BELOW you can read about the these jobs in the theater
The producer
The director
The technical director
The music director (if applicable)
The production manager
The stage manager(s)
The designers (scenic, props, costumes, make-up, lights, sound, video and special FX)
The PR/marketing manager
The house manager
The crew chiefs (or assistants to managers)
The members of each crew
The actors
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The Producer / Production Manager
The Producer/ Production Manager oversees the cost effectiveness and planning of the entire production process.Responsibilities may include any or all of the following:
***********************************************************************
*********************************************
Having secured the rights for the show, the producer starts by putting together a production budget--the cost of finding and rehearsing the creative team, cast and orchestra; designing and making the scenery costumes and props, installing them all in a theatre; and marketing the results.
In some theatres, he/she also determines how many performancesand numbers of patrons it will take to recover the production costs and secure bankroll for the next production in the season.
Next Producer/Production manager must develop a team of highly motivated, creative and collaborative production people. (ie. the director, set designer, lighting designer, costume designer, musical director, publicist, choreographer, technical director, stage manager, etc.)
As a producer it's a good idea to
be familiar with the roles and responsibilities
of the other key players
when mounting a production!
----------------------------------------------------------------------------------------------------Director
To be a successful
Director in the Theater
one must:
1.) Interpret the script for meaning and asthetics.
(find a vision for the show that will connect it to the audience, and make lists of the show's specific staging / casting requirements)
2.) Hold Auditions and cast the production
3.) Collaborate with designers and production staff
4.) Schedule and hold all of the show's rehearsals
5.) Guide the actors in their work during rehearsals.
6.) Bring the creative vision to life by opening night.
**************************************************
THE JOB
The Director’s work is most often based on: a detailed study and analysis of the script to be produced.
Many careful readings of the script help the director develop an individual vision of the playwright’s intentions, which will form the core of his or her interpretation.
This sense of “what the play is really about” will shape a director’s thinking about every other aspect of the production.
Directors also study the characters in the script, gathering as much information as they can about their physical and psychological traits.
This is vital preparation for casting, when the actors who are best able to bring the characters to life in performance need to be chosen.
Collaboration
The director’s initial meetings with the
designers typify the "creative" collaboration vital to theatre.
Any notes the director has made on the technical needs in the script are shared with the designers.
The free flow of ideas that takes place here will further refine the director’s vision of the production as a whole.
Details in the script that need to be listed by the director:
1.) The specific locale(s) in which the action takes place need to be attended to early in the production process. (They will determine both the basic requirements of the set and the possible movement of the actors on stage.)
2.) Acting areas
3.) Entrances and exits
4.) Specific furniture, props, costumes and FX
BLOCKING
(or staging) is the precise moment-by-moment movement and grouping of actors on stage. Must be recorded in the director's prompt book.
The director’s creative collaboration continues during his or her work with the actors in rehearsals.
The actors will bring their own interpretations to the project (perhaps inspire the director to rethink his or her interpretation.)
They will work closely together to breathe life into the lines (developing a deeper understanding of the characters’ motivations and relationships, fleshing out the subtext of the play.)
CLEAN-UP and POLISHING
It is the job of the Director to work with the Technical Director in creating the overall look and feel of the whole production.
Transitions between moments and scenes are smoothed out(effective pacing is achieved and all the design and technical aspects of the production are integrated.)
Once the show opens
the director's work is essentially complete.
The Director: must continue to run the preshow gatherings and have cast crew pep-talks to ensure that the show remains the same as it was solidified in the rehearsals
and throughout the run
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Technical Director
Without techies...the actors would be on an empty stage, in the dark, and performing in their underwear...
A good Technical Director (TD) makes sure the show looks and sounds fantastic...and runs smoothly for everyone...especially the audience.
*************************************
One of the most important jobs almost all TDs share is managing the scenic budget and all of the crew schedules. To do this properly they must be able to:
1.) Estimate the costs of a production:
a. What kinds of materials are needed
b. How much of each supply is needed
c. Getting the materials to the build space.
2.) How long it will take the crews to build the designs.
Relationships with the designers and creative staff is a crucial part of every TD’s job!
3.) Handling all technical drafting and elevations
4.) Purchasing all the supplies and materials for the entire show.
5.) Overseeing all carpentry and electrical work during the production process.
6.) Maintaining communication with the Director on all changes or adjustments made to any of the designs for the show.
7.) Being present for rehearsals when the tech is incorporated into the process (for safety, proper application and mapping of movement in the space)
Production work always happens under
deadline pressure, and the TD must make sure that the tech is
installed and ready on schedule
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Stage Manager
When in Doubt...
ask the person standing next to the director!
STAGE MANAGEMENT (SM)
****************************************************
Before rehearsals begin
This job requires:
1.) Helping the director organize audition materials
2.) Running the "cattle call" - (closed or open audition)
3.) Posting notices and annoucements from the production staff on the call board for the show.
Once rehearsals begin
The SM is the eyes and ears of the production
- Keeping records about props, costumes, and all blocking notes that come out of each rehearsal.
- Making sure every note or new idea that comes up in rehearsal gets communicated to the appropriate departments.
- Maintaining order in rehearsals, keeping things running smoothly and on time, insuring that people are where they need to be at the appropriate time.
- Prompting when actors are off-book and need a line.
