Business Internship @ La Jolla Playhouse

  • 503 views
Uploaded on

 

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
    Be the first to like this
No Downloads

Views

Total Views
503
On Slideshare
0
From Embeds
0
Number of Embeds
0

Actions

Shares
Downloads
2
Comments
0
Likes
0

Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
    No notes for slide

Transcript

  • 1. 1MGT 401 Business InternshipIntegrative Analysis Report: La Jolla Playhouse Submitted By: Michaela Fountain San Diego State University May 10, 2010 Instructor: Michael Hergert
  • 2. 2 Integrative Analysis Report: La Jolla Playhouse Purpose I was employed at La Jolla Playhouse in La Jolla, CA as an intern. La Jolla Playhouse is anon-profit theatre that houses various touring plays, readings, and musicals, as well as producesand showcases their own unique and original shows. The Theatre is composed of three stages,which is intended to increase their potential as a non-profit organization. The organizationcontinually brings directors, choreographers, composers, and other theatre employees from NewYork and Los Angeles to produce original shows that premiere at the Playhouse. Theorganization also has a residency program, which allows the theatre to utilize UCSD theatremajors and minors. The Playhouse is also an avid supporter for youth theatre, and annually holdsa play or musical that employs talented kids, as well as tours to local schools to promote artseducation. Many productions that have originated at La Jolla Playhouse have gone on toBroadway, which has defined the Playhouse as a great platform for new ideas and talent. La JollaPlayhouses’ mission is to provide a stage for local and national talent, and educate thecommunity about the power of theatre. My position within this organization was the Intern for the Associate General Manager ofthe Playhouse, Jenny Case. As her intern, my responsibilities included assisting Jenny with herdaily office duties. I was responsible for learning and understanding theatre employees’ contractsby studying the Actor’s Equity Handbook, understanding payroll, learning about the StageDirector and Choreographers union (SSD&C), understanding the UCSD residency program, andlearning the rules and regulations of the General Management department. After I studied andunderstood these rules, I was able to assist Jenny with creating check requests for theatreemployees, writing various contracts for those employees, and creating payroll reports forspecific shows. To satisfy the requirements for MGT 401, I pursued five learning activities throughoutmy internship. Throughout this report, I will present what I’ve learned during my 3-monthexperience at La Jolla Playhouse, as well as provide examples of my work within my experience.Specific learning activities are described in my Learning Activities Course Contract (SeeAppendix A). Secondly, I will describe how my knowledge of business concepts, acquired atSDSU, influenced my experience at the Playhouse. Finally, I will conclude the report with anoverview of what I learned, along with my plans post-internship. My supervisor has alsoprovided an evaluation of my performance (See Appendix B). Learning Experience DiscussionLearn About the Agreement Between AEA and LORT My first objective in this internship was to learn the governing principles associated withthe agreement between Actors Equity Association and League of Regional Theatres. This unionhandbook is the foundation of any theatre, because it describes the rules and regulations foremploying actors and for operating a theatre. I had to comprehend this agreement beforeprogressing with my internship, because my supervisor’s daily operations are based uponknowledge of this agreement.
