Production Roles

Year 11 production

Student name	kimberley mccuaig
1st choice	marketing
2nd choice	Fundraising
3rd choice	Drama Turg

Please give reasons why you think you would be able to be effective in your first choice of production role:

Marketing Team: I believe that I would be good in this role as I have had lots of experience of making advertisements for media studies and therefore would be able to make one in for our show in order to increase ticket sales. I also believe I will be able to easily identify an audience to aim‘Great Expectations’ at and take steps to advertise it to them. I am also good with numbers and could therefore deal with the financial implications involved within this job role.

Year 11 production roles
JOB	RESPONSIBILITIES What planning/preparation, skills & tasks are involved? What materials/equipment is needed? What obstacles to get in the way of the job being completed by performance? How could these be overcome?
DSM	· DSM must be team players to work for the successful production of a show. Must be dedicated to motivate rest of the class. Must spread enthusiasm to the other members of the class. Must be organised as it is a Deputy Stage Managers job to keep production information readily available. Might also include liaising with theatre/space · Need a note pad/diary/organiser. Possibly a laptop to make notes. Also need a recording device to record and make notes about the rehearsal. · Some members of the class may not agree with the decisions and suggestions made. Losing or misplacing notes and information about the production. · Enthusiasm, confidence and dedication must be included when presenting your suggestions so others have faith in your decisions and ideas. Organising and saving documents will prevent the misplacement/loss of notes.
ASM	· ASM includes helping director and artists with their smaller errands. Must check props and furniture, operating equipment. Also follows up work needed for the DSM. · Need a note pad/organiser. Needs to have a telephone for communication. Comfortable shoes/footwear. · Having a lack of communication between the DSM and the ASM. Not having a willing attitude. Also having an awareness of note making will help. · Communicational skills will be needed as a relationship must be formed between the DSM and ASM to get jobs done efficiently and quickly. Having good navigational skills will help when locating props or running errands for artists/actors.
CHOREOGRAPHER	· Helping actors to physically play animal characters, characters of another gender, drunken characters, and so on. · Helping to stage theatrical stunts.Being able to help the cast with movement on stage and rehearsing with them regularly. · Some actors/actresses won’t be able to do what you’re telling them to do straightaway, so rehearsals and ‘training’ is key.
DRAMATURG	· Encouraging, and helping directors get to grips with, new writing. · Working closely with playwrights to achieve a script that will work in a stage. · Reading and researching plays, and devising new work. · Adapting the stage. · Editing (cutting) parts of the production to benefit the play and actors/actresses. · Obstacles that could get in the way of this role would be if parts of the production couldn’t be cut or the research of the plays couldn’t help with your own stage adaptation.
MARKETING TEAM	· Come up with ways to attract audiences – these might be special offers on tickets, or an exciting poster campaign. · Oversee the design and printing of brochures, leaflets and posters. · Being able to be confident enough to target certain audiences and make sales. · Being able to fundraise within the marketing. · Sometimes, certain fundraising and campaigns don’t work attracting audiences, so being able to come up with many different ideas and put them into place is a great skill to
DESIGN TEAM	This will be made up of 3/ 4 people: · This role will consistent of the designing and budgeting of many different parts of the show i.e. stage, set, costume, prop etc. Should be good thinkers, quite artistic and work well in a team. · Probably need book and pen/pencils for initial ideas. Then more specific measuring equipment will be needed. Possibly also the use of a computer for inspiration and software. · Members of the cast may not agree with the decisions and suggestions made. Losing or misplacing notes and information about the designs. Also the ideas must be appropriate for the show. · Enthusiasm and dedication are a must when presenting your design ideas. I also think faith of the cast will come from having confidence and evidence that your pieces will work in the theme of the show.
TECHNICAL TEAM	This will be made up of 3 / 4 people: · In a theatrical performance, the production team includes not only the running crew, but also the theatrical producer, designers and theatre direction. They work on everything technical, everything from sound to lighting. · Equiptment will be anything they have access to that will help them. E.g. Sound software, computers, lighting box etc. Will also need sketch book for designs. · Having a lack of communication between the technical team and the director. This could cause confusion over the vision of the show and the eventual outcome. · Communicational skills will be needed as a relationship between the director and technical team must exist. There is also a strong need for artistic flare, in your designs/must be unique; innovative.
COMPANY MANAGER	· An essential skill for theatre stage managers is people management, as it is their role to coordinate all aspects of a theatre company to ensure the successful delivery of the performance. · Organizational equipment will be needed to manage rehearsals, actors, technicians, props and costume fittings, as well as liaising with front of house staff and the director. · There will be issues if the company manager does not have a good understanding of both the technical and artistic elements of the performance, as they will not be able to fulfill the director's requirements. · Make sure that he/she liases with the director about there vision and the step needed to get there. Also be realistic with the size of the production and keep people on task.
MUSICAL DIRECTOR	· Musical directors will conduct a group or orchestra. This involves having a clear idea about the performance of a piece of music and leading a group of musicians to realise this idea. · Organisational equipment in order to prepare the rest of the team. Also access to information about music and a computer. · Also have a good knowledge of music and how to run a team. Must also understand the different types of mood and atmosphere different music creates. · Make sure they have a good knowledge of music and research about how the play was previously performed/other adaptations.
MUSIC TEAM	· Being able to play instruments and come up with different music to fit the genre of the production. · Will probably need musical instruments and music software on a computer. Also need script and notepad to interpret script and moments that need music. · If a team member cannot take direction well. Does not listen to the musical director. Does not show enthusiasm or ideas for the piece. · Make sure the musical director is both strong and enthusiastic enough in order to enable the team to take instruction. Also essential that the team are working with the director as appose to against them.
FUNDRAISING	· Coming up with many ideas, and trying the majority of them all out to see which ones do the best for further productions and marketing. · Being able to budget within all of your fundraising. · Being confident and friendly. · Talking to the right people when needed, in order to lengthen your budget. Maybe do surveys (ask around) to find out what people would spend money on within school to help sales.
MAKE UP	· This role will consistent of the designing and budgeting for the need and use of make up during the show. · Should be good thinkers, quite artistic and work well in a team. Also good idea of time management and preparation for the show. · Probably need book and pen/pencils for initial ideas. Then more specific measuring equipment will be needed. Possibly also the use of a computer for inspiration. · Members of the cast may not agree with the decisions and suggestions made. Losing or misplacing notes and information about the designs. Also the ideas must be appropriate for the show. · Enthusiasm and dedication are a must when presenting your design ideas. Having experience in stage make up is also essential.

