Team Role list

1)      The Stage Manager and the Deputy Stage Manager work closely throughout the rehearsal process. During rehearsal the DSM will report back to the SM on specific props and costumes that need to be attained. The DSM will also report required lighting and sound ideas back to the appropriate designers throughout the rehearsal process. On the night of the performance the DSM and SM will communicate via cans to ensure the smooth running of the show. Should certain Mics have issues, or if issues arise with costume and set, the DSM will inform the SM who can amend the issues as promptly as possible.

2 & 3) The Stage Manager works closely with the Assistant Stage Manager and the crew, overseeing their work, often delegating specific tasks to members of the team. For example in a complicated scene change, the SM will decide which members of the crew will help dress cast, which will change mics and which will move set.

4) The Front of House Manager works closely with the FOH crew delegating duties to ensure the well being of the audience and that they have the best experience whilst not watching the performance.

5 &6) the DSM works closely with the LX and sound Operators on the night, communicating through cans and their communication must kept throughout. The DSM will have lighting and sound cues in his/her prompt book and will prompt the operators when these cues are. If communication is not kept, the a cue could go wrong or could be missed, which would have a ripple effect, lowering the quality of the entire show.

Evaluation

Production workshop evaluation from paupop12

 

 

 

 

 

Evaluation footloose from paupop12

Job Role Analysis

Above is an image of me presetting the box office with programmes and signs ect.

Front of House is an important part of the theatre industry. FOH issues a paying audience with a first impression of the venue, the performance and all involved. The way that FOH is presented, the way the staff conduct themselves all lead to an overall impression of every aspect of that night's performance. It is therefore important that the FOH team are well presented and threat the audience with exceptional customer service to ensure they leave the theatre with a positive opinion of not only the performance they just saw, but also the venue itself.

The Front of House Manager is an important role so much of the audiences impression of the performance comes from FOH. And therefore they must manage the running of this aspect of theatre, smoothly and effectively to ensure that the audience leave with the best impression. The Front of House Manager must manage his/her staff and delegate responsibilities to ensure that the FOH gives the audience the best impression.

 

 

 

Crew are an essential part of the theatre industry because they carry out the small, seemingly insignificant tasks. However ironically, they are perhaps the most important part of each performance. Without Crew, set would not make it to stage, props would not make it to stage, and costumed actors would not make it to stage. Although perceived not to be the case, they are integral to the running of each performance. Their responsibilities make up the entirety of the show and without



 



My Job Role: Problem solving

With the responsibility of FOH manager, came the occasional problem that needed to be dealt with appropriately and promptly to ensure that all duties were still carried out to the highest possible standards.

Absence: On the 2nd night of the performance, a member of the FOH team was absent, and had not made contact at any point during the day with myself or any member of the FOH team or production crew. Therefore, being a member down, more work needed to be done in less time. The solution to this was to instead of pre-setting the Wicked Cafe at the 17:30 call, as the audience wouldn't see this till the interval, the FOH team member responsible for this would now help with the setting up of the Foyer and with Box Office. And after the audience entered the auditorium, we would then all aid said crew member in setting up the cafe, as we now had less time to do this.
This is a perfect example of how communication is vital in the successfull running of a theatre performance.

Communication with audience: Before the audience were let into the auditorium, as FOH Manager i had to explain to them that each night was sold out, and therefore every seat in the theatre needed to be taken, and to avoid parties having to sit separately, could they please fill the seats from the middle out and leave no gaps. However on opening night it was clear that this was not listened to, and we felt that this was because not everyone was listening to the announcement. Therefore to account for this, on the remaining two nights, a member of the FOH team walked the length of the que and asked the audicne to listen to announcement that was about to be made. Also during the interval, we used the tannoy system in the Wicked Cafe to announce that act II would begin.

 

 

 

Missing Props: Due to performers not placing their props back on the props table, some props did go missing during the night, which meant that some members of the crew had to run around trying to find them on top of their other responsibilities. This could be combated by having one crew member man the props table and ensuring that they are all returned after use. Also, if all performers were made aware that they MUST return all props, or hand it to a crew member to return to the table, this would result in less or no losses of props.

 

Performers not applying Mics properly: As performers were eager to get into costume and get on stage, they would often rush through the changes and therefore their mics were not applied properly so their voice was not picked up whilst they sang. Next time, the performers need to be told that they must stand still and wait patiently whilst their mics are fitted, or be trained how to fit a mic them self.

Performers not stacking set appropriately:  During the penultimate scene, the performers throw several bales of hay backstage for the crew to then stack appropriately. However on each night there was no care taken into how they passed the bales over. They were rushing too much and made it difficult for the crew to get a hold of the bales to then stack backstage. The solution to this would be simply more staffing. Additional crew are needed so that they could grab the hay themselves and stack them appropriately.



My Job Roles: In Action

After being elected the FOH Manager, I decided to call a meeting so that certain plans could be made for the planning and running of Front of House. The Agenda for this meeting is pictured below.