  • 3. 3 I read this handbook within the first week of my internship, but continued referring backto it during the first month of my internship. I was confident enough a week before February26th to begin the process of writing check requests and payroll reports, as tasked by Ms. Case. The LORT-AEA handbook dealt with the rules and regulations regarding actors (stagemanagers, assistant stage managers, and other employees, except for directors andchoreographers, are considered actors in this case), such as the distinction between differenttypes of actors, the amount of performances allowed, the length of their workweeks, andinformation associated with their contracts. This was useful because I had to know what type ofactor I was working with when writing contracts and what type of performance they wereinvolved with when deciding their compensation. When studying this handbook, I proceeded to take notes on what my Supervisor and Iagreed was relevant to my internship experience, such as compensation, transportation, duties,and housing. After I had taken notes on the handbook, my Supervisor would ask me questionsbased on what I had read to make sure I understood the material. She would follow my pop quizwith a realistic situation, such as creating a contract for a composer employed at the Playhouse,who lives in New York, and will be the accompaniment pianist during the audition process, andsee how I would handle that situation. I feel I understand this agreement very well, especiallybecause of my note-taking and subsequent use of the concepts. The knowledge I’ve gained fromthis book was frequently used in my daily tasks, so I now have a solid understanding of the rulesand regulations associated with theatre. I have provided my notes and analysis of the LORT-AEA agreement (notes on theoriginal and revised 2009 handbook), in Appendix C, along with a signature for completionprovided by my Supervisor.Create Payroll Reports and Check Requests My second learning objective included understanding payroll and other HR issuesspecific to the unions of actors, stage managers, producers, directors, and authors. Writing checkrequests and payroll reports was one of Jenny’s weekly duties, and is crucial to running a theatre.Although Jenny didn’t write checks for theatre employees, a task designated to the Financedepartment, she had to decide what they were to be compensated for and how much. All thisinformation comes from the handbook mentioned above, offering a guide to make salaries andcompensation fair and equal. To begin this process, I had to learn one more handbook. I read and took notes on theSSD&C (Society of Stage Directors and Choreographers) handbook. I had already learned thecompensation rules regarding actors, so this handbook covered the rest of the employees Ineeded to learn about. After I understood these rules under these various unions, I was able towrite check requests and payroll reports, successfully meeting my target date of March 19th. Check requests are prepared in order to have the Finance department generate checkspaid out to employees, such as actors and stage managers, for expenses during their stay, orcompensating them for a one-time job. Jenny taught me how to write a check request, using theinformation from the handbooks, and then allowed me to compose them myself for the durationof my internship. There were several codes I had to understand when writing the requests, suchas codes for specific shows, and for the particular job they were being compensated for. Also, Ihad to specify the reason the employee was being compensated, and how much they were beingpaid, so that there was no confusion when it was sent to the Finance department. When I hadcompleted the check requests, I would make a copy which would be sent to the Finance
  • 4. 4department for further review, and the original would be placed into a specific shows’ binder forfuture reference. Payroll reports illustrate a specific shows’ actor or other employees’ weekly salary. Thesetook me longer to understand because they were, at first glance, confusing in terms of detailedexpenses covered in the report. When Jenny taught me how to do them, we had to use aMicrosoft Excel spreadsheet, which provided calculations and explanations for a certain rate ofsalary. Then, we transferred that data to another Excel spreadsheet which included the salariesfor each member of the show, the pension and health fee, and any miscellaneous fees. This waschallenging because the salaries would change weekly due to possible overtime and the constantchanges with the union rules. There was a blank area on the payroll reports, to further explainany of these aforementioned changes, so there would be no confusion on why the numberschanged. Payroll reports were made every week, copied, signed by the General Manager, DebbyBuchholz, the copy sent to the Finance department, and the original placed in a show binder. I have included a copy of two check requests, as well as a payroll report that I created, inAppendix D, signed for completion by Jenny Case.Learn About the Agreement Between La Jolla Playhouse and UCSD My third learning objective was to learn about the Grad Student Residency program,specifically between La Jolla Playhouse and UCSD actors and stage managers. The majority ofthe shows for the current season were employing Theatre Arts majors from UCSD, as well aslocals from the surrounding community, so it was important to learn the agreement between theUniversity and the Theatre. I was able to complete this task by the deadline of March 26th. To complete a student Excel ratio report, I first had to review Rule 39 in the AEAhandbook, which deals with non-professionals. Within the theatre industry, there are three categories of non-professionals: local jobbers,equity membership candidates, and students. Local jobbers are residents of the community inwhich the theatre is located that don’t intend to make a career out of theatre. Equity membershipcandidates want to make a career in professional theatre and are interested in training to reachtheir goal. Lastly, students come from the UCSD campus, in which La Jolla Playhouse is a partof, to further their experience as Theatre Arts majors. I also had to learn about ratios within a production. Within the AEA handbook, there aretables demonstrating the amount of students, local jobbers, or equity membership candidatesallowed in a single production. There was also room to bank non-professionals, which meantthat for each actor employed for a production in place of a non-professional actor, the theatrecould keep a non-professional on the side in case they were needed. Also, a production wasallowed to float a non-professional, which meant that a show could employ a certain amount ofstudents on top of the cast already chosen. The ratios vary between theatres, La Jolla Playhousebeing a category “B” theatre, and the Pottiker (a stage within La Jolla Playhouse) being acategory “C” theatre. After I had finished studying that particular section of the handbook, I was able to createmy student ratio Excel report. This was very challenging because I had to make sure that weutilized all the non-professionals that were necessary in the show, and used them within theguidelines of the handbook. I have included a copy of a student ratio Excel report that I created in Appendix E, alongwith a signature for completion provided by my Supervisor.
