FAQ

 What kind of shows does Alpha Shows produce?

Alpha Shows produces full-scale, high-energy musical theatre that is designed specifically for young audiences. The easiest way to describe the format is: a classic story (fairytale or myth) staged like a mini touring musical, delivered with the energy of a rock concert, and built around social and emotional learning themes. It is not “children’s theatre” in the sense of a quiet, low-tech show. It is professional theatre that travels, with a real set, lighting, sound, radio mics, costumes, choreography, and a tight touring structure.

Our productions are built to be fun for children and still genuinely entertaining for adults in the room. The writing is modern, the pacing is fast, and the humour is layered. There are jokes for students and jokes that go over their heads for teachers or adults. The music is original musical theatre style, with some modern pop and comedy influences depending on the show. The goal is excitement, engagement, and a strong emotional arc, not “educational theatre” that feels like homework.

We cycle our productions over time (roughly a 5-year cycle) and tour a rotating lineup. Titles include:

• The Snow Queen

• Rapunzel

• The Little Mermaid

• King Arthur

• Aladdin

• Hercules

• Sleeping Beauty

• Cinderella

• The Hunchback of Notre Dame

• Beauty and the Beast

• Scrooge (sometimes, seasonally)

 

Every show is an Alpha interpretation of the story. That means we do not copy Disney, and we do not reproduce a traditional stage version beat-for-beat. We design each story for live audiences, modern attention spans, touring logistics, and contemporary values. The shows are built around strong role models, clear emotional stakes, and themes that support student development (choice, responsibility, courage, integrity, belonging, resilience, and similar). The “SEL” component is not a separate lecture, and it is not a bolt-on at the end. It is integrated into the story, characters, conflict, and audience engagement.

Do I have to sing?

Yes. Alpha Shows is musical theatre. Every cast member sings as part of the job. Some roles require strong technical vocals, some roles require confident character singing and high energy rather than “perfect” singing. But you must be comfortable singing in front of an audience, being mic’d, and performing in a physically active show. If you are only looking for straight acting, or you are uncomfortable singing and moving in a musical, Alpha is unlikely to be a good fit.

Also important: Alpha is a touring ensemble model, not a “stand and deliver” acting job. Performers are expected to contribute to the full event, including set-up, sound and lighting checks, costume quick changes, pack-down, and team efficiency. If you are the kind of performer who only wants to do “on-stage acting” and views everything else as beneath your role, this will not be the right environment.

How long are rehearsals?

Rehearsals are a short, intensive block. Depending on the show, how many cast members are new, and how much the production has been updated since the last season, the rehearsal period is usually 5 to 12 days.

 

Core parameters:

• Location: Alpha HQ, Altona North (Melbourne)

• Typical hours: 8:00am to 5:00pm

• Availability requirement: full availability across the rehearsal period, during daytime hours

 

How the rehearsal period actually works:

• Alpha rehearsals are designed as a concentrated block to get the company tour-ready quickly. It is not a “spread over weeks” process.

• Not every rehearsal day uses every performer for every minute. Some calls may be full-company, and some may be split by scene, role requirements, choreography, music calls, tech training, or safety work. Even if you are not actively rehearsing for a portion of the day, you are still required to be available onsite unless you are explicitly released.

• Some days will run the full 8:00am to 5:00pm. Some days may end earlier if we are ahead, if sections are complete, or if production requirements shift. Early release is a production decision and cannot be relied on for scheduling other commitments.

• We usually rehearse consecutively through the rehearsal period. Weekends are generally not standard rehearsal days, except for a final dress rehearsal on a Saturday immediately before touring commences so that friends and family can attend.

 

What rehearsals include (so expectations are clear):

• Blocking (where you stand, move, and interact in each scene)

• Choreography and movement

• Vocal work, music calls, mic technique, pacing, and show timing

• Stage combat training and safety protocols (where relevant to the show)

• Emotional Process or audience engagement components (where applicable)

• Touring workflow training (pack plans, bump-in/bump-out procedure, venue standards, backstage flow)

• Technical training required for touring (the basics of sound, lighting, headset and mic procedure, show presets, and set up/pack down workflow)

• Full runs and full dress rehearsals near the end to lock timing, transitions, and consistency

Rehearsals are designed to scale-up. We will ease into it as to not overwhelm (especially for any new performers to Alpha Shows) then stack on challenges. If you’re used to being thrown in the deep end on productions, this is not quite that, although there is a lot to get through and learn in a short time and you will definitely be challenged and pushed to be your best as we bring in more of the production team.

