1. Job Roles in the
Production Arts
Industry
By Luke Brierley

2. Stage Manager
An essential skill for theatre stage managers is people management, as it is their role to coordinate all aspects of a
theatre company to ensure the successful delivery of the performance. This involves managing rehearsals, actors,
technicians, props and costume fittings, as well as liaising with front of house staff and the director. A stage manager
needs to have a good understanding of both the technical and artistic elements of a performance so that they can
ensure it is delivered exactly to the director's requirements. They will be involved from the rehearsal stage through to
the live performances, where they will be on hand to deal with any emergencies or issues that may hinder the show.
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).

3. Assistant Stage Manager
The assistant stage manager (ASM) has varied
responsibilities, which are assigned by the stage
manager. The ASM assists in finding and maintaining
props during rehearsals and the run of the show. The
ASM may take attendance or estimate audience
size, may manage the backstage technicians, may
act as a liaison between crew, cast and
management, and may call some cues. Mundane
tasks such as mopping the stage and brewing
coffee or tea may fall to the ASM. If the stage
manager is unable to perform his or her duties, the
ASM must be able to fill in.
The assistant may also be in charge of one wing of
the stage, while the stage manager is on the other
wing.

4. Deputy Stage Manager
The role of the deputy stage manager [DSM] is
extremely varied, having one foot with
backstage crew and one foot with the director
and actors attending every rehearsal and
performance. The DSM prompts actors and will
usually cue technical crew members and
sometimes cast, while following the orders of
the director and stage manager. The DSM calls
actors to hold while technical problems are
sorted out during rehearsal, and determines
where in the script to restart halted scenes. The
deputy stage manager (DSM) is a separate
position in some theatres, while in others the
responsibilities of the DSM may be assumed by
the stage manager or assistant stage
manager.

5. Front Of House Manager
The Front of House Manager supervises and control all Front of House and Housekeeping areas to the standards laid
down by the Company, maximising revenues and profits to agreed budgetary limits.
Main Duties:
To ensure that guests are greeted, checked in and allocated rooms promptly and courteously.
To ensure that check-in procedures are strictly adhered to and that the correct address and charge out details are
obtained from each guest.
To be readily available at all times to deal with problems or complaints.
To ensure that rooms have been serviced and maintained to the standards laid down by the Company.
To ensure maximum room occupancy within agreed overbooking policy.
To ensure that reservations are taken correctly and courteously.
To ensure effective liaison between reservations and front office staff with other departments (e.g. housekeeping).
To ensure that all charges are correctly entered on the guest`s bill and that this is up to date at all times.
To ensure that credit control procedures are strictly adhered to, that no bills exceed the stipulated limit without prior
approval and that written confirmation, purchase orders, or order numbers are on file.
To ensure that accounts are balanced daily.
To ensure effective and speedy check-out facilities.
To ensure that luggage is delivered to and collected from rooms speedily.
To ensure that enquiries, messages, theatre bookings are dealt with courteously and efficiently.
To ensure that all Front of House staff are correctly and smartly dressed at all times.
To ensure that all Front of House areas are clean and tidy at all times, including cloakrooms.
To ensure that newspapers and parcels are delivered to rooms without delay.
To ensure that incoming and outgoing telephone calls are handled promptly and courteously.
To ensure maximum security of all items left in safety deposit boxes.
To carry out systematic checks of all Front of House areas for maintenance requirements, repairs or refurbishing,
ensuring that these are actioned without delay.
To ensure that the Hotel Entrance is easily accessible to cars and taxis at all times.
To hold regular performance appraisals with all senior staff, identifying areas for development and training needs and
ensuring that this training is effected.

6. Lighting Operator
In live music performances, concerts, and other
entertainment, stage lighting technicians set up
lighting and make effects for live performances,
concerts and any other show/production involving
lighting.
Duties include:
- Setting up and focusing lights
- Patching and or wiring up lights to dimmers or
electronic control consoles
- Changing the set-up of lights during a performance
or concert (e.g., changing colour gels)
- Packing down lights after the show

7. Sound Operator
The Sound Operator sets up and operates the
sound equipment for the audio in a production.
They are responsible for rigging, testing the sound,
running the audio during the performance, then
de-rigging at the end of the night.
Sound Operators need to be able to choose and
mix microphones, adjust audio levels and be
skilled at recording onto tape along with having
sound computer skills.

