1. GC1: Job roles in the
production arts industry

2. Hierarchical structure
Assistant
props mistress
Assistant stage
manager
Assistant
costume mistress
Lighting
operator
Props
mistress
Deputy stage
manager
Costume
mistress
Sound
operator
FOH
manager
Sound
designer
Lighting
designer
Stage
manager

3. Stage manager
Roles vary depending on the size and type of organisation, but the tasks stage managers will
typically be expected to carry out include:
O Setting up and running rehearsal schedules
O Procuring all props, furniture and set dressings. In small companies, the theatre stage manager
may also assist in set construction
O Arranging costume fittings
O Distributing information to other mangers (e.g. FOH manager)
O Managing the props and possibly the design budgets and liaising with the production manager
regarding costs
O Supervising the 'get in' and the 'get out'
O Making changes to the set between scene changes
O Prompting actors and cueing technicians using the script
O Ensuring a good working practice
O Running the backstage and onstage areas during performances
O Calling actors for rehearsals and performances
O During a long run, maintaining and replacing props and costumes as required

4. FOH manager
O Roles vary depending on the size and type of organisation, but
the tasks stage managers will typically be expected to carry out
include…
O Ensuring a high level of customer service
O They are responsible for liaising with the Stage manager
O Briefing Front of House staff and Ushers on the show and
making sure they are aware of any important information for
that evening's performance.
O They also deal with any problems or complaints on the night.
O At other times they complete administrative tasks and compile
staff rotas

5. Sound designer
O Roles vary depending on the size and type of organisation, but the
tasks stage managers will typically be expected to carry out
include…
O Design – Designs the sound on equipment such as sound forge.
O Install – Installs the sound equipment and decides where it goes.
For example speaker stage right.
O Operate – Operates the sound desk during shows.
O Works extremely closely with the director or choreographer.
O To be able to evoke emotion, create and reflect mood and
underscore the action.
O To be able to source the sound (record or find pre-recorded sound).
O To be able to edit and manipulate sound.
O Diegetic sound – A sound an actor reacts to.
O Non-diegetic sound – A sound that the audience hear but actors
don’t respond / react to.
O To be able to layer sounds.
O Know the difference between radio mics, ambient mics, orchestral
mics and backstage mics / radios.
O To be able to take the script and analyse whats required and when.
O To be able to create cues. E.g. act 1 scene 2 – violins fade in.

6. Lighting designer
O Roles vary depending on the size and type of organisation, but the
tasks stage managers will typically be expected to carry out
include…
O To be able to work with the director, set designer, costume
designer, and/or sound designer to create the lighting, atmosphere
O To be able to rig and focus lights
O Know how to draw up lighting plans and colour calls
O To be able to operate the lights when needed.
O To be able to program lights
O To be able to evoke the appropriate mood
O To be able to indicate time of day and location
O To be able to shift emphasis from one stage area to another
O To be able to reinforce the style of the production
O To be able to make objects on stage appear flat or three
dimensional
O To be able to blend the visual elements on stage into a unified
whole.

7. Sound operator
O Roles vary depending on the size and type of organisation, but
the tasks stage managers will typically be expected to carry out
include…
O To have a good knowledge of cables and sound equipment
O To be able to know how to use QLAB
O To be able to use editing software like Audacity and Logic Pro.
O To be able to create que’s (E.g. Fade down when goodbye is
said)
O To be able to use a sound desk
O To be able to rig sound equipment

8. Lighting operator
O Roles vary depending on the size and type of
organisation, but the tasks stage managers will
typically be expected to carry out include…
O To be able to use the lighting desk (Desks may vary
depending on the size of the theatre and show.
O To be able to program the lights along with the
lighting designer
O To be able to rig and focus according to the lighting
plans and focus notes.
O To be able to read and use lighting plans, colour
calls, focus notes and cue sheets
O If lights don’t work they will to be able to
troubleshoot lights and be able to fix them.
O To be able to know all about the different types of
lights (e.g. a Parcan, CCT Fresnel)

9. Costume mistress
O Roles vary depending on the size and type of organisation, but the tasks
stage managers will typically be expected to carry out include…
O To be able to create the characters and balance the scenes with texture
and colour
O To be able to work alongside the director, scenic, lighting designer,
sound designer, and other creative personnel.
O The costume designer may also collaborate with hair stylist, wig master,
or makeup artist.

10. Assistant costume mistress
O Roles vary depending on the size and type of organisation, but the tasks stage
managers will typically be expected to carry out include…
O To be able to work under the supervision of the costume designer.
O To be able to support the costume designer in his or her work (e.g. script and
costume breakdowns, helping produce and track the budget, and research.)
O The scope of the assistant’s responsibilities vary based on the needs of the
designer, but typically include managing the inventory of costumes and
materials, scheduling fittings with the cast.
O To be able to give creative input, and is responsible for taking notes for
alterations, measurements and reference photographs.

11. Deputy stage manager
O Roles vary depending on the size and type of organisation, but the tasks stage
managers will typically be expected to carry out include…
O To be able to work with the backstage crew, director and actors during ever
performance and rehearsals.
O To be able to record everything in the script so that there is an accurate record of
everything an actor does in the play from when they enter the door, to when they
finally exit.
O To be able to create sound cues, lighting cues and cues for stage hands to move
scenery of and on the stage
O To be able to help coordinate the rehearsals.
O To be able to record everything that goes on in the script
O To be able to call the actors and crew to the stage for the start of the performance.
O The DSM gives the first cues to the technicians in the sound and lighting box
O To be able to follow the script, cueing the lighting changes, sound effects, music,
scene changes and also speaking to the dressing rooms to let the actors know that
their entrances are approaching.

12. Props mistress
O Roles vary depending on the size and type of organisation, but the tasks stage
managers will typically be expected to carry out include…
O To be able to build, make and buy the props needed for a production.
O To be able to make sure that the props are well-maintained for the duration of the
show.
O To be able to liaise with carpenters, artists and other staff in the prop department.
O To be able to manage the props budget
O To be able to make a list of the props needed, ordering or going out to buy props,
O To be able to liaise with the director and production manager, attending
rehearsals to assess changes to be made to props.

13. Assistant props mistress
O Roles vary depending on the size and type of organisation, but
the tasks stage managers will typically be expected to carry out
include…
O To assist the props mistress in all of their roles
O To be able to create a props table
O To be able to read the script and pick out important
information about all the props.