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Theatre Job roles and
Responsibilities
Unit 2 – Production Arts
Workshops PMD 1
A Burgess
Stage Manager
The Stage Manager is responsible for the running of the stage during
production. They are required to call for the cueing of lights, sounds, sets,
props, and actors during the show. The stage manager is constant
communication with the following departments.
· The Director
· The Actors
· The House Manager
· The Production Manager
· The Assistant Stage Manager
· The Running Crew
Starting salaries for assistant stage managers
range from £16,000 to £17,000, with deputy
stage managers earning slightly more. Regular
stage managers usually start around £20,000.
Range of typical salaries at senior level/with
experience, e.g. after 10 - 15 years in the role:
£20,000 - £40,000+.
Typical work activities for a Stage Manager:
Roles vary depending on the size and type of organisation, but the tasks stage managers will typically be
expected to carry out include:
setting up and running rehearsal schedules;
procuring all props, furniture and set dressings. In small companies, the theatre stage manager may also
assist in set construction;
arranging costume and wig fittings;
distributing information to other theatre departments;
managing the props and possibly the design budgets and liaising with the production manager regarding
costs;
supervising the 'get in' to the theatre, when the set, lighting and sound are installed, and the 'get out',
when all the equipment is removed;
compiling and operating prompt copy - also known as the 'prompt script' or 'the book' - which notes
actors' moves and the requirements for props, lighting and sound;
making changes to the set between scene changes, prompting actors and cueing technicians;
ensuring the company's welfare and maintaining a good working knowledge of all relevant health and
safety, legislation and good working practice;
running the backstage and onstage areas during performances;
liaising with the director, stage personnel and other technical departments, e.g. costume, lighting, sound;
calling actors for rehearsals and performances;
during a long run, maintaining and replacing props and costumes as required;
liaising with resident staff at other performance venues (if touring).
Assistant Stage Manager (ASM)
The Assistant Stage Manager provides assistance to the Stage Manager. The
support will be determined in concert with each other, and may specialize in any
of the production areas. Salary £15,000 +
Basic Job Description: The Assistant Stage
Manager does assist the Production Stage
Manager with all of their responsibilities. This
can include attending production meetings,
running rehearsals, clerical organization, and
insuring the smooth execution of the
performances.
The ASM is part of the management team of
the production. His or her behavior should
reflect this. The ASM should set an example
in punctuality and professionalism. It is
important that the ASM is flexible and will
take initiative. Because each production is
different, an ASM’s specific responsibilities
will change.
Theatre 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. They are involved at all stages of the process, from the design and pre-production
stages and rehearsal right through to the final performance.
Directors work closely with their 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.
Most directors are usually employed on a freelance or fixed-term contract basis. They can also
be employed as artistic or resident directors in repertory companies. Some directors are also
writers, designers and performers and may write, devise, design and act in their own work.
Typical work activities
Most theatres are headed by an executive administrator or general manager answerable to
a board, a local council or both. Large theatres may also have an artistic director who selects
the plays to be produced in the theatre each season (and the director for each) and is
responsible for managing the company and its finances together with the administrator. In
the case of a small performing company, such as a touring fringe company or a theatre-ineducation group, the director may also act as administrator or producer.
Technical Director Salary. A Technical Director earns an average
salary of £57,530 per year. Most people in this job have more
than five years' experience in related jobs.
Production designer, theatre
Production designers are responsible for the visual concept of a film, television or
theatre production. They realise a design style for sets, locations, graphics, props,
lighting, camera angles and costumes, while working closely with the director and
producer.
Once the concept is decided, designers usually appoint and manage an art department,
which includes a design and construction team. They often form a strong partnership
with a particular director with whom they may work on many productions.
Designers tend to specialise in either film, television or theatre, although there may be
some overlap. In the theatre, production designers are also called stage or set
designers.
Lighting Board Operator
The light board operator is responsible for
operating the lighting control system for a
specific production.
The light board operator is responsible for
knowing how to turn on and boot up the
computer(s) used to control the lighting.
He/she must know some basic programming
commands. He/she participate in the light
check held before each performance.
The light board operator attends all technical
rehearsals and performances. Technical
Rehearsals usually begin the weekend before
opening. The entire weekend should be kept
clear. On performance days, the light board
operator’s call is usually 1 1/2 hour before
curtain time. He/she are expected to
participate in any strike following the closing
performance.
Average Light Board Operator Salaries. The average salary for light
board operator jobs is £27,433 a year. Average light board operator
salaries can vary greatly due to company, location, industry,
experience and benefits.
Sound Engineer
The sound engineer uses the sound equipment
to play back sound effects for a specific
production.
The average salary of an Audio Engineer is
£37,000. Salaries start from £14,180 and go up to
£67,840. Please note that the average salary for
an Audio Engineer may vary depending on several
factors, like level of education, amount of
experience, industry, company size and location.
