The Lomas Hall, Church Street, Stannington, S6 6BQ
In this section we'd like to tell you about all of the jobs and the processes that need to be done behind the scenes - the jobs done by the unsung heroes without whom no production could ever get off the ground!
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Every prodction ,no matter how simple, needs to have an army of backstage talent who are prepared to work in the backdround, unseen by the public, in order to make the production a visual and auditory spectacular. For every minute that the actors rehearse, the crew spend time building, designing, researching and planning the production.
For an experienced stage actor to forget their lines there are a number of get outs that the audience will never even notice, but for the back stage crew to miss an important cue there's little that can be done to cover up. Even with a script in hand this is a very stressful process leaving many backstage crew more nervous than the actors on stage!
There can be no ad libbing on set design, when it needs to be built, it's vital that it's all hand to the pump and that no matter what ihe cost blood, sweat or tears the set is built for the dress rehearsal. There are a few more jobs than you'd think too, so we've broken the page down into a few easy sections you can hotlink to!
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Scrolldown or hotlink to the section you're interested in.
The role of the Stage Manager is very wide ranging; in professional theatre many duties are delegated to the Deputy and Assistant Stage Managers, and in amateur theatre it is unusual for a Stage Manager to undertake the full range of duties, with some being done by other members of the team, and some not being done at all. During pre-production, the Stage Manager is responsible for arranging rehearsal premises and informing cast of rehearsal schedules; the other main job for the stage manager during rehearsals is the production of 'the book'. This is a copy of the script on which all production cues are written - those for lighting, sound, special effects and entrances of cast, for example. The Stage Manager will use this 'book' to successfully run the show.
The Stage Manager is responsible for managing and co-ordinating the back stage crew, including Set Designers, Lighting and Sound crew, Props, Wardrobe and Set Builders, and liaising with the Director to discuss the requirements of the production, and whether these are feasible. At the end of the rehearsal period the Director hands over responsibility for the show to the Stage Manager. During the production, the Stage Manager is boss!!
The Stage Manager's role during a production is to run the show. This includes following the book, and 'calling' cues to lighting and sound crew, calling cast to the stage ready for entrances, and ensuring the correct setting and striking of set and props between scenes. The most important of the Stage Manager's jobs is the responsibility for the health and safety of everybody on stage and back stage - and the theatre can be a very dangerous place.
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The job of lighting a production falls into two parts; design and operation. Though usually both roles are performed by the same person, this is not always necessary. The lighting designer will liaise with the stage manager and/or director to establish what lighting is required, and whether it is possible and how to achieve it. This largely depends upon the equipment available. A basic lighting plot would simply ensure that all parts of the stage are well lit, with no dark spots or shadows. Different moods can be created by varying the level of light, and also its colour. Colour effects are produced by the positioning of a coloured 'gel' (so called because originally they were made from gelatine) in a frame in front of a light. Simple effects can be produced with the use of a 'gobo', a cut out placed in front of a light, which can project shapes such as leaf patterns onto the stage or backcloth, to give an impression of the setting, or to break up large plain areas.
In professional theatre, the electrician responsible for lighting a production needs to have no knowledge of the actual production he is lighting. When the effects and lighting changes are decided upon, they are programmed into a computerised lighting board as numbered cues, ie LX1, LX2. During the production, the stage manager simply calls the cue numbers (which have been recorded in 'the book') to the lighting operator. In amateur theatre it is more likely that the lighting operator will have watched at least some rehearsals, and made their own note of lighting cues. It is also unusual for amateur theatre to have access to computerised lighting boards, and it is more likely to find, at best, a dimmer board with sliding switches to be used for lighting. In musicals or pantomimes, follow spots are often used. As the name suggests, these are spotlights used to 'follow' a soloist, the baddie etc. For obvious reasons, these have to be manually operated, and operation runs more smoothly if performers resist the urge to cavort about the stage too much, or change their movements totally each performance!!
