Positions of Responsibility / Job Descriptions

These descriptions are only a listing of the major requirements for each position. Each show is unique and there are other duties and demands that may be assigned. These assignments should be clarified at production meetings for each show.

Director of Theatre

The Director of Theatre is responsible for the day-to-day operation of University Theatre. The Director works with the Chair of the Department of Communication Studies and Theatre Arts regarding academic decisions and departmental policies. The Director, in collaboration with the Theatre Staff, makes decisions on the academic standards of the program, the season selection and scheduling, budgeting, and all major decisions that affect the program. If you have any questions about University Theatre please direct them to the Director of Theatre.

Director

A theatre director has artistic control over a performance, co-coordinating all the stylistic and conceptual aspects of a theatrical presentation. Directors are responsible for interpreting and delivering a text and enabling a production team and cast to work imaginatively under their artistic vision. Typical activities include:

• breaking down a script and analyzing and exploring the content;
• translating and interpreting text;
• auditioning for productions, hiring designers, musicians, etc;
• conducting rehearsals;
• managing time and organizing people and space;
• communicating and liaising with all parties involved, including actors, the creative team, technicians and producers;
• programming and budgeting;
• adapting a script and, if the play is to be newly written, working with the writer or collaborating with playwrights;
• working with writers through workshops or script development schemes;
• working with the designer to conceive the overall look and feel of the production;
• liaising with choreographers, musical directors and fight directors for certain productions.

Technical Director

The Technical Director is responsible for the construction, mounting, rigging and maintenance of all scenic elements in departmental productions. The Technical Director implements equipment and facility maintenance, upgrades, and purchases. The Technical Director trains students in all areas of technical theatre, including appropriate safety procedures.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play.
• The Technical Director discusses possible scenic treatments with the Director and Designers, and receives ground plans, working plans, sketches, elevations, etc.

Rehearsal/Production Period:

• The Technical Director supervises the Master Carpenter, Master Electrician, and Props, and insures that all designs are implemented.
• The Technical Director is present at load-ins, strikes, rehearsals, and performances as necessary.
• Attends Technical and Dress Rehearsals taking note of any details yet to be finished.
• Attends and gives report at weekly Production Meetings.
• After Final Performance the Technical Director consults with the Stage Manager in coordinating Strikes. The Technical Director takes charge of striking all scenic elements.

Set Designer

The Set Designer is responsible for the design and implementation of all scenic elements of a production in a timely manner and within budgetary limits.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible scenic treatments with the Director and Technical Director.
• Does research on architecture, furniture and decor of the period as well as the locale of the setting and style of the play.
• Generates thumbnail sketches for presentation to the Director by the established deadline. Discusses any suggested modifications with the Director and Technical Director.
• Generates ground plans, color samples and/or models in collaboration with Director and Technical Director. Revises sketches and scale ground plan for final approval.

Rehearsal Period:

• Explains designs, sketches, or models to cast and crew at first rehearsal. Discusses in detail with what each item of furniture and set dressing should be. Works closely with Props in selecting and approving drapery materials and other set dressing.
• Makes complete working drawings and painters' elevations for Construction and Painting Crews.
• Works with Stage Manager in taping out the ground plan on the floor of the stage or rehearsal hall.
• Coordinates colors of set and furniture with Costume Designer and Props Designer.
• Meets with Lighting Designer to discuss color choices and practicals, and to coordinate lighting and scenic elements.
• Assists the Stage Manager in placing and spiking furniture, rugs, etc.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.
• Attends at least one final Run through.
• In cooperation with Props Designer establishes the placing of trim, pictures, ornaments, and any other set dressing on the set.
• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.

After Final Performance:

• During Strike, the Set Designer will collaborate with the Technical Director in returning material to storage and insuring all items are returned in good condition. For participating ACTF productions, the Set Designer will assist the Technical Director in storing material for possible travel to festival. All Designers will make copies of all of their designs, portfolio photographs, paperwork, rough sketches, etc

Lighting Designer

The Lighting Designer is responsible for the design and implementation of lighting design including all design, cueing, and paperwork. In collaboration with the Master Electrician, the Lighting Designer is ultimately responsible for the hanging, focusing, and upkeep of the lighting design. In certain productions, this position may be combined with that of Master Electrician.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible lighting treatments with the Director and the Technical Director.

Rehearsal Period:

• Works with ground plan and elevations provided by Set Designer to create lighting design and generates the Light Plot.
• Works closely with Set and Costume Designers to coordinate color choices and other scenic and costume elements.
• Works closely with Master Electrician in hanging, cabling, and focusing during the day marked "Light Hang" on Department Calendar. Participates in Light Hang.
• Lighting Designer creates all paperwork including the Hook-up Schedule necessary for implementing the design.
• Collaborates with the Director and in setting cues, providing the Stage Manager with preliminary Light Cue List. Typically, the Lighting Designer and Director work together with the Stage Manager and the Light Board Operator in setting cues.
• Attends First Runthrough.
• Attends Tech and Dress Rehearsal
• Insures that show is saved to several discs kept in separate safe places.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Lighting Designer will collaborate with the Master Electrician and Technical Director in returning equipment to proper storage.

