Few theatre companies, amateur or professional, have one person for each and every job that
needs to be done on a production – most people wear two or more hats. In the professional
theatre there are some union jurisdictional lines that can’t be crossed, but in amateur productions
it’s not uncommon to see the actors helping to put up the set, the person doing the lighting design
also running the sound board, and the director handing out programs. The list that follows or
positions on the production team is extensive, but it is by no means exhaustive – individual
companies and productions may have unique needs that require other positions to be created.
Producer – The most powerful position in the company. Controls the money and oversees all
departments, though officially has no creative input. The position has been largely phased out in
recent years, though the duties still remain, often in control of the companies themselves, or their
boards of directors.
Director – The creative head of the production. The director thoroughly analyses the play prior
to the start of rehearsals, chooses the cast, collaborates with the design team, conducts all acting
rehearsals and dictates the placement and execution of all technical cues to the stage manager
during the tech rehearsal, as well as many other duties. The director is the supreme creative
authority on the production. All creative choices, from the sound effects used to the costume
design to which type of book the actor is holding when the lights come up must all be approved
by the director.
Production Manager – The head of all technical departments in the company. Responsible for
creating schedules, delegating duties to the rest of the production team, creating and maintaining
technical paperwork for each particular show (in conjunction with the stage manager), adhering
to established budgets and solving technical problems.
Technical Director – Duties often the same as the Production Manager, but when there is both a
PM and a TD the latter will usually be overseeing and assisting with the hands-on production
work, as opposed to doing a lot of paperwork.
Stage Manager – the supreme non-creative authority in rehearsals and during performances.
Makes a thorough record of the production in his or her prompt book, communicates relevant
information from rehearsals to the rest of the production team, and calls technical rehearsals and
performances. Once the final dress rehearsal is finished and the director has given his or her final
notes complete creative control of the production is handed over to the stage manager, who is
responsible for maintaining the integrity of the director’s interpretation of the play throughout all
performances of the show.
Set Designer – Creates the design of the physical environment of the play through a thorough
analysis of the script, the principles of design, historical or other research, personal motif and the
capabilities and specifications of the particular theatre the show will be performed in. All this is
done in close collaboration with the director.
Costume Designer – Creates the designs for all clothing (including hats, shoes and accessories)
that each actor wears throughout the play through a thorough analysis of the script, the principles
of design, historical or other research, personal motif and the capabilities and specifications of the
particular theatre the show will be performed in. All this is done in close collaboration with the
director.
Lighting Designer – Creates the design for all lighting states and changes during the play
through a thorough analysis of the script, the principles of design, historical or other research,
personal motif and the capabilities and specifications of the particular theatre the show will be
performed in. All this is done in close collaboration with the director.
Sound Designer – Creates the audio environment of sound effects, background music, pre and
post-show music and underscoring for the play through a thorough analysis of the script, the
principles of design, historical or other research, personal motif and the capabilities and
specifications of the particular theatre the show will be performed in. All this is done in close
collaboration with the director.
Head Carpenter – Analyzes the Set Designer’s drawings, creates any additional drawings needed
to facilitate construction as well as paperwork, and consults with the set designer throughout the
construction process. Oversees set construction crew, if any.
Set Painter – Also known as a Scenic Artist, responsible for buying or mixing the correct type
and quantity of paint for a particular show, and applying it as per the designer’s renderings.
Oversees paint crew, if any.
Props Master/Mistress – Responsible for buying/borrowing/begging or building all set elements,
set dressing and hand props for a production, securing rehearsal props, and organizing the set-up
of all props in conjunction with stage management. Oversees props crew and may be responsible
for props during a production.
Costumer – Also known as a Costume Master/Mistress. If working backstage during a show
called a Dresser. Responsible for providing all costumes for actors, conducting measurements,
fittings and doing alterations. Working as a dresser involves setting up costumes for
performances, assisting actors with quick changes, fixing damaged costumes and doing laundry.
Oversees Costume Assistants.
Head Electrician – Also called Head LX, Master LX or 1st LX. Subsequent crew known as 2nd
LX, 3rd LX, etc. Responsible for interpreting the lighting design, preparing for the lighting hang,
overseeing/conducting the lighting hang, focus and level set. Responsible for lighting
maintenance during the run of the show, and operating the lighting board.
Head of Audio – Also called Sound Engineer, Sound Operator or Mixer. Duties include sound
set-up, operation and troubleshooting.
Head Rigger – Also called Fly Operator, in theatres with Fly Galleries. Responsible for safely
securing anything to be suspended from the grid, and for operating any “fly” cues during the
show, be they scenery, lighting or even actors. Must be properly trained.
Assistant Stage Manager – May be one or two per production. Assists the Stage Manager in
any necessary capacity during rehearsals and remains backstage during performances to conduct
presets, scene changes, hand-offs, quick changes and any other necessary duties. Responsible
for any backstage crew.
Running Crew – Responsible for duties during shows, including Follow Spot operation, Scene
Changes, Props hand-offs, quick changes and any other duties for which there are insufficient
available crew already. Also a generic name for all technicians working on “show call.”
House Technician – Often covers the duties of Head LX/Audio. Responsible for maintaining the
technical areas of a theatre space and its technical equipment, and working on shows in whatever
capacity is necessary. More closely associated with a performance venue than a specific
production.