1) It was agreed that all members of the FOH team would be present on all three nights
2) It was made clear that we would buy what was needed with our own money, but keep the receipts so we could claim the money back on expenses. So in this sense, we didn’t have a budget but had to be realistic as to what money to spend on what will be considered a small aspect of the event.
3) It was decided that at the 17:30 call, the FOH team would pre set the foyer and the wicked cafe with all relevant decorations and equipment. At 18:30 all FOH crew members would meet and greet audience members, collecting tickets and selling programmes etc. Once the audience were in the auditorium, the FOH crew and I would go upstairs to the Wicked Cafe and begin mixing drinks. We would then all serve said drinks during the interval, and once the audience were back in the auditorium, we would all clean up and clear away the areas we had used during the night.

For the nights of the show I produced a checklist for a member of the FOH team to complete. This preshow checklist would ensure that all aspects of the FOH were ready and set before the audience arrived. An incomplete checklist is pictured below.

 

 

Below is a picture of a completed checklist. Checklists are important because it ensures that all aspects of the FOH are ready for when audiences arrive and there are no altercations during the night of the show.

 

 As FOH Manager I had my own checklist which was to ensure that all FOH Staff were present and to ensure that a checklist had been completed. This is pictured below.

 

 

 

 

 

 

 

Due to limited numbers in the crew, each member of the crew had to take on additional responsibilities. mine included.

 

 

Changing Mics: Following the Mic Plot, when certain members of the cast had to have their mics changed from one scene to the next, it was my responsibility to take off the mics and re-fit it to other members of the cast, sometimes at speed as they had to be changed between scenes. Below is an image of me following the Mic plot

 

Dresser: As there were several quick changes throughout the show, some members of the cast needed assistance in getting in and out of their costumes. I was there to aid the performers to ensure they got into their costumes on time for when they needed to be next on stage. Below is an image of me helping an actor into her costume.

 

Flyman: During the ‘Bar-B-Que’ scene, the ‘Bar-B-Que’ sign had to be lowered in and then lifted out at the end of the scene. Using the pulley system I and one other member of the crew had to operate this heavy sign, lowering and lifting it into the scene.

 

 









My Job Roles

Front of House Manager

Front of House: is the portion of a performance venue that is open to the public. In theatre and live music venues, it is the auditorium and foyer, as opposed to the stage and backstage areas.

A Front of House Manager is responsible for leading the Front of House team, delegating duties and ensuring all are on task throughout the preparation and running of each show.

Further Responsibilities include:

Ticket Sales/Distribution: Before Tickets go on sale, a count of the seats within the auditorium has to be taken to ensure that tickets aren’t oversold. Selling more tickets than seats available is a health and safety hazard by loading the space with more people than its maximum capacity. On the Nights of the performance, certain tickets and seats will be reserved for special guests e.g. Governors and Staff family members. These tickets will be kept behind the Box Office and issued out to the appropriate audience member that has paid for that ticket. Regarding reserved seats, The FOH Manager is responsible for printing out ‘reserved’ signs and placing them on the seats desired by the guest.

Welcoming Guests: Customer Service is an essential part of the Front of House Experience. An Audience member’s first impression of the venue comes from the Front of House Team.  The FOH is responsible for issuing specific greeting roles to those within the team, ensuring they treat paying audience members with the upmost politeness and care.  It is also important to be helpful at all times to the paying audience, guiding them to their seats, directing them to the venue’s facilities etc.

Refreshments: During the interval or before a performance, refreshments are likely to be offered/sold to the audience. The FOH Manager is responsible for delegating tasks to his/her team to ensure the foyer is set up accordingly and that these refreshments are distributed appropriately. After the audience re enter the auditorium, the FOH Manager must ensure all relevant areas are cleaned and returned to their original state. This is also the case once the Audience leaves the venue.

 

 

 

 

Crew

 

‘Crew’ being a somewhat ambiguous term, a crew member has many different responsibilities, and in larger scale productions, these responsibilities may be more defined to one crew member.

“Running crew is a collective term used in theatre to describe the members of the technical crew who supervise and operate ("run") the various technical aspects of the production during a performance. While the "technical crew" includes all persons other than performers involved with the production, such as those who build and take down the sets and place the lighting, the term "running crew" is generally limited to those who work during an actual performance.”

Crew is devised up of many different positions:

Stage Management

Assistant Stage Manager: Will assist the Stage Manager in their duties, usually one per show and helps run the smooth operating of backstage aspects of the performance.
Props: Responsible for maintenance and placement of hand props before scenes as well as their subsequent retrieval after the scene.
Call boy: responsible for alerting actors and actresses of their entrances in time for them to appear on stage, on cue.

Stage

Flymen (or fly crew / rail crew): operate the fly system, a system of ropes or wires, pulleys and counterweights by means of which scenery is "flown" in and out (down and up, respectively) during scene changes.
Stagehand: A technician responsible for moving scenery at the stage level, by manually carrying or rolling set pieces (e.g., scenery wagons) between the stage and the wings. This can include carrying on and off furniture, props, or scenery.

