<p>Hi all,</p>
<p>I wanted to spend a moment or three putting words on screen in an attempt to clarify the not-so-obvious world of technical theatre, vis-a-vis who does what. This is a very basic lowdown on the topic, so if you have a good grasp on the world of backstage jobs you'll probably want to skip this. Please don't feel I'm insulting your intelligence. It's not meant as such. I've heard from enough parents on the topic that I thought I would just start a thread...</p>
<p><strong>There are a ton of online and print resources available explaining everything below better than I can do it here.</strong></p>
<p>It's a common mistake, but it is important to note only stagehand are considered technical positions. I'll go into their various job titles shortly. They execute the design of each department's designer.</p>
<p>Designers are NOT technical, though many many designers started off in shops building other's designs. Designers are creative positions, and work directly with the director of a production to realize the physical (and aural) world of the show. Some directors are more collaborative than others, but in the world of professional theatre most directors choose their own designers or at least work well with those assigned to them. Most of the time.</p>
<p>Stage managers are neither technical nor creative. They are facilitative. They straddle the creative and technical worlds. The following is a very broad description of the SM's duties and only barely scratches the surface. In the early life of a production, the SM tends to be very organizational in their work. The who, what, when where and why of a show. Later, in the process leading up to "tech", they shift gears and become more technical. They spend a great deal of time communicating the needs of the developing production to those who will be providing them during the actual load in and performance. Once the show is in tech, the SM and the designers, along with the director determine the scenic, lighting, audio, video and any other necessary cueing. Once the show is open the director and designers typically go away. All that is left is the stage manager, actors and crew. It is up to the SM to ensure that every performance subsequent to opening night maintains the same artistic qualities established during rehearsal and tech. This includes giving cast and crew notes as necessary. Moreover, the SM must be able to "call" a show properly, and with enough sensitivity to make cues "land" in such a way that the intended emotional impact of a cue is achieved.</p>
<p>Most companies large and small also have a production manager. They are technical/administrative. They establish production budgets, staffing and scheduling. In many smaller companies the PM is also technical director, or TD, who is the head of the scene shop. Sometimes the term TD is used interchangeably with PM, though this is generally incorrect. The PM and stage managers are oftentimes in a close working relationship, especially during "pre-production" the period before rehearsals and construction begin. SMs also work closely with all of the department heads below.</p>
<p>Back to stagehands. Stagehands are an interesting lot, and have a subculture all their own. Most hands I know take their job pretty seriously, and are quite proud of their contribution to the artistic process. Those who would minimize their contribution to the production would be wise to avoid condescension. It's hard to do Death of a Salesman naked, on a dark stage.</p>
<p>Early in a stagehand's career most will be both on the construction as well as the "run crew". High school, college and smaller companies see this more than professional theatres. Those larger companies have their own dedicated scenic, audio.video, lighting, prop and costume shops staffed with a "day crew" who simply build the designs given to them. Once the show goes into tech (and through the run of the show) a "run crew" will take on all the necessary jobs a show requires. </p>
<p>How many positions does this world of production entail? A lot. Usually more people behind the scenes than on stage. I'm sure I'll miss some so please forgive me. CC only gives a guy 15 minutes to edit. Dumb rule...</p>
<p>Costume Department:
Costume shop manager
Cutter/Drapers
Stitchers
Maintenance
Milliner
Hair/Wig construction and maintenance
Wardrobe Supervisor
Dressers</p>
<p>Props Department:
Department head
Various craftspeople, some with specialties like foam, paper goods, woodworking, etc.
Prop run crew</p>
<p>Lighting Department:
Master electrician
Electricians
Light board operator
Deck electricians</p>
<p>Scenic:
Technical director
Assistant TD
Shop carps, some with specialties like welding, plumbing, etc.
Show carps</p>
<p>Scenic Art:
Charge artist
Scenic painters</p>
<p>Audio Department:
Department head
Audio assistants
Playback operator
Mic wrangler</p>
<p>Video Department:
Video editor/Watchout operator</p>
<p>Want to learn more about what your kid is into? Want them to know what the big boys are up to these days? There are several professional magazines which can help:</p>
<p>Live Design
Stage Directions
FOH (for audio)
Lighting & Sound America
Yale Technical Brief
Projection, Lights and Staging News PLSN</p>
<p>Whew, OK - That was 2 hours I'll never get back. I hope it was helpful!</p>
<p>...and please don't call stagehands "techies"...</p>