Student Responsibilities
Production Team - Job Descriptions
Producer
Director
Stage Manager
House Manager
Scenic Designer
Lighting Designer
Costume Designer
Sound Designer
Technical Director
Master Electrician
Props Master
The Producer is the overall head of the production team and is ultimately responsible for the smooth and efficient flow of the project. The Producer is responsible for securing rights to the performance piece as well as securing appropriate performance space and adequate rehearsal space. The Producer is responsible for the safe and proper use of Yale College facilities. The Producer must accept the responsibility for the security of and access to the theater during the period of habitation of the production. The Producer will generally be issued keys required for access. The Producer is responsible for ensuring that the theater is clean and orderly before and after each rehearsal, work period, performance and strike. The Producer may share these responsibilities with the Director of the production. The Producer may not assume these responsibilities concurrent with being the Director.
The producer will forward a copy of the “Right to Produce” to the Technical Advisor as soon as it is secured. The producer is responsible for ensuring that all production positions are filled by students qualified for the specific task, insuring that they have attended any required OUP Safety Training Sessions, for forwarding this information to the Technical Advisor in a timely way, and for coordinating the efforts of these individual team members. The producer must establish a production schedule detailing the requirements of the production. Staff members should be provided appropriate timelines, including deadlines for each department. The producer is then responsible for being sure that the schedule of deadlines is being met. Staff members should provide a status report to the producer on a weekly basis at least. The Producer is required to report progress to the Technical Advisor on a weekly basis. A budget must be established for each department and a method established for tracking the expenditures of each. The producer will generally have responsibility for final decisions regarding budget allotments. To that end the producer must insure that regular production meetings are held and attended by the heads of each production area. It is the Producer’s responsibility to keep the Technical Advisor up to date on the production and how it is progressing. This will be accomplished through the weekly progress reports.
The Director is responsible for the safe and proper use of Yale College facilities. The Director must accept the responsibility for the security of and access to the theater during the period of habitation of the production. The Director may be issued keys. The Director is responsible for the safe and proper conduct of the actors, performers, participants, technicians and staff of a production. The Director may not assume these responsibilities concurrent with being the Producer.
The Director is responsible for orchestrating the overall artistic impact of a production. A large part of the director’s work entails working with the designers. Throughout this process it is the responsibility of the Director to work with the Producer and the Technical Advisor to coordinate the efforts of the designers.
While it is not generally the director’s responsibility to determine budgets for a production, he/she will often be called on to make financial decisions in as much as he may have to choose between various needs/wants if the producer determines the budget won’t support all of his or her wishes.
The other major facet of the director’s work is obviously the choosing of actors for the production, and the communication to those actors the vision of the show during the rehearsal process. The details of setting/running casting calls and rehearsal schedules will be accomplished with the help of assistant directors and/or the stage manager. The director, along with the Producer, will work with the Technical Advisor to ensure that all production elements are safe as well as both technically feasible and artistically cohesive.
The Stage Mgr acts as an agent of the Producer. The Stage Manager is responsible for the safe and timely conduct of the actors, performers, participants, technicians and staff of a production. The Stage Manager is responsible for ensuring that the theater is clean and orderly before and after each rehearsal or work period. The Stage Manager conducts these duties during all rehearsals, technical rehearsals, dress rehearsal and performances. He/she is also responsible for keeping track of decisions made in the rehearsal process by keeping accurate notes and a detailed record of blocking and stage movement in a rehearsal script or promptbook, and by sending rehearsal reports to the staff, including the Technical Advisor. In the absence of a Stage Manager, the Producer will assume these responsibilities. The Producer may not assume these responsibilities concurrent with being the Director, House Manager, or Box Office Manager.
The House Manager acts as an agent of the Producer. The House Manager is responsible for the safe passage and conduct of the audience during the entire time that the audience is on the premise of the theater. The House Manager is responsible for ensuring that the theater is clean and orderly before and after each performance. In the absence of a House Manager, the Producer will assume these responsibilities. The Producer may not assume these responsibilities concurrent with being the Director, Stage Manager, or Box Office Manager.