Wardrobe

Wardrobe: A "dresser" (who works for Wardrobe) is responsible for maintenance and placement of costumes, as well as assisting performers in getting into and out of costumes.
Wigs/Makeup: responsible for applying or assisting in the application of face and body paints, wigs and hairpieces, etc.

 



Job Role Research

General Manager: Responsible for overseeing the running of all elements of the theatre both, artistic and administrative

Artistic Director: Responsible for discussing artistic elements of the production with the General Manager and hiring Directors/Designers to put these elements into practice.

Director: Has overall artistic control over the production. Is hired to ‘direct’ performers and inform production departments as to the requirements of the production.

Administrator: Responsible for monetary aspects of the production. He/she accounts for the spending within the company and allocates budgets within each department and also responsible for the employee’s rights and wage.

Production Manager:  Employs and supervises the production staff and is in charge of all aspects of production ensuring none is in breach of Health and Safety regulations while maintaining the vision of the directors.

Company Manager: Employed to take on responsibilities such arranging travel, accommodation, budgets, wages, running extra rehearsals when a large scale production goes on tour.

Stage Manager: Has responsibility for all stage management team and their training, yet is not restricted to this aspect. Also in charge of arranging rehearsals, managing the production budget and managing and returning the props and furniture.

Deputy Stage Manager:  May be required to deputise the Stage Manager but is mainly responsible for setting up and running rehearsals and auditions, prompting during rehearsals and recording the performers’ hours with respect for the union agreement.

Assistant Stage Manager: Assists in setting up rehearsals and auditions. Covers responsibilities of the DSM if necessary or deputise him/her. Has a major responsibility for the setting of props and backstage work during a run so the SM can troubleshoot.

Set Designer: Works closely with the director to conceive the visual and stylistic elements of the production with regards to the set, furniture and props. After planning the set through floor plans, drawings and building a model down scale set, he/she oversees the building and painting and construction of the set.

Master Carpenter: Responsible for the building of the set and overseeing the assistants and training them if necessary while ensuring the quality of the set is maintained.

Scenic Painter: Responsible for the paint budget and ensuring assistants are adequately trained. He/She is also responsible for painting the set within the time allocated.

Props Master: Responsible for the props budget and are in control of the smooth running of the prop shop.

Lighting Designer: Working closely with the directors and designers, he/she will design/develop a lighting plan. They are also responsible for deciding on which lights to use (and where they are placed on the rig) for artistic, realistic and practical purposes.

Chief LX: Manages the smooth operation of the electrical department, maintaining all electrical equipment. When not overseeing the work of the assistants, they will rig, focus and plot lights.

Sound Designer: Working closely with the directors and designers to develop/design an overall sound for the production. Will work with the Production Manager and suggest appropriate types and positions for sound equipment. The Sound designer will also train the sound technician and oversee the tech/dress runs.

Sound Technician: Responsible for maintaining all in-house sound equipment and hiring or ordering new equipment if necessary. He/she operates the sound during tech/dress runs and the run of the show maintaining the quality and intent of the Sound Designer.

Costume Designer: Working closely with directors and designers designs and conceives the visual/stylistic design of the costumes. Will draw up plans for costumes for the Tailors and Cutters to work with and is responsible for the costume budget when buying fabrics or hiring costumes.

Wardrobe Supervisor: Manages the smooth running of the wardrobe, orders materials and costumes if necessary and is responsible for the delivery of costumes within the allotted times.

Cutters/Tailors: Works to the designs of the Costume Designer and builds/makes the costumes. Will also be required to attend tech/dress runs and make notes for possible alterations.

Dressers/maintenance: Responsible for costume changes during tech and dress runs and the shows run. Assists the performers should they have difficulties with their costume and maintains their quality of appearance.

Technical Stage Manager: Responsible for any element of the set that moves. Managing the crew, he/she designs scene changes whilst training assistants with regards to on-stage health and safety and technical work. The Tech Stage manager oversees the onstage work during the production week and the run.

Head Flyman: He/She maintains the fly floor and flying system and trains other crew members on how to use this. They will comply with the flying plot and operate on the shows run.

Crew: Mainly employed on a show-by-show basis to support permanent staff. They will assist with get-ins, fit ups, scene changes, flying, follow spotting etc.

Front of House/ Box Office Manager: Responsible for the auditorium/bar/restaurant, ensuring the health and well-being of the audience. In liaison with the Marketing Manager, may hang desired posters.

Marketing/Publicity Manager: Responsible for ensuring the show attracts an audience, raising the profile of both the show and the theatre. Working closely with the GM and directors attracts sponsorship in aid to raise funds and revenue. He/She will also produce posters, leaflets and advertise/organise their distribution. Occasionally may hold press/photo calls with the shows cast in liaison with the stage manager.