General responsibilities of a Production Team:
The Producer is responsible for the financial well-being of the production, and for coordinating the activities of the entire production staff. It is the Producer's responsibility to keep everyone on schedule, and to make sure everyone is doing his or her job within the parameters of the production budget. The financial duties of the producer include raising the money for the production, preparing the budget (including establishing ticket prices), and obtaining budget approval from the club Executive. The Producer also establishes procedures for spending (including payment of contracted production personnel, licensing fees for the show, and rental fees for technical elements and rehearsal and performance spaces) and record-keeping. Organizational responsibilities include securing the services of all production personnel, signing any necessary contracts, supervising the managerial staff, arranging for rehearsal and performance spaces and any aspects of the production that do not fall to any of the other production personnel. (such as smoothing ruffled feathers). For smaller productions (e.g. variety nights) the Director sometimes takes on the Producer duties, but this is not encouraged as a rule. Some productions have more than one Producer.
The Show Treasurer assists the producer by keeping track of all income and expenditures. The Show Treasurer pays the bills and keeps the receipts, under the supervision of the producer. Periodically during lead-up to the production the Show Treasurer shall tally all expenses according to the category, and circulate to department managers. The Producer should follow-up on any budget over-spends. Following close-out of a shows' books the Show Treasurer submits a final financial report the the club Executive, which is included in the club Treasurer's annual report at the AGM.
The Stage Manager is a vital member of the production staff with many responsibilities. Responsibilities during the rehearsal period include coordinating the activities of the directorial staff, design staff and actors. Responsibilities during performances include coordinating the activities of the actors, stagehands, props personnel, dressers and House Manager. The Stage Manager makes sure everything runs smoothly and properly both in rehearsal and onstage. The Stage Manager is also the Director's right-hand, and memorializes each decision the director makes, communicating any special requests to the other members of the production staff. The Stage Manager is also the liason between the actors and the production staff. The stage manager often supervises a staff of his or her own, consisting of one or more assistant stage managers. The Stage Manager is in charge of the performance after receiving control from the House Manager once the House is ready (and following each intermission period).
The House Manager is responsible for dealing with the audience before, during and after performances. Responsibilities include opening the theatre before each performance, supervising the ushers, seating late-comers, enforcing "house policies" (like no food, drink or photography during performances), dealing with any audience emergencies, and closing and cleaning the house after the audience has departed. Responsibilities often include the selling and receipt of tickets at the door, and resolving any last-minute disputes and discrepancies that arise in this regard. The House Manager is in charge of the performance prior its start and during intermission periods, in each case handing control over to the Stage Manager when he or she determines that the House is ready. It is not uncommon for the Stage Manager to serve as the Technical Director.
The Set Designer designs the sets for a production after studying the script and meeting with the Director. These sets may include backdrops, setpieces like chairs and tables, onstage helicopters and falling chandeliers. The Set Designer consults the other designers to make sure the set designs are compatible with the designs for the other physical components of the show. The Set Designer then works with the Technical Director to construct the sets (the set designer may also opt to rent existing sets). Sometimes the Director chooses to design the set. Set design can also be a group effort.
The Costume Designer designs and assembles the costumes for a production after studying the script and meeting with the Director. The costume designer works with the make-up artist and hair stylist to create a physical "look" for each character, and consults the other designers to make sure the designs for the costumes are compatible with the other aspects of the physical production. The Costume Designer then creates the costumes. This may involve sewing costumes from scratch, assembling costumes from found articles of clothing, or renting costumes from costume shops. The Costume Designer may choose to have an assistant called the wardrobe supervisor who stores and cares for the costumes and coordinates their use during performances. Sometimes, the Director chooses to design the costumes.
The Lighting Designer determines how lights will be used to illuminate the stage in a production, after studying the script and meeting with the Director. The Lighting Designer consults the other designers to make sure the lighting will be compatible with the other aspects of the physical production. After determining the lighting needs of the show, the lighting designer creates a light plot, which indicates what kind of lighting equipment will be used, where it will be placed, how it will illuminate the stage, and when and how it will be operated. With the Technical Director, the Lighting Designer then finds the necessary equipment (renting it if necessary), positions the equipment, focuses it onto the appropriate sections of the stage and wires all of the lighting equipment into a master lighting board which will be used as a control panel during the performance. (The Lighting Designer may or may not operate the board during performances.) The Lighting Designer is often assisted by a master electrician and lighting technicians. The Lighting Designer is often the Director.
The Sound Designer is responsible for amplifying the actors' voices in the show, and providing any sound effects the script or Director might require. The sound design may be as complex or simple as you need it to be. In a small theatre, you might need no microphones at all; in a larger space, you might need to provide each actor with a hidden wireless microphone, called a body microphone or a lavalier. At the very least, you will need to balance the actors' voices. The Sound Designer works with the Director to determine the sound equipment needed, then works with the Technical Director to acquire the equipment (by purchase or rental) and wire it into the master sound board, which is used during the performance to control the sound levels of the various microphones and amplifiers. (The Sound Designer may or may not operate the board during performances.)
The Technical Director is responsible for all "technical" aspects of the production, from the lights to the sets to the sound system. The TD is responsible for making sure the sets are built as per the set designer's instructions, the lights are set up and working as per the lighting designer's instructions, and the sound system is set up and working as per the sound designer's instructions. The Technical Director thus often serves as the master electrician and master carpenter for the production. Another experienced member of the Production Team, such as the Lighting or Sound Designer, may act as the Technical Director.
The Props Master constructs or acquires any properties which may be necessary. This included set props (props that are a part of the set) and hand props (hand-held props, for the actors.) The Props Master is often assisted by a props crew which stores and cares for the props and coordinates their use during performances.
The Make-up Artist is responsible for consulting with the Director, Costume Designer, Hair Stylist and Lighting Designer to determine the kind of make-up each actor will apply during performances, and how that make-up will be applied. This make-up might range from a simple foundation or base to speciall applications like mustaches, warts, scars or extra eyes. The Make-up Artist is often the same person as the Director or Costume Designer.
The Hair Stylist is responsible for consulting with the Director, Costume Designer, Make-up Artist and Lighting Designer to determine how each actor's hair will be cut and/or styled for the show. The Hair Stylist is also responsible for purchasing or renting wigs for the actors, if the need arises, and for styling and maintaining those wigs. The Hair Stylist is often the same person as the Director, Costume Designer or Make-up Artist.
The Publicity Manager supervises the publicity and promotion for the production, under the guidance of the Producer. Responsibilities include preparing and distributing press releases and promotional materials (posters, flyers, newspaper ads, radio spots, production photographs, etc) and drumming up publicity for the show in the community and media. The Publicity Manager obtains approval from the club Executive for all significant publicity (posters, newspaper ads, newspaper articles) prior to publication.
The Tickets Manager supervises the selling of tickets to the performances. Responsibilities include ordering the tickets, establishing ticket-selling location and policies, fulfilling ticket orders, handling all box office transactions, liasing with box office location (if outsourced to a local business) or supervising box office staff (if handled internally), and keeping track of ticket sales numbers and revenue. The Tickets Manager is often the same person as the Publicity Manager.
The Program Manager supervises the creation and printing of the program (or playbill) for the production. Responsibilities include compiling a comprehensive list of all production credits and selling ads to local merchants, if desired.