The Scenic Designer is responsible for developing the overall look of the stage environment after working with the director to establish an overall aesthetic concept from which to proceed. In general the set designer will make an initial presentation outlining in general ways the scale of the design 4 weeks prior to loading into the theater. It is common for this stage to include a series of rough sketches or renderings and a basic ground plan. The designer must keep the Technical Advisor involved in this early stage of the work to help insure that his/her work stays within the scope and scale appropriate to the abilities and resources of the production staff as determined by the Technical Advisor. No project will be allowed to move forward until the TA is confident that the scale of the production is appropriate. The student designer must keep in mind that in general the only tools students will be allowed to use in the construction of the set are a saber saw, drill, and palm sander.
After the initial presentation has been made the designer will revise the design as needed. Once the design is accepted the designer is then responsible for developing a complete set of design drawings. While it is understood that undergraduate designers will often lack experience/training, they will be expected to supply the following to the best of their ability; a basic ground plan showing all stationary scenic elements, a composite ground plan showing all moving scenic elements indicating both their onstage and storage positions, a section of the stage space incorporating all elements, front elevations of every scenic element, additional elevations and/or sections of units that may require them.
Final presentation of designs will be expected no later than 2 weeks prior to the load-in. It will be expected that no changes will be made to the design beyond this point. Failure to adhere to submission deadlines most often will result in the project being scaled back as the TA deems appropriate. These drawings are supplied to all members of the team as needed to complete their work. It is the responsibility of the designer to meet with the technical director, conveying all the information necessary for him/her to execute the design. While the TD is responsible for creating a complete and accurate cost estimate for the execution of the set design, a designer should be attempting to work within a given set budget during the design phase. If it is determined that the design is over budget, it is the designer’s responsibility, in conjunction with the producer, director, and TD to modify elements of the design until it meets the budget guidelines set by the Producer and to provide updated drawings. In addition to being reasonably available to the TD in order to answer questions that may arise, the designer is responsible for following the progress of the set construction to be sure it conforms accurately to the design. If changes are required for any reason it is the responsibility of the designer to provide whatever drawings are needed to convey the necessary information to the TD.
It is also the responsibility of the designer to provide paint elevations for the painting staff. In some cases the designer may be required to act as paint charge, or to assist with the painting in some manner. In such cases the producer may modify the requirement for paint elevations.
In addition the designer will be required to attend rehearsals as needed. This will most often entail only specific run-throughs designated for this purpose. The designer will be required to attend load-in calls and technical/dress rehearsals as necessary to insure the scenic elements are installed properly and are functioning within the show as intended. The extent of this requirement will vary from show to show and will be established by the director and the producer.
The Lighting Designer is responsible for using light in support of the director’s vision while enhancing and completing the environment created by the set designer. Once the set design is complete and approved, the lighting designer will use those plans to create his/her light design. In order to serve as a lighting designer the student must have attended the Basic Lighting Workshop and the Ladder/Scaffold Safety Workshop offered by the OUP. The designer will be required to work within a given budget. The designer is responsible for developing a complete light plot showing instrument type, location (plan & section), color, and dimmer assignment. The complete light plot is due no later than 1 week prior to load-in. During the time between the submission of the set design and the due date for the light plot, the lighting designer should be developing his/her design based on viewing rehearsals, equipment lists, budget, and meetings with the director.
The master electrician should also be involved as early as possible so that s/he will have ample time to plan on the required crew size and work calls required. The Technical Advisor should be invited to these meetings, especially if any unusual effects are being planned. The set designer should also be involved in at least one meeting towards the end of this process, earlier if some specific requirements will need to be made of the set, such as accommodating light positions, etc.
The designer will submit a light plot, equipment list, dimmer hook-up, and color list. The designer will be responsible for approving the hang after it’s completion by the master electrician and crew. The designer will then work with the crew to focus the plot. Once completed, the designer will create cues for the show, working with the director during cue-to-cue rehearsals. The director retains the right of approval of all design and cue elements.
The costume designer is responsible for designing and selecting the costumes used in the show. Deadlines for costume designs should be set early and adhered to. This will allow adequate time for arranging for the rental of costumes items from the OUP, or from local costume shops. The designer will work closely with the stage manager to insure that actors are available for costume fittings and that these are held in a timely fashion. The designer will be responsible for working with the stage manager and any dressers needed to insure that changes can be made within required time limits. The designer is responsible for insuring that all rented items are returned in a timely way.
