ROLES and their links.
The Production Manager.
The production manager is linked with the following job roles in the theatre, Set Design, Props, Costume Design, Performance Departments, Stage Crew, Lighting and Sound, Extra casual staff, Directors and all the production heads of departments.
The Production Manager has a schedule which allows sufficient time for 'making' departments such as wardrobe, paintshops, workshops and props. They have arrangements to make in the performance departments with set designers and the lighting & sound on the necessary preparations for providing people and equipment for the shows. The Production Manager may have to employ extra casual staff if it's s large production such as a pantomime or a musical.
The Production Manager has a link with The Finance and Administration Department as the Production manager has to stay on top of the budget, not allowing people e.g the set designer, to pay out money left right and centre for things they need. They need to make sure the budget is being maintained.
http://www.nationaltheatre.org.uk/video/a-design-concept-realised-0 this is a link for a video of a meeting between a production manager and designer.
http://www.nationaltheatre.org.uk/video/the-fit-up here is a video of the production manager constructing a fit-up in the theatre.
http://www.nationaltheatre.org.uk/video/preparations-for-the-build a video of the production manager in a meeting between the whole production team.
Sound and lighting production roles.
'Sound engineering/ sound technician' is one of three aspects of production in theatre that I'm researching as part of my production research.
The sound technician is the master sound creator for a theatrical production. On top of keeping the microphones used by performers problem free, they also create soundscapes for theatrical productions ranging from musicals to straight plays.
The theatrical sound technician is in charge of running audio equipment during a performance. Skills needed in this role include the ability to run a sound board, create audio recordings for the performances and to work with the director or `production manager to create the sound for a show.
Steve Canyon Kennedy was the production engineer on such Broadway shows as Cats, Starlight Express, Song & Dance, The Phantom of the Opera, Carrie and Aspects of Love. His Broadway sound design credits include Catch Me If You Can, (Tony Nomination) Guys and Dolls, Mary Poppins, The Lion King, Jersey Boys (Drama Desk Award), Billy Crystal’s 700 Sundays, Hairspray, The Producers, Aida, Titanic, Big, How to Succeed in Business Without Really Trying, Carousel and The Who’s Tommy (Drama Desk Award).
Stage lighting is the lighting that applies to the production of theatre and other performance arts. Several different types of stage lighting instruments are used, in addition to basic lighting, modern stage lighting can also include special effects, such as laers and fog machines. People who work on stage lighting are commonly referred to as "lighing techincian".
Donald Holder - lighting design (lion king). He received a Tony award(1998), Drama Desk and Outer Critics Circle Awards for The Lion King (Broadway) and the Moliere Award for The Lion King (Paris).
The sound and lighting works with the director so they know the cues for music, sound effects and lighting. If they don't know the cues then they won't know when and where the effects need to be put in place.
Choreographer in theatre production.
Choreographers work with actors and dancers to teach them the required steps and routines for the show. They often either work with, or also work as, movement directors and fight directors. All three jobs exist to help the actors to use the physical space around them in the best way, and to complete entertaining, safe and convincing dance, movement or fight routines on stage. Sometimes a show will employ a separate choreographer and movement director. On other occasions, a single person will fulfil both roles. The movement director may also handle fight direction, or a third person may do this job. Choreographers are employed on any musical theatre shows, but even on productions which only have one dance number, they create the dance, and may be involved in teaching the steps and routines.
Movement directors work on: demonstrating correct period etiquette for a show that is set in the past,
robotic movements or menacing movements for gang warfare sequences, helping actors to physically play animal characters, characters of another gender, drunk characters, and helping to stage theatrical stunts.
The role of the fight arranger, or fight director, involves: coaching the actors in how to appear to fight convincingly, concentrating more on acting and stagecraft than on actual physical fighting or martial arts, as the work is more a specialised form of choreography, working closely with the director, the choreographer and the actors to work up a fight routine from scratch, working to add in the drama of a fight to a scene that’s already been worked on.
The fight director can be called in several times during a production at different times to improve and polish the fight as each scene develops.
