Unfortunately, this is not the opening scene of a bad comedy.  It is a real tragedy that is being played out in community theatres all over the country.

Almost half of the property claims filed by our insurance members over the past ten months have involved burglary or theft.  In most cases the police reports indicate no visible means of forced entry.

Most crimes committed against community theatres are crimes of opportunity.

It was there.  It was not secured.  Someone had access.  They took it.
If you want to reduce these kinds of crimes, you must reduce the opportunities.

· How many people have keys to the theatre?  Is this information recorded?
  When was the last time the building was re-keyed?
· When expensive equipment is not in use, is access limited?
· Are cash receipts left unattended where anyone can steal them?
· Is your property marked with labels that cannot easily be removed?
· Does your group have a system for checking property in and out?
· Do you maintain equipment records - serial numbers, invoices?
· While rehearsing, anyone can enter through unlocked doors.  How do you
  know if someone does not belong there?
· When you get ready to leave are the people still there people you know?
· When you leave your equipment or musical instruments in a rented theatre, who
  else has access to that same space?
· Before you leave your property in someone else's facility, do you establish who
  is responsible for security?  Who is responsible if your equipment is stolen?
· Are musical instruments locked away or left in an open orchestra pit?
· Do you lock up as much sound or special equipment as you can?
· A volunteer becomes excessively angry and quits.  Does he have a key?
· Do you allow others to use your facility without supervision?

Most people are basically honest, but there will always be some people willing to commit a crime of opportunity.  Given the chance, someone will steal the amplifier you left at the theatre you are renting, pocket the money you left in an unlocked drawer, casually leave with your power drill under their coat, load valuable costumes into the trunk of their car some night or simply walk off with that expensive electronic keyboard you left in the orchestra pit.

The suggestions offered in this column will probably apply to most theatre groups.  However, since no two theatre operations are identical, the best way to protect your theatre property is to review all aspects of your theatre operations with an eye toward identifying and then eliminating the ways in which your are most vulnerable to crimes of opportunity opportunity.