Performers: e.g. Actor

The work involved in the job:

·      job seeking and networking;

·      liaising with an agent;

·      preparing for and attending auditions

·      learning lines and rehearsing;

·      researching or undertaking activities to help prepare for a part

·      performing for a live audience

·      performing in a studio or 'on location' for film, television, internet and radio broadcast;

·      doing voice-overs for advertisements or recording audiobooks;

·      managing the performance area, costumes and props;

·      undertaking activities associated with touring, such as driving a van, ‘get-ins’ and ‘get-outs’ at theatres (i.e. setting up and dismantling the performance area);

·      liaising with venue managers and accommodation providers;

·      keeping records for company managers;

·      working as a walk-on or extra for television or film.

The qualities, skills and qualifications/training the job holder might need:

·      Memorise lines quickly and accurately

·      Posses vocal skills such as good projection

·      Good communication skills

·      Versatile

·      Adaptable

·      Willing to accept and learn from direction

·      Be able to take risks

·      Confident

·      Committed

Although specific training may not be a formal requirement, a very large and increasing number of actors have undertaken formal training in acting or the performing arts.

Any organisations or people they will have to work with or have contact with as part of their job:

·      Agents  -Every actor has their own individual agent. Agents find them auditions that are not open to the general public. Without an agent, actors will find it hard to find many auditions meaning that it is crucial for the agent and actor to have a good, communicative relationship.  An agent would work with the casting director by approaching them with the actor they are representing and pitch why they would be good for the part.