Garth Fagan is the recipient of the 1998 Tony Award for Best Choreography and the 2000 Laurence Olivier Award for Best Theatre Choreographer (London) as well as the Drama Desk Award, the Astaire Award and the Outer Critics Circle Award for his work with The Lion King. Mr. Fagan was born in Kingston, Jamaica, and for more than 33 years has toured the world with Garth Fagan Dance. On television the company has appeared on “Great Performances,” “The Tonight Show” and the Academy Awards. Mr. Fagan forged his own dance language and technique, drawing from modern dance, Afro-Caribbean and ballet, and has choreographed for Alvin Ailey American Dance Theatre, Dance Theatre of Harlem, the Jose Limon Company, the New York City Ballet’s 50th Anniversary, and others.
The choreographer works with the sound and lighting crew to cue dance steps and the mood creation for dance/physical theatre movement. Also working with the cast to create movements.
Steve Canyon Kennedy was the production engineer on such Broadway shows as Cats, Starlight Express, Song & Dance, The Phantom of the Opera, Carrie and Aspects of Love. His Broadway sound design credits include Catch Me If You Can, (Tony Nomination) Guys and Dolls, Mary Poppins, The Lion King, Jersey Boys (Drama Desk Award), Billy Crystal’s 700 Sundays, Hairspray, The Producers, Aida, Titanic, Big, How to Succeed in Business Without Really Trying, Carousel and The Who’s Tommy (Drama Desk Award).
Stage lighting is the lighting that applies to the production of theatre and other performance arts. Several different types of stage lighting instruments are used, in addition to basic lighting, modern stage lighting can also include special effects, such as laers and fog machines. People who work on stage lighting are commonly referred to as "lighing techincian".
Donald Holder - lighting design (lion king). He received a Tony award(1998), Drama Desk and Outer Critics Circle Awards for The Lion King (Broadway) and the Moliere Award for The Lion King (Paris).
The sound and lighting works with the director so they know the cues for music, sound effects and lighting. If they don't know the cues then they won't know when and where the effects need to be put in place.
Choreographer in theatre production.
Choreographers work with actors and dancers to teach them the required steps and routines for the show. They often either work with, or also work as, movement directors and fight directors. All three jobs exist to help the actors to use the physical space around them in the best way, and to complete entertaining, safe and convincing dance, movement or fight routines on stage. Sometimes a show will employ a separate choreographer and movement director. On other occasions, a single person will fulfil both roles. The movement director may also handle fight direction, or a third person may do this job. Choreographers are employed on any musical theatre shows, but even on productions which only have one dance number, they create the dance, and may be involved in teaching the steps and routines.
Movement directors work on: demonstrating correct period etiquette for a show that is set in the past,
robotic movements or menacing movements for gang warfare sequences, helping actors to physically play animal characters, characters of another gender, drunk characters, and helping to stage theatrical stunts.
The role of the fight arranger, or fight director, involves: coaching the actors in how to appear to fight convincingly, concentrating more on acting and stagecraft than on actual physical fighting or martial arts, as the work is more a specialised form of choreography, working closely with the director, the choreographer and the actors to work up a fight routine from scratch, working to add in the drama of a fight to a scene that’s already been worked on.
The fight director can be called in several times during a production at different times to improve and polish the fight as each scene develops.
Garth Fagan is the recipient of the 1998 Tony Award for Best Choreography and the 2000 Laurence Olivier Award for Best Theatre Choreographer (London) as well as the Drama Desk Award, the Astaire Award and the Outer Critics Circle Award for his work with The Lion King. Mr. Fagan was born in Kingston, Jamaica, and for more than 33 years has toured the world with Garth Fagan Dance. On television the company has appeared on “Great Performances,” “The Tonight Show” and the Academy Awards. Mr. Fagan forged his own dance language and technique, drawing from modern dance, Afro-Caribbean and ballet, and has choreographed for Alvin Ailey American Dance Theatre, Dance Theatre of Harlem, the Jose Limon Company, the New York City Ballet’s 50th Anniversary, and others.
The choreographer works with the sound and lighting crew to cue dance steps and the mood creation for dance/physical theatre movement. Also working with the cast to create movements.
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