Stagecraft
Stagecraft
Stagecraft is the technical aspects of a performance or production. This includes things like scenery, props and costumes, sound and lighting design, stage management, makeup and performing these duties throughout the performance. It covers a wide range of specialities and often performers are trained up on multiple aspects of stagecraft because of how closely they link together, and performers need to be able to perform multiple duties backstage as well as any onstage roles they have.
Different venues require different adaptions to be made to the performance and running of the performance. For example, a primary school sports hall will need much less preparation and backstage involvement than west end shows do, simply because of the venue its being held in. Equipment may not be there, space may be limited and the audience themselves may have limitations (think sensitivity to loud noises) that need to be considered when performing productions, so the production crew must be versatile and be able to make decisions quickly and effectively for the production.
However, no matter how much you prepare, you never really know what's going to happen until show day arrives! Things are almost guaranteed to go wrong on show day, whether its spilt makeup on a costume, lines being missed, lighting not working, or props being forgotten, the fact is; mistakes happen and as humans, we make mistakes. The trick is to play it off and adapt to the sudden change. Chair missing? Oh well, guess you just stand up. Someone's forgotten their line? Improvise and move on. This is called Improvisation (fitting name, right?) and is something that many actors specialise in and almost everyone in the production crew has experience in, even if they don’t know it!
Backstage etiquette is a very important part of how the performance runs. When your doing a performance (on or off stage) you have to be there 100%. No distractions and full concentration on what's happening right now, what will be happening in 1 minute and what will be happening in 1 scene (among many other things). Being part of the backstage crew, you need to always be preparing for what's next. What scene is next? What do I need to get lined up? Are there quick changes? Where are the props for the next scene? Being on stage you are completely absorbed in the character you are playing (Characterization) and are prepared for certain things to happen (like scene changes, or next entrances/exits etc). When things don’t go the way you planned, you need to try and improvise back to how it should have played out. The general rules of backstage etiquette are:
Move as quietly as possible around the venue
Don’t talk unless you have to and whisper when you do
When someone is in character, treat them as said character
Respect the performers on stage by watching quietly
The role of a Producer is kinda like the big boss. They usually start the project and find the script, crew and money for the production and start hiring people to make it happen. When they have found the Directors, Lighting crew, Backstage crew etc, they can delegate down to those people, who then delegate down further. You get the picture. The producer then oversees everything to do with the production, from start to finish.
A Playwright does what it says on the box. Play. Wright. The writing of plays. A playwright it responsible for writing the scripts to plays which then go on to be productions. They usually include 2 basic elements: Dialogue and stage directions. Dialogue is what the characters say in the performance. Stage directions instruct on how the story is to be portrayed to the audience, e.g. telling an actor to get out of bed and walk to the wardrobe.
A dramaturge is responsible for providing the cast and crew knowledge, context and an interpretation of the performance they are about to do, so that, they can do their jobs better as they have more information. Sometimes this information can be historically, geographically, politically, or culturally relevant to the story, so Dramaturgs are a vital part of a production team.
A set designer is responsible for designing the set and environment for a production. This means they have to evaluate the script and make the story's setting ‘come to life.’ If we use Hansel and Gretal as an example, when they drop breadcrumbs in the forest, the scenic designer would be responsible for designing and creating that forest, so that the audience can clearly understand and be as involved in the story as possible.
A lighting designer is responsible for all the lighting aspects of a production. This includes what light are used, when they are used, why they are used, if any effects are used etc. They are responsible for adding to the ambiance or general mood of the production. E.g. watching a sunset scene with house lights only does not have the same effect as watching a sunset scene with red, orange, and pink lighting and shadow effects from ground lights.
A costume designer is responsible for planning, supervising, and creating the costumes that the actors wear in a production. They are experts in fashion history, practical clothes making and theatre design, so the costumes are long wearing, appropriate to the scene and add to the overall effect on the audience.
The sound designer is responsible for any and all sound effects of the productions. They must analyse the script and then find or create all the effects that the story needs, e.g. thunder, crickets, and sirens. They are also responsible for sourcing any live sounds used in a production.
A theatre composer writes original music for a production. This helps tell the story and add emotion and they can write music for instruments, voices, or even electronic and digital tools. Composers work closely with the music Director and team to create unique and emotive sounds, scores and effects for a production.
A music director is someone who oversees everything to do with the music of the production. They work with the director, sound operators, producers, and other crucial members of a production team to cast performers, find musicians for the orchestra, rehearse with everyone and they conduct the orchestra during the performance.