8. Costume Master/Mistress
A costume master/mistress has responsibilities such as:
Distribute costumes or related equipment and keep records of item status.
• Clean and press costumes before and after performances and perform any minor repairs.
• Return borrowed or rented items when productions are complete and return other items to storage.
• Arrange costumes in order of use to facilitate quick-change procedures for performances.
• Assign lockers to employees and maintain locker rooms, dressing rooms, wig rooms, or costume storage or
laundry areas.
• Provide assistance to cast members in wearing costumes, or assign cast dressers to assist specific cast
members with costume changes.
• Examine costume fit on cast members and sketch or write notes for alterations.
• Purchase, rent, or requisition costumes or other wardrobe necessities.
• Collaborate with production designers, costume designers, or other production staff to discuss and execute
costume design details.
• Care for non-clothing items, such as flags, table skirts, or draperies.
• Inventory stock to determine types or conditions of available costuming.
• Design or construct costumes or send them to tailors for construction, major repairs, or alterations.
• Check the appearance of costumes on stage or under lights to determine whether desired effects are being
achieved.
Create worksheets for dressing lists, show notes, or costume checks.
• Review scripts or other production information to determine a story's locale or period, as well as the number of
characters and required costumes.
• Direct the work of wardrobe crews during dress rehearsals or performances.
• Study books, pictures, or examples of period clothing to determine styles worn during specific periods in history.
• Participate in the hiring, training, scheduling, or supervision of alteration workers.
• Monitor, maintain, or secure inventories of costumes, wigs, or makeup, providing keys or access to assigned
directors, costume designers, or wardrobe mistresses/masters.
• Recommend vendors and monitor their work.
• Provide managers with budget recommendations and take responsibility for budgetary line items related to
costumes, storage, or makeup needs.

9. Props Master/Mistress
The property master is an artistic and organizational employee in a film, television or theatrical
production who is responsible for purchasing, acquiring and/or manufacturing any props needed for a
production. The property master also works with other members of the production managing the
physical appearance of the stage or set, for example they might work with the script supervisor to
maintain set continuity. The property master is on staff during preproduction, develops the stylistic
concept of the physical production, then continues on as a member of the physical
shooting/production crew. During preproduction, the props master develops a props breakdown. This is
essentially mapping out the logical progression of each prop throughout the story. During shooting, the
props master maintains the logical progression by ensuring the props are positioned in their correct
logical place for each scene according to the props breakdown. If the logical progression of a prop
changes during shooting, the props breakdown is revised to reflect the change.

10. Costume Assistant
Costume assistants help to make, find and look after the
clothing and costumes used in theatre, film and television
productions.
As a wardrobe assistant, you would work under the direction of
a costume supervisor or wardrobe master/mistress. Your work
might include:
•helping to buy and hire costume items
•looking after the costumes between takes or scenes
•mending and altering items
•packing and unpacking costumes and accessories
•cleaning, steaming and ironing
•helping to make pieces and put costumes together
•fitting costumes onto performers
•making sure that all items are available when needed
•keeping continuity notes, so that performers look the same in
each scene
•keeping an accurate record of all costumes and accessories
needed
•storing costumes and returning hired items (known as
'breaking down' costumes).
In theatre, you might also act as a 'dresser', helping performers
with costume changes during the show.

11. Props Assistant
Under the supervision of the property master, the
assistant begins work during preproduction by
helping perform a script breakdown and
assembling a list of props to be purchased or
fabricated. Where necessary, this person carries
out research relevant to the historical context of
the setting and environment to ensure
adherence to the director’s vision. In the
absence of the property master during
production, the assistant is the department
representative on set. In relation to principal
photography, the assistant property master
ensures all props arrive to the shooting location in
a camera-ready fashion and are placed on set
to the prop master’s satisfaction. During filming,
the assistant maintains prop continuity between
scenes. He or she also makes repairs to damaged
items or facilitates replacements of props as
needed.

12. Lighting Designer
A theatre lighting designer (or LD) works with the
director, choreographer, set designer, costume
designer, and sound designer to create the lighting,
atmosphere, and time of day for the production in
response to the text, while keeping in mind issues of
visibility, safety, and cost. The LD also works closely
with the stage manager or show control
programming, if show control systems are used in that
production. During focus, the LD is up on stage
directing members of the Electrics crew on where
and how to focus each individual lighting unit. This
can be a time consuming and frustrating process.
Focus can run much smoother if the Associate LD and
the Assistant LD are keeping good track of which
lights have been focused, what's coming up next and
directing the electrics crew so that there is minimal
down time between focusing each light. They should
also direct the LD to which units are next and even
what their purpose is and a rough focus.

13. Sound Designer
The sound designer plans and provides the sound effects in
the play. The composer writes any original music the show
may require. All the music and/or effects in a play considered
as a whole make up the "soundscape.“ Sound designers and
composers begin their work by studying the script, gathering
as much information as they can about any sound or music it
calls for. As in all other aspects of design, an early meeting
with the director and the design team is essential to get a
clear understanding of the production concept.
Some directors will already have very clear ideas about what
the sound effects and/or music should sound like, while others
may request that the sound designer/composer sit in on
rehearsals to assist with developing effects and music to fit
the specific contexts in which they will be used. Once they
have a precise sense of what the production needs out of
the music or sound, the composer begins composing the
necessary musical pieces and the sound designer begins to
gather and create the necessary sounds.