THE PRODUCTION STAFF (adapted from the original Yale Musical Theatre website)
Here is a brief "job description" for each of the members of the Production Staff of a Musical Theatre production. In Yale Secondary School Musical Theatre productions, these tasks may be assumed by Musical Theatre class students (please see below for class credit requirements), other Yale Secondary School "volunteer" students, parents, teaching staff, school support staff, and interested members of the community. For more information about "Our Wonderful Volunteers", please see "Volunteers"). If you are interested in participating in our production, please contact us (see Volunteer Form)
STAGE MANAGER
As well as preparing for the show, he/she is very much the main person during the running of the show. The director decides how the show will be presented but the stage manager makes sure the mechanics of the production happen (including ensuring cast and crew are ready; calls cues for lighting, sound etc.
ASSISTANT STAGE MANAGER
Usually shortened to ASM, the assistant stage manager does whatever is necessary to help the stage manager is sometimes in charge of sourcing and running Properties during the run of a show. She or he is also a member of the stage 'crew' The assistant stage manager will work specifically under the direction of the stage manager and will help to ensure all jobs are organized and taking place.
Runners should be on hand to deliver any messages between sound and light crews and backstage.
LIGHTING DESIGNER
Member of the production team for a show who is responsible for the overall look of the lighting. He or she may have an Assistant Lighting Designer who concentrates on the necessary paperwork for the lighting design. The Lighting Designer (or LD) is responsible for liaising with the director about style and with the set and costume designers about colour and decides on the position, type, focus direction and colour of every lighting instrument in the rig. He draws a lighting plan to communicate this to other members of his team (and to the theatre staff who are rigging the lighting).
LIGHTING OPERATORS (BOARD OP)
The lighting board is the main control for the stage lighting. Originally known as the switchboard or dimmer board, it is now usually remote from the dimmers. The lighting operator for a show is said to be 'on the board', and is sometimes known as the 'board op'.
SOUND DESIGNER
Member of the production team who has the responsibility for planning and executing the layout of all sound playback and reinforcement equipment for the show. This role also includes the sourcing of music and sound effects for the production (this includes determining the placement of microphones)
SOUND OPERATOR
Also known as Sound Op. The Sound Operator is responsible for operating the sound playback and mixing equipment for a show. He or she is sometimes a member of the Electrics department of the theatre and works with the sound designer for the production.
SET DESIGNER
Member of the artistic team for a show who works with the director to create the scenic 'look' for the stage throughout the show and any accompanying props. The scenery designer is responsible for planning and drawing models of all the scenery.
SCENIC ARTIST/ CO-0RDINATOR
Working in conjunction with the Artistic Director and the Set Designer, the scenic artist is responsible for designing and the painting of the production’s backdrops and, sometimes for the painting of scenery pieces and props. She or he organizes the purchase of painting supplies, organizes the painting “team”, organizes a painting work schedule, and is responsible for overseeing the return of painting supplies after the production.
SET CONSTRUCTION CO-ORDINATOR
Co-ordinates the construction of scenery pieces and some props. Supervises the transportation of scenery to and from the theatre and the assembly and disassembly of scenery in the theatre.
PROPS CO-ORDINATOR
The Props Co-ordinator is responsible for preparing all the props used in the production. She or he organizes and plans the assembling of props, the organizing and supervision of the props crew, and the transportation of props to and from the theatre before and after the production. He or she works in conjunction with the stage crew for the placement and movement of props during the running of the performances.
COSTUME DESIGNER/CO-ORDINATOR
The costume designer decides upon all costumes to be worn by the cast (in conjunction with the Artistic Director). If required, she or he will supervise the creation of costumes and supervise the maintenance of costumes during the production.
MAKE-UP DESIGNER/CO-ORDINATOR
The makeup designer/co-ordinator plans the makeup for everyone in the show. She or he organizes the purchase of makeup supplies, organizes the makeup “team”, organizes a makeup work schedule for dress-rehearsals and performances, and is responsible for overseeing the return of makeup supplies after the production.
CREWS
The crews are the invaluable production team members who assist the various designers/co-ordinators in carrying out the various tasks essential for the creation and running of the production. Scenery construction, scenery painting, props, stage crew, lighting, sound, makeup, costumes are some of the areas of the production in which crews or “team members” are required.