- Taking line notes (when actors get the line wrong)
- Calling breaks when appropriate.
- Scheduling EXTRA rehearsals so that everything gets done on time, and people's time is used efficiently.
- Posting all updates to schedules and maintaining accurate contact sheets for the staff.
- Writing up and distributing rehearsal notes from the director(s).
*********************************************
TECHNICAL WEEK OF THE SHOW
Once the production moves into the theater, the responsibilities expand to include:
- Maintaining safety at all times.
- Keeping the crew informed about what's happening and what they need to be ready for
- Maintaining the prompt script with cues for lighting and deck moves (mapping), etc.
PERFORMANCE NIGHTS
- Posting and maintaining accurate sign-in sheets and performance schedules, etc.
- The stage manager will "call" the show (lighting, sound and deck cues) if possible.
- Responsible for taking and distributing any show notes for actors and for each production department.
- Holding brush-up rehearsals as necessary (with the dance and/or fight captains, as appropriate)
"Without a really good right arm...
we are only left..." -anonymous
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PR Marketing Manager
Just Because We Built It...Doesn't Mean They Are Gonna Come...
The PR Marketing Manager's job is to do all public relations work for the production. This Includes (but is not limited to):
************************************************
STEP 1
- Reading the script (when possible)
- Meet with the Producer to discuss budget
- Meet with the Director to discuss the vision of the show and themes.
************************************************
STEP 2
- Gather demographic information about the previous seasons' audiences.
- Gather any materials or access to equipment to help with the marketing materials
- Gather volunteers to help with the production of the materials
- Gather volunteers to help with the canvasing
************************************************
STEP 3
Pre-Production Preparation
T-SHIRT
- Secure a rough design
- Get producer and director approval - (Pick colors)
- Draw up a final rendering (proof)
- Order all shirts and delivery
POSTER/POSTCARD
- Secure a rough design
- Get producer and director approval
- Draw up a final rendering (proof)
- Have them printed
FLYER DESIGN
- Secure a design
- Get producer and director approval -(pick colors)
- Draw up a final rendering (proof)
- Have them printed
MARQUEE / BANNER DESIGN
- Secure a rough design
- Get producer and director approval
- Hand paint or have the banner made
HEADSHOTS (of the leads)
- Gather headshots of the leads or take them
- Print a proof sheet
- Get approval from the actor and producer
- Print them black and white - (8" X 10")
BIOS (of the entire cast)
- Have each cast member type up a short bio of their past theatre experiences.
- Collect them for the lobby (and/or to use in the program)
SPONSORS
- Secure additional funding and promotions with business and parent sponsors
PRESS RELEASE
- Write a one page release of information about the show, for the public
***(6 weeks before opening night)***
- Send to all local and web PRESS agents/ reviewers / reporters of the arts
- Send to all local calendar listings
SECURING PRESS SPOTS
(Promotions and Reviewers)
- Follow up with all PRESS agents about getting promos/ features / interviews
- Follow up with all theater reviewers about coming to the show
- Double check all calendar listings
WEB Presence
-Theater's website show page - updated with all kinds of information and links about the show
- Facebook page updates - sharing / likes - etc
- Facebook event postings - invites and conversation started
- Evites - (for a formal approach with an email list available)
- Cast and crew blogs - (throughout the show's process)
- Creative staff blogs - (throughout the show's process)
- YouTube promo video(s) - (interviews with cast/director/crew, clips of rehearsal, teasers etc)
EMAIL BLAST
-Send out the press release and poster image to the email list multiple times as opening night approaches.
ALL PUBLIC EVENT PLANNING
- Any combined activities for marketing purposes (ie. dinner deals, food drives etc.)
************************************************
STEP 4
- Hang all of the posters
- Distribute the flyers
- Hang the banner in front of the theater
- Decorate and dress the lobby display case
- Remind the cast to wear their t-shirts
- Complete all PRESS obligations
- Finalize any event details.------------------------------------------------------------------------------------------------------------------------
Scenic Designer
Does the set help tell the story?
The Scenic Designer is responsible for the creation of the director's vision for the world of the play or musical.
It is also referred to as:
NOTE: Scenic designers have traditionally come from a variety of artistic backgrounds, but nowadays, generally speaking, they are trained professionals, often with B.A. in Theater, B.F.A. or ,M.F.A.degrees in theatre arts.
CREATING THE "STAGE PICTURE"
The role of the designer is to be an environmental artist.
The goal is to create and produce original design that ultimately helps tell the audience more about the story, the location(s), the characters and the plot.
- The playwright will give instruction (some more than others) about what is expected to appear on the stage in the play or musical.
- The designer makes an interpretation of that instruction using the priciples of good design and should be visually stimulating.
- The designer must render a rough design
- The designer gets the the director's approval of all the designs.
- The designer does a final color rendering and color model (if possible) for the other creative staff to work from as a pallette for shape, color, and the over-all concept.
- The designer is responsible for all the elements of the set (walls, floors, doors, windows, furniture, and any of the required set pieces actors will be playing the scene upon)
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Costume Designer
What Would My Character Wear?
The job of the Costume Designer is to dress the actors in the show in appropriate clothing for the characters they are playing and to keep in line with the Director's vision of the production.
*******************************
Pre-Production DutiesRead the play several times:
Make lists of
a.) All the Characters and the number of costumes needed
b.) Personality traits of the characters
c.) Employment and hobbies
d.) Any other special requirements
Determine the setting and location(s) the show covers.