 

Dress rehearsal:

• The final dress rehearsal is treated like a real show and is the final step before touring. Family and friends are often welcome to attend.

• The tour usually starts the following week.

 

Important expectation:

• Rehearsals are not designed to be “worked around.” Performers must be fully available for the entire rehearsal block and able to stay until release each day. In a touring environment, fixed early finishes or ongoing exceptions generally do not work.

 

Can I be at school or uni at the same time?

Yes, but only if Alpha remains your top priority during the contract period and your other commitments never conflict with rehearsals, performances, travel, or last minute schedule changes.

 

How to think about it in practice:

• Alpha is a professional touring contract. Even though you are engaged as a casual employee, you are not “picking shifts.” If you accept the contract, you are committing to be available for every required call within the engagement period.

• The schedule is variable. Some weeks are full-on, some weeks have gaps. That variability is exactly why Alpha can be compatible with study or other work for the right person, but it is also why it can become incompatible if your other commitments are fixed and non-negotiable.

 

Rehearsals:

• Rehearsals require full daytime availability for the entire rehearsal block (typically 8:00am to 5:00pm).

• There is no allowance for missing rehearsal time due to classes, exams, placements, or regular part-time work.

• If you have fixed commitments that require leaving early or arriving late, assume that will not be workable unless we explicitly confirm otherwise in writing before contracting. Even then, any flexibility is limited and depends on the specific production needs.

 

Shows and touring:

• Most performances are during the school day, but show days can start early due to bump-in and preparation.

• Travel and touring logistics can shift. Venues can reschedule. New bookings can be added. A town-to-town tour week may require earlier starts, later finishes, or travel after shows.

• You must be able to respond to schedule changes without needing ongoing special arrangements.

 

A simple rule of thumb

• If you need Alpha to “fit around” study, classes, or another job, Alpha is probably not the right fit.

• If you can make study or other commitments fit around Alpha, it can work well.

 

Age and schooling:

• Alpha is generally 18+. We expect performers to be out of high school, because the rehearsal and touring requirements can conflict with school obligations and because this is a mature professional touring environment.

 

If your plan relies on exceptions:

• If your availability depends on recurring early finishes, set days off, guaranteed weekend availability, or restrictions on travel days, raise that before contracting. Alpha touring runs on team timing. Ongoing exceptions create operational risk for the entire cast.

 

Where does Alpha Tour?

Alpha Shows performs across Melbourne and regional Australia, depending on bookings for that season. A typical tour is a mix of:

• Local Melbourne shows (cast generally sleeps at home and travels to work like a normal job)

• Regional Victorian touring (overnight stays arranged and paid by the company)

• Interstate blocks (most tours, depending on demand and school term timing)

 

Melbourne shows:

• Most Melbourne performances happen during the school day.

• You are responsible for getting yourself to the venue by the required call time unless you are explicitly rostered to travel in the company vehicle, or you can just elect to travel in the van if it’s more convenient.

• If a show is within our standard local radius from Alpha HQ, it is treated like a normal commute (unpaid), just like any other job. Venues outside this radius are paid an extra per diem when in Melbourne.

 

Regional touring:

• When we tour outside Melbourne, Alpha arranges and pays for accommodation (hotels, apartments, cabins, houses, depending on what is available and suitable).

• In regional weeks, you may stay in company accommodation for multiple nights in a row, then move to a new town as the schedule progresses.

• Touring weeks can involve travel after a show to reach the next location for the following day. This is why flexibility and personal resilience matter.

 

How travel and “being away” works in real life:

• Some weeks you will be home most nights and the work feels like local theatre work with early starts.

• Some weeks you will be on the road in a regional run where you are away from Melbourne for several nights or multiple weeks.

