Leadership Team
The Leadership Team is an important role in a quality musical. The students on the team are charged with helping underclassmen, taking attendance, making announcements, and making sure we hold each other accountable. The Leadership Team members will have other participants report to them for attendance and will make announcements as people are checked in. If there are any non-emergency questions or concerns the leadership team can take those questions and concerns and bring them to the attention of the Director and Assistant Director. This team will require extra meetings, and being to rehearsals early.
Leadership Team applications are available at this link. Applications are due 5/20/2020!
Department Heads
The goal is to have a student run production, in order to do this well we need heads of department. These departments include: Stage Manager, Assistant Stage Manager, Make-up, Hair, Costume, Properties, House (Ushers), Student Choir Leader, Student Director.
Each of these roles will meet with the Director, and Assistant Director outside of normal rehearsal and may have their own team. These individuals must be ready to step up and lead their fellow peers. All heads of department will assist in planning and creating our wonderful musical.
If you are interested in a Department Head position you can apply via this link. Applications are due 5/20/2020!
Stage Crew Roles
Stage Crew Application
Wardrobe Supervisor (TBD)
Heading up the wardrobe department is the wardrobe supervisor. Working with their team of assistants and dressers (on smaller scale, low budget productions the roles may blend into one), the wardrobe supervisor must ensure all costumes are clean and in good repair. Alterations will frequently need to be made as tears and adjustments are part and parcel of performance. The wardrobe supervisor will also work closely with both costume designers and makers and the performers to deliver a wardrobe department that runs smoothly, can cope with the high demands of frequent washes and preparation, and quick turnaround between scenes and performances, and yet cater to the needs of the production and the actors. The wardrobe may be very simple (cast may come in their own clothes or have one straightforward change before each show) or wonderfully complex period costumes which require a great deal of care and maintenance.
Dresser(s) (TBD)
Part of the wardrobe department, the dresser works closely with the costumes, storing, racking, cleaning and keeping them in good repair. The other main function of the dresser is to ensure costumes are correctly moved and allocated within the theatre, getting them to the correct actors on time and helping the actors get into costume (with the possibility of costume changes within a performance this is critical).
Followspot Operator (TBD)
The followspot is a portable light carried and operated by the followspot operator rather than a light not hung from the overhead rigging. The followspot is typically used to track the actor(s) as they move around the stage while the rest of the stage is in darkness, creating a powerful effect and one not easily achieved by the use of rigged lights (especially given that the actor's movements may vary from performance to performance so it's virtually impossible to pre-program or track movement). Our house has two followspots, one on House Left and one on House Right.
Lighting Designer (Mr. Forton)
Without a script there would be no plays. Without lighting the plays would be unseen. Whether it's discreet and naturalistic or dazzling and imaginative, the lighting is absolutely integral to a production. The lighting designer will work with the director to come up with the best means of representing the play through lighting. They will factor in the physical space, the equipment and rigging, the tone of the piece and the constraints of the set and then work through the possible lighting options. Lighting may be very simple if is a naturalistic rendering of, for example, the interior of a house, or complex interpretations of effects and actions suggested in the writing. Each light that is hung in the space is attached to a “channel”, which is what the Lighting Designer uses to tell the Light Board Operator how they want the lights to look. For example, the Lighting Designer may say: “Channel 103 at 57%”. This means that the particular light attached to channel 103 will shine at 57% of its capability. Theatre uses many different styles of lighting, and each one serves a different purpose.
Board Operator (Sound & Light)
In theatre the lights and sound systems are operated from a central 'board' - usually in a booth tucked away at the back or side of the theatre. Operators know the boards (control panels) inside out and use them for audio cues (e.g. loading a sound effect such as a knock at the door, a phone ringing, or background music) and lighting operation (each lighting change - e.g. lights dimming, switching off on one area of the stage and lights coming on in another area - is controlled by the board operator. They are working (usually out of sight) to give seamless scene changes and integration. More often than not, all the “cues” will be set up in advance by the Lighting or Sound Designer working with the Board Operators. This ensures that all that needs to happen come show time is hitting the “go” button.
Production Manager (Mr. Foth)
The production manager keeps track of the different technical departments to ensure all aspects of the production are on track. Whereas some departments will have a degree of self containment (e.g. costume, set builders etc.), the production manager has a more overarching view and will co-ordinate with heads of department to make sure work is coming in on time and on budget. They will be keenly focused on and responsible for the budget and will usually have a good understanding of finance. Basically, especially here at the High School; it’s our job to ensure that you have all the tools you need in order to make the production successful.