An intimacy co-ordinator is someone who speaks and acts on behalf of the actors in the production team during intimate scenes. This means that during scenes where intimacy is involved (e.g. nudity or sexual acts) there is someone there who ensures the actors are comfortable and looked after during these scenes.
Makeup artists are people who use cosmetics, prosthetics, and other products on actors to enhance features and develop the characteristics of the role being played. They have to research and analyse the script to see what makeup style is required, or if prosthetics or SFX are required, e.g. a WW2 piece would require multiple types of makeup: time appropriate makeup, ‘dirty’ makeup and SFX, the list could go on. I've always shown a particular interest in Makeup and more specifically SFX makeup.
An actor is someone who portrays different characters to an audience. They train to change their behaviour, body language, characteristics, and mannerisms to fit a particular role. This is called Characterization. They work with the director and are told how to move, and what to do and then perform to an audience on stage.
Backstage literally means back -stage. It’s the area where the actors go before, during and after the show where the audience can't see or access (usually). Its where the actors wait for entrances, props and set are kept and often where quick changes happen. Having a backstage manager is useful to a production because they oversee the area and running of the show when directors, producers and others can't. They make sure the right set and props are in the right place, the area is safe and are there to help the actors with quick changes during scenes.
A carpenter is a stagehand whose job it is to build set and props. They are usually hired by the production manager, crew chief or technical director and work closely with the set designers to create the set.
A charge artist works with the set design and carpentry crew to add finishes to the set. They are responsible for painting and applying surface treatments to all scenic elements of a production e.g. adding faux finishes, textures, or ‘damage’ to provide the right look for the production.
A dancer is someone who dances on stage for a production. There are many forms of dance, and each require different movements and styles, so dancers often train for years in order to complete the routines and choreography for a production. They work closely with Choreographers, sound techs and directors to add to the production.
An electrician is someone who works with the lighting and sound crew to operate the equipment. They often are used to set up and install/maintain lights so that the lighting technician can programme them. They are responsible for maintaining the equipment and ensuring it is safe to use.
A fight director is responsible for planning, choreographing, and overseeing fight scenes, where the actors use stage combat. It's really important to carefully plan any fight scenes because of the risk of injury being high, but using angles and timing you can make a realistic looking fight, while the actors remain unhurt.
The Front of House (FOH) Manager is responsible for the running of the seating and reception area. They oversee collecting or booking tickets, looking after any waiting areas, and helping customers.
Hair and wig design are responsible for the design of characters hairstyles and appearances. They work with the makeup and costume departments to make the character as believable as possible and then work with the actors to transform them into their characters.
A musician is someone who plays one or more instruments. They work with the conductor and music director to create sounds for a production, either individually or part of an orchestra or group. They can read, write, perform, conduct, and orchestrate music in a range of genres for a range of performances.
Painters work with the scene designers to create the setting of the production. They work to add designs and textures to set and props and are often very constrained with the time.
A playbill writer is someone who writes the credits of the production. This includes the cast and production crew and is known as a programme of the production.
The production manager is responsible for overseeing the budget and schedule of a production and is often the main problem solver. The role involves finding cost effective ways of producing the production, finding the people to do that, and resolving issues that might impact the production quickly before they cause an issue.
A props master is responsible for the finding, sourcing, maintaining and storage of props for a production. This involves analysing the script to see what props are needed, sourcing those props, teaching the actors how to look after them and then knowing when they are being used and where they are at all times.
A publicist is someone who advertises the production to bring in an audience. They are usually responsible for setting up interviews, advertisements, and meetings to promote the show. They are the ones responsible to getting an audience into the venue.
scenic artist create the scene for a production. They are responsible for creating backdrops, murals or scenic props for the production and work closely with the scenic designers to make their vision come to life.
A stagehand is someone who acts as a pair of hands backstage and cover a range of areas. They are used usually for changing scenery or fetching props but can also be used to operate smoke or mist machines, help with quick changes or fetch spare costumes, whatever the stage manager needs!
A Stage manager is responsible for the communication and oversite of all areas of the production. They act as a director's right hand and are responsible for the smooth running of the show, directing stagehands, giving tech cues, running entrances and exits and managing backstage as a whole.
An Assistant Stage Manager (ASM) acts as the stage managers assistant and does the everyday jobs that a stage manager has to do but has not got time to do. These things include everyday administrative tasks, assisting the director during rehearsals and being responsible for all backstage activity during the performance.
The artistic director is responsible for the creative vision of a company, and how it shows itself. Artistic directors are often just known as directors, and they usually direct the production. They work closely with the actors, sound and lighting crew, producers, and other members of the production crew to make the production how they envision it.