Costume Designer

The Costume Designer is responsible for the design and implementation of all elements of costume design including designing, building and/or acquisition in a timely manner and within budgetary limits. In collaboration with the Costumes Assistants, the Costume Designer is also ultimately responsible for the upkeep, repair and running of all costumes

• Consults with the Costume Faculty member.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible costume treatments with the Director, Costume Faculty, and Technical Director.
• Does research on costumes of the period as well as the style of the play.
• The Costume Designer collaborates with the Director and the Set and Lighting Designers in choice of color, texture, fabric, line, and so on. Costume Designer discusses hair design.
• The Costume Designer determines available costume stock. Keeps track of the source of costumes: pulled from Costume Storage; borrowed from cast, crew or friends in the community; built in shop; borrowed from merchant; etc. If not bought, built or pulled from stock, Costume Designer makes sure the source is thanked in the program.
• The Costume Designer consults with the Stage Manager/Technical Director to determine the number of dressers necessary for running performances.

Rehearsal Period:

• The Costume Designer attends production conferences with Director and insures that the costume design is complete by the established deadline.
• The Costume Designer schedules costume fitting through the stage manager at the first read through. All measurements should be recorded using the.
• The Costume Designer is responsible for obtaining or building all costumes for the production.
• Attends First Run through.

Dress Rehearsal/Performance Period:

• The Costume Designer is responsible for scheduling costume fittings. These fittings will be scheduled through the Stage Manager to occur at the convenience of the Designer and cast. They may take place during a rehearsal only if they do not unduly interfere with that rehearsal.
• The Costume Designer is responsible for having all costumes ready by the established deadline.
• Schedules a Costume Parade usually a week before the beginning of Tech Rehearsals.
• Attends Tech Rehearsal if there are any quick changes or other cueing issues.
• Attends all Dress Rehearsals making notes of any details yet to be completed or necessary alterations.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Costume Designer will supervise the return of costumes to storage or lending agencies and insuring all items are returned in good, clean condition.

Hair/Make-up Designer

The designer is responsible for make-up design, assisting performers with make-up application as necessary, setting up make-up area, insuring adequate make-up supplies are available for the run of the production, procuring needed supplies, keeping make-up area clean and sanitary, and supervising any Make-up Crew members.

• Reads and studies the play and does research on hair of the period as well as the style of the play.
• Discusses possible make-up and hair treatments with the Director and discusses hair design with Costume Designer.
• Creates make-up design
• In consultation with Stage Manager, coordinates make-up calls, especially for large cast shows. During Strike, Hair/Make-up Designer is responsible for cleaning and storing make-up supplies and cleaning make-up area.
• This position may also include Hair design. If this is the case, the Hair/Make-up designer will be responsible for hair design, assisting performers with implementing this design, insuring adequate hair supplies are available for the run of the production, and procuring needed supplies.
• Attends at least one final Runthrough.
• Attends all Dress Rehearsals taking note of any details yet to be completed.
• During Strike, Hair/Make-up Designer is responsible for cleaning and storing make-up supplies and cleaning make-up area.
• Attends and gives report at weekly Production Meetings.

Props Designer

The Prop Designer is responsible for the building, procurement, upkeep, and repair of all props for a particular production in a timely manner within budgetary limits.

Pre-Production:

• Reads and studies the play; attends first production conference at which Director presents his/her interpretation of the play. Discusses possible props with the Director and Set Designer, and Technical Director.
• Does research on the period/style of properties (and furniture if the set designer is not responsible for furniture).
• If necessary, obtains a ground plan showing location of all furniture, and notes whatever comments the director and/or designer makes concerning the size, color, style, or function of each piece of furniture or prop.

Rehearsal Period:

• Makes a detailed property list in consultation with the Stage Manager. Keeps track of the source of props: pulled from Prop Room; borrowed from cast, crew or friends in the community; built in shop; borrowed from merchant; etc. If not bought, built or pulled from stock, Props Designer makes sure the source is thanked in the program.
• The Props Designer stocks the on stage prop cabinet with props as needed in conjunction with the Stage Manager.
• The Props Designer discusses the budget with the Technical Director and determines if any props will have to be bought or rented. The Props Designer is responsible for obtaining purchasing information from the Technical Director. (See purchasing policy)
• Discusses in detail with Set Designer what each item of set dressing (and furniture, if necessary) should be. Works closely with Set Designer in selecting and approving drapery materials and other set dressing.
• If consumables are used in a performance, the Props Designer is responsible for obtaining purchasing information from the Technical Director. Props Designer consults with the Director of the production regarding when consumables should first be used in rehearsals.
• Props Designer insures the safety and sanitation of all props and consumables until such time as the Stage Manager or Running Crew take over this responsibility.
• Attends and gives report at weekly Production Meetings.
• Attends rehearsals as necessary to note placement and use of props.
• Attends First Runthrough.
• Insures that all props are ready by the "Final Props Due" deadline.