Production Assistant – The ultimate catch-all, entry-level position, duties can include pretty well
anything assigned to them, but in theatre usually the emphasis is on props, costumes, assisting
with heavy lifting, and working as running crew during shows.
needs to be done on a production – most people wear two or more hats. In the professional
theatre there are some union jurisdictional lines that can’t be crossed, but in amateur productions
it’s not uncommon to see the actors helping to put up the set, the person doing the lighting design
also running the sound board, and the director handing out programs. The list that follows or
positions on the production team is extensive, but it is by no means exhaustive – individual
companies and productions may have unique needs that require other positions to be created.
Producer – The most powerful position in the company. Controls the money and oversees all
departments, though officially has no creative input. The position has been largely phased out in
recent years, though the duties still remain, often in control of the companies themselves, or their
boards of directors.
Director – The creative head of the production. The director thoroughly analyses the play prior
to the start of rehearsals, chooses the cast, collaborates with the design team, conducts all acting
rehearsals and dictates the placement and execution of all technical cues to the stage manager
during the tech rehearsal, as well as many other duties. The director is the supreme creative
authority on the production. All creative choices, from the sound effects used to the costume
design to which type of book the actor is holding when the lights come up must all be approved
by the director.
Production Manager – The head of all technical departments in the company. Responsible for
creating schedules, delegating duties to the rest of the production team, creating and maintaining
technical paperwork for each particular show (in conjunction with the stage manager), adhering
to established budgets and solving technical problems.
Technical Director – Duties often the same as the Production Manager, but when there is both a
PM and a TD the latter will usually be overseeing and assisting with the hands-on production
work, as opposed to doing a lot of paperwork.
Stage Manager – the supreme non-creative authority in rehearsals and during performances.
Makes a thorough record of the production in his or her prompt book, communicates relevant
information from rehearsals to the rest of the production team, and calls technical rehearsals and
performances. Once the final dress rehearsal is finished and the director has given his or her final
notes complete creative control of the production is handed over to the stage manager, who is
responsible for maintaining the integrity of the director’s interpretation of the play throughout all
performances of the show.
Set Designer – Creates the design of the physical environment of the play through a thorough
analysis of the script, the principles of design, historical or other research, personal motif and the
capabilities and specifications of the particular theatre the show will be performed in. All this is
done in close collaboration with the director.
Costume Designer – Creates the designs for all clothing (including hats, shoes and accessories)
that each actor wears throughout the play through a thorough analysis of the script, the principles
of design, historical or other research, personal motif and the capabilities and specifications of the
particular theatre the show will be performed in. All this is done in close collaboration with the
director.
Lighting Designer – Creates the design for all lighting states and changes during the play
through a thorough analysis of the script, the principles of design, historical or other research,
personal motif and the capabilities and specifications of the particular theatre the show will be
performed in. All this is done in close collaboration with the director.
Sound Designer – Creates the audio environment of sound effects, background music, pre and
post-show music and underscoring for the play through a thorough analysis of the script, the
principles of design, historical or other research, personal motif and the capabilities and
specifications of the particular theatre the show will be performed in. All this is done in close
collaboration with the director.
Head Carpenter – Analyzes the Set Designer’s drawings, creates any additional drawings needed
to facilitate construction as well as paperwork, and consults with the set designer throughout the
construction process. Oversees set construction crew, if any.
Set Painter – Also known as a Scenic Artist, responsible for buying or mixing the correct type
and quantity of paint for a particular show, and applying it as per the designer’s renderings.
Oversees paint crew, if any.
Props Master/Mistress – Responsible for buying/borrowing/begging or building all set elements,
set dressing and hand props for a production, securing rehearsal props, and organizing the set-up
of all props in conjunction with stage management. Oversees props crew and may be responsible
for props during a production.
Costumer – Also known as a Costume Master/Mistress. If working backstage during a show
called a Dresser. Responsible for providing all costumes for actors, conducting measurements,
fittings and doing alterations. Working as a dresser involves setting up costumes for
performances, assisting actors with quick changes, fixing damaged costumes and doing laundry.
Oversees Costume Assistants.
Head Electrician – Also called Head LX, Master LX or 1st LX. Subsequent crew known as 2nd
LX, 3rd LX, etc. Responsible for interpreting the lighting design, preparing for the lighting hang,
overseeing/conducting the lighting hang, focus and level set. Responsible for lighting
maintenance during the run of the show, and operating the lighting board.
Head of Audio – Also called Sound Engineer, Sound Operator or Mixer. Duties include sound
set-up, operation and troubleshooting.
Head Rigger – Also called Fly Operator, in theatres with Fly Galleries. Responsible for safely
securing anything to be suspended from the grid, and for operating any “fly” cues during the
show, be they scenery, lighting or even actors. Must be properly trained.
Assistant Stage Manager – May be one or two per production. Assists the Stage Manager in
any necessary capacity during rehearsals and remains backstage during performances to conduct
presets, scene changes, hand-offs, quick changes and any other necessary duties. Responsible
for any backstage crew.
Running Crew – Responsible for duties during shows, including Follow Spot operation, Scene
Changes, Props hand-offs, quick changes and any other duties for which there are insufficient
available crew already. Also a generic name for all technicians working on “show call.”
House Technician – Often covers the duties of Head LX/Audio. Responsible for maintaining the
technical areas of a theatre space and its technical equipment, and working on shows in whatever
capacity is necessary. More closely associated with a performance venue than a specific
production.
Production Assistant – The ultimate catch-all, entry-level position, duties can include pretty well
anything assigned to them, but in theatre usually the emphasis is on props, costumes, assisting
with heavy lifting, and working as running crew during shows.
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