The Director of production (Director) is responsible for making the vision, a reality and are one of the most important parts of a production. They control what the scenes look like and how they play out from an actors, lighting, sound, setting, props, audience, and production aspect. They are the main lead on almost every aspect of the production, and they organise rehearsal schedules, audition for characters, create and work with a production team and lead rehearsals from very beginning to very end.
A theatre manager is the administrator of the theatre. They are oversee all administrative, financial, marketing, production and general running of the theatre and must have excellent communication and budget management skills.
The wardrobe supervisor works together with the wardrobe manager to source, make and maintain the costumes used in a production. They make sure that the costumes are stored properly and looked after so that they last the entire performance and ensure that the clothes are clean and fresh each performance.
The technical director is the boss of all things tech. They are a technical expert and oversee all technical activities across the tech departments. They supervise any aspect of the production that needs technical assistance, including carpentry, sound, lighting, SFX and they make sure that the theatre equipment is maintained and working safely.
A costume manager is someone who responsible for all aspects of costumes during a performance. They are in charge of how the costumes are stored, packed and transported from venues and oversee dressing rooms for performers. They work with the costume designers, actors and directors and play a vital role in the upkeep and condition of the costumes.
The marketing director is in charge of the public image of the production, and how it makes money. This includes advertising, marketing, promoting, and branding the production to help ensure its success. The marketing director works with the FOH manager, director, producer and advertisers.
A public relations director oversees the production and ensures that deadlines are met and people are communicated with. They work closely with the director and main managers across the whole production to make sure everyone is on track for the deadline of the production.
A director of audience services is in charge of all the FOH staff and aims to make the audiences experience as enjoyable and easy as possible. They supervise the ushers, ticket scanners, event operators, concession stands, house managers and volunteers to make sure they are doing everything correctly and up-to standard.
https://acttheatre.org/wp-content/uploads/2021/11/ACT-AdncSrvMgr-v1.pdf
A house manager is responsible for the smooth running of the FOH area, usually the seating, hallways, and entrance area. They oversee the audience's safety and wellbieng during, before and after the performance.
An usher is there to help the audience. They often guide the audience to their seats, check tickets, pass out programmes or answer audience questions. They are there to help the audience and are who the audience encounters, so act as the ‘face’ of the production a lot.
A ticketing agent is someone who sells tickets for the production. They are in charge of sales for the production and work with the FOH staff.
The crew chief is in charge of the moving of scenery and is the head of the stage staff. They ensure that scenery, staging and props are handled and moved properly, safely, carefully but quickly during a production. They work with the stage crew, set and prop designers and stagehands.
https://aact.org/crew-chief-or-crew-head#:~:text=Home,of%20building%20and%20shifting%20scenery.
The janitor is responsible for keeping the venue stocked and clean. This includes clearing auditoriums for performances, restocking tissues and cleaning surfaces, to make sure the audience is as happy and welcomed as possible.
The company manager is responsible for the logistics of the production. They are responsible for lots of administrative roles, like payroll, contract discussions, accommodation and travel of the crew, scheduling etc, and are one of the main communication points for the entire crew, as these people know everything that is happening.
A literacy manager reads and evaluates a script to see which one should be chosen. They go through plays and make recommendations to the artistic departments on whether the play would be a good one to produce or not.
The director of development is in charge of growing the production or company. They work with the director, producer and other staff to expand the production, or take it to the next level.
A dresser is someone who helps look after the costumes and preserve them for shows. They report into the costume manager or supervisor and are in charge of cleaning and maintaining the costumes in a production.
The fly crew in in charge of operating the fly system. This is a series of ropes, Pullys or strings that allow the curtains to open and close, setting to be pulled up and add to the drama of the production.
The spotlight operator is in charge or operating and controlling spotlights for the production. They work closely with the lighting design and technicians so that the lighting flows with the piece and adds to the mood of the production.
The wardrobe crew help the actors get into and out of costumes, and maintain the costumes when not in use. They work closely with the actors, hair and makeup, costume design and backstage departments.
The call boy is someone who runs between the stage and dressing rooms to collect people, so that they do not miss their que to go onstage. This means that the backstage area is left clear and helps to ensure the smooth running of the production.
But how do all these roles fit in together?
It is a long and complicated explanation...so have a diagram instead!
So now that you know how the theatre runs and who does what, let me introduce you to our latest project, The Halloween Spooktacular 2023! Gloucestershire College works closely with the charities and businesses around Gloucester, and this year one of them contacted the HE (Higher Education) Performing arts department and asked us to put on a fundraiser for their Charity: Gloucester Welcomes Refugees.
https://www.gloucesterwelcomesrefugees.co.uk