Dress Rehearsal Period:

• Attends at least one final Runthrough.
• Collaborates with Scene Designer in placing trim, pictures, ornaments, and any other set dressing on the set.
• The Props Designer makes sure that all food props or consumables are purchased or prepared daily or as appropriate.
• Attends all Technical and Dress Rehearsals taking note of any details yet to be completed.

After Final Performance:

• During Strike for each production the Props Designer is responsible for returning props to Storage in good repair and suitable for future use. Makes sure all borrowed or rented props are returned in good condition.

Sound Designer

The Sound Designer is responsible for the sound design and the implementation, loading-in, maintenance, and striking of the sound equipment necessary for a particular production. This position may be combined with that of the Master Electrician or with that of the Sound Board Operator. On occasion, a sound technician may be assigned to assist with set-up of equipment, mics, etc.

Rehearsal Period:

• Reads and studies the play. Discusses sound design with the Director.
• Gathers all sound effects and/or music required for the production for approval by the Director.
• Consults with the Technical Director regarding the availability of sound output devices and determines the most efficient method for sound production and/or reinforcement.
• Creates a sound tape or plot. Collaborates with the Director and Stage Manager in setting cues and sound levels, providing the Stage Manager with preliminary Sound Cue Sheets.
• Determines if voice and/or musician reinforcement is necessary and consults with the Technical Director regarding type and placement of microphones and speakers.
• Attends First Runthrough.
• Attends weekly Production Meetings.

Load-in Period:

• The Sound Designer insures the safe and efficient cabling and dressing of all speakers, headsets, boards, monitors, and other equipment, and trains the Sound Board Operator if necessary.
• All headsets will be setup, tested, and in good working order prior to the first Technical Rehearsal.

Dress Rehearsal/Performance Period:

• Insures that all sound effects, sound tapes/CDs/Minidisks, and music is ready by the "Sound Recording Due" deadline on the Department Calendar.
• Insures that all mics have fresh batteries.
• Once all sound cues, special effects, and so on have been established, the Sound Designer records a master sound CD which is to be kept in a safe place. This master can be used in the event of an emergency such as a CD breaking or being scratched, etc.
• Attends at least one final Runthrough.
• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• During Strike, the Sound Designer will collaborate with Technical Director in returning sound equipment to storage and insuring all items are returned in good condition. The Sound Designer is responsible for striking all sound equipment, cables, speakers, headsets, microphones, and so on.
• Sound Designer is also responsible for cleaning and neatening the Sound Storage during the Post-Strike period.

Assistant Director

The duties of the Assistant Director are quite flexible and will vary from production to production and director to director. Sometimes a director will expect the Assistant Director to perform duties normally assigned to the Stage Manager and vice versa. Communication and negotiation are important in clarifying the assignment of these duties. The Assistant Director will typically act as another set of eyes and ears and as a sounding board for the Director at auditions, rehearsals, and performances. When asked, the AD will offer constructive suggestions to the Director regarding all elements of the production from design to performances. It is important to keep in mind that the Director should be the only person communicating these suggestions with the production team including performers. The Assistant Director should restrict comments to the Director in order to avoid confusing or possibly contradictory messages. It is also important to realize that the Assistant Director position is one of trust and confidentiality--the Director may share thoughts or concerns that should not be common knowledge. The Assistant Director position is an opportunity for students to learn firsthand an individual director's process and the production process as a whole. The following are some of the duties and responsibilities a Director may require of an Assistant Director.

Pre-Production:

• Reads and studies the play; discusses interpretation and production concept with the Director.
• Attends all production conferences.

Rehearsal Period:

• Assists the Director as needed. Sits in on all rehearsals, taking notes and actively watching and listening. Communicates regularly with the Director regarding the progress of the production.
• Is in complete charge of rehearsals in absence of the Director. Director may also ask Assistant Director to run special rehearsals such as line-throughs, speed-throughs, etc.
• Although typically the Stage Manager's duty, the AD may be asked to walk through scenes for an absent actor.
• Some Directors may ask the AD to take blocking, line, and/or dialect notes. The Assistant Director should always be prepared for such duties.
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

• Attends all Technical and Dress Rehearsals making notes of any details yet to be completed.
• The Assistant Director may be asked to take rehearsal notes during final runthrough, Technical and Dress Rehearsals. These notes should be shared with the Director who may communicate them to the cast and/or crew.
• The AD may be asked to type up any rehearsal notes taken by the Director for distribution to the cast and/or crew.

