exchange for that sense of purpose. This expectation creates serious long-term problems.

If organizations refuse to offer competitive wages, they struggle to attract and retain talented professionals. Highly skilled managers, accountants, program directors, fundraisers, and strategists have bills to pay just like anyone else. When nonprofits undervalue their staff, they often lose experienced employees to sectors that offer fair compensation. Limiting compensation ultimately limits impact.

Nonprofits operate in some of the most complex and critical areas of society: humanitarian relief, child welfare, veteran services, medical support, arts and cultural programming, environmental protection, animal welfare, and educational initiatives…just to name a few. These missions require competent leadership, sound financial management, and strategic decision-making. Those skills require education, training, and experience. If organizations expect the expertise of highly trained professionals, people with advanced degrees, certifications, and years of experience, then they must be willing to offer compensation that reflects that value. Put simply: if you want top-tier management and operational excellence, you must be willing to invest in the people who make that possible.

Sustainability Requires Investment

Another overlooked reality is that nonprofits require ongoing reinvestment to remain effective. Buildings need maintenance. Technology must be updated. Programs evolve. Communities grow and change. Staff need training and support. Equipment wears out. New initiatives require startup funding. If a nonprofit’s programs only break even, or worse, operate at a loss, there is little room to maintain infrastructure, expand services, or respond to emerging community needs. Any organization that cannot reinvest in itself will eventually stagnate. Healthy nonprofits operate with the same financial realities as any well-run organization: they must generate sufficient revenue to maintain operations, improve systems, and grow their impact.

Nonprofits Are Mission-Driven Businesses

So what does all of this mean? It means nonprofits can and should operate under sound business principles. Being mission-driven does not mean being financially fragile. In fact, strong financial management is one of the most powerful tools a nonprofit has to maximize its impact. There is nothing illegal, unethical, or inappropriate about a nonprofit:

• Generating a surplus
• Maintaining cash reserves
• Paying competitive wages
• Investing in infrastructure and growth

As long as the organization fulfills its charitable mission and reinvests its resources toward that purpose, these practices are not only acceptable; they are essential. The most successful nonprofits understand that financial strength fuels mission success. When organizations are financially stable, they can serve more people, expand programs, weather crises, and plan for the future.

In other words, the goal isn’t to avoid profit. The goal is to put profit to work for the mission.

A Day in the Life...of the Executive Director

 

A Day in the Life… of the Executive Director

From spreadsheets to stage lights: the daily work behind the magic of live theater.

People sometimes ask what the Executive Director of a community theater actually does all day. I can only speak for Hamilton Players, but the short answer is: a little bit of everything. The longer answer? Well… imagine opening the theater in the morning before anyone else arrives. The stage is quiet, the lights are off, and the day’s to-do list is already longer than you’d like. Hamilton Players is a 501(c)(3) nonprofit community theater, and while we are largely volunteer-run (and incredibly grateful for those volunteers), a small staff helps keep the day-to-day operations moving. One of those roles is the Executive Director.

On paper, the position is full-time. In practice, it usually lands somewhere between 55 and 70 hours a week, depending on what’s happening in the theater at the time. On any given day, the Executive Director might be acting as artistic director, grant writer, development director, education coordinator, facility manager, marketing assistant, and occasionally the HR and IT departments. Some days involve budgets and spreadsheets. Other days involve painting sets, building props, or troubleshooting a sound system five minutes before rehearsal begins. In other words, no two days ever look exactly the same.

While I’ve left out a few minor details (yes, I did answer the phone a couple of times, and yes, I did take a bathroom break), the chart below shows the general breakdown of two consecutive workdays in 15-minute increments. Spoiler alert: there are very few quiet moments.

