Trevor Nunn is an English theatre director known for his inventive productions of Shakespeare and popular musicals. He has directed for the Royal Shakespeare Company and Royal National Theatre, producing acclaimed versions of works by Shakespeare, Lloyd Webber, and others. Nunn coordinates all aspects of a production, from rehearsals and set design to performances. He works closely with performers, designers, and producers to realize his artistic vision for each show.

1. STAGE DIRECTOR – TREVOR NUNN
A theatre director has responsibility for the overall practical and
creative interpretation of a dramatic script. They are involved in the
whole process, from the design and pre-production stages, 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 range of disciplines and with artistic
vision.
Most directors are usually employed on a freelance or fixed-term
contract basis. They can 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
Some theatre directors may act as an administrator or producer
depending on the staffing structure and size of the theatre.
They may work alongside an executive administrator or general
manager who heads the theatre, or an artistic director who selects
the plays and determines the programming.
Specific tasks can vary depending on the actual role and type of
theatre but common activities include:
 programming and budgeting;
 working with writers through workshops or script development
schemes;
 adapting a script and, if the play is newly written, working with
the writer or collaborating with playwrights;

2.  breaking down a script, analyzing and exploring the content
and conducting relevant research;
 translating and interpreting a script or musical score;
 holding auditions for productions, selecting and hiring
designers, musicians, etc.;
 managing time and organizing people and space;
 attending production meetings with set designers;
 organizing rehearsals;
 communicating and liaising with all parties involved, including
actors, the creative team, the production team and producers;
 attending preview performances and preparing detailed notes
for the cast and creative and production teams;
 Helping to publicize the production by giving interviews and
leading discussions.
 http://www.britannica.com/biography/Trevor-Nunn
Sir Trevor Nunn
Born January the 14th
1940 in Ipswich, Suffolk, England. Becoming an
English theater director of the Royal Shakespeare Company and the
Royal national theater, known for inventive plays of Shakespeare’s
work and popular musicals. He was raised in a working class family,
and graduated in 1962 from downing collage in Cambridge after
studding acting, directing and writing for the theater. After this he
worked as a Belgrade in a Coventry theater where later on found
himself leaving to join the Royal Shakespeare Company in 1964. Here
he was made to be an associate director in 1965 and quickly found
success in many productions. In 1968 he was promoted to artistic
director. In 1976 the production of Macbeth, Nunn set the play in a
tiny chalk circle and staged the play in front of a small 200 people

3. audience. He then went on to open an eight-and-a-half-hour
production of ‘The life and adventures of Nicholas Nickleby’ in
London west end in 1980 and later the play opened up in broad way
in 1981 and went on to win four tony awards, including best play and
best director of a play. He directed many famous and popular
productions including Andrew Lloyd Webbers Cats (1981), which was
the longest running play until Les Miserables (1985) which was
codirected by Nunn and Caird. From 1997 and 2003 he worked as an
artistic director at the Royal National Theater continuing to direct
many more successful productions including Oklahoma and Not
about Nightingales, which both went on to be nominations for tony
awards. In 2002, he was made commander of the British Empire in
recognition for his services to theater.

4. THE STAGE MANAGER
Theatre stage managers coordinate all aspects of a theatre company
to ensure the smooth running of the performance. This means they
must have excellent people management skills as they have to work
alongside the director, producer, actors, technicians, props, costume
design and front of house. Stage managers manage rehearsals, so
this would include scheduling, running, sitting through and writing
notes on all rehearsals. The stage manager also has to manage the
technical team, giving them feedback from rehearsals on how to
make the sound/lighting etc. run smoother. Selecting props,
furniture and set dressing is again down to the stage manager, they
have to make sure that they are appropriate for the production being
put on, the time the production is set in and if it fits in with the
artistic view of the director. Stage managers have to organize
dress/wigs fittings and ensure that all costume repairs, adaptations
and changes are made and finished on time for the performances
and or dress rehearsals. Front of house coordinating is also down to
the stage manager. This entails making sure that the presentation of
the front of house fit again with the production being held, that
enough staff is hired and that programs are available. The stage
manager works closely with the director, they need to have a clear
understanding of the vision of the director and how they want to
portray the performance so that when working with other sectors of
the production team they know what direction the production
should be taking and that they can advise each part of the team how
to improve. The stage manager is vital all the way through the
process of the performances and will deal with any emergencies of
issues that could potentially hold back the show. They are the main
distributer of information to all departments of the production, they
are the one that gets all important information from the
director/producer to all other members of the production. Stage

5. managers supervise the ‘get in’ where the set, lighting and sound are
installed, and the ‘get out’ where all equipment is removed. The
prompt script is the stage managers job too. They have to keep it
updated and operate it during performances so this includes notes
on actor’s moves and cues, prop requirements, lighting and sound.
They have to make sure that set is altered between scenes, actors
are prompted when needed and technicians are cued at the right
time. One of the stage managers most important jobs is to ensure
that the production company they are working for has good welfare
and maintain a good working knowledge of all relevant health and
safety legislation and good working practice. They have to run the
backstage and onstage areas during a performance as well. The stage
manager is the one who will contact residents and staff at other
performance venues when touring.
http://www.prospects.ac.uk/theatre_stage_manager_job_descriptio
n.htm