Stage Manager

The Stage Manager is responsible for the smooth and efficient running of rehearsals and performances. The Stage Manager is responsible for keeping the master prompt script, setting up rehearsal space prior to each rehearsal and striking rehearsal furniture and props as necessary, running and calling show, posting Cast/Crew Sign-in sheets, collecting and securing valuables during performance, taking and posting Production Meeting Reports, Daily Rehearsal Reports, and Running Notes, and coordinating the production running crews. Reports and Notes should be posted on both Callboards and emailed to the production crew.

• Consults the Stage Manager Production Checklist.
• Rehearsal duties, to be negotiated with Director, include recording blocking, prompting, taking Line Notes, contacting absent or tardy actors/crew members, calling cast/crew members in from breaks, etc.
• The Stage Manager should maintain a Stage Manager's Box. The SM box should be stocked with supplies including, but not limited to:
• stop watch, pencils, pencil sharpener, erasers, highlighters, White-Out, Post-it notes, Band-Aids, aspirin/acetaminophen, cough drops, tissues, hard candy, cigarette lighter, stapler, paper clips, bobby pins, safety pins, hair bands, tape measure, chalk, flashlight, batteries, rubber bands, 3 hole punch, paper reinforcements, scissors, tape, spike tape, and, of course, gaff tape.

Pre-Production:

• Reads and studies the play; discusses duties and responsibilities with the Director.
• Attends all production conferences.
• Assists the Director at auditions. Distributes and collects Audition Forms, emphasizes to auditioners the need to list all conflicts, keeps track of the order of auditioners, keeps audition flowing smoothly, ushers auditioners into theatre, and announces them as per the Director's instructions.
• Assists the Designer and/or Technical Director in taping out the ground plan on floor of stage and/or rehearsal hall as needed.
• The Stage Manager should obtain a copier access code number for the copy machine.
• If Director requests, the Stage Manager generates a rehearsal schedule and makes copies for all cast, crew, and the Callboard.

Rehearsal Period:

• Attends and gives report at weekly Production Meetings.
• Places and spikes furniture, rugs, etc. as established by the Director.
• Obtains and maintains any rehearsal props called for by the Director. Rehearsal props are substitutes of comparable size and weight used by actors until the final props are available.
• The Stage Manger runs weekly Production Meetings, and takes Production Meeting Report notes. The Stage Manager will then generate Production Meeting Reports in both written and e-mail form for each Theatre Production meeting. These notes are posted on both Callboards and emailed to the production crew.
• At first readthrough, the Stage Manager obtains the cast's names, addresses, and telephone numbers, and then generates a contact sheet which is distributed to cast and production team.
• Stage Manager makes sure that every actor receives a rehearsal schedule and keeps cast advised of any changes.
• Takes Daily Rehearsal Reports at each rehearsal and posts them daily on both Callboards and emails them to the production crew. These reports will include all changes, additions, or deletions that arise during daily rehearsals. These changes could include the addition of a prop, a question to a designer, a change in rehearsal schedule, etc. This will be a written record of such requests and changes to facilitate the timely completion of tasks and to insure that all members of cast and crew receive notification of schedule changes and so on.
• Arrives at least ten minutes early for every rehearsal to set stage furniture and any rehearsal. Stage Manager insures that ALL stage furniture and rehearsal props are struck and stored after each rehearsal.
• Walks through scenes for any absent actor or assigns a delegate to do so. Attempts to contact any missing or unexcused actors.
• The Stage Manager insures that all actors are in place prior to the beginning of each scene.
• Records in Stage Manager's prompt book all blocking, intentional pauses, stage business, and all light, sound, music, special effects, and curtain cues, etc.
• Prompts the actors precisely and corrects mistakes to the extent that the Director wishes. It is important for the Stage Manager to keep up with the script during rehearsals and is ready to prompt an actor immediately upon receiving a "Line" request. Takes Line Notes of dropped lines, jumped lines, etc. and distributes to the cast.
• Taking down blocking OR prompting actors/taking line notes may be delegated to the Assistant Stage Manager at the Stage Manager's discretion.
• After all rehearsals and performances the Stage Manager insures that all doors are properly secured, and lights are turned off. Lights to be checked and turned off by every Stage Manager (both Mainstage and Studio Theatre) include all lights in the Studio Theatre, Make-up Room, Costume Shop, Trap Room, Light Booth, Mainstage, and Scene Shop (with the exception of the night circuit/ghost light). If students will be utilizing one of the spaces for rehearsal or other projects after the Stage Manager leaves, the Stage Manager secures all areas not directly involved in such use and the students involved will be responsible for their area. The Stage Manager notes who is using the space and directs complaints regarding misuse or negligence to those individuals. Continued abuse will be referred to the Technical Director.
• Stage Manager collaborates with the Lighting Designer, Light Board Op (if needed), Sound Designer, Sound Board Op (if needed), Costume Designer (if needed), ASM/Deck Captain, Director, Production Manager (SDP's), and Technical Director in holding a Paper Tech prior to tech weekend. This has often been on the Friday afternoon before Tech Weekend, but must be prior to Tech Rehearsal. During Paper Tech, the Stage Manager is responsible for penciling in all light, sound, fly, actor, and scene shift cues. The Stage Manager is responsible for obtaining cue sheets from the Lighting and Sound Designers in enough time to prepare the prompt book.
• The Stage Manager prepares for Tech Rehearsal in order to facilitate the efficient and smooth running of the rehearsal.
• The Stage Manager is the primary person responsible for communication among production staff, cast and crew.