Time	Task Day 1	Task Day 2
9:15 AM	-	Print & review info for donor  meeting
9:30 AM	-	Print & review info for donor  meeting
10:00 AM	Arrive at Playhouse, unlock door, turn on lights	Donor meeting over coffee
10:15 AM	Sanitize & clean public spaces	Donor meeting over coffee
10:30 AM	Check and reply to emails	Donor meeting over coffee
10:45 AM	Check “to do” list and arrange priorities	Donor meeting over coffee
11:00 AM	Graphic design – social media marketing	Donor meeting over coffee
11:15 AM	Graphic design – social media marketing	Arrive at Playhouse, unlock door, turn on lights, bring in packages
11:30 AM	Social media marketing tasks	Make notes on action items from donor meeting.
11:45 AM	Email newsletter	Open delivered packages.
12:00 PM	Email newsletter	Sanitize & clean public spaces
12:15 PM	Email newsletter	Check and reply to emails
12:30 PM	Refine & upload new newsletter subscriptions	Check “to do” list and arrange priorities
12:45 PM	Check and reply to emails	Graphic design – social media marketing
1:00 PM	Reply to donation requests	Graphic design – social media marketing
1:15 PM	Update Tix.com with new events	Social media marketing tasks
1:30 PM	Update Tix.com with new events	Blog research
1:45 PM	Update Tix.com with new events	Graphic design – social media marketing
2:00 PM	Eat lunch at desk, online grant research	Blog research
2:15 PM	Online grant research	Write blog post
2:30 PM	Online grant research & design	Check online reviews & respond      to new ones.
2:45 PM	Prepare grant budgets	Check and reply to emails
3:00 PM	Prepare grant budgets	Work on blog post
3:15 PM	Prepare grant narrative	Edit & refine grant narratives
3:30 PM	Prepare grant narrative	Edit & refine grant narratives
3:45 PM	Research arts education outcomes for grant	Design new program assessment  tools & metrics
4:00 PM	Research arts education outcomes for grant	Design new program assessment  tools & metrics
4:15 PM	Check and reply to emails/cover box office	Eat lunch at desk; Check and      reply  to emails
4:30 PM	Check and reply to emails/cover box office	Design and create newspaper ad      for upcoming show
4:45 PM	Create show program/cover box office	Design and create newspaper ad      for upcoming show
5:00 PM	Create show program/cover box office	Design and create newspaper ad      for upcoming show
5:15 PM	Create show program/cover box office	Meet with upcoming director
5:30 PM	Create show program/cover box office	Meet with upcoming director
5:45 PM	Generate sponsor invoice	Meet with upcoming director           &  tech consultant
6:00 PM	Generate and assess financial report for quarterly donor update	Meet with tech consultant
6:15 PM	Prepare quarterly donor update	Write up meeting notes, set        follow up dates
6:30 PM	Sprinkle deicer outside, turn on all lights, check bathrooms for TP and paper towels to prepare for evening rehearsals	Sprinkle deicer outside, turn on       all lights, check bathrooms for        TP and paper towels to prepare       for evening rehearsals
6:45 PM	Prepare quarterly donor update	Consolidate notes about director       & tech meeting
7:00 PM	Print and sign quarterly donor updates	Work on show program
7:15 PM	Snack at desk. Check on licensing statuses	Work on show program
7:30 PM	Assess new release titles, order perusals. Check and reply to emails	Work on show program
7:45 PM	Bookkeeping and QuickBooks	Work on show program
8:00 PM	Bookkeeping and QuickBooks	Work on show program.
8:15 PM	Bookkeeping and QuickBooks	Snack at desk. Check and reply        to emails
8:30 PM	Bookkeeping and QuickBooks	Shut down office, touch base with director and Stage manager        before leaving. Go home.
8:45 PM	Bookkeeping and QuickBooks	-
9:00 PM	Shut down office, touch base with director and Stage manager before leaving. Go home.	-

Some days involve running errands around town. Other days require working around appointments. Some are 9-5; some are…not. But most days are simply a steady mix of tasks, constantly shifting to keep the most important priorities moving forward. And the schedule above only captures part of the picture.

A typical week might also include teaching youth programs, designing curriculum, writing press releases, completing grant reports, ordering supplies for upcoming productions, maintaining costumes, planning events, paying bills, running the box office, giving public presentations, and meeting with directors, board members, donors, volunteers, and patrons. There’s also the occasional bathroom cleaning, snow shoveling, and sidewalk sweeping. #MontanaTheaterLife.

Like most nonprofit leaders, I’ve learned that the to-do list never really ends. The key is reassessing priorities every day, delegating when possible, and remembering to leave space for the parts of the job that make it all worthwhile. Because the truth is, no two days at Hamilton Playhouse are ever quite the same. One minute I’m writing a grant report. The next I’m hunting for a missing prop teacup, answering a patron email, and trying to figure out why the printer isn’t working. It can be chaotic, exhausting, and occasionally a little ridiculous. But at the end of it all, the lights come up, the curtain opens, and our community gathers together. And somehow, that magic of live theater makes every spreadsheet, snow shovel, and last-minute prop emergency completely worth it.