  • 5. 5Write a Union Actor Contract My fourth learning objective was to learn how to write a union actor contract. Thislearning activity took all the experience I had with the aforementioned tasks, so that the contractI wrote would be legal and legitimate in terms of AEA, LORT, and the SSD&C unions. Eventhough my task was to create an actor contract, I did eventually learn how to create contracts forcomposers (under the American Federation of Musicians union), choreographers, and others. Icompleted this task by my deadline of April 16th. Jenny had to write contracts continuously because there were numerous theatreemployees being hired on a day-to-day basis. A contract with an actor, stage manager, etc. wasthe paperwork that determined a future relationship between the aforementioned employees andthe theatre. It was vital to present this information error-free, so there would be no chance ofconfusion or lawsuit in the future. To complete this task, I had to have knowledge on specific jobs and their responsibilities,compensation, tasks, transportation, housing, the laws concerning show recordings, etc. All ofthis information was described in all of the theatre employees’ respective union handbooks. The General Manager of La Jolla Playhouse, Debby Buchholz, was a lawyer before beinghired at the Theatre, so she assisted with the legal jargon necessary within the contract. My onlyjob within this activity was to insert the information in each category in respect to the type ofemployee I was writing about. I have included a union actor contract that I drafted, in Appendix F, along with asignature for completion by Jenny Case.Analyze Stages of Production Contracts My fifth learning activity was to evaluate production contracts in their various stages.This task coincided with the fourth learning activity because I had to learn the cycle the contractwent through before its completion. I completed this activity by my assigned deadline of April23rd. When an actor, composer, sound designer, or any other theatre employee is hired withinLa Jolla Playhouse, both Debby and Jenny draw up a contract using their knowledge from thevarious handbooks, as well as their knowledge from previous contracts. After a contract iscompleted, it is sent to the aforementioned employees’ agent. The agent will look over thecontract and make any changes necessary within the agreement. Corrections usually consist ofmaking a statement more clear than it previously was written. As mentioned earlier, there shouldbe no confusion as to the terms presented within the contract. Once the corrections are clearly marked on the original copy of the contract, it is sentback to both Debby and Jenny for final revisions. They will then finalize the contract, which willbe copied and sent to the agent, with the original being placed in a show binder. For this activity, I looked over a contract that was created for John Gromada, whom wasto be in this season’s Surf Report. This contract was a challenge for the entire GeneralManagement team because Gromada was not only going to be the Composer for the play, butalso the Sound Designer. This meant one contract had to be assigned to two jobs. Debby andJenny had already written up the first draft of the contract, which was sent to Gromada’s Agent.His Agent had made many revisions, mostly making aware the two job titles associated withinthe contract, and the contract was sent back to Debby and Jenny. Debby then finalized theagreement between the Theatre and Gromada.