Determine the time period
a.) Research the clothing styles worn in the era(s)
b.) Gather a collection of photo references for the clothing
Determine all the fast costume changes in the show.
NOTE: If a production is set in the future or has a unique theme, a costume designer consults with the director to interpret that vision into the costumes.
THE DESIGNS
If the theater has money and resources to build the costumes:
Costume Designers create initial design sketches by hand (which is still an important, highly valued skill.)
Once the Director has approved the initial sketches, the costume designer will draw up the final designs. Which will illustrate:
1.) Details of fabric texture
2.) Distinguishing accessories such as jewelry, shoes, hats or
masks
3.) The color pallette for the costumes.
A costume designer needs to be experienced in pattern making and sewing to explain the details of how a costume is to be constructed to an assistant or a dress maker. They also manage and must stay within the production's costume budget. When all the costumes are created, the care and coordination of costume use becomes the responsibility of a wardrobe assistant and costume crew.
********************************************
If a Theater doesn't have the resources or a staff with the experience to build the costumes,Gets the budget from the Production Manager
Lists all costume that can be pulled from stock first!!!
a.) Pull all costumes from costume storage and do a fitting for director's approval.
b.) Label all the costumes that work with the actors measurement card
c.) Put on the show rack with alterrations marked on the measurement card
d.) Have the seamtresses begin alterations, and flip the cards around when the alrations prove to be done (with the actor trying the costume on for a second fitting)
Then the Designer takes the budget and breaks down the costs of the followinga.) Supplies (needed to make certain costumes)
b.) Costume Rentals
c.) Costumes that can be purchased
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Make-up Designer
Wow! It Doesn't Even Look Like You!
The Make-Up Designer's job is to create character defining features on the actors face or body to help further the plot by using:
1.) All different kinds of make-up application and powder (aging, corrective and/or glamour)
2.) Various hair attachments - mustaches, beards, eyebrows, etc.
3.) Prosthetics - noses, ears, chins, brows, horns, etc. (or even full mask applications)
4.) Bald caps
5.) Colored contacts
6.) Fake teeth
7.) Glitter
8.) Fake tatoos
9.) Gore - bruises, cuts, burns...etc.
*****************************
ALWAYS BE SAFE!
KEEP ALL MAKE-UP OUT OF MOUTHS AND EYES!
and AVOID SHARING MAKE-UP!
*****************************
Pre-Production Duties
Read the play several times:
Make lists of
a.) All the Characters and the make-up that will be needed
b.) Personality traits and age of all the characters
c.) Background and lifestyle
d.) Any other special requirements or FX
Determine the setting and location(s) the show covers.
Determine the time period
a.) Research the make-up styles from that era(s)
b.) Gather a collection of photo references for the make-up
Determine all the fast make-up applications needed in the show.
*****************************
THE DESIGN
The purpose of the make-up is to help the audience understand the character and situation of the plot more clearly.
The Desinger must:
1.) Get a budget from the production manager
2.) Take pictures of the actors needing specific make-up.
(or use a headshot)
3.) Color the make-up chart with the design using actual make-up or other color methods
4.) Shop for all the necessary make-up.
5.) Practice the application with the actor if possible.
6.) Put all the designs in a labelled binder protected in clear plastic sleeves. (labelled for easy reference by the artists)
7.) Prepare the make-up kit for the show
*****************************
TECHNICAL WEEK
The designer applies make-up on the neccesary actors
1.) The actors go on stage under the lights
2.) The director gives any notes for adjustment
3.) If necessary the actor is made-up a sceond time
4.) Make notes or changes to the initial designs.
REMEMBER!
*****************************
EACH THEATER IS DIFFERENT
and
THE LIGHTS CHANGE FOR EACH SHOW!!
GOTTA RUN A TEST APPLICATION!
*****************************
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Lighting Designer
Let There Be Light!
The role of the Lighting Designer (LD) is to create the lighting, atmosphere, and time of day for the production and to help advance the plot.
Preparation
The LD will be responsible for:
- Reading the script carefully
- Make notes on changes in place and time between scenes
- Discuss ideas for the show with Director and other designers
- Establish a budget for materials or supplies needed for the lighting
- Attend several later rehearsals to observe the way the actors are blocked during different scenes
******************************
PAPERWORK NEEDED IN ADVANCE
Acquire all stage plots
a.) For the theater's lighting positions
b.) Lists of the equipment available
c.) The set design(s)
d.) cross sections for the theater.
THE DESIGN
The LD must take into account the show's mood and the director's vision in creating a lighting design.
Because lighting design is much more abstract than costume or scenic design, it is sometimes difficult for the lighting designer to accurately convey his ideas to the rest of the production team.
To help the LD communicate with the other members of the creative staff, the ethereal aspects of lighting they may employ:
1.) Renderings
2.) Storyboards
3.) Photographs
4.) Reproductions of artwork or mockups of actual lighting effects to help communicate ideas about how the lighting should look.
Examples of typical paperwork include:
- Cue sheets - communicate the placement of cues for the OP
- Lightplots and Instrument Shedules
The LIGHT PLOT - is a scale drawing that communicates the location of lighting fixtures and lighting positions so a team of electricians can independently install the lighting system.
