Technical Crew

The technical crew work behind the scenes to ensure that the show looks and sounds as good as it can. During the performance, the crew are responsible for their individual duties, mostly working the lights, mixing the sound and keeping the cast on time and in check. The crew also work on the scene changes during the interval.

Technical Director

Oversees the production and is overall responsible person (and nominated RP), see the main article.

Stage Crew

Stage Manager

Oversees the backstage area. Is responsible for the cast, see the main article.

Assistant Stage Manager

An assistant stage manager assists the stage manager, very simple. More precisely, an ASM will be in charge of the props and costumes or any other duties that the SM or TD delegate to them. Depending on the scale of the performance and the size of the crew, an ASM is of equal rank and importance to the SM.

Technical Operators

Sound Manger

Will oversee sound and sound equipment. Mixing radio mics that are attached to principles on the night and mixing in any other amplification mics such as the boom mics across the front of the stage.

Sound Assistant

If necessary, a sound assisstant can work sound effects, be responsible for collecting and setting up wireless units. Also, as sound requires listening to the performance, the sound assisstant(s) can be on comms to keep some communication between the sound manager and the rest of the crew.

Lighting Manger

Will oversee the lighting of the show. Will either cue the lighting changes themselves or with directions from the Technical Director. Can be responsible for hiring additional lighting equipment depending on level of experience with this. A knowledge of how to work a lighting desk is helpful although AV can provide some assisstance with this. Patience is essential as directors will suggest "interesting" lighting that may be difficult to achieve. Try to make sure there is a lighting plan before show week.


Follow Spot Operators

Although a dirty and thankless job, follow spots are essential lighting jobs. Follow spots are responsible for highlighting individual perfomers as well as for some effects that cannot be generated any other way. It is essential to wear cool clothing as these things can heat up quite a bit. We also have safety gloves which may be useful to avoid burning your hands. FS operators are on comms and recieve cues from the Technical Director or Lighting Manager.

To find the performer before fading up, you can 'ghost' them; this is by turning the brightness up to just bright enough to see, yet dim enough not to be viewable by the audience. Please do not ghost using the iris as this leaves a very visible dot on the performer, which is noticable by audience and looks ugly. Fading in and out should be done with the brightness lever / control although they are sometimes linked to the lighting desk. When both spots are on, try to match the size and shade of the other, this can be done prior to the show by pointing the spots at the projection screen and matching them, although mostly this has to be constantly adjusted. There are, sort of, two schools of thought for what to do with spots; you can either light the whole body of a performer or just their head and shoulders - the former certainly looks less retarded but the latter ensures the spot doesn't spill onto areas that it doesn't need to. Basically, the FS job does have some nuances beyond "point the shiny thing at the singing thing", so its often good to get some practice in by mock spotting the people who are walking around Central Hall during set up time.

Projection Operator

An entirely thankless job often with much time spent doing nothing at all. When we use projections they can range from a single song with many cues to simply backgrounds for scenes, changing comparably to LX cues. This may be performed by the TD or another crew member with the relevant time to spare during the show.

Ad Hoc Roles

Often people with experience are needed to help a virgin committee or unexperienced directors get the best out of the production - or as just an excuse to tag along and put in their oar. In these cases, they can be appointed to a series of ad hoc roles that, while not essential to the show, are useful positions in order to make use of epxerience and give due credit where needed. Many larger shows with bigger budgets and crews will have these as separate individuals for good reason, but for small amateur scales they are less necessary.

Production Manager

Oversees the logistics of the production, including health and safety and venue liason, see the main article.

Production Designer

Does all the visual aspects of productions; designing the set, costumes, lighting and branding for the show, see the main article.

Stage Consultant

Operates just above the Stage Manager. No one is quite sure why.

Technical Consultant

Useful for hiring and setting up of the sound and lighting equipment for novice TDs.

Back of House Manager

This is a nominated position for the sake of University health and safety regulations and the social events form. This is therefore usually the SM but isn't always the case. The Back of House Manager oversees the health and safety aspects of the backstage area, mostly keeping walkways clear and talking with the university's duty manager on the night about such things.

Deputy Stage Manager

Contrary to popular opinion, ASM and DSM are not the same roles. Notably, you can have multiple ASMs, but only one DSM. The DSM "calls the show" usually cuing the sound and lighing from the gantry - i.e., they are the one that annoying says "LX standby" every few seconds. Most often this job is taken by the Technical Director, but is useful to have around if you want to do the actual professional definition of stage management.

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