Dress Rehearsal/Performance Period:

• The Stage Manager must be familiar with all Emergency Policies such as tornado warnings, fire, smoke, etc. The Stage Manager will contact the Faculty/Staff for any emergency situations (equipment failure, smell of smoke, severe weather). In the case of life threatening emergency, the Stage Manager notifies Security and takes charge of implementing proper procedures.
• The Stage Manager should generate a Run List for crew members that lists specific duties before, during and after each performance
• Takes note of any problems, unfinished details, painting touch ups, and/or changes and communicates these to the Technical Director.
• Stage Manager (or delegate such as ASM/Deck Captain or Run Crew) insures the safety and sanitation of all props and consumables.
• Stage Manager or Assistant Stage Manager is responsible for setting up and labeling any and all prop tables necessary for a production. Non- or semi-valuable props may be stored in the locked rolling Prop Cabinet. The Stage Manager should be responsible for locking and unlocking the Prop Cabinet before and after rehearsals and performances. No extremely valuable or delicate props, or weapons (especially firearms) should be stored in the Prop Cabinet. These items can be stored in the Technical Director's office.
• The Stage Manager should generate a Prop Cue Sheet and diagrams for Running Crew members. These should indicate where every prop is preset on stage and/or where every prop is moved on or off stage during the run of the show.
• Stage Manager is responsible for presetting all props both on and backstage prior to each Technical and Dress Rehearsal, and every Performance. These duties may be delegated to the Assistant Stage Manager or a member of the Running Crew, but the Stage Manager should confirm that all props are properly preset and that hand props are dealt with. Performers are responsible for checking their own individual props prior to each performance, and the Stage Manager is ultimately responsible that all props and furniture are correctly preset.
• Performers should pick up props from the props table(s) or designated area backstage and return them there, and are responsible for presetting any personal props in pockets, etc. If an actor wants to assume responsibility for keeping such personal props between rehearsals and performances, this should be negotiated with the Stage Manager or ASM/Deck Captain.
• Performers are responsible for bringing to the attention of the Stage Manager or ASM/Deck Captain any items needing repair.
• The Stage Manager posts and checks the Cast/Crew Sign-in sheet and attempts to contact any absent or tardy cast or crew member(s).
• Stage Manager turns off Light Booth and Scene Shop telephones and insures that all equipment and personnel are ready for performance. The Stage Manager should establish a check off list of duties including those that must be accomplished prior to opening the house and those that must be accomplished prior to curtain.
• Stage Manager insures that all work lights are turned off, front exit doors are unlocked. The stage is to be swept and/or mopped; the Stage Manager assigns this task to a Running Crew member and insures its completion prior to the house opening.
• The Stage Manager has the ultimate responsibility that the stage is set correctly and that all elements and members of the production team are ready for the performance. This typically requires a walkthrough of the entire stage and backstage area prior to the house opening.
• The Stage Manager gives the following calls to cast and crew: one hour; half hour; house open (after House Manager notifies SM); fifteen minutes; ten minutes; five minutes; and places (at two minutes).
• During Tech Rehearsals, the Stage Manager may stop rehearsal if necessary. The Stage Manager merely says "stop." The cast and running crews should hold quietly in place while the Stage Manager and the production team address the reason for stopping. The Stage Manager is responsible for choosing an appropriate restarting point in the script and restarting the rehearsal. The Stage Manager will inform the cast and crew where the rehearsal will restart (a line or cue) on the Stage Manager's command. The Stage Manager restarts the rehearsal by simply saying "Go please."
• At intermission, the Stage Manager insures that any necessary work lights are turned on backstage, that no visitors are allowed backstage, and that any changes are accomplished.
• During intermission, the Stage Manager informs the House Manager to signal the patrons back into the theatre for the next act five minute prior to the end of the intermission as determined by the Director. The SM follows the calling procedure from the top of the show including the following calls: ten minutes; five minutes; places (at two minutes). The Stage Manager cannot give the "places" call until given the go-ahead by the House Manager at three minutes.
• The Stage Manager is responsible for keeping any times requested by the Director which could include total running time, running time of each act, and running time of scene changes on the Running Notes form.
• The Stage Manager is responsible for posting Running Notes on the Callboard following every Dress Rehearsal and performance
• Insures that appropriate people and/or organizations are thanked in the program for their contributions to the production.