Included on the Light Plot or each instrument:
a.) Color (gel)
b.) Area of focus
c.) Channel
d.) Circuit
e.) Gobo (if necessary)
The lighting designer uses this paperwork to aid in the visualization of not only ideas but simple lists to assist the Master Electrician during load-in, focus and technical rehearsals.
************************************
The Technical Week of the Show
Once the set is up and painted.
THE HANG
The entire lighting crew is present
- Cut all the Gels and gather all the gobos
- Put all the instruments under the batten they are to be hung.
- Hang the lights, tighten all clamps
- Plug them into the asigned circuit
- Patch the circuit to a channel (from the booth)
- Test the instrument by running up the channel
- Change the bulb (lamp) if needed
- Gel the instrument
- Add the asigned gobo (if required)
************************************
WIKIPEDIA HAS A GREAT BREAKDOWN of the INSTRUMENTATION COMMONLY USED
(descriptions and images)
http://en.wikipedia.org/wiki/Stage_lighting_instrument
************************************
THE FOCUS
Then it is the job of the designer to have the lighitng crew"Focus" each instrument: (With one person on the board)
Each instrument is one by one brought to FULL (100%)
- Making the instrument(s) illuminate the the asigned area of the stage/set
- To focus the width of the throw to the asigned area (soft or hard edges)
- Cut the light (if possible) with the shutters to avoid going into unasigned areas.
************************************
THE CUE TO CUE
A special rehearsal for Lighting.
The entire cast is brought into the theater.
This is the time in which the designer and the director get to work through each light change in the show (moment to moment)
- To set fade times
- Run transitions
- Check colors
- Check intensity (too bright or too dark)
NOTE: Must get the director's approval at the "Cue to Cue" and try to make all adjustments then.
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Props Designer
Everyone Wants To Play With The Props!
The Properties Designer has the responsibility of creating the items that an actor holds in their hand and:
a.) Carrying onto the stage.
b.) Using or consuming while on the stage.
c.) Taking off the stage.
NOTE: Sometimes if the item comes out of the
costume the actor is wearing...
it may be considered
a costume piece or costume assessory.
***************************************
THE PREPARATION
(pre-production work)
Prop Designers are expected to read the play several times and:
1.) Make detailed lists of all the props in the show.
2.) Make notes on where the prop starts in the show and ends up
when it it done being used.
3.) Find the place to put the prop tables in the theater space.
4.) Set-up a rehearsal props table (if necessary)- with "rehearsal"
props
5.) Be present (if needed) to set up and strike the "rehearsal" props.
***************************************
THE DESIGN
The main purpose of the prop is to help the audience see the situation being played out on stage more clearly, with more points of reference to time and place.
NOTE: Every show is so different and the props can range from very simple items that you can find in your house to very bizarre items that may be from another time period (past or future) or even from the fantastical imagination of the playwright.
The Props Designer always::
- Finds images and/or makes initial sketches for the director's approval.
- Gets the budget from the Production Manager
- Breaks down all props that can be pulled from stock first
a.) Pull all props from storage and check for director's approval.
b.) Label all the props that work
c.) Put on the props table
-Breaks down the costs of the following:
a.) Supplies to make props.
b.) Any props rentals.
c.) Any costumes that can be borrowed.
d.) Any costumes that can be purchased.
As Props are found, bought, rented or collected from friends and family they are labeled and put on the props table.
***************************************
NO ONE BUT THE
PROPS CREW AND THE ACTOR
WHO USES THAT PROP
SHOULD EVER TOUCH THE PROPS
FOR A SHOW!
***************************************
The Props Maker
The props that have to be constructed require a person who may have the following background, talents or skills:
(supplies that may be available can vary)
Metalwork Woodwork or carving Casting and molding Modelling and sculpting Painting and Texturing Upholstery or pillowwork Computer-aided design (CAD) Mechanical and electrical engineering Distressing - using a range of techniques to make an object look old or worn. Floral arrangement Any so many other craft-related skills ----------------------------------------------------------------------------------------------------------------------- House Managment
Welcome To Our Theater...Mi Casa Es Su Casa!
The House Manager's job is to make sure that every patron of the production:
- Is greeted when they arrive.
- Gets a ticket and directions to the entrance to the theater.
- Gets a program and is reminded of any intermissions.
- Pays attention to standard theater etiquette.
*************************************
Pre-Production Preparation
The House Manager should do the following leading up to opening night:
1.) Secure all cash boxes with the Production Manger/Producer
2.) Secure all tables and chairs needed for the space
3.) Secure all programs for the night of the performance(s)
4.) Secure all materials needed to keep accurate records of the ticket sales/audience attendance
a.) spreadsheet for box office money count
b.) total audience numbers (and student/adult breakdowns/ and any comps)
5.) Secure USHERS for each door / for each night
6.) Collect/make all signage for handicap accessibility and safetyconcerns
*************************************
SHOW NIGHT RESPONSIBILTIES
The House Manager should do the following on all show nights:
1.) Bring all cash boxes to the box office
2.) Set -up all tables and chairs needed for the space
3.) Bring all programs for the night of the performance(s)
4.) Bring all materials needed to keep accurate records of the ticket sales/audience attendance
5.) Hang any signage for handicap accessibility or safety concerns
6.) Unlock all of the theater doors (or tape them)
7.) Check in all USHERS for the night and send them to their posts 1/2 hour before curtain.