  • 6. 6 I was responsible for merging the two documents (the original and the finalized), to showwhat had been changed between the two, so the Agent had a clear idea going through thefinalized contract what was finally agreed upon. Although that was my only task within this activity, I had to look over both contracts andanalyze what was changed and why it was changed. Some of the corrections were based uponnumbers illustrated within the handbooks, and some were to make the material more clear for theAgent’s sake. For my notes and analysis of this task, I have included a copy of the original contract, theAgents’ corrections, the finalized contract Debby wrote, and the merged documents displayingwhat was revised (See Appendix G). The merged document, which I created, has been signed forcompletion by Jenny Case. Concept Integration and ApplicationJob Characteristics Model The Job Characteristics Model was created by J. Richard Hackman and Greg Oldhma,and states that “any job can be described in terms of five core job dimensions: skill variety, taskidentity, task significance, autonomy, and feedback” (Judge & Robbins, 2008). This modeldemonstrates that if an organization is structured with high levels of skill variety, task identity,task significance, autonomy, and feedback, then employees will be more motivated to performtheir jobs, and therefore will work efficiently throughout the organization. If an organizationdoes not provide strong levels of some of these elements, then employees may get bored easilyand feel less motivated to perform their work, which will lead to less efficiency throughout theorganization. Skill Variety Skill variety is defined as “the degree to which a job requires a variety of differentactivities” (Judge & Robbins, 2008). If an employee is allowed to use more than onespecialization or talent throughout their organization, they will feel more accomplished andmotivated within their job. Performing one task, or utilizing one skill, such as a telemarketer whocalls people for eight hours a day, will dramatically decrease an employee’s motivation to workhard in the organization. High skill variety does not only motivate employees, but it showsemployers the wide range of skills an employee is able to perform. There was a significant amount of skill variety at La Jolla Playhouse because theemployees I observed had to be very skillful in many areas to perform the tasks at hand.Throughout my internship, I observed Jenny providing customer service, writing contracts,making travel arrangements for employees, renting apartments for actors, and working withfinances, such as payroll and checks. Jenny is able to present her diverse skills on a daily basis,and she is able to utilize them to the benefit of the organization. Task Identity According to Judge and Robbins (2008), task identity is defined as “the degree to which ajob requires completion of a whole and identifiable piece of work”. This concept proves that anemployee, who is involved with the entire process of a job, activity, task, etc., will experiencemore accomplishment because they will be identified with the completion, and possible successof that piece of work. An example would be a “cabinetmaker who designs a piece of furniture,selects the wood, builds the object, and finishes it to perfection” (Judge & Robbins, 2008). Thisconcept also states that an employee who carries out one aspect involved in the process will
  • 7. 7identify less with the piece of work, and therefore detach themselves from their involvement.Jobs such as this, which are low in task identity, include a toy factory worker that places clotheson dolls. La Jolla Playhouse demonstrated medium task identity. Jenny contributed to the entireprocess of creating contracts, check requests, and payroll reports. However, when writing checkrequests and payroll reports, she was preparing the Financial department to pay the employees ofthe Theatre. Also, Jenny was responsible for hiring actors for specific shows, once given a list ofchosen people by members of the General Management team, but never attended castingauditions or was able to choose actors herself. Task Significance Task significance is defined as “the degree to which a job has a substantial impact on thelives or work of other people” (Judge & Robbins, 2008). This concept illustrates that jobs thataffect other employees or customers will motivate the employee more because of the increasedresponsibility they have toward the success of the organization. Examples of jobs with high tasksignificance include doctors, nurses, teachers, and professors. They’re responsible for people’slives, and minds, which makes them motivated to be more efficient and productive. Examples ofjobs with low task significance include janitors and hostesses. These employees have no impacton other people, or other employees, and therefore they are less motivated to be efficient andproductive. La Jolla Playhouse exuded high task significance. Jenny determined the futurerelationship between the Theatre and an employee, set the guidelines of their stay at the Theatre,and was a significant factor in making a production successful. These tasks were not onlyimportant to the employee, but also to the success of the Theatre. Besides Jenny, the entireorganization was responsible for creating a successful show, which would impact employees(employees at La Jolla Playhouse, as well as actors, stage managers, etc.), and the