Props Manager (Head TBD)
In overall charge of props, the props manager will head the props team - supervising the props makers, props sources and props buyers. Props may be sourced from any number of places including shops, websites, a theatre's in-house props department, and hired from specialized props houses (these tend to be huge warehouses with themed sections such as Victorian, Modern, Ancient etc.). Props can also be made for specific projects. The props manager liaises with his/her staff to ensure props are properly ordered, delivered, stored and maintained. Because of hire fees and terms and budgetary constraints, the purchase, hire or production of props is extremely important and often runs to a tight deadline.
Scenic Artist (Head TBD)
Scenic Artists work on the actual pieces that go to make the set once they have been designed by the Set Designer. Most theatre will have a dedicated back stage set construction and art department area where the scenery will be decorated and prepared. Usually before the set is brought onto stage for final construction each element will have been painted and finished in the workshop by the Scenic Artist. They will work with the Set Designer to try to ensure the Set Designer's vision is produced.
Stagehand (Head TBD)
Stagehands, also known as stage technicians or crew, work backstage with scenery, props and special effects in theatrical productions and concerts. They play a vital role in any performance, by knowing exactly where and when to move objects and scenery.
As a stagehand you would: load and unload equipment; help carpenters to build and put up scenery; attend rehearsals; move scenery, furniture and heavy equipment during performances; open and close curtains between acts; operate manual and automated scenery-moving machinery; clear the stage and backstage area at the end of the performance.
Stage Manager (TBD)
Being a Stage Manager is essentially a "people management" job. A stage manager must have the temperament and ability to get along with people in both the artistic and technical sides of theatre, and to understand what they do. It is part of the attraction of the work that each new job will introduce new and different challenges.
Stage managers should be good planners and organizers, with a knack for multi-tasking, prioritizing and keeping calm under pressure and in a crisis. During the rehearsal period, the stage management team (often composed of 3 - a stage manager, a deputy stage manager and an assistant stage manager) acts as the coordinator between the artistic process developing in the rehearsal room and the people physically building, sewing, assembling and making the production outside of that rehearsal room. Stage management are there to prevent ANYTHING from adversely affecting the production. Attention to detail and good communication skills are essential here.
Like a spider sitting in the middle of its web, the stage manager or team should sit at the heart of the production and be the first port of call for anything concerning the show for all those involved in creating and running it.
Once the show has opened, the stage management is responsible for the management of each evening's performance. They ensure that the production continues to run with all aspects of it kept as directed and designed. The DSM (Deputy Stage Manager) will also generally cue the show, giving calls and 'go's to the actors and all departments, enabling the changing of scenery, lighting and sound to be coordinated. The ASM will frequently be 'running the wings', i.e. running other backstage aspects, particularly props.
In a smaller scale theatre or on tour, the stage management may also be required to 'roadie'; that is to drive, load and unload trucks, put up the set and design and operate both sound and lighting.
Hair / Makeup (Head TBD)
The Head of Hair and Makeup is there to ensure that the Green Room runs smoothly. They have the task of not only helping Design the show; (whose hair looks like what, and who gets what style makeup); but also making sure that people are able to get their hair, makeup, and costume on in a timely fashion. They work with their team to determine what the best call time is, how much time each person should take on their hair, how much time should be taken for makeup. They are in charge of setting up tutorials to ensure that everyone understands how to not only put their own makeup on, but how to take care of it, as well. The Hair and Makeup crew, working with Wardrobe, are the first step to ensure that everyone hits the stage on time, in the most efficient way possible.
Front of House (Ushers, Tickets, Etc.)
The Front of House has a couple of different factions to it. Generally, someone is in charge of tickets / ticket selling, and they work with both the computer program as well as paper tickets in order to ensure everyone has an enjoyable experience. Ushers are responsible for communicating with both the Box Office and the Stage Manager to ensure that the show starts as close to on time as it can. Sometimes, we will have to “hold the show for the house”, which means we still have such a steady stream of people coming in the door that we need to seat them all before we can call it a “go”. Ushers need to have knowledge of the house in order to direct people to their seats before the show, possibly again at intermission, and to make sure any latecomers get a seat safely. They are some of the first people seen as a part of a theatre experience, and some of the last people seen as a part of a theatre experience; and therefore their role is incredibly important. Ushers may also be asked to help sell concessions or flowers, depending upon the staff upfront.
Stage Crew Application
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