FRONT OF HOUSE MANAGER
Member of theatre management who is responsible for the day to day running of the front of house (FOH) area (as opposed to the backstage areas). He or she may oversee the running of the box office, any merchandising / catering stands as well as the ushers and any part of the building the public may enter during their visit to the theatre.
HOUSE MANAGER
Duty member of theatre staff who is responsible for the Front of House staff and organization for a particular performance. She/he is also responsible for the health and safety of the audience while they are in the theatre. The house manager arranges for the distribution of the programs and sees that all audience areas are clean, neat and attractive at all times.
**** In addition to other course instruction, research assignments, keeping a log book etc. students in the Yale Secondary School Musical Theatre class who are opting to work in the production team (Tech/Stagecraft option), the Orchestra Option or the Acting Option must complete the following requirements to a satisfactory level to obtain their course credits:
MUSICAL THEATRE PRODUCTION: JOB DESCRIPTIONS AND DUTIES
(NOTE: MUTH CLASS EVALUATION IS BASED UPON THE COMPLETION OF THE FOLLOWING TASKS):
ACTING:
1. prepare for audition
2. read play
3. research for part - understand character- complete "character sheet"
4. attend rehearsals - arrive on time
5. learn lines and songs
6. get to know cast
7. prepare script with notes on blocking etc.
8. attend costume fittings
9. attend tech rehearsals if required
10. attend make-up workshops and checks
11. prepare for opening of show
12. arrive on time for cast calls
13. cooperate with all members of production company
14. keep activity log
STAGE MANAGER:
1. discuss the show with the Director
2. organize crew
3. prepare prompt book - mark cues, calls, effects
4. prepare rehearsal space
5. set crew tasks
6. make availability chart
7. co-ordinate props, lighting, sound effects, special effects cue sheets/lists
8. coordinate tech rehearsals
9. ensure all elements of play are ready
10. finalize prompt book
11. synchronize production
12. check all elements of play are ready for performance
13. reset stage
14. check all cast and crews
15. calls
16. manage performances
17. keep activity log
ASSISTANT STAGE MANAGERS:
1. discuss the show with the Director
2. organize own side crew
3. prepare side prompt book - mark cues, calls, effects
4. prepare rehearsal space
5. set crew tasks
6. make availability chart - report to S.M.
7. co-ordinate props, lighting, sound effects, special effects cue sheets/lists (as pertaining to own side) report to S.M.
8. assist S.M. to coordinate tech rehearsals
9. ensure all elements ready for own side
10. finalize own side prompt book
11. help synchronize production
12. check all elements for own side
13. reset stage for own side
14. check all cast and crews for own side
15. calls
16. assist S.M. to manage performances
17. keep activity log
SET DESIGN:
1. read the play
2. work out basic ideas
3. discuss production with Director
4. study theatre space
5. research for the play
6. do sketches - plan scenery psychologically and physically suited to the mood and action of the plot
7. make model
8. discuss model with Director & S.M. - revise if necessary
9. do prop & furniture list
10. supervise set construction
11. organize props - work with Props Master or Props Mistress
12. attend moving set to theatre, assist in setup
13. attend tech rehearsals
14. attend dress rehearsals
15. attend company calls
16. attend to problems, supervise repairs, watch for wear and tear
17. assist in set strike and return of set materials
18. keep activity log
COSTUME DESIGN:
1. read the play
2. discuss the production with the Director
3. research the play
4. do planning chart
5. do character charts for each character - include measurements
6. sketch designs
7. get fabric samples and/or evaluate costume rental option
8. supervise costume making
9. hire costumes
10. find trimmings
11. do fittings
12. complete costume construction and fittings
13. dress rehearsals
14. costume alterations
15. attend company calls
16. supervise repairs
17. watch for wear and tear, need for ironing etc.
18. manage costumes in performances
19. return costumes and accessories
20. keep activity log
LIGHTING DIRECTOR:
1. read the play
2. study theatre space
3. plan basic lighting requirements
4. meet with Director
5. attend rehearsals
6. note details
7. plot lighting plan and cue sheet
8. rig and focus lighting
9. technical rehearsal
10. final alterations
11. attend company calls
12. do repairs and make adjustments
13. manage lighting in performances
14. keep activity log
SOUND DIRECTOR:
1. read the play
2. study theatre space
3. plan basic sound requirements
4. meet with Director
5. attend rehearsals
6. note details
7. plot sound plan and cue sheet
8. test sound equipment - purchase batteries etc.
