Cast And Crew

POPULATING THE STAGE

The visible face of drama, at the end of the day, is the assembled cast of actors (and actresses, although in these politically-correct times, it is often safer to use "actor" in a non-gender-specific sense to describe any cast member). Not everyone wants to stand in the limelight, though - which is just as well, as there are a variety of other jobs to do, all of which are just as vital to the success of a play. As a small group, we have been known to double up (or more!) on some of the jobs and quite often the actors will take on some of the backstage responsibilities: larger organisations will often have dedicated teams of people who have permanently-assigned roles. We actually rather enjoy swapping around, taking the opportunity to do something different from production to production, and try to allow our members to become as versatile as they wish. Anyone can express a desire to tread the boards or work at a particular task in the backstage and we will always try to fit them into the production somehow. A large part of our play selection process is based around accommodating everyone's wishes in this way.

The basic organisation for a production is shown below (not necessarily in order of importance!). A few explanatory notes are added beneath, for the benefit of anyone who may be interested in actually doing any of them. All the various roles are credited separately in each production's programme - thus far, with the sole exception of publicity officer, which is actually a committee position. However, that will probably change in future as it seems a little unfair on closer inspection.

ORGANISATION CHART

EXAMPLE PROGRAMME CREDITS

NOTES

Producer
The producer has overall responsibility for getting the production on to the stage, starting with choosing the play and finishing when the last takings are handed in to the treasurer. In between, just about everything that requires a decision to be taken winds up in the producer's lap. It's not as bad as it sounds:  there are plenty of things that are part of long-established routines and don't need too much in the way supervision, and plenty of others which can be delegated to the people doing that particular job. Still, there is always enough for the producer to worry about to keep them out of mischief. And although we always refer to our producer as "the Producer", it would actually be more correct to use the title Producer/Director, because they get both jobs.

Production Assistant
When there is simply too much for a producer to do alone, the production assistant takes on the surplus.

Director
The director is the person who controls the action on the stage, mainly through the cast but with some input to the backstage, such as with the effects plots, use of props and stage furnishing. There are many different ways to approach directing a play, depending in a large part on what sort of precision the play demands and how experienced the cast are. Whatever route the director takes, it has to eventually achieve a credible interpretation of the author's material, preferably one which will have the audience spellbound in their seats. Arguably, the most critical job in the production as it is the one which delivers what the public actually get to see.

Choreographer
A very optional role, as we try and avoid song and dance like the proverbial plague. However, there are occasions when there is no alternative and somebody has to manage the transition from leaden-footed shuffle to sparkling ballroom twirls. That will be whoever is lucky enough to be assigned as choreographer: sometimes, we take a democratic approach to the whole thing and let people work it out between themselves, but it usually helps to have one person in overall charge.

Continuity
Prompting, both at rehearsals and on the nights. A responsible but rather lonely job, involving as it does spending the whole time following the lines in the script, poised to rescue the performance at the drop of a hat (or, more accurately, of a line).

Cast
The cast are the assembled actors: lead, supporting and extras. Parts are usually classified by number of lines (also known as "starts"): there will usually be far more starts for the lead role - or roles - than any of the supporting cast. Extras usually get away with no lines at all. Actors are usually* excused any of the other formal jobs, simply because they are busy from the start of rehearsals onwards with learning lines and moves. However, they do get to help out with providing props and costumes and building of the set.
* Unless they happen to be publicity officer, part of the committee, or particularly good at a job, in which case they aren't excused at all.

Graphic Designer
The graphic designer, basically, deals with all the artwork and typesetting to produce posters, programmes, tickets and any other materials needed for the play. We usually widen this to include set design, arty props and any specialist set painting, although those are not part of the promotional remit.

Publicity Officer
Publicity is actually a permanent office of the committee, with some specific responsibilities for each production thrown in. The publicity officer liaises with local media (in our case, press and radio) to ensure that the production is advertised in as many (free) ways as possible. Issue of play and cast information and arranging photocalls for the local press are all part of this.

Stage Manager
The stage manager is ultimately in charge of everything that happens in the wings and beyond. Supervision of the technical crew members, ensuring that the actors are in place and ready to go on and overseeing the opening and closing of the curtains (there is more to that than just pulling the rope!) are the major areas of responsibility on the nights.

Set Construction
This covers design and building of all large stage items and the set itself. It is a variable amount of work**, depending on the complexity of the stage, and involves several people. Usually, the graphic designer (in set designer capacity) and stage manager will be part of this team, along with various other members of the group, including cast members.
** The actual set build is limited to part of the weekend before production week, though, however complicated it may be...

Effects
Design of the lighting plot, creation and playback of all recorded sound effects, managing live sounds and any other special effects, such as pyrotechnics, all fall within this area. Depending on the complexity of the various effects plots, it may all be handled by a single person: more often, it will be split between two. There can be quite a lot of out-of-hours work involved in preparing the necessary material, as well as plenty to do during production week.

Properties
As covered elsewhere, props are all the items that actors interact with on stage. The properties manager (or person, if there only happens to be one of them) is responsible for obtaining, looking after and setting out all the props, both stage and personal, and for managing scene changes on the night. Props - or a reasonable substitute for the real thing - are often needed at rehearsals well before the play run, and that also falls within the properties remit.

Wardrobe (or Costumes)
Sourcing and making of all costumes and assisting with backstage dressing and make-up. Depending on the setting of the play, this may not be required as a specific role, in which case it will be left to the cast to provide their own outfits.

Stage Crew
Any other backstage work that does not have a specific job title all its' own. Usually covers a hybrid role that may be part-effects, part-props and - usually - a lot of stage shifting between scenes.

Front Of House Manager
The FoH manager is the person responsible for arranging and coordinating all front of house activities, including recruiting assistants, purchasing appropriate raffle prizes and refreshments, setting the front notice board and managing all monies taken on production nights. Usually, the FoH manager will also call the raffle and finally, in the event of disaster - other than a poor performance, that is - would be responsible for evacuating the auditorium post-haste.

Front Of House
FoH assistants are variously responsible for meeting and greeting, selling tickets, raffle tickets and refreshments and for setting up and clearing the audience area and kitchen on production nights. There will normally be a minimum of three assistants per night.

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