communitythat supported the Playhouse. Autonomy According to Judge and Robbins (2008), autonomy is described as “the degree to which ajob provides substantial freedom and discretion to the individual in scheduling the work and indetermining the procedures to be used in carrying it out”. This concept illustrates that anemployee who has complete freedom through how and when they perform their work, feelsresponsible for the success or failure of the job, and therefore is motivated to work hard to makeit successful. Examples of jobs with high autonomy include a “salesperson who schedules his orher own work each day and decides on the most effective sales approach for each customerwithout supervision” (Judge & Robbins, 2008). A job with low autonomy will give the employeeless responsibility on the outcome of the project, and therefore will decrease their motivation tocarry out the work effectively. These jobs include fast food services and retail jobs. There was a significant amount of autonomy present at La Jolla Playhouse, especially inJenny’s job. She was free to perform her work as she saw fit, as long as her tasks wereaccomplished in a timely manner. Even though she is the Associate General Manager, she hascomplete freedom with some of her work because she has been an employee for nine years, andher experience enhances her proficiency. In one instance, Jenny had to contact employed actorsabout a show they were involved with that was being cancelled before rehearsals began. She wasresponsible for the entire process of calling the agent, discussing what had happened, andconversing with the actor to discuss future employment possibilities. Feedback
  • 8. 8 Feedback is defined as “the degree to which carrying out the work activities required by ajob results in the individual obtaining direct and clear information about the effectiveness of hisor her performance” (Judge & Robbins, 2008). This concept states that an employee whoreceives feedback from their superiors, or direct feedback from their product or service, will seehow they are performing within the organization, and therefore feel motivated to continueprogressing by changing how they do things, or by working harder in certain areas. An exampleof a job with high feedback is the Geek Squad because their employees will fix computers andreceive direct feedback on whether their method of fixing computer problems works or not. If ajob has low feedback, employees won’t know what they’re doing wrong, which will allow themto continue possibly making mistakes. An example of a job with low feedback would include anemployee who doesn’t see the end result of their work, and therefore doesn’t know if theyperformed their work correctly and efficiently. There was strong feedback throughout the entire organization of La Jolla Playhouse.Feedback for the employees included seeing the results of a production, which they allcontributed to in some way. Feedback would include audience response, box office sales, andshow run time. Also, there was feedback by the employee’s superiors, especially by MikeRosenberg, the Managing Director at the Playhouse. Throughout my internship, I observed Mikegiving direct feedback to his employees on the floor, as well as organizing staff meetings thatdiscussed the current operations at the Theatre. Conclusions and Recommendations I believe that La Jolla Playhouse has followed this model almost perfectly. Creating anatmosphere in which employees feel motivated to perform their work to the benefit of theorganization’s success is very important, and I believe that with the continued use of thisaforementioned concept, more people will want to work for La Jolla Playhouse, and there will bedecreasing turnover in the future. However, I would recommend increasing the amount ofresponsibility given to one employee throughout an activity, such as the casting and hiring of anactor, so there is strong task identity present within the organization.Organizational Structure Organizational structure is defined as “the way in which job tasks are formally divided,grouped, and coordinated” (Judge & Robbins, 2008). According to this concept, there are sixelements to consider when planning an organization’s structure: work specialization,departmentalization, chain of command, span of control, centralization and decentralization, andformalization. When these elements are designed properly, the organization will run moreefficiently. Work specialization Work specialization is defined as “the degree to which tasks in an organization aresubdivided into separate jobs” (Judge & Robbins, 2008). This concept demonstrates that a singleactivity is performed by a variety of individuals contributing to one aspect of the process. Eachemployee can work on the task they specialize in, rather than performing the entire activitythemselves. This is important because there is a wide variety of skills and knowledge throughoutan organization, but not everyone specializes in the same task. When designed properly, there ismore efficiency because employees can focus on a specific task. At La Jolla Playhouse, therewas work specialization in regards to check requests and payroll reports. Jenny’s responsibilitywas to write check requests and payroll reports in regards to her knowledge of the twoaforementioned handbooks. After she completed filling out the paperwork, she would send this