8.) Clean-up and store all box office materials for the run.
The producer
The director
The technical director
The music director (if applicable)
The production manager
The stage manager(s)
The designers (scenic, props, costumes, make-up, lights, sound, video and special FX)
The PR/marketing manager
The house manager
The crew chiefs (or assistants to managers)
The members of each crew
The actors
---------------------------------------------------------------------------------------------------
The Producer / Production Manager
The Producer/ Production Manager oversees the cost effectiveness and planning of the entire production process.Responsibilities may include any or all of the following:
***********************************************************************
- Securing the rights to present the play from the royalty house or publisher-agent.
- Budgeting
- Deciding date, time and venue
- Forming a production team
- Production meetings
- Scheduling rehearsals
- Scheduling performances
- Financial accounting of the show's expenses and revenues
*********************************************
Having secured the rights for the show, the producer starts by putting together a production budget--the cost of finding and rehearsing the creative team, cast and orchestra; designing and making the scenery costumes and props, installing them all in a theatre; and marketing the results.
In some theatres, he/she also determines how many performancesand numbers of patrons it will take to recover the production costs and secure bankroll for the next production in the season.
Next Producer/Production manager must develop a team of highly motivated, creative and collaborative production people. (ie. the director, set designer, lighting designer, costume designer, musical director, publicist, choreographer, technical director, stage manager, etc.)
As a producer it's a good idea to
be familiar with the roles and responsibilities
of the other key players
when mounting a production!
----------------------------------------------------------------------------------------------------Director
To be a successful
Director in the Theater
one must:
1.) Interpret the script for meaning and asthetics.
(find a vision for the show that will connect it to the audience, and make lists of the show's specific staging / casting requirements)
2.) Hold Auditions and cast the production
3.) Collaborate with designers and production staff
4.) Schedule and hold all of the show's rehearsals
5.) Guide the actors in their work during rehearsals.
6.) Bring the creative vision to life by opening night.
**************************************************
THE JOB
The Director’s work is most often based on: a detailed study and analysis of the script to be produced.
Many careful readings of the script help the director develop an individual vision of the playwright’s intentions, which will form the core of his or her interpretation.
This sense of “what the play is really about” will shape a director’s thinking about every other aspect of the production.
Directors also study the characters in the script, gathering as much information as they can about their physical and psychological traits.
This is vital preparation for casting, when the actors who are best able to bring the characters to life in performance need to be chosen.
Collaboration
The director’s initial meetings with the
designers typify the "creative" collaboration vital to theatre.
Any notes the director has made on the technical needs in the script are shared with the designers.
The free flow of ideas that takes place here will further refine the director’s vision of the production as a whole.
Details in the script that need to be listed by the director:
1.) The specific locale(s) in which the action takes place need to be attended to early in the production process. (They will determine both the basic requirements of the set and the possible movement of the actors on stage.)
2.) Acting areas
3.) Entrances and exits
4.) Specific furniture, props, costumes and FX
BLOCKING
(or staging) is the precise moment-by-moment movement and grouping of actors on stage. Must be recorded in the director's prompt book.
The director’s creative collaboration continues during his or her work with the actors in rehearsals.
The actors will bring their own interpretations to the project (perhaps inspire the director to rethink his or her interpretation.)
They will work closely together to breathe life into the lines (developing a deeper understanding of the characters’ motivations and relationships, fleshing out the subtext of the play.)
CLEAN-UP and POLISHING
It is the job of the Director to work with the Technical Director in creating the overall look and feel of the whole production.
Transitions between moments and scenes are smoothed out(effective pacing is achieved and all the design and technical aspects of the production are integrated.)
Once the show opens
the director's work is essentially complete.
The Director: must continue to run the preshow gatherings and have cast crew pep-talks to ensure that the show remains the same as it was solidified in the rehearsals
and throughout the run
----------------------------------------------------------------------------------------------------
Technical Director
Without techies...the actors would be on an empty stage, in the dark, and performing in their underwear...
A good Technical Director (TD) makes sure the show looks and sounds fantastic...and runs smoothly for everyone...especially the audience.
*************************************
One of the most important jobs almost all TDs share is managing the scenic budget and all of the crew schedules. To do this properly they must be able to:
1.) Estimate the costs of a production:
a. What kinds of materials are needed
b. How much of each supply is needed
c. Getting the materials to the build space.
2.) How long it will take the crews to build the designs.
Relationships with the designers and creative staff is a crucial part of every TD’s job!
3.) Handling all technical drafting and elevations
4.) Purchasing all the supplies and materials for the entire show.
5.) Overseeing all carpentry and electrical work during the production process.
6.) Maintaining communication with the Director on all changes or adjustments made to any of the designs for the show.
7.) Being present for rehearsals when the tech is incorporated into the process (for safety, proper application and mapping of movement in the space)
Production work always happens under
deadline pressure, and the TD must make sure that the tech is
installed and ready on schedule
--------------------------------------------------------------------------------------------------
Stage Manager
When in Doubt...
ask the person standing next to the director!
STAGE MANAGEMENT (SM)
****************************************************
Before rehearsals begin
This job requires:
1.) Helping the director organize audition materials
2.) Running the "cattle call" - (closed or open audition)
3.) Posting notices and annoucements from the production staff on the call board for the show.