• The pattern changes based on customer demand, geography, venue availability, and last minute booking changes.

 

Transport and vehicles:

• We use company vehicles for touring blocks, bump-in/bump-out, and town-to-town moves when required.

• In Melbourne, some performers may drive themselves to venues, and some days you may travel together from Alpha HQ, depending on logistics and rostering, as well as your preference.

 

Accommodation expectations:

• Touring accommodation is professional and practical, not luxury. Room configurations vary by town and availability.

• Some nights may be shared-room accommodation (same-gender or mixed-gender depending on the specific booking configuration and what is available), with each performer having their own bed.

• If you are not comfortable with shared accommodation in a touring context, Alpha is likely not the right fit.

 

Important reality check:

• We cannot give a fixed “typical week” that stays the same. The tour is built from customer bookings, and schools/venues often reschedule.

• If you need guaranteed predictability (specific finish times, specific days off, no travel after shows, no regional blocks), a touring company contract will be frustrating for you, and it will create pressure on the rest of the team.

 

What kinds of venues?

Alpha Shows performs in a wide range of venues, but the core of the business is schools. That has practical implications for call times, sound checks, bump-in/bump-out speed, audience management, and the type of day you’re signing up for.

 

Primary venue types:

• Primary schools are the most common (Kinder through Year 6, sometimes up to Year 9 depending on the school structure).

• Some performances are for combined year levels, some are split shows (two sessions) because the venue can’t fit the full cohort at once.

• We also perform for special events and community organisations when booked.

 

Other venues we sometimes perform in:

• Regional theatres and performing arts centres (during holidays or special public-facing seasons).

• Councils, libraries, community programs, school holiday programs.

• Occasional corporate or large community-group bookings.

 

Typical performance times:

• Most shows are during the school day, because schools book us as part of their curriculum/SEL programming.

• This means early start times and daytime work patterns are the norm.

• Evening performances are not the standard model. They do happen occasionally (for theatres, councils, special public events), but they are the exception, not the rule.

• Weekend performances are also uncommon, but can happen in theatre/public seasons.

 

Why venues matter (what performers often don’t anticipate):

• Schools vary wildly in their facilities. Some have a proper hall with good power and staging, some have challenging rooms with odd acoustics, limited backstage, or limited load-in access that can vary the workload day to day.

• You are often working around school timetables, bell times, assemblies, and staff constraints. Punctuality is non-negotiable because the audience is scheduled and the school day keeps moving.

• The work is not “arrive, perform, leave.” A big part of the day is the technical and operational reality of bringing a full theatrical event into a non-theatre space. If you’re not into that, Alpha definitely isn’t for you.

 

Venue capacity and multiple shows:

• One show per day is common.

• Two shows in a day is also common (especially for larger schools or split cohorts).

• Three shows can happen in rare cases when a venue is very small but the school cohort is large. We avoid this where possible because it’s intense and not ideal for performer wellbeing.

 

If you are deciding whether Alpha is a fit:

• If you love high-energy performance, fast setups, variety, and working in a team that “makes theatre appear” in non-theatre spaces, you’ll enjoy it.

• If you want a traditional theatre run with consistent staging, consistent acoustics, and predictable show conditions, school touring can be frustrating.

 

Where do you hire actors from?

Alpha hires based on role fit, reliability, and team compatibility, not based on where someone lives or where the audition was held. We cast the strongest team for the production first, then we look at logistics.

 

Key points:

• We do not cast “by city.” We cast by who is right for the roles and for touring.

• Most of our performers end up being Melbourne-based, because rehearsals are in Melbourne and a large portion of the work begins and ends at Alpha HQ (Altona North).

• If you are not Melbourne-based, you would need to be able to operate as Melbourne-based for the contract, meaning you can reliably attend rehearsals and local shows, and you can join the touring vehicle and team calls as required.

 

What “Melbourne-based” means in practice:

• You can get to Alpha HQ and local venues reliably and on time.

• You can attend the full rehearsal period in person.

• You can work within the touring model (regional travel, shared accommodation at times, long days, early call times).

 

Out-of-state performers:

• We will consider out-of-state performers, but only if you can genuinely make the logistics work without creating operational risk for the tour.