  • 9. 9information to the Finance department, so they could perform their step in the activity. Jenny hadno knowledge on writing checks for employees, or budgeting for shows, so she didn’t involveherself in this step in the process. Departmentalization Departmentalization is defined as “the basis by which jobs in an organization are groupedtogether” (Judge & Robbins, 2008). This concept demonstrates that when similar jobs are placedtogether in a department, usually by function, product, geography, process, or customer, theorganization will run more efficiently. An organization can either be highly departmentalized, inwhich there’s separation between groups regarding their different functions, products, etc., or itcan transform into cross-functioning teams, in which departments begin merging with otherdepartments. La Jolla Playhouse is considered to have departmentalization with cross-functionalteams. The organization is divided into departments by function, such as finance, companydevelopment, artistic development, stage management, company management, etc. Even thoughit’s departmentalized, there are a lot of cross-functioning teams present. Jenny, for example, ispart of the General Management department, but began working for Company Managementbecause it required similar knowledge to that of general management. Chain of Command Chain of command is defined as “the unbroken line of authority that extends from the topof the organization to the lowest echelon and clarifies who reports to whom” (Judge & Robbins,2008). This concept suggests that an organization with a clear chain of command will be moreproductive because employees will know who to report to in case of an issue. According toJudge and Robbins (2008), this concept is becoming less relevant today because “ofadvancements in information technology and the trend toward empowering employees”. Thiswas apparent at La Jolla Playhouse. The structure of chain of command was still evident becauseI observed employees going to their superiors (i.e., Jenny Case reports to Debby Buchholz) forquestions and concerns, but there was also freedom to whom employees spoke to, such as goingdirectly to the Managing Director, Mike Rosenberg, and what information they obtained, such asfinancials and company records. Span of Control Span of control is defined as “the number of subordinates a manager can efficiently andeffectively direct” (Judge & Robbins, 2008). This concept states that organizations with largerand wider spans of control will run more efficiently and be more productive then organizationswith smaller and narrow spans of control. However, managers that operate within smaller andnarrow spans of control will be able to control their employees more effectively. Because LaJolla Playhouse is a small organization, it operates with a small and narrow span of control.There are very few top managers in the organization that control just over 200 employees. Centralization and Decentralization Centralization is defined as “the degree to which decision making is concentrated at asingle point in an organization” (Judge & Robbins, 2008). This concept demonstrates that amanager makes decisions without receiving input from subordinates. In contrast, decentralizationdemonstrates that a manager includes subordinates in the decision-making process. According toJudge and Robbins (2008), decentralization in an organization is preferred because “action canbe taken more quickly to solve problems, more people provide input into decisions, andemployees are less likely to feel alienated from those who make the decisions that affect theirwork lives”. Decentralization is prevalent at La Jolla Playhouse. The Managing Director, Mike
  • 10. 10Rosenberg, conducted meetings daily to discuss issues within the Playhouse and get feedbackand input from lower-level employees. Formalization Formalization is defined as “the degree to which jobs within an organization arestandardized” (Judge & Robbins, 2008). This concept proves that organizations with highformalization will operate in a highly structured, uniform way. La Jolla Playhouse is highlyformalized. There are various rules and regulations to abide by, specific procedures whenperforming tasks (although some freedom is allowed), and there’s detailed job descriptionspresent for each position. Conclusions and Recommendations La Jolla Playhouse seems to be structured in a way to benefit the organization andemployees, simultaneously. The organization is designed to maximize efficiency andproductivity among employees, as well as perfect the service it provides to the community.According to this management concept, however, organizations with small and narrow spans ofcontrol are least preferred due to their expensive costs and lower productivity. I disagree withthis because I believe La Jolla Playhouse operates very efficiently, while keeping their costs low.Job Analysis Job analysis is “the process of getting detailed information about jobs” (Noe, Hollenbeck,Wright, & Gerhart, 2008). Key elements of job analysis include job descriptions and jobspecifications. It’s important to have clear job descriptions and job specifications to ensure thatan applicant understands the tasks involved in their prospective job, as well as the requirementsto perform the job correctly. Job Descriptions Job descriptions are defined as “a list of the tasks, duties, and responsibilities that a jobentails (Noe et al., 2008). Job descriptions are used to clearly define a person’s role within theorganization, so that when