The sound engineer is responsible for knowing how to use each piece of sound equipment
involved in the production. He/she must be able to create and maintain clear cue sheets.
There can be complicated sound effects, which require quick thinking and hand/eye
coordination.
The sound engineer attends all technical rehearsals and performances. Technical Rehearsals
usually begin the weekend before opening. The entire weekend should be kept clear. Some
productions may have complicated sound effects. For those shows, he/she should expect to
start even a week earlier than techs. On performance days, the sound engineer’s call is
usually 1 1/2 hour before curtain time. He/she are expected to participate in any strike
following the closing performance
Sound Designer
The average pay for a Sound Designer is £33,159 per year.
Most people with this job move on to other positions
after 20 years in this field. Experience strongly influences
income for this job.
The Sound Designer is responsible for obtaining all sound effects, whether recorded or live
for a specific production. He/She is also responsible for setting up the sound playback
equipment and must make sure the board operator is properly trained. Sound Design is an
artistic component of the production. The Sound Designer needs to have imagination to
create sound effects and not just rerecord them.
SPECIFIC RESPONSIBILITIES
The Sound Designer should read the script and meet with the Director in order to discuss the
sound design for the show and begin to make the cue list. There are many types of sound
effects and many ways they are created. There may be a composer creating music for the
production. The Director may have specific pieces of music picked out or they may want the
Sound Designer to make some selections. There quite possibly will be non musical effects
needed. These may be recorded from other sources for playback or created live during the
performance. The Sound Designer is also responsible for setting up any sound reinforcement
equipment that may be needed.
After the cues and their sources are determined, the Sound Designer needs to begin gathering
them. There is a very good collection of LPs and CDs in the Douglas Listening Room of the Knight
Library. Included is the BBC sound effects collection. It is possible to check items out but a
permission sheet needs to be signed by a faculty member. There is a sound budget for each
production in case some effects need to be purchased.
The Sound Designer needs to become very familiar with the sound equipment in the booth.
He/She will need to know how to record the effects onto the different types of playback
equipment. Complete knowledge of the cues and their placement in the performance is very
important. The Sound Designer will need to be able to decide how complicated cueing will be
set up.
Often the Director will want a copy of the cues on a CD as soon as possible. Otherwise finished
tapes/disks are not due until the predetermined cueing rehearsal.
Live, offstage sound effects (ie. thunder and guns) are the responsibility of the Sound Designer.
The Stage Manager and Technical Director should be consulted in order to determine where to
set up the effect and who will run it. The Sound Designer may also work with another member
of the production team to create an effect (ie. the Props Designer and a telephone). In any case,
it’s important that these kind of effects be discussed in production meetings.
The Sound Designer should attend all run throughs and other acting rehearsals deemed
necessary. The board operator needs to be trained on the equipment and any unusual
placement of speakers needs to be determined at this time. A few days before Tech rehearsals
begin the Sound Designer should meet with the Stage Manager in order to give preliminary
cue placements. He/She must attend all Technical/Dress rehearsals. Volume levels, specific
cueing, and changes will be made during these rehearsals. The Sound Designer must be able
to complete any changes before the next rehearsal.
The Sound Designer should be familiar with a computer editing program such as Audacity.
He/she should also become familiar with QLab, the program used for playback. Audacity is a
free program. The basic QLab is also free but is a Mac only program. If the designer does not
own a Mac, the computers in room 308 are available.
TIME COMMITMENT:
The Sound Designer must attend all production meetings and some specific meetings with the
Director. Obtaining and recording sound effects can be time consuming. The Sound Designer
must attend some acting rehearsals and all Technical/Dress rehearsals. The Director may ask
the Sound Designer to attend many rehearsals. This schedule should be worked out early on.
The Sound Designer must be able to find the time to make changes in the cues between
rehearsals.
Technical Director:
Selected by: Producer and Artistic Director Reports to: Artistic Director
Surveys performance space for technical production elements/capabilities and serves as a
consultant to production staff on technical issues.
Works with set designer on technical construction and implementation aspects of scenery.
Obtains and sets up any technical theatre elements (pyrotechnics, fog machine, etc.) of the
production outside of those maintained by the production house. Any expenditures must be
coordinated with producer.
Develops lighting design based on set design and survey of production space lighting
capabilities. May be deferred in whole or in part to in-house lighting designer.
Works with production house master electrician to ensure lighting design is implemented
correctly.
Develops sound design based on musical and theatrical demands of production and current
club sound reinforcement capability. May be deferred in whole or in part to in-house sound
designer.
Coordinates deployment and use of club owned and/or rented sound reinforcement
equipment. May be deferred in whole or in part to other production participant(s) or in-house
audio personnel.
Technical Director Salary. A Technical Director
earns an average salary of £57,530 per year.
Most people in this job have more than five
years' experience in related jobs.