• “I’ll fly in” is usually not realistic once you factor in early call times, variable schedules, last-minute bookings, and the need to be physically present for rehearsals and local shows.

• If you are planning to relocate to Melbourne (or already spend substantial time in Melbourne), say that clearly, because it changes feasibility.

 

How auditions work:

• We regularly work from self-tapes/video auditions and callbacks.

• We also hold in-person auditions at HQ at certain times of year.

• The audition format does not affect hiring. The decision is based on suitability for the work.

• Please do not audition unless you’ve read the audition info and this FAQ and you understand what the role actually involves (touring model, rehearsal expectations, performance format, and the technical/setup component). If you audition first and only “look into it” after we offer you a role and send a contract, it creates avoidable churn and delays casting for the production. We treat auditions as an indication that you are already broadly comfortable with the structure of the job, and that any remaining questions are minor clarifications, not fundamental deal-breakers.

 

What we optimise for:

• Consistency and reliability over “star energy.”

• People who can handle touring and teamwork without needing special arrangements.

• People who can do the full job, performance plus the technical and operational requirements that make the show possible.

 

How long will we be away from home?

Touring means being away from your usual routine. For some performers, that is exciting. For others, it is the hardest part of the job. Please read this section carefully and only audition if you genuinely feel ready for it.

If you are Melbourne-based, you will usually still sleep at home for local Melbourne shows. You will also often be home on weekends when the schedule is Melbourne-heavy. However, every tour includes regional and interstate work at some point, and during those blocks you will be living in company-provided accommodation with the cast.

 

Typical “away” patterns look like this:

• Short blocks: 1 to 3 nights away at a time (regional VIC runs, then back to Melbourne)

• Medium blocks: 1 to 2 weeks away in a region (multiple towns, multiple venues)

• Longer blocks (less common, but possible depending on bookings): up to 4 to 6 consecutive weeks away from Melbourne

 

Even when you are not “away” overnight, touring days can still be long. A normal day includes bump-in/setup, performance(s), pack-up/bump-out, and sometimes travel to the next town afterwards. The lifestyle requires resilience, flexibility, and the ability to self-manage your energy, health, and mindset.

Accommodation is arranged and paid by Alpha Shows when the tour is outside Melbourne, and the expectation is that cast will stay where the company books. Touring is a shared experience, and it only works smoothly when everyone commits to the team logistics.

If you have strong constraints around being away from home, partners, pets, other jobs, or a fixed routine, Alpha may not be the right fit. This is not a judgement, it is just the practical reality of a national touring model.

One final note: touring is a powerful professional development accelerator. You will perform constantly, learn to work as a tight team, and build skills in stagecraft, resilience, adaptability, and leadership. But you need to actually want the lifestyle for it to be a positive experience.

How much do we get paid?

Alpha Shows uses a custom pay structure that is designed to meet or exceed the minimum requirements of the MEAA Live Performance Award (as applicable), while also keeping touring practical and sustainable.

 

Here is the key point up front:

• You are engaged as a casual employee.

• You are paid according to Alpha’s published Pay Structure.

• The Pay Structure is designed to be compliant, consistent, and easy to administer on tour.

• We do not negotiate one-off private deals with individual performers. If you are looking for a bespoke contract or ongoing back-and-forth on clauses, Alpha is probably not the right fit.

 

Why we use a custom Pay Structure (instead of purely hourly for everything):

Touring is operationally complex. If a company tries to pay performers by “counting every minute of everything”, it creates problems:

• It becomes administratively messy and error-prone.

• It encourages slow work, inefficiency, and arguments about minutes.

• It rewards the wrong behaviour and makes teamwork harder.

 

So Alpha’s system is built around clarity and consistency:

• Rehearsals: paid as rostered work by the hour during the rehearsal period (typically 8am–5pm, sometimes finishing earlier depending on what is needed that day).

• Performance days: paid via the Pay Structure for the shift/performance, which includes the full job, not just being on stage.

 

Important definition: “performer duties” includes the whole show-day role

On an Alpha tour, being a performer is not “walk in, act, bow, leave.”