applying, they have a clear vision on what is to be expected. At LaJolla Playhouse, my internship description included working on the following projects: “aid withfirst rehearsal duties and contracting actors and authors, assist in coordinating out of townauditions, assist in contract drafting and offer process, manage union and counsel files regardingActors Equity and LORT…” (“Internships”). When I applied for my internship, I knew exactlywhat I tasks I would be performing during my 3-month stay. This description was very accurateto what I actually worked on, and I didn’t experience any surprises within my dailyresponsibilities and duties. Job Specifications Job specifications are defined as “a list of the knowledge, skills, abilities, and othercharacteristics that an individual must have to perform a particular job” (Noe et al., 2008). Jobspecifications demonstrate that there are certain attributes a person must have to be able toperform the job correctly. At La Jolla Playhouse, my job specifications were specified asfollows: “an undergraduate student interested in arts administration…must have excellent writtenand verbal communications skills and computer skills including Excel…personal vehicle, a senseof humor and flexibility to do a wide variety of tasks are important…” (“Internships”). Thisdescription allowed me to evaluate whether I was capable of performing this job. I realized I hadall the necessary qualifications, such as communication skills and computer skills, and thereforeapplied for the position. Comments and Recommendations
  • 11. 11 La Jolla Playhouse has created a very descriptive job analysis for every position availablewithin the organization. With the qualifications, responsibilities, and expectations provided, Iwas able to analyze my capabilities and willingness to perform certain tasks against theirrequirements. There are no recommendations I can provide for the organization based on thisaspect because I feel their job analysis is accurate and clear. Personal Reflection Within the last three months, I have learned an incredible amount about the industry Iwould like to work in. Never having had a desk job before, this was my first experience being inthe office setting every week, dealing with employees, such as actors, who I never saw or met,and handling challenging tasks that if done incorrectly, could financially harm the Theatre. Throughout my experience, I had to learn how to deal with large amounts of money,converse with important clients with a stake in the company, and handle documents that includedpersonal information. I learned what satisfaction comes from having this level of responsibility. Although I thought La Jolla Playhouse was an efficiently run organization, there’s oneaspect of the organization I would change if I were allowed. The organization still uses bindersto keep records of shows and employees for future reference. I would like to see them movetoward a computer database that houses all that information. It is more expensive than theircurrent method, but it would increase the amount of space in their warehouse, and would make iteasier for all employees to find records. I suggested this idea to Jenny Case, and she has madeefforts to put more documents in the computer. This has been a great opportunity for me because I’ve learned the basics in workingwithin the theatre industry, and can now be more prepared when seeking a job after graduationfrom college. I had always thought the General Management department of a theatre to bedealing with actual productions a lot more, but now I realize that the job consists mainly ofwriting contracts, check requests, payroll reports, plus generating and answering emails. This hasgiven me insight on my future prospects, because I’ve learned that I wouldn’t want to necessarilywork in that department for my future job. I want to be more involved in the production of plays,musicals, events, etc. Even though I realized that this certain profession with this industry isn’twhat I had expected, I still had a very rewarding experience. Conclusion La Jolla Playhouse is a very challenging, and very rewarding, place to work. TheTheatre’s main goal is to educate the community, including theatre-goers and non-theatre-goers,about the significance of theatre as an art form. Each aspect of the organization is an importantpart of making the Theatre a successful non-profit organization. I completed 105 hours of workduring my 3-month stay, which included learning the rules and regulations of the AEA, LORT,and SSD&C unions; creating payroll reports and check requests for specific shows andindividual employees; creating ratio reports for UCSD students, and community residents;evaluating the stages contracts go through before their completion; and, writing contracts forvarious theatre employees hired daily. Besides these five learning activities, I also involvedmyself with other departments, such as Company Management and Public Relations, and wasable to exceed my expectations in working within the theatre industry.
  • 12. 12 ReferencesInternships - Internships. (n.d.). Welcome to La Jolla Playhouse. Retrieved May 8, 2010, from http://www.lajollaplayhouse.com/about-the-playhouse/internshipsJudge, T., & Robbins, S. P. (2008). Organizational Behavior (13th ed.). Alexandria, VA: Prentice Hall.Noe, R.A., Hollenbeck, J.R., Gerhart, B., & Wright, P.M. (2008). Fundamentals of Human Resource Management (3rd ed.). New York: McGraw-Hill.