·      Directors – Working actors will most likely have a director in each project they perform in. Actors might meet directors at auditions or after they have been cast. Actors will work incredibly closely with the director to ensure their part is perfected during the rehearsal period. The director has complete control over what the actor does which results in the actor having to take direction and feedback as well as attempt to make offers.

·      Producers – Actors would meet the producer as the audition and would have to make an impact because he would need to be confident enough to invest in the actor financially.

·      Costume fitters – Actors work with costume designers when they have been cast in a project. What a character wears can really help with characterisation and define a characters personality.

·      Sound engineers – Actors would work with sound engineers when rehearsing. If it was in a theatre, they would check that the sound was not too loud over the actor’s voice as well as check the microphone was working effectively. The sound engineer and light engineer would work very closely to find out how the light and sound can both be used effectively.

·      Lighting engineers – Actors would also work with lighting engineers when rehearsing. They would have to communicate weather the light was the right amount of brightness and discover how lighting could make a scene more effective.

·      Make-up artists – Make-up Artists often work with actors to make sure they do not look ‘washed out’ on stage by adding more colour and brightening their faces. They can also be used for special affects make-up e.g. bruises and wrinkles.

·      Casting Directors – Every actor faces casting directors when going into an audition. They have to impress casting agents with their acting skills as well as their memorable personality.  The casting directors would work very closely with the Producer and Director, telling them their opinions but in the end the Director and Producer can make the final call.

Arts Administration: e.g Box Office Staff

The work carried out by box office staff is often centred on a range of short administrative tasks. This can include:

• Taking telephone bookings and ticket purchases
• Advising enquirers about seating and ticket prices
• Issuing tickets on the night of a performance
• Selling programmes and other promotional materials  
• Issuing tickets to ticket agents are supplied with a suitable allocation of tickets and that these are recorded accurately 
• Ensuring the security of the box office and any monies taken, and ensuring that the Box Office takings accurately balance at the end of a shift.

Qualifications/Skills:

• Capability of communicating positively with guests to establish their needs efficiently and courteously.
• Skill to handle cash responsibly and accurately
• Ability to develop a growing knowledge of Ticketmaster
• Computer literate ( full training will be given) Basic understanding of maths to calculate ticket sales
• Presentable to the public and be well spoken and polite both in person and on the phone
• Be confident in handling money and processing card payments
• Be computer literate - although training will be given, volunteers must have a good understanding of computers

Any organisations or people they will have to work with or have contact with as part of their job (in a bulleted point list) –

·      The Public

·      Other members of staff

·      People that are dispatching goods

Production roles: Sound Engineer 

The work involved in the job:

·      Makes sure that any audio or sound that is picked up by microphones, amplifiers, etc. is processed properly.

·      Handles the mixing board and adjusts volume levels of the microphone and the sound coming from various musical instruments used in a performance. 

·      Makes sure the singer can be heard above the instruments while assuring that the whole listening experience is pleasant and well-balanced.

The qualities, skills and qualifications/training the job holder might need:

·      Punctual

·      Flexible

·      Works well with others

·      Willing to travel

·      Can thoroughly conducts mic and sound checks before a performance

·      Surveys the venue to determine the best placement of mics, amps, speakers, etc.

·      Makes sure that the audio/sound can be heard by the whole audience, even those in the back

·      Makes sure the audio/sound, whether live or taped comes out clearly without any disturbances such as mic feedback

·      Knows how to install and repair his/her equipment

Any organisations or people they will have to work with or have contact with as part of their job (in a bulleted point list):

·      Musicians

·      Actors

·      Producers

M2 – Performance Job – Actor

An actor has to possess many skills and qualities in order to have an on-going and successful career. It is crucial to have good communication skills. This includes having a good vocabulary and articulate speech. This is important because it is key to impress casting agents and without good communication, it is easy to not make an impression and to be forgotten instantly. A good memory is also important for memorizing lines. It is common for actors to have to learn lines in a very short amount of time, so having a good memory is a great help. A good physical ability is important as well, as long hours are often required. Timing is also important, this helps to sound natural when speaking lines. Key things such as dedication and 

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