Your role includes:

• Bump-in and setup (with the team)

• Mic checks and technical checks

• Costume and prep

• Performing the show

• Pack-up/bump-out

• Basic team responsibilities that make the event possible

 

This is standard for touring theatre, especially in schools and one-nighter venues. You are being engaged for a touring performer role, not a theatre that has a separate crew provided by the venue.

 

Superannuation

Super is paid in addition to your pay, in accordance with superannuation law and the terms in your contract/pay structure. You will be required to provide correct super fund details during onboarding. If you do not provide complete and correct details, it can delay allocation, and that is not something Alpha can “guess” on your behalf.

 

Travel and touring

Touring often includes travel to regional and interstate locations. Our Pay Structure outlines what is paid travel and what is not. In simple terms:

• Your normal commute to work is generally not paid.

• Paid travel applies when you are rostered to travel as part of the tour movement (for example, travelling in the company vehicle to relocate to a new town where the company has booked accommodation, or travel during the work day to a new venue for another show performance).

• Once you are on the road, we follow a consistent touring model so expectations are clear for everyone.

 

Real talk: if you are primarily motivated by maximising travel penalties or “getting paid extra for every separate task”, Alpha will not be a good match.

We hire people who want to be part of a tight team delivering excellent shows, with a fair system that is consistent, compliant, and sustainable. Touring only works when everyone buys into that.

 

Where to see the details

The exact rates, inclusions, and rules are set out in the Alpha Pay Structure. Please read it carefully before auditioning or accepting an offer. If you have questions after reading it, ask, but understand that the structure itself is not a negotiation document.

How many shows per day?

Most commonly:

• 1 or 2 performances per day.

• Usually at a single school/venue.

• Occasionally at two different schools on the same day (this depends on geography, bump-in/out time, and feasibility).

 

Less common:

• A “single show day” where we perform once and then travel, reset, or have a lighter afternoon.

• In rare cases, 3 shows in one venue. We try to avoid this, but it can happen if a venue is very small and the audience numbers require multiple sessions.

 

What time of day are shows?

Most performances happen during the school day. That means the workday generally sits within a daytime window, but the day is not “only the show.” A show day includes bump-in, setup, checks, performance, and bump-out.

 

Evening/weekend shows:

• These are rare.

• They can occur for public venues, theatres, councils, or special events.

• If they occur, they are still part of the touring contract and you are expected to be available for the contract period.

 

How often do touring seasons happen?

Alpha typically runs seasons across the school year, with breaks around school holidays and natural demand cycles. Practically:

• We often launch two main touring seasons per year (one earlier in the year and one later), but this varies depending on bookings.

• Only one show is on the road at a time (Alpha is not running multiple simultaneous tours).

 

How long does a tour run?

Tour length depends on bookings and can vary significantly:

• Some tours are short and concentrated (for example 4–6 weeks).

• Some tours can run multiple months.

• The contract period may extend beyond the currently booked dates, because bookings can be added later inside the contract window.

 

Important: “contract period” vs “confirmed shows”

This is where some performers get confused, so we state it clearly:

• You are contracted for a defined engagement period, but sometimes that is longer than the currently confirmed schedule of bookings, to allow for additional bookings to be added later.

• The show schedule inside that period can change, with additional bookings sometimes added as schools confirm, shift, or reschedule.

• You cannot treat “days currently showing on a draft schedule” as the full scope of the engagement.

 

How far in advance is the schedule available?

There are two layers:

• Forward bookings and known blocks: we can usually give a general picture and sometimes a draft range, but it can change. Once you have signed  your contract, you have access to the Alpha Shows schedule on our mobile app, which shows the exact bookings at that current time (although this is still subject to change)

• Weekly schedule: you will receive clear, practical week-by-week information during the tour through Alpha’s systems (and your Tour Supervisor/management). This will always be your official schedule, usually posted on our company chat platform, on a Sunday, and will rarely change at that point.

 

We do not provide a “perfect full tour schedule” months in advance because it often does not exist in reality. Schools change times, venues reschedule, and new bookings can land late.