Once rehearsals begin
The SM is the eyes and ears of the production
- Keeping records about props, costumes, and all blocking notes that come out of each rehearsal.
- Making sure every note or new idea that comes up in rehearsal gets communicated to the appropriate departments.
- Maintaining order in rehearsals, keeping things running smoothly and on time, insuring that people are where they need to be at the appropriate time.
- Prompting when actors are off-book and need a line.
- Taking line notes (when actors get the line wrong)
- Calling breaks when appropriate.
- Scheduling EXTRA rehearsals so that everything gets done on time, and people's time is used efficiently.
- Posting all updates to schedules and maintaining accurate contact sheets for the staff.
- Writing up and distributing rehearsal notes from the director(s).
*********************************************
TECHNICAL WEEK OF THE SHOW
Once the production moves into the theater, the responsibilities expand to include:
- Maintaining safety at all times.
- Keeping the crew informed about what's happening and what they need to be ready for
- Maintaining the prompt script with cues for lighting and deck moves (mapping), etc.
PERFORMANCE NIGHTS
- Posting and maintaining accurate sign-in sheets and performance schedules, etc.
- The stage manager will "call" the show (lighting, sound and deck cues) if possible.
- Responsible for taking and distributing any show notes for actors and for each production department.
- Holding brush-up rehearsals as necessary (with the dance and/or fight captains, as appropriate)
"Without a really good right arm...
we are only left..." -anonymous
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PR Marketing Manager
Just Because We Built It...Doesn't Mean They Are Gonna Come...
The PR Marketing Manager's job is to do all public relations work for the production. This Includes (but is not limited to):
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STEP 1
- Reading the script (when possible)
- Meet with the Producer to discuss budget
- Meet with the Director to discuss the vision of the show and themes.
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STEP 2
- Gather demographic information about the previous seasons' audiences.
- Gather any materials or access to equipment to help with the marketing materials
- Gather volunteers to help with the production of the materials
- Gather volunteers to help with the canvasing
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STEP 3
Pre-Production Preparation
T-SHIRT
- Secure a rough design
- Get producer and director approval - (Pick colors)
- Draw up a final rendering (proof)
- Order all shirts and delivery
POSTER/POSTCARD
- Secure a rough design
- Get producer and director approval
- Draw up a final rendering (proof)
- Have them printed
FLYER DESIGN
- Secure a design
- Get producer and director approval -(pick colors)
- Draw up a final rendering (proof)
- Have them printed
MARQUEE / BANNER DESIGN
- Secure a rough design
- Get producer and director approval
- Hand paint or have the banner made
HEADSHOTS (of the leads)
- Gather headshots of the leads or take them
- Print a proof sheet
- Get approval from the actor and producer
- Print them black and white - (8" X 10")
BIOS (of the entire cast)
- Have each cast member type up a short bio of their past theatre experiences.
- Collect them for the lobby (and/or to use in the program)
SPONSORS
- Secure additional funding and promotions with business and parent sponsors
PRESS RELEASE
- Write a one page release of information about the show, for the public
***(6 weeks before opening night)***
- Send to all local and web PRESS agents/ reviewers / reporters of the arts
- Send to all local calendar listings
SECURING PRESS SPOTS
(Promotions and Reviewers)
- Follow up with all PRESS agents about getting promos/ features / interviews
- Follow up with all theater reviewers about coming to the show
- Double check all calendar listings
WEB Presence
-Theater's website show page - updated with all kinds of information and links about the show
- Facebook page updates - sharing / likes - etc
- Facebook event postings - invites and conversation started
- Evites - (for a formal approach with an email list available)
- Cast and crew blogs - (throughout the show's process)
- Creative staff blogs - (throughout the show's process)
- YouTube promo video(s) - (interviews with cast/director/crew, clips of rehearsal, teasers etc)
EMAIL BLAST
-Send out the press release and poster image to the email list multiple times as opening night approaches.
ALL PUBLIC EVENT PLANNING
- Any combined activities for marketing purposes (ie. dinner deals, food drives etc.)
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STEP 4
- Hang all of the posters
- Distribute the flyers
- Hang the banner in front of the theater
- Decorate and dress the lobby display case
- Remind the cast to wear their t-shirts
- Complete all PRESS obligations
- Finalize any event details.------------------------------------------------------------------------------------------------------------------------
Scenic Designer
Does the set help tell the story?
The Scenic Designer is responsible for the creation of the director's vision for the world of the play or musical.
It is also referred to as:
- Scenography
- Stage Design
- Set Design
- Production Design
NOTE: Scenic designers have traditionally come from a variety of artistic backgrounds, but nowadays, generally speaking, they are trained professionals, often with B.A. in Theater, B.F.A. or ,M.F.A.degrees in theatre arts.
CREATING THE "STAGE PICTURE"
The role of the designer is to be an environmental artist.
The goal is to create and produce original design that ultimately helps tell the audience more about the story, the location(s), the characters and the plot.
- The playwright will give instruction (some more than others) about what is expected to appear on the stage in the play or musical.
- The designer makes an interpretation of that instruction using the priciples of good design and should be visually stimulating.
- The designer must render a rough design
- The designer gets the the director's approval of all the designs.
- The designer does a final color rendering and color model (if possible) for the other creative staff to work from as a pallette for shape, color, and the over-all concept.