After Final Performance:

• The Stage Manager in consultation with the Technical Director will create a crew assignment list for all actors and technicians for the final strike.
• Stage Manager insures that everything in the theatre is returned to the pre-production state including the booth, backstage areas, and Dressing and Green Room.
• The Stage Manager will be issued keys necessary to perform these duties.

Master Electrician

Responsible for the implementation, loading-in, maintenance, and striking of the lighting design.

Light Hang Period:

• The Master Electrician insures the safe and efficient cabling, hanging, focusing and dressing of all lighting instruments according to the paperwork including the Hookup Schedule received from the Lighting Designer. If necessary, the Master Electrician trains the Light Board Operator. Master Electrician insures that trim heights are set with the Technical Director and/or Scene Designer prior to any focus begins.
• The Master Electrician helps maintain the Light Room in a safe, neat, and organized manner.

Dress Rehearsal/Performance Period:

• The Master Electrician insures that all lighting instruments remain focused and in proper working order throughout the performance period.
• The Master Electrician, or delegate (usually the Light Board Operator) performs a dimmer check no later than one hour prior to each Technical and Dress Rehearsal and each performance.
• The Stage Manager notifies the Master Electrician of any lighting problems in time for the Master Electrician to make adjustments or repairs prior to the next rehearsal or performance.
• The Master Electrician attends Technical and Dress Rehearsals as agreed upon with the Technical Director.

After Final Performance:

• The Master Electrician consults with the Technical Director and the Sound Designer in coordinating the Strike. The Master Electrician strikes all instruments, cables, gels, gel frames, and so on. During Strike, the Master Electrician will collaborate with the Lighting Designer in returning equipment to storage and insuring all items are returned in good condition.

Scenic Artist

• Determines paint and material needs which are communicated to the Technical Director for ordering.
• Coordinates with the /Technical Director in establishing a painting schedule. The set will usually need at least a complete base coat to allow the Lighting Designer to set levels which must be accomplished prior to the first Technical Rehearsal. The Scenic Artist must keep in mind drying time when scheduling work calls--the set must be available for rehearsals as needed. Conflicts should be brought to the attention of the Director with enough lead time prior to the scheduled rehearsal to make alternate arrangements.
• The Scenic Artist is responsible for keeping all brushes, pans, sprayers, any other materials, and the paint area clean.

Dress Rehearsal/Performance Period:

• The Stage Manager and Set Designer take note of any details as yet unfinished, changes, or touch ups and communicate them to the Scenic Artist. The Scenic Artist is responsible for any touch up painting.

After Final Performance:

• The Scenic Artist makes sure stage floor is painted black if deemed necessary by the Technical Director.
• Cleans paint area in Scene Shop if necessary

Crews

• Crews will be assigned in various areas, depending upon the requirements of the particular production. These crews can include set construction, electrics (lighting), sound, painting, costumes, hair/make-up, audio/visual, publicity, or other specialty areas.
• Crew members will be supervised by a supervisor in that area (Designer, Technical Director, Costume Supervisor)
• As soon as possible, crew members must provide the supervisor with contact information and a class/work schedule.
• Crew members are required to attend all work calls for their crew as established by their supervisor. They must submit any conflicts to their supervisor as soon as requested.
• The supervisor will make every effort to maintain the posted work call schedule. However, if unforeseen circumstances require changes, crew members should be as flexible as possible in rearranging their schedules to accommodate those changes. Any conflicts in this area should be referred to the Technical Director.
• Crew members must arrive to all work calls on time and dressed appropriately. Unless prior arrangements are made, crew members should stay for the entire posted work call. Furthermore, crew members are expected to contribute full effort throughout the work call. If an assignment has been completed, the crew member should seek out the crew chief to receive the next project. There may be times during a work call when only a few crew members are actually working while others await a new assignment. Those unoccupied crew members should maintain focus and discipline until they are needed again.
• There may be instances where a crew in one area is called upon to help another crew in a different area. Again, crew members should be flexible and accommodating in these circumstances.
• Crews will usually include members with a variety of skills and experience, and may include non-majors and/or class students. More advanced students should make every effort to assist those less-experienced crew members and make them feel welcome and needed. Production crews are a learning experience for everyone, and should be considered opportunities to be inclusive and collegial.