If you need fixed predictability, this may not be the right job

Alpha touring is a professional environment, but it is still touring with live bookings. If you need:

• a fixed weekly roster published far in advance,

• guaranteed start/finish times every day,

• or the ability to decline days inside the contract period,

  then Alpha touring is unlikely to suit you.

 

The right mindset

A good Alpha tour performer is someone who can:

• adapt quickly,

• stay team-oriented,

• handle variability without stress,

• and treat the contract period as a real commitment, not a loose “maybe.”

 

For an approximate idea of when each show is touring, go here: https://alphashows.com.au/schedule/

Do we do our own setting up?

Yes. Alpha Shows is a touring company, which means the cast is also the touring crew. Every performer is expected to participate in bump-in, setup, pack-down, and bump-out as part of the job. This is not optional, and it is not treated as a separate “extra job” outside the engagement. It is built into how the production functions and how the pay structure is designed.

 

What does “setup” actually include?

Depending on the venue and the day, you may be involved in:

• unloading and moving cases, equipment, truss and set pieces

• assembling set elements, truss, stands, lighting, sound and props

• laying and taping marks

• mic checks and earset fitting

• basic sound and lighting tasks as trained by Alpha

• quick costume and backstage organisation

• pack-down after the show and reloading the vehicle

• venue reset to the condition we arrived in

 

How hard is it?

It is structured, repeatable, and trained. We have refined procedures that make it efficient and safe, and nobody is left alone to “figure it out.” The first rehearsal block includes training so everyone knows the system and their role in it.

 

How long does it take?

We schedule up to 90 minutes for bump-in because venues vary and you cannot predict access, parking, stairs, room layouts, or school readiness. Once the team is tour-fit, the practical setup often lands around 45–60 minutes, but we do not promise that. Some days are faster, some are slower, and the schedule is built to be safe and realistic rather than optimistic.

Is there extra pay for setup separate to performing?

No. Alpha does not separate “performing” from “non-performing work” for touring purposes. For Alpha:

• “Performing” includes the full scope of the role, including technical/backstage requirements before, during, and after the show.

• Setup and bump-out are part of the shift. They are not optional add-ons, and they are not negotiated as separate fees.

 

This is important: if you are only interested in arriving, performing, and leaving, and you do not want crew responsibility, Alpha touring will not be a good fit.

 

Physical requirements and safety

Because setup is part of the job, you must be able to safely do moderate lifting and repetitive physical work. This is one reason we are strict about injuries and physical capacity. We do not want people getting hurt, and we do not want a tour team where the workload falls unevenly onto others. This includes being well enough to complete the full shift duties, not only the on-stage component.

Touring (and many other performing jobs, including in Hollywood and other professional places our founders have worked and run productions) is not a role where someone can opt out of setup or the role because they feel unwell and “just perform.” A touring team cannot function if one person routinely drops the non-stage workload onto others.

It’s also important to understand the impact of a late withdrawal. When a show is booked, there are hundreds of people relying on it going ahead, the school, teachers, venue staff, and the entire audience. A last-minute bail-out can undo a lot of planning and directly affects a large number of people’s day.

Alpha’s expectation is simple: if you accept an engagement, you turn up and complete the full scope of the job, unless there is a genuine emergency. This is a professional standard across live performance and touring environments.

 

Why Alpha does it this way

We tour high-production-value theatre into schools and regional venues. The model works because a small, trained team can build a full theatre environment quickly, safely, and consistently. That’s what makes Alpha special, and it’s also what makes it demanding.

If you want to see the setup flow, here’s the video:

https://www.youtube.com/watch?v=0WpccPz0Ct8

 

When are auditions / why can’t I find any upcoming auditions on the calendar?

Alpha does not run auditions only at one fixed time of year, and we don’t rely on a “one weekend only” model. We do often hold a larger annual audition period (typically mid-year), but we are effectively casting year-round because touring creates ongoing needs (new tours, schedule shifts, last-minute replacements, additional roles, and future seasons).

Because of that, you might not see “audition dates” listed publicly on a calendar at all times. Instead, auditions are usually triggered by need and handled in waves.

 

Here’s how it normally works in practice:

• Step 1: You register to audition via the website and submit the required materials (CV, headshot, links, and whatever else is listed at the time).