The sound designer is responsible for designing the sound system and sound effects required for each show. The requirement of any recordings or special effects should be identified as early as possible in the process. A list of equipment needs, including any proposed rental, is due at least 1 week prior to load. A diagram of the sound system is due at least one week prior to load-in. Recordings of sound effects and/or voice-overs will be scheduled with the producer and director. The designer is responsible for the installation and up keep of the equipment during the production run. The designer is responsible for returning any rental equipment in a timely way.
The Technical Director holds one of the most demanding positions on the student production staff in terms of required skills and time commitment. The TD must be a leader capable of initiating and sustaining the build and installation process as well as organizing a group of other students while monitoring the safe and steady flow of work.
Certain OUP workshops will be required for the TD depending upon the scale of the project and it’s building requirements.
In consultation with the Technical Advisor, the TD will be required to estimate the material and labor budgets for a production working from the plans provided by the set designer and so should be familiar with and able to read and interpret basic ground plans, sections, and design elevations. He or she will also be required to prepare working shop/construction drawings and so should have basic drafting and sketching skills.
The first task will be to break the project down into smaller, easily managed and identifiable units and to determine the most appropriate and efficient construction methods for each unit, while at the same time estimating the materials and labor that will be required to execute each unit. Standard forms are available and must be used for estimating materials and labor. The designer will have specified materials in some cases, while in others it will be up to the TD to determine the most appropriate structural materials. This process may require some structural working drawings. At this point the TD should be able to compile a budget estimate for the producer. If the design cannot be executed within the specified budget it is the responsibility of the Producer to either increase the budget or to require the Designer and Director to identify changes or cuts that will bring the project within the established budget.
At this point the TD must plan a schedule of how the projects will be accomplished. Setting a schedule and keeping the project on schedule is one of the most important jobs of the TD. It is crucial that the schedule be set with a realistic assessment of the crews’ availability and skills.
It is also important that the TD track progress and keep the Producer and Technical Advisor apprised of the progress (or lack of) through regular reports. It is also the responsibility of the TD to keep accurate records of expenditures and to stay aware of how well the project is staying within budget. If the project is exceeding its budget the Producer must be notified so appropriate steps can be taken.
The TD leads the set crew in the installation and dismantling of the set at load in and at strike, respectively.
The Master Electrician is the person who works most closely with the lighting designer and is responsible for actually executing the design. As such the M.E. will need to have a working knowledge of lighting systems equipment and its operation. Any student acting as ME will be required to attend both the Basic Lighting and the Ladder/Scaffold Safety workshops offered by the OUP. He/she will be responsible for insuring that the equipment specified in the design is available whether in house or through rental, as well as acquiring the specified gel and sufficient incidentals like gaff tape, tie line, etc. The M.E. will develop the circuit plot that most efficiently serves the design plot and will lead the crew that hangs, cables, circuits, and troubleshoots the plot.
The M.E. will work with the designer to focus the plot. The ME is also responsible for running a dimmer check on every day of tech and performance. The ME also leads the electrics crew in strike. The ME will be responsible for making regular reports to the Producer and Technical Advisor to keep them apprised of progress.
The Props Master will work closely with the Set Designer, Stage Manager, and Director in identifying and collecting the properties needed for a production. The Props Master will quite often be called upon to create props and so should be someone who has a basic knowledge of small hand and power tools and is approved for their use.
A comprehensive props list should be compiled as soon as possible in the process once the design is complete. Once the director and designers have decided on the needed props, the set designer will work with the props crew in the process of choosing props for the production. The set designer will provide any appropriate drawings required for building a prop he/she designs.
It is understood that a props list will quite often change in response to a fluid rehearsal situation, and changes are quite often made up to the last minute. Obviously last minute changes should be held to a minimum. Once a prop list is compiled, it is the responsibility of the props crew to gather the required items.
The props mgr is responsible for the timely return of all borrowed/rented props. Any items purchased or built with Creative and Performing Arts Awards or other University funds are to be turned in to the OUP props storage facility in 305 Crown St.