9. record sound effects
10. technical rehearsal
11. final alterations
11. attend company calls
13. do repairs and make adjustments
14. manage sound in performances
15. keep activity log
SPECIAL EFFECTS DIRECTOR:
1. read the play
2. study theatre space
3. plan basic sfx. requirements
4. meet with Director
5. attend rehearsals
6. note details
7. plot sfx. plan and cue sheet
8. test sfx equipment - purchase sfx. materials etc.
9. test sfx
10. technical rehearsal
11. final alterations
12. attend company calls
13. do repairs and make adjustments
14. manage sfx. in performances
15. keep activity log
PROPERTIES DESIGN:
1. read the play
2. discuss the production with the Director
3. research the play
4. do planning chart
5. do properties charts for each scene
6. sketch designs
7. get props samples and/or evaluate props rental or purchase option
8. supervise properties making
9. hire properties
10. collect properties
11. provide secure property storage
12. complete properties construction
13. dress rehearsals
14. properties alterations
15. supervise repairs
16. attend company calls
17. watch for wear and tear, need for replacing etc.
18. manage properties in performances
19. return properties
20. keep activity log
CHOREOGRAPHER:
1. read the play - listen to music
2. work out basic ideas - consider abilities of cast; set design, furnishings etc.
3. discuss production with Director
4. study acting area space
5. research for the play
6. plot designs for choreography
7. make diagrams of dances/movements
8. discuss diagrams with Director & S.M. - revise if necessary
9. attend rehearsals - work with groups or individuals - adjust choreography if necessary
10. attend tech rehearsals
11. attend dress rehearsals
12. attend to problems, supervise modifications if necessary
13. keep activity log
MAKE-UP DIRECTOR:
1. read the play
2. discuss the production with the Director
3. research the play
4. do planning chart
5. do character charts for each character
6. sketch make-up designs
7. get make-up samples
8. supervise make-up tests
9. purchase make-up
10. find accessories - beards etc.
11. do fittings - beards etc.
12. complete make-up construction and fittings
13. dress rehearsals and make-up "checks"
14. make-up alterations
15. attend company calls
16. supervise make-up changes
17. watch for wear and tear - make-up "refreshing"
18. manage make-up in performances
19. return make-up and accessories
20. keep activity log
PUBLICITY DIRECTOR:
1. read the play
2. discuss the production with the Director
3. research the play
4. prepare planning chart for all advertising, arrangements for interviews, special events etc.
5. develop posters, publicity information, school educational package etc.
6. arrange for poster printing and distribution and other aspects of publicity preparation
7. plan, prepare and carry out lobby displays
8. return all borrowed materials and publicity materials after production is completed
9. keep activity log
** this activity should be combined with another to ensure acquiring sufficient course hours
HOUSE MANAGER:
1. arrange for and schedule ushers
2. plan for comfort and convenience of audience, especially the Handicapped
3. arrange for printing of programs-prepare and compile programs (work in conjunction with Publicity Manager)
4. distribute programs to audience
5. assist with arrangements for box office operators
6. check with S.M. and Director for opening House on performance nights
7. open House and usher in audience at appropriate times
8. keep activity log
** this activity should be combined with another to ensure acquiring sufficient course hours
ORCHESTRA:
1. Complete the Musical Theatre take-home research assignment.
2. Attend required rehearsals and performances.
3. Familiarize yourself with your musical score.
4. Master instrumental part, using both rehearsal time and solo practice time.
5. Maintain activity log book including a record of all rehearsal and solo practice times. Submit the log book at the end of the course.
REHEARSAL ACCOMPANIST:
1. Complete the Musical Theatre take-home research assignment.
2. Attend required rehearsals.
3. Familiarize yourself with your musical score.
4. Prepare accompaniment for chorus, ensembles, and solos using solo practice time.
5. Maintain activity log book including a record of all rehearsal and solo practice times. Submit the log book at the end of the course.