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Sound equipment can very from computerised sound boards, to a person pressing buttons on a cassette player linked to speakers in the hall. At Stannington, sound equipment usually falls somewhere in between. The sound engineer comes under the management of the Musical Director, where there is one, otherwise the Stage Manager holds ultimate responsibility for sound.
Sound can include any recorded opening/closing music, music played whilst the audience are being seated, and any sound effects. Sound effects can be produced manually, can be found on specially compiled CDs and tapes, generated by computer or obtained from the internet. The sound engineer is also responsible for the operation of any microphones used by the cast or musicians.
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The most common special effects (other than lighting and sound effects) include smoke, dry ice, bubbles and flashes. These are most commonly (though not exclusively) used in pantomime, and each come with their own health and safety risks, which the operator must be aware of. It is the responsibility of the stage manager to ensure that the crew member operating any such special effects knows about any safety rules and restrictions. When considering the use of smoke machines, dry ice etc, the ventilation of the stage area and height of stage area must be taken into account. It is essential that smoke can clear quickly, so it doesn't choke and obscure the cast, and doesn't billow out into the audience. The health of cast members must be considered, ensuring that no one on stage is, for example, asthmatic.
Flashes are most commonly used for magical appearances of fairies, baddies or genies; magic spells, or for transformation scenes such as in 'Cinderella' or 'Beauty and the Beast'. They consist of a small explosive ignited by an electrical charge operated remotely by a crew member. There must be several feet clearance area around a flash, which can be problematic when cast members stand too close, oblivious to the frantic signalling of stage crew in the wings! Particular care therefore needs to be taken with the use of flashes when a lot of people are on stage, or children are performing.
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'Properties' means any moveable item required on stage during the performance. This excludes fixed set, or any item such as furniture, which remains on set throughout the production. 'Personal' props are those specific to only one actor, for example an umbrella, crutch or hip flask, and props can include anything from a life sized ostrich with secret compartments (honest!) to a three course dinner. It is the responsibility of the person in charge of props to compile a list of what is required for the production, by reading the script and liaising with the Stage Manager and/or Director, and to arrange for these to be obtained or made. It is helpful to have Props (or substitutes) available as soon as possible during the pre-production period, for the actors to use in rehearsal.
During the production, the props team sets up a table with all props placed upon it in some sort of logical order. It is then the actors' responsibility to check at the beginning of each performance that they know the whereabouts of any props they need to take on stage, and to return them after use. The props team will ensure that the stage is set at the beginning of each production, and during the course of the performance, between scenes, will set or strike (remove) props from the stage as necessary.
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The Props Assistants follow the direction of the Properties Manager on performance nights to ensure that whatever objects need setting and resetting on stage between curtains are correctly positioned. The Props assistants usually have an action/unaction or set/reset script to follow, under the direction of the Properties Manager and sometimes, when there is no curtain, they have black-up in dark makeup and clothing so as not to distract the audience during whatever interval comes next! Not so easy a job as you might think!
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The responsibilities of 'wardrobe' can vary immensely from production to production (my most memorable experience being laundering tights for a corps of male ballet dancers!). At Stannington, the majority of the plays we perform are set in the present, so the main role of wardrobe is co-ordination. The cast tend to find their own costumes and bring them along for approval. Where specific items are required which no member possesses, it is wardrobe's responsibility to beg, steal, borrow or make them. Period costumes are required for some productions. The Stannington Players do have a number of period costumes, and wardrobe is responsible for establishing what we already have that is suitable, and fits, and for locating and obtaining any other costumes required, usually by borrowing or hiring from other amateur societies, or hiring from professional costumiers.