• Step 2: If you look like a potential fit for upcoming work, we invite you to audition. That might be self-tape, or an in-person slot at HQ depending on what we need.

• Step 3: If you progress, we may do a callback or a second pass for specific roles, or we may just email you to check your availability. Note, we do not email you until there’s a possibility that we might need you for a tour – so don’t expect official ‘rejection’ emails. We don’t send those.

• Step 4: If we offer you an engagement, that is when contracts are issued. We do not “soft lock” people without paperwork.

 

Important expectations:

• If you are waiting to audition, keep your availability current. If your schedule or desire for the role changes, update us immediately. Why go to all the trouble of auditioning to then not be available, but you’re still on our list of people we may want to hire?

• Do not treat the absence of a posted calendar date as “there are no auditions.” It usually means we’re between casting waves or handling auditions by invitation.

• If you want to be considered for a specific upcoming season, the earlier you register and submit complete materials, the better.

• Remember, we prioritise existing performers who have on-tour experience, and sometimes there just isn’t a place even if you did an exceptional audition. Just continue to show interest and update your availabilities so you’re top of mind when an opening does come up

If you do not see a calendar date, the correct action is still the same: register and submit your materials, then we’ll contact you when there is a suitable opening or casting need.

Can I request special accommodations or changes to the schedule?

Alpha Shows is a touring production with a tight rehearsal block and a schedule that changes based on schools, venues, travel, and last-minute customer needs. Because of that, we generally cannot accommodate special scheduling requests (early finishes, late starts, specific days off, “only available after X”, etc.).

If you have a non-negotiable constraint, you must disclose it before auditioning or at the very latest before a contract is issued. If it cannot be accommodated within the production plan, the engagement will not proceed.

We are a small company, and reliability, flexibility, and team cohesion are essential to making touring work.

Can I negotiate a different contract just for me?

No. Our contract and pay structure are standardised.

We do not redraft contracts for individual performers, and we do not negotiate role-specific “extras” that change how the production operates (for example, separate payment categories for setup, stage management duties, or “non-performing work”).

If you or your representative requires extensive custom terms, Alpha Shows is likely not the right fit.

Do you work with agents?

We can, but we prefer to deal directly with the performer.

Alpha Shows auditions, onboarding, and touring operations require clear communication and fast decision-making. The performer is the one doing the work, touring with the team, and representing the company, so we need direct alignment with you.

If you have an agent, you are welcome to share the contract with them. However, contract return timeframes and production decisions are based on the company’s schedule, not agent availability.

How quickly do I need to sign and return a contract?

Contracts are issued to finalise casting. If you delay returning your contract, you may lose the role. Return it as soon as you can, within 24 hours if possible, but you have up to 7 days before the offer expires.

Alpha Shows cannot hold roles indefinitely while a performer “looks into it”, consults multiple people, or decides whether the job suits them. Touring requires confirmed casting decisions. And you should have ‘looked into it’ before auditioning.

If you are not ready to commit when a contract is issued, it is better to decline early so we can cast someone else.

What if I sign and then realise the job is not for me after I come to rehearsals or start a tour?

Do not sign unless you are ready to commit. We only work with people who stick to their word, do what they say they are going to do. If you can’t commit to basic contracts, you should definitely not even audition for us.

Once you sign, you are committing to the engagement period and the touring obligations. Backing out after signing creates real operational impact for the production team and the audience.

If you are unsure, ask your questions before signing or auditioning, and read the website FAQ and pay structure first.

Can I get a full schedule in advance?

No. Touring schedules change constantly due to schools rescheduling, venue availability, travel logistics, and new bookings.

What we can provide:

• Your contract engagement period (the overall dates you are engaged for).

• A typical pattern (daytime school performances, occasional travel days, occasional regional blocks).

What we cannot provide:

• A locked “week-by-week” schedule for the full contract period months in advance.

• Confirmed weekly details are communicated closer to the dates, and changes can occur.

Are performances always between 8am and 5pm?

Almost always, yes. The core business is school performances during school hours.