- The designer is responsible for all the elements of the set (walls, floors, doors, windows, furniture, and any of the required set pieces actors will be playing the scene upon)
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Costume Designer
What Would My Character Wear?
The job of the Costume Designer is to dress the actors in the show in appropriate clothing for the characters they are playing and to keep in line with the Director's vision of the production.
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Pre-Production DutiesRead the play several times:
Make lists of
a.) All the Characters and the number of costumes needed
b.) Personality traits of the characters
c.) Employment and hobbies
d.) Any other special requirements
Determine the setting and location(s) the show covers.
Determine the time period
a.) Research the clothing styles worn in the era(s)
b.) Gather a collection of photo references for the clothing
Determine all the fast costume changes in the show.
NOTE: If a production is set in the future or has a unique theme, a costume designer consults with the director to interpret that vision into the costumes.
THE DESIGNS
If the theater has money and resources to build the costumes:
Costume Designers create initial design sketches by hand (which is still an important, highly valued skill.)
Once the Director has approved the initial sketches, the costume designer will draw up the final designs. Which will illustrate:
1.) Details of fabric texture
2.) Distinguishing accessories such as jewelry, shoes, hats or
masks
3.) The color pallette for the costumes.
A costume designer needs to be experienced in pattern making and sewing to explain the details of how a costume is to be constructed to an assistant or a dress maker. They also manage and must stay within the production's costume budget. When all the costumes are created, the care and coordination of costume use becomes the responsibility of a wardrobe assistant and costume crew.
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If a Theater doesn't have the resources or a staff with the experience to build the costumes,Gets the budget from the Production Manager
Lists all costume that can be pulled from stock first!!!
a.) Pull all costumes from costume storage and do a fitting for director's approval.
b.) Label all the costumes that work with the actors measurement card
c.) Put on the show rack with alterrations marked on the measurement card
d.) Have the seamtresses begin alterations, and flip the cards around when the alrations prove to be done (with the actor trying the costume on for a second fitting)
Then the Designer takes the budget and breaks down the costs of the followinga.) Supplies (needed to make certain costumes)
b.) Costume Rentals
c.) Costumes that can be purchased
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Make-up Designer
Wow! It Doesn't Even Look Like You!
The Make-Up Designer's job is to create character defining features on the actors face or body to help further the plot by using:
1.) All different kinds of make-up application and powder (aging, corrective and/or glamour)
2.) Various hair attachments - mustaches, beards, eyebrows, etc.
3.) Prosthetics - noses, ears, chins, brows, horns, etc. (or even full mask applications)
4.) Bald caps
5.) Colored contacts
6.) Fake teeth
7.) Glitter
8.) Fake tatoos
9.) Gore - bruises, cuts, burns...etc.
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ALWAYS BE SAFE!
KEEP ALL MAKE-UP OUT OF MOUTHS AND EYES!
and AVOID SHARING MAKE-UP!
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Pre-Production Duties
Read the play several times:
Make lists of
a.) All the Characters and the make-up that will be needed
b.) Personality traits and age of all the characters
c.) Background and lifestyle
d.) Any other special requirements or FX
Determine the setting and location(s) the show covers.
Determine the time period
a.) Research the make-up styles from that era(s)
b.) Gather a collection of photo references for the make-up
Determine all the fast make-up applications needed in the show.
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THE DESIGN
The purpose of the make-up is to help the audience understand the character and situation of the plot more clearly.
The Desinger must:
1.) Get a budget from the production manager
2.) Take pictures of the actors needing specific make-up.
(or use a headshot)
3.) Color the make-up chart with the design using actual make-up or other color methods
4.) Shop for all the necessary make-up.
5.) Practice the application with the actor if possible.
6.) Put all the designs in a labelled binder protected in clear plastic sleeves. (labelled for easy reference by the artists)
7.) Prepare the make-up kit for the show
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TECHNICAL WEEK
The designer applies make-up on the neccesary actors
1.) The actors go on stage under the lights
2.) The director gives any notes for adjustment
3.) If necessary the actor is made-up a sceond time
4.) Make notes or changes to the initial designs.
REMEMBER!
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EACH THEATER IS DIFFERENT
and
THE LIGHTS CHANGE FOR EACH SHOW!!
GOTTA RUN A TEST APPLICATION!
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Lighting Designer
Let There Be Light!
The role of the Lighting Designer (LD) is to create the lighting, atmosphere, and time of day for the production and to help advance the plot.
Preparation
The LD will be responsible for:
- Reading the script carefully
- Make notes on changes in place and time between scenes
- Discuss ideas for the show with Director and other designers
- Establish a budget for materials or supplies needed for the lighting
- Attend several later rehearsals to observe the way the actors are blocked during different scenes
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PAPERWORK NEEDED IN ADVANCE
Acquire all stage plots
a.) For the theater's lighting positions
b.) Lists of the equipment available
c.) The set design(s)
d.) cross sections for the theater.
THE DESIGN
The LD must take into account the show's mood and the director's vision in creating a lighting design.
Because lighting design is much more abstract than costume or scenic design, it is sometimes difficult for the lighting designer to accurately convey his ideas to the rest of the production team.
To help the LD communicate with the other members of the creative staff, the ethereal aspects of lighting they may employ:
1.) Renderings
2.) Storyboards
3.) Photographs
4.) Reproductions of artwork or mockups of actual lighting effects to help communicate ideas about how the lighting should look.
