There are many roles to be filled in any production - here's a list of what they are and what they do...

 

The Director

A theatre director has responsibility for the overall practical and creative interpretation of a dramatic script or musical score, taking into account the budgetary and physical constraints of production.

Directors work closely with the creative and production teams, the performers and the producer to create a performance which connects with the audience. They therefore need to be able to coordinate effectively across a wide range of disciplines and with artistic vision.

Typical activities will include:

• breaking down a script, analysing and exploring the content and conducting relevant research;
• translating and interpreting a script or musical score;
• conducting auditions for productions, selecting and hiring designers, musicians, etc.;
• managing time and organising people and space;
• attending production meetings with designers;
• conducting rehearsals and preparing detailed notes for the cast and creative and production teams;
• communicating and liaising with all parties involved, including actors, the creative team, the production team and producers;
• attending performances!

 

The Production Manager

The Production Manager keeps track of the different technical departments to ensure all aspects of the production are on track. Whereas some departments will have a degree of self containment (e.g. costume, set builders etc.), the production manager has a more overarching view and will co-ordinate with all of the technical teams to make sure work is coming in on time and on budget. They will be keenly focused on and responsible for the budget and will usually have a good understanding of finance.  Many see this role as the most important in any production. 

More often than not, at HTC, the Production Manager keeps track of ticket sales and is responsible for keep the booking lists up to date and accurate.  This means that budgets can be monitored more effectively.  If a director wants to do something creative in the show and the budget is not there, it is up to the Production Manager to advise the Director of the limitations and suggest alternatives.

Also the Production Manager, especially in HTC's case, is responsible for co-ordinating the publicity of a production - from getting the posters and flyers organised to ensuring the local press have previewed the show and been given tickets to review the show.

The most important thing to know about this role is that the HTC committee supports whoever does this, every step of the way.  The Production Manager is never alone at HTC!!

If you are interested in this role, we have a 'Handy Tips' guide that you can download.  Open it here!

 

The Stage Manager

Stage Managers are the essential link between all of the different branches of a theatre company. Their role is to manage technical designers, props and costumes, but most importantly managing the performances on stage and within the technical box. They are responsible for the smooth running of theatre productions. They act as a vital link between the artistic and technical aspects of a show. They make sure that everyone and everything involved in the production, from actors and technicians to props and lighting is in the right place, at the right time.

Typical duties may include:

• keeping the ‘prompt copy’ of the script which notes the performers’ positions on stage, script changes as well as the props, lighting and sound needed for each scene;
• liaising with Production Managers and front of house staff;
• supervising the 'get in' and ‘get out’ (when the set and equipment are set up and taken down after the show);
• cueing performers to go on stage;
• cueing the technical crew to operate sound and lighting.

 

The Lighting Designer

Lighting Designers know how to make the best use of the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action.

The Lighting Designer begins by reading the script to be produced, noting the type of light it calls for in each scene. Designer and director share their ideas about how light could be used to enhance the production concept at their first meeting. Early meetings with the set designer are also important because the set and lighting designers must collaborate on how to achieve the desired "look" for the play. 

At HTC, the Lighting Designer is responsible for ensuring the Lighting Grid is set up correctly and working.  Sometimes the designer will operate the lighting desk during a production's run, but often a Lighting Op will do this (instructed by the Stage Manager) and the Lighting Designer will have to ensure the lighting is 'plotted' (sequentially programmed) on the desk.

 

The Set Designer

The Set Designer is responsible for the physical appearance of the stage for a play, according to the director's wants and needs (as well as budget).  Most set designers will create a model for the technical team to refer too, as it affects what other departments do with regards to creating the overall 'feel' to a piece of theatre.

The Set Designer is also normally responsible for the construction and painting/decoration of the set and will work closely with the Stage Manager and Director on a 'get in' day, to ensure that a smooth and speedy set up is acheived.  Most Set Designers have experience as carpenters or engineering of some kind.  Many people who get involved in this side of theatre production find it very rewarding!

 

The Sound Designer

Modern audio technology has enabled theatre Sound Designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance.  Just like the Set Designer, the Sound Designer is responsible for the audio effects of a play, based on the director's wants and needs.  This could simply mean creating the compact disc of songs for the player in the Technical Box, in the correct order that they appear in the show.  Alternatively, it could be sourcing or creating special sound effects to create the appropriate mood or an off-stage event that cannot be created in any other way.

Due to the nature of sound, the Sound Designer can sometimes be the busiest member of the technical team, depending on the requirements of a production.  Like the Lighting Designer, if there is a separate Sound Op on the show, the Sound Designer is responsible for ensuring all the sound cues are in the correct order.  Most Sound Designers man the Sound Desk themselves though...

 

The Costume Designer

A costume designer is responsible for the design, creation and purchase of costumes and accessories worn in theatre productions.

Typical work activities include: 

• liaising with the director and lighting and scenic/set designers about creative concepts, establishing the look and feel of the production and its characters, deciding what each character wishes to convey through his/her clothing (time period, setting, status/social class, age, geographic region, etc.);
• using the internet and libraries to conduct in-depth research into the setting/period of the production to ensure costumes are authentic to the specific time;
• utilising a good knowledge of costume/theatre/art/political/social history;
• reading scripts;
• managing the costume budget;
• taking actors' measurements for garments and accessories, such as wigs, shoes and hats;
• shopping at fabric, craft, charity and clothes shops;
• drafting and cutting out patterns;
• studying textiles, dyeing fabric, painting and sewing;
• distressing costumes, using a range of materials;
• arranging costume fittings, dressing actors, helping with difficult costumes, making alterations as necessary;
• cleaning and repairing costumes.

Sometimes a show may be set in the present day and requirements may be minimal.  A costume designer is someone who is normally held to a tight budget by the Production Manager, depending on the piece of theatre and the director's requirements.

 

The Props Designer

A theatrical property, commonly referred to as a prop, is any object held or used on stage by an actor for use in furthering the plot or story line of a theatrical production. Smaller props are referred to as "hand props". Larger props may also be set decoration, such as a chair or table. The difference between a set decoration and a prop is use. If the item is not touched by a performer for any reason it is simply a set decoration. If it is touched by the actor in accordance to script requirements or as deemed by the director, it is a prop.

The Props Designer is responsible for sourcing, supplying and even making all of the props needed for a show.  This can sometimes be a tiring, stressful task depending on the show, or a walk in the park.  The Props Designer, if working backstage during the run of a show, will also ensure that the performers have exactly what they need at the right time.  Sometimes, a props co-ordinator will take on this job if the Designer cannot attend the run. 

All shows need props though.  Every single one!  Some people would also argue that this is the most important role in a theatrical production.  It's never a case of "it's just props", as some of us have discovered in our time.  HTC is lucky to have many resources to hand in this department, but there is always the need for someone to co-ordinate it.  Props Designers are inherently very organised people!!

 

General Crew Roles

We have covered a lot in the above categories, but theatre crewing does not end there.  There are many more roles that could need filling depending on each production. 

• Sound Op - Runs the sound desk by hitting the play button at the right moment and getting the volume levels correct.  Works very closely with the Stage Manager.
• Lighting Op - Runs the lighting desk by hitting the 'go' button at the right moment.  Again works closely with the Stage Manager.
• Stage-hand - Is there to assist in moving set, scenery, large props, opening/closing doors and anything else in order to ensure a play runs smoothly. They are normally found on the stage, behind the set.
• Dresser - Is back stage to help performers get in and out of costumes quickly without affecting the flow of the production.  Again, these people are normally found behind the set or just off-stage.