Occasionally (rarely), there may be public performances in theatres, holiday programs, or community venues which can include evenings or weekends. These are not the norm, but they can happen.

If you cannot do occasional evenings or weekends when required, this work may not be suitable.

What does “performer” mean in an Alpha Shows contract?

In Alpha Shows, “performing” includes the full responsibilities required to deliver the show, not only time on stage.

That includes:

• Bump-in (setup) and bump-out (pack-up)

• Microphone checks, costume prep, quick changes, backstage duties

• Maintaining props, costumes, and set elements

• Following touring procedures and safety requirements

If you are looking for a role that is “stage-only”, Alpha Shows is not that job.

Is setup paid separately from performance?

No. Setup and pack-up are part of the role and are integrated into how shifts are structured and paid.

Touring is a team-based production job. The show cannot happen without the crew work, so the job is designed and paid as one integrated engagement, not separated into multiple “fee categories”.

What if I am sick or unwell during the contract?

You are expected to maintain professional reliability and communicate early.

Touring has real consequences: schools, teachers, students, and venues plan around the performance. A cancellation affects hundreds of people and creates significant operational disruption.

If you are genuinely unwell, you must notify your Tour Supervisor immediately and follow the company’s process. However, “too sick to help with setup” while still expecting the show to run is not workable in a touring model. The role is integrated. If you cannot do the operational requirements, you generally cannot fulfil the engagement.

What are the expectations around communication?

During the contract period, you must remain reachable and responsive to the Tour Supervisor and management.

This includes acknowledging messages on the company platform (Mattermost) and responding within reasonable timeframes.

Failure to stay in contact creates risk for customers, scheduling, and safety, and may be treated as a breach of contract.

What are the expectations around professionalism and relationships on tour?

This is a professional touring workplace.

Personal relationships, interpersonal conflict, or private issues do not override professional responsibilities. You are expected to show up, perform, and work as a respectful team member.

If you are seeking a tour as a social experience, or you foresee personal dynamics interfering with your work, this is not the right environment.

Do you provide meals? What about meal allowances?

Touring accommodation typically includes access to kitchens or basic meal options. Performers are expected to manage their own meals unless otherwise specified.

Meal allowances, if applicable, are governed by the pay structure and touring procedures. They are not based on convenience preferences (for example, choosing not to bring food or choosing to stop at a supermarket).

Touring requires planning, including food planning.

What should I read before auditioning?

Before auditioning, you are expected to review:

• This FAQ page

• The pay structure summary

• Touring expectations (including accommodation, travel, physical requirements, and communication)

Auditioning without understanding the job wastes your time and ours. If you only start “looking into it” after being offered a role, you are likely not ready for touring work.

My question isn’t answered here, who do I contact when I have a query?

It depends on what stage you’re at. Alpha has different contact points for performers vs customers, and using the wrong one slows everything down.

If you are not yet contracted (auditioning, waiting on an offer, or considering a contract):

• Email is the correct method. Reply to the email thread you already have open with us (the one where you received audition info or contract info). That keeps everything in one place and prevents messages getting lost.

• Do not call the main phone number. That line is handled by the bookings team and they cannot answer performer or audition questions.

 

If you are contracted and on a tour:

• Your first point of contact is your Tour Supervisor for anything operational, scheduling, day-to-day tour issues, and immediate concerns.

• If it is HR, pay, contract, serious welfare, or anything your Tour Supervisor cannot resolve, then escalate to management (and your Tour Supervisor should be aware you’ve escalated).

• You are required to stay reachable and to acknowledge communication on the company platform during the contract period. That is not optional.

 

If your question is about bookings, schools, venues, or customer-facing matters:

• Do not contact the performers or production channels.

• Use the official bookings contact paths listed on the website, because those queries are handled by a different team.

 

If you are unsure who to contact:

• Default to the email thread you already have with us until you are onboarded.

• Once you are onboarded, default to your Tour Supervisor first and/or the Mattermost channel for your tour, then escalate if needed.

 

One extra note, this is important:

• Read this FAQ and the linked pages before emailing questions. If the answer is already on the site and you email anyway, it’s a sign you haven’t reviewed the information that every performer is expected to know before joining.