Examples of typical paperwork include:
- Cue sheets - communicate the placement of cues for the OP
- Lightplots and Instrument Shedules
The LIGHT PLOT - is a scale drawing that communicates the location of lighting fixtures and lighting positions so a team of electricians can independently install the lighting system.
Included on the Light Plot or each instrument:
a.) Color (gel)
b.) Area of focus
c.) Channel
d.) Circuit
e.) Gobo (if necessary)
The lighting designer uses this paperwork to aid in the visualization of not only ideas but simple lists to assist the Master Electrician during load-in, focus and technical rehearsals.
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The Technical Week of the Show
Once the set is up and painted.
THE HANG
The entire lighting crew is present
- Cut all the Gels and gather all the gobos
- Put all the instruments under the batten they are to be hung.
- Hang the lights, tighten all clamps
- Plug them into the asigned circuit
- Patch the circuit to a channel (from the booth)
- Test the instrument by running up the channel
- Change the bulb (lamp) if needed
- Gel the instrument
- Add the asigned gobo (if required)
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WIKIPEDIA HAS A GREAT BREAKDOWN of the INSTRUMENTATION COMMONLY USED
(descriptions and images)
http://en.wikipedia.org/wiki/Stage_lighting_instrument
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THE FOCUS
Then it is the job of the designer to have the lighitng crew"Focus" each instrument: (With one person on the board)
Each instrument is one by one brought to FULL (100%)
- Making the instrument(s) illuminate the the asigned area of the stage/set
- To focus the width of the throw to the asigned area (soft or hard edges)
- Cut the light (if possible) with the shutters to avoid going into unasigned areas.
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THE CUE TO CUE
A special rehearsal for Lighting.
The entire cast is brought into the theater.
This is the time in which the designer and the director get to work through each light change in the show (moment to moment)
- To set fade times
- Run transitions
- Check colors
- Check intensity (too bright or too dark)
NOTE: Must get the director's approval at the "Cue to Cue" and try to make all adjustments then.
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Props Designer
Everyone Wants To Play With The Props!
The Properties Designer has the responsibility of creating the items that an actor holds in their hand and:
a.) Carrying onto the stage.
b.) Using or consuming while on the stage.
c.) Taking off the stage.
NOTE: Sometimes if the item comes out of the
costume the actor is wearing...
it may be considered
a costume piece or costume assessory.
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THE PREPARATION
(pre-production work)
Prop Designers are expected to read the play several times and:
1.) Make detailed lists of all the props in the show.
2.) Make notes on where the prop starts in the show and ends up
when it it done being used.
3.) Find the place to put the prop tables in the theater space.
4.) Set-up a rehearsal props table (if necessary)- with "rehearsal"
props
5.) Be present (if needed) to set up and strike the "rehearsal" props.
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THE DESIGN
The main purpose of the prop is to help the audience see the situation being played out on stage more clearly, with more points of reference to time and place.
NOTE: Every show is so different and the props can range from very simple items that you can find in your house to very bizarre items that may be from another time period (past or future) or even from the fantastical imagination of the playwright.
The Props Designer always::
- Finds images and/or makes initial sketches for the director's approval.
- Gets the budget from the Production Manager
- Breaks down all props that can be pulled from stock first
a.) Pull all props from storage and check for director's approval.
b.) Label all the props that work
c.) Put on the props table
-Breaks down the costs of the following:
a.) Supplies to make props.
b.) Any props rentals.
c.) Any costumes that can be borrowed.
d.) Any costumes that can be purchased.
As Props are found, bought, rented or collected from friends and family they are labeled and put on the props table.
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NO ONE BUT THE
PROPS CREW AND THE ACTOR
WHO USES THAT PROP
SHOULD EVER TOUCH THE PROPS
FOR A SHOW!
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The Props Maker
The props that have to be constructed require a person who may have the following background, talents or skills:
(supplies that may be available can vary)
Welcome To Our Theater...Mi Casa Es Su Casa!
The House Manager's job is to make sure that every patron of the production:
- Is greeted when they arrive.
- Gets a ticket and directions to the entrance to the theater.
- Gets a program and is reminded of any intermissions.
- Pays attention to standard theater etiquette.
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Pre-Production Preparation
The House Manager should do the following leading up to opening night:
1.) Secure all cash boxes with the Production Manger/Producer
2.) Secure all tables and chairs needed for the space
3.) Secure all programs for the night of the performance(s)
4.) Secure all materials needed to keep accurate records of the ticket sales/audience attendance
a.) spreadsheet for box office money count
b.) total audience numbers (and student/adult breakdowns/ and any comps)
5.) Secure USHERS for each door / for each night
6.) Collect/make all signage for handicap accessibility and safetyconcerns
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SHOW NIGHT RESPONSIBILTIES
The House Manager should do the following on all show nights:
1.) Bring all cash boxes to the box office
2.) Set -up all tables and chairs needed for the space
3.) Bring all programs for the night of the performance(s)
4.) Bring all materials needed to keep accurate records of the ticket sales/audience attendance
5.) Hang any signage for handicap accessibility or safety concerns
6.) Unlock all of the theater doors (or tape them)
7.) Check in all USHERS for the night and send them to their posts 1/2 hour before curtain.
8.) Clean-up and store all box office materials for the run.
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