Is this just local or .....?

I agree that other community organisations have similar issues. This is partly for sociological reasons, I suspect.

For example, a community theatre with which I had some involvement for a couple of years used to have 'sewing sessions' one afternoon a week in which teams of women would show up and sew costumes. They would happily produce hundreds of costumes for a single show - all of which were still in the wardrobe some thirty years later. Likewise, another CT group with which I was involved used to have a volunteer orchestra that rehearsed every week of the year. As time went by, it became impossible to continue with a volunteer orchestra in the pit and there was resentment when some co-opted players were paid.

I believe these two examples are indicative of some shifting social realities. Firstly, women are more actively engaged in the paid workforce and are therefore not available for the unpaid workforce. Secondly, almost all skill development is predicated on it having a monetary value and there is an unspoken and unquestioned expectation that no skill should be used without personal gain. Thirdly, in a world full of status anxiety there is little tolerance for anything that is not 'excellent' or 'the best'.

Now, one could sigh and reminisce about the good old days, or learn to work with the world as it is. If there is no longer a large unpaid workforce to exploit, how can a paid workforce be used to best effect? If skills are not used without personal gain, how can the benefits of community theatre participation be 'sold' to a wider audience? And if people want to see, support and participate in 'the best', how can we provide these opportunities?

My suggestions would include:
1. Community Theatre Companies pooling their resources to commission a designer to create excellent set, costumes etc. for a particular musical then producing the same 'look' production in a range of locations with local talent. It might mean six companies contributing $10K and three people each - with a spectacular result both in the quality of resources and the training received by the personnel.
2. Partnering with the Volunteering Peak Bodies to come up with recruitment strategies which entice skilled professionals into theatre. For example, to take the example above, a group of Marketing students might welcome the opportunity to design and implement a comprehensive marketing campaign. Likewise accountants or safety people or whatever.
3. Combine the management of some companies. This is politically charged - but a formal, structural connection which combined the human and physical resources of a few companies and helpe relieve the pressure.
4. Have committee members engage in governance training at the Company's expense. Many of the problems in Community Theatre governance could be resolved if committee members understood their role. Social Services peak bodies provide this kind of training regularly at reasonable cost.
4. Appoint Producers for every production! (This is a particular bugbear of mine) The Producer is one person who oversees every aspect of the production and is a different person to the Director. They have a team to whom they delegate and a committee to which they are accountable. They are the keepers of the show's and the Company's vision and make sure all the needs are balanced. This would go a long way towards streamlining authority and accountability.

Those are my thoughts.