Assistant Stage Manager/Deck Captain

• The ASM/Deck Captain has a twofold responsibility. During the rehearsal period, the ASM/Deck Captain operates as the Stage Manager's assistant helping set up and strike rehearsal furniture and props, taking down line notes, prompting actors, etc. as per the SM's instructions.
• During tech and dress rehearsals, and performances, the ASM/Deck Captain is responsible for the smooth and efficient running of the backstage area. The ASM/Deck Captain is stationed backstage and supervises and/or participates in all scenery changes and any props and/or costume changes as needed.
• Ultimately, the Stage Manager is responsible for presetting all props both on and backstage prior to each Technical and Dress Rehearsal, and every Performance. These duties may be delegated to the Assistant Stage Manager or a member of the Running Crew, but the Stage Manager should confirm that all props are properly preset and that hand props are dealt with. Performers are responsible for checking their own individual props prior to each performance, and the Stage Manager is ultimately responsible that all props and furniture are correctly preset.
• Performers should pick up props from the props table(s) or designated area backstage and return them there, and are responsible for presetting any personal props in pockets, etc. If an actor wants to assume responsibility for keeping such personal props between rehearsals and performances, this should be negotiated with the Stage Manager or ASM/Deck Captain.
• During performance, the ASM/Deck Captain is responsible for striking props during intermission or scene changes and storing all props immediately following each performance. These duties may be delegated to Running Crew members.
• The ASM/Deck Captain may be responsible for handing out props directly to actors going onstage and collecting them from actors leaving the stage. These duties may be delegated to Running Crew members.
• During scene changes, either the ASM/Deck Captain or a crew member designated by the ASM/Deck Captain is the last crew member to leave the stage and does a final check to insure all props and scenery have been properly set.
• Performers are responsible for bringing to the attention of the Stage Manager or ASM/Deck Captain any items needing repair.
• The ASM/Deck Captain remains on headset or insures that a Running Crew member is on headset at all times to facilitate communication with the backstage area.
• The ASM/Deck Captain is responsible for the clean and orderly upkeep of the entire backstage area.
• Attends all Runthroughs.
• Attends all Technical and Dress Rehearsals and all performances of the show.

Running Crew

• Responsible for changing any scenery during performance including but not limited to set pieces, set dressing, furniture, etc. and for any flying and some costume changes.
• Crew members are expected to attend at least one of the Runthrough rehearsals,
• Attends any Shift Rehearsals that may be scheduled.
• Attends all Technical and Dress Rehearsals, and, of course, all performances of the show they will be running.
• Running crew members are required to wear black clothing. During scene shifts, crew members should move with alacrity, but not rush. Scene changes are typically choreographed by the ASM/Deck Captain or the Stage Manager and should be accomplished with polish, professionalism and purpose. No crew members should ever be visible to audience members in hallways, restrooms, and particularly in the theatre proper except in the case of true emergency or if required by a unique production duty.
• Reports to Technical Director and ASM/Deck Captain who will delegate individual duties. Assignments will be made for each production.

Dressers

• Responsible for the upkeep, rpair, cleaning, and running of all costumes during the run of a particular production. Crew members may also be assigned to assist with quick changes. Crew members will take turns with all laundering and repairing costumes, and neatening of the Costume Shop.
• Crew members are expected to attend at least one of the final Runthrough rehearsals, all Dress Rehearsals, and performances of the show. As member of the Running Crew, Dressers adhere to the same guidelines listed above.
• Reports Costume Supervisor and Stage Manager. Assignments will be made for each production.

Light Board Operator

• Is responsible for helping set lighting cues and assisting the Lighting Designer during Hang and Focus and for implementing the Light Design during the run of the show. The Light Board Operator is responsible for maintaining any paperwork including Light Cue List for the show.
• The Light Board Operator is expected to attend at least one of the final Runthrough rehearsals.
• Attends Cue to Cue rehearsal if needed.
• Attends all Technical and Dress Rehearsals, and performances of the show.
• The Light Board Operator assists the Master Electrician in performing dimmer checks prior to each Technical and Dress Rehearsal, and each performance.
• Reports to Lighting Designer and Stage Manager.

Sound Board Operator

• Is responsible for implementing the Sound Design and maintaining all sound equipment for the show. The Sound Board Operator is responsible for maintaining any paperwork including Sound Cue Sheets for the show. The Sound Board Operator performs a sound check prior to each Technical and Dress Rehearsal, and each performance. The Sound Board Operator is responsible for safely storing all CDs after each rehearsal and performance. During Strike, the Sound Board Operator returns all CDs where they belong.
• The Sound Board Operator is expected to attend at least one of the final Runthrough rehearsals,
• Attends Cue to Cue rehearsal if held.
• Attends all Technical and Dress Rehearsals, and performances of the show.
• Reports to Sound Designer, Technical Director and Stage Manager.