The Stannington Players' annual pantomime is wardrobe's greatest challenge! Responsibilities include the overall design of costumes, in conjunction with the director, and actually making quite a lot of them. We do have quite a stock of pantomime costumes, and again, wardrobe has to establish what is suitable and can be used or adapted. At panto time, anyone who is handy with a sewing machine is likely to be roped in to help! Wardrobe's responsibilities during a production are to be available with needle and thread (and staplers, sellotape, glue etc) for running repairs
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In television, and even more so, film, where scenes are not shot chronologically, continuity involves lots of polaroid photos, and ensuring that characters do not change their hair style or clothing halfway through a continuous scene. In amateur theatre, the person responsible for continuity is often referred to as the 'prompt', as the role involves prompting cast members when they forget their words or lose their way. There is no such role in professional theatre. Professional actors are expected to remember their lines, and be able to get themselves out of the situation if they don't.
Prompting a production is not an easy task. The person responsible for continuity needs to attend rehearsals to get to know the play, and the way that the actors deliver their lines - they need to know where pauses in delivery occur, so that they don't jump in with an inappropriate prompt, and also learn which lines the actors tend to habitually struggle with. During the production, a high level of concentration is required as the prompt follows the script and the action. It is helpful if the prompt is sited where they can see the faces of the actors - and therefore spot when panic is about to set in!! The role does not just involve telling actors the next line if all goes silent. The continuity of the production has to be maintained whatever happens. Actors may well miss out large chunks of essential dialogue, or even jump to a later scene or act. The person responsible for continuity must make an instant decision as to how to get the production back on track. This can mean prompting actors other than the one has gone wrong, to indicate where the dialogue should run from. Not an enviable task!!
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The set designer is limited by space and practicality, and may have to explain tactfully to the producer that trying to build a full size replica of the Titanic on a small church hall stage is not a good idea. The designer works closely with the producer/director and/or stage manager, suggesting ideas for staging, and discussing the feasibility of the wishes of the producer. Sets can vary from realistic representations of a house, or room, for example, to something far more abstract and symbolic. At Stannington, often the set will be a 'box' set; for example a living room with three walls, however not always, and a recent set which was a challenge to the designer was the downstairs of a whole house, with cut away walls and doors to enable the audience to see into all the rooms. Sometimes plays require a 'split' set, with two different places represented on the stage.
Complete set changes during a production are best avoided, unless there is a large crew available, and plenty of space in the wings and above the stage. Unfortunately, the Lomas Hall, where the Stannington Players perform, has very limited space in the wings, and no height above the stage to 'fly in' pieces of set - however these restrictions did not prevent them performing a play in three acts, each act being set in a different kitchen with totally different units and appliances.
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In amateur theatre set construction is usually a team effort, with all members, their family, friends and people they've dragged off the street, lending a hand. The set is built under the direction of either the stage manager or set designer, or both. There are jobs for all abilities, from heavy building work to pasting wallpaper or painting skirting boards, to making tea. The Stannington Players usually build their set on the Sunday at the beginning of play week; and all get together again on the Sunday at the end of play week to strike the set (which usually takes a fraction of the time it takes to build).
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The role of the musical director very much depends upon the individual production. In a full blown musical, particularly where live musicians are being used, the musical director will work very closely with the director in deciding the shape of the show. The musical director will run singing rehearsals, band rehearsals, band calls, and conduct the band and singers during the performance. The musical director also manages the sound operator, and has ultimate responsibility for all sound, sound effects etc.
The only time a musical director has been used at The Stannington Players, is during pantomime, when they liaise with the producer to decide upon which songs will be used, and supervise singing rehearsals and the accompanist who plays the piano during rehearsal and performance.
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Whether a single accompanist or a full orchestra, musicians come under the management of the musical director. Productions requiring music will usually have an accompanist who attends singing rehearsals, and this may or may not be someone who is playing for the actual performance. The band or orchestra may have rehearsals with just the musical director, but do not usually meet or rehearse with the cast until 'band call', which is a rehearsal of musical numbers only, at the end of the pre-production period but prior to the technical rehearsal.
Dependant upon the individual theatre, its layout and room available, the musicians may be on view to the audience (such as in a traditional orchestra pit), or may be hidden back stage, or even under the stage. If the musical director has to be situated out of view of either the band or singing cast, visual monitors have to be used. Traditionally, musicians wear evening dress whatever the production.
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