House Manager

• The House Manager is responsible for Supervising Ushers, assembling programs, passing messages, seating patrons as needed and cleaning the house before and after performances.
• The House Manager acts as liaison with the Stage Manager, communicating the status of unclaimed reservations and the line at the Box Office as well as conveying the front of house authorization to the Stage Manager to begin the performance. The House Manager is responsible for insuring that the front of house does not cause a delay in a curtain, that all patrons sit in their assigned seats if appropriate, and that all doors are closed prior to house lights dimming. The House Manager will remain outside the theatre to hold latecomers to an appropriate moment in the performance as determined by the Director or Stage Manager. At intermission, the House Manager will open all doors as soon as but no sooner than the house lights rise. During intermission, the House Manager will insure that no food or drinks are brought into the theatre. At the end of the performance, the House Manager will open the doors as soon as but not sooner than the house lights rise and will wait until all patrons have exited the theatre to begin tidying up.

Dress Rehearsal/Performance Period:

• Attends at least one final Runthrough.
• For productions in both the Mainstage and Studio Theatres, the House Manager greets the public and may be required to assist in the Box Office if adequate staffing is not available.
• During Mainstage performances, House Manager sets up stub baskets, programs, and aisle lights.
• Insures that ushers arrive no later than 6:45 p.m for orientation and to assist in assembling programs, cleaning the theatre, etc. House Manager gives thorough briefing on seating plan, gives instructions on how to seat the audience in an efficient and courteous manner, and makes station assignments.

Ushers should be given the following instructions:

• Please sign in
• Greet patrons courteously
• Tear tickets along perforations and keep the larger portion, giving the smaller back to the patron
• Patrons may be told that seating is general if performing in the Studio Theatre.
• Patrons should be asked to turn off all pagers, cell phones and watch alarms or switch them to silent mode.
• House Manager maintains the Ushers Sign-in sheets for each performance, making sure every usher signs in and that they are dressed appropriately. Depending on the expected size of the house, one or two ushers will be assigned to tear tickets and the others will be assigned to show patrons to their seats. During Studio Theatre productions, the House Manager should assign an usher or two to insure that patrons do not walk across the set. The House Manager will indicate when ushers may take their seats prior to the beginning of a performance.
• The House Manager should arrive by 6:30 p.m. insure that ALL entrances are unlocked. The House Manager sees that the house is open at 7:00 p.m. Checks with the Stage Manager at 6:55 p.m. to make sure the stage is ready for the house to open. All communication should be via Clear Comm calls from the Box Office to the booth. The House Manager notifies the Stage Manager when the house is open.
• Stage Manager contacts House Manager three minutes prior to the scheduled curtain time. At this time, the House Manger assesses the house and determines if the show may begin on time. The House Manager ascertains the approximate number of unclaimed reservations, especially large groups, and counts the number of patrons in line at the Box Office window. It is imperative that curtain times are adhered to and that shows begin on time. However, if there are extenuating circumstances such as extremely inclement weather and the House Manager determines that there are too many patrons in line at the Box Office or that there is a late large group, the House Manager may hold the curtain until such circumstances are rectified. The House Manager notifies the Stage Manager when the house is ready and the Stage Manager gives the cast and crew a two minute "places" call.
• Before curtain, the House Manager makes sure exit doors are closed.
• After curtain is up, the House Manager maintains quiet in lobby. The House Manager should check with the Director to determine the latecomer policy for the individual show. There may be specific moments at the beginning of the play or following intermission(s) during which it would be inappropriate to seat patrons. In any case, the House Manager is responsible for insuring that no one enters the theatre during a blackout
• At each intermission, Patrons should be reminded of the length of intermission. Three minutes before the end of intermission, the Stage Manager contacts the House Manager who rings a bell in the lobby area to notify patrons that the intermission is ending. The House Manager repeats this procedure two minutes and one minute before the end of intermission. When audience is seated, procedure from beginning of performance is repeated: Stage Manager contacts House Manager three minutes prior to scheduled act curtain, House Manager determines if there are any special circumstances that would delay the curtain and notifies the Stage Manager. If there are none, the House Manager gives the Stage Manager a "lobby go" who gives the cast and crew the two minute "places" call. The House Manager makes sure exit doors are closed.
• The House Manager handles any special situations as they arise--doctors who wish to be on call, wheel chair patrons, people in wrong seats, etc. In general, the HM looks after heating, comfort, and safety in theatre.
• The House Manager remains on duty in lobby or back of the theatre throughout every performance to maintain quiet in the lobby/hallway and deal with any emergencies or special circumstances that arise. The House Manager must be familiar with all Emergency Policies such as tornado warnings, fire, smoke, etc. The House Manager will contact the Faculty for any emergency situations (equipment failure, smell of smoke, severe weather) and any issues involving unresolvable patron ticket problems, patron belligerence, intoxication, unruliness, etc. In the case of life threatening emergency, the House Manager notifies Security and takes charge of implementing proper procedures.
• Prior to and following the performance, the House Manager will insure that no cast or crew members enter the house or lobby areas until all patrons have exited. The House Manager will insure that no cast members greet family or friends in costume and/or make-up.
• After the performance, ushers will help pick up discarded programs and tidy the theatre after the theatre is clear. The House Manager is responsible removing any programs or trash from the house.