Technical Assignments

Productions Productions at KSS offers students a wide range of experiences from the Mainstage plays to the student-directed shows of Play Marathon. Our regular meeting day is Monday afterschool. In addition there will be extra ‘calls’ in the final weeks before a production opens. If you have questions about the time commitment please discuss this with Ms. Holmwood prior to joining this class.

Technical Assignments All production students are expected to be a key part of the technical team for each of the two mainstage productions and mentor and assist as appropriate. Each student is also expected to perform a technical function for one of the student directed plays during Play Marathon.

Tech Weekends and Workcalls Students will know in advance the season’s basic requirements. Occasionally a mandatory weekend or evening call not outlined in advance becomes necessary. Notification of special calls will be given as soon as known (every effort will be made to give students as much notice as possible). If a student anticipates missing a mandatory call he/she must let Ms. Holmwood know and be prepared to make up these hours.

Conflicts It is your responsibility to be aware of the production schedule and realize that peak production times are three weeks prior to opening and it is likely that is the time you will be needed most. Personal conflicts which arise should be discussed with the stage manager and the director. 2 Evaluation Grading is based not only on the number of hours completed but also the quality of those hours. Quality refers to the reliability and productivity of the student as he/she completes departmental shop hours.

THE AVERAGE STUDENT (C) should meet the following standards: • Be dependable and fully attempt to meet deadlines in a timely manner. • Communicate: Contact the director and the production manager or stage manager when you expect to be late or will not be able to come in. Take an active role in your learning process: Be willing to ask questions when you feel you need help. • Exhibit good organization and time management skills: Be on time and be ready to work. • Bring a good attitude to production meetings and to all project work: Show a spirit of cooperation by being a positive influence. Conduct yourself with discretion and maintain a collaborative and congenial attitude toward fellow students. Show support for the needs of the production schedule, and your own growth as an artist and by being a strong part of the production team. • Be concerned with the quality of work you produce: Remember that your goal should be creating a product of good workmanship.

THE BETTER THAN AVERAGE STUDENT (B) should meet the criteria above plus the following: • Take the initiative: Do not wait to be handed a job. When one task is completed ask, “What is next?” • Display a degree of enthusiasm or genuine interest for his/her learning experience. • Think “follow through”: If sewing two more buttons on a coat or adding one more leg to a platform will complete a job then be willing to finish it before leaving for the day.

THE SUPERIOR STUDENT (A) not only meets the above but should also: • Demonstrate leadership qualities when possible to do so. • Understand the importance of the production process--be willing to go above and beyond the call of duty in times of need. • Challenge yourself: Seek out projects which will help you grow--do not always choose the simplest item on the to do list because you already know how to do it.

• Available technical positions: Stage manager, lighting design and operation, sound design and operation, scenic design, set design and construction, costume design, props crew, costume crew, assistant stage manager, publicity, box office manager, hair and make up, scenic paint crew. 3

Descriptions of Key Technical Positions

Stage Manager The Stage Manager is the person charged with facilitating all production communication. The SM’s duties include running auditions, attending all rehearsals, selection and supervision of ASM’s, creating the prompt script, acquisition and supervision of rehearsal props, supervision of production meetings, running dress parade, tech rehearsals, and dress rehearsals, arranging and running designer and production photo call, overseeing the Running Crews, calling cues during the show and creating and distributing contact lists, rehearsal schedules, production notes, etc.

Responsibilities during the Planning Period: • Read the script. • Participate in all production meetings.

Responsibilities During the Production Process: • Attend all rehearsals. Complete a rehearsal report for each rehearsal. • Email production notes to all tech and design students (cc to Ms. Holmwood) at least once a week with updates more frequently in the last month. • Maintain up-to-date records and documents of the physical production (“show bible” or Production Book*). These records and documents include, but are not limited to: • Design and technical drawings including plans, sections, and details (revised as necessary to show units as built) • Time estimates and records. • Time and cost summaries. • Consolidating applicable rehearsal, tech, and production notes. These records and documents are used for: • Communication concerning the physical production elements, and are to be distributed to the appropriate members of the production group so that all departments function with coordinated and up-to-date information. • The complete records in the form of a Production Book, should include a summary that discusses the production process (including problems encountered and solutions achieved) and makes general recommendations, which might be implemented in future productions. • Insure the rehearsal space is kept clean and orderly and tidied at the end of every rehearsal. • Planning and coordinating the production strike to remove the production elements safely, storing them in an orderly fashion, or returning them to owners, and restoring production areas, including the stage and the storage rooms to a state usable by succeeding productions.

Line of Responsibility: • Reports to the Director and Production manager.

Assistant Stage Manager The Assistant Stage Manager is responsible for attending rehearsal and performances. The ASM must perform those duties designated to them by the Stage Manager. The SM supervises all 4 crews back stage during a show. The ASM will run the show from either end of the space and may also carry additional responsibilities of costume or props management.

Line of Responsibility: • Reports to the Stage Manager followed by the Director and Production manager.

Set Design and Construction The set designer works with the director and other members of the design team in developing the visual design concept for the specific production and is responsible for the design and execution of the set pieces needed for that specific production.

Line of Responsibility: • Reports directly to the director and production manager.

Costume Designer The goal of the Costume Designer is to create an image, or group of images that coincide with the scenic and lighting designs and supports the Director’s concept for a given production.

Responsibilities during the Planning Process: • Read and closely analyze the script for indications of period, season, specific garment reference, social status, character age, and other pertinent keys to character. • Meet with the director to discuss ideas, budgets, deadlines, etc. • Meet with the design team to develop design concepts. • Perform all necessary research: visual, dramaturgical, historical, etc. • Execute sketches or printed images and present to the Director and production manager. Be prepared to make adjustments to accommodate actor’s body types, budget concerns, movement issues, etc. • When ideas have been approved by the Director, execute renderings to reflect color and textures you wish to use. Label all renderings with: Name of the show Name of character Actor name—if possible Act and scene number Designer signature Date • Create separate lists for costumes and costume crafts: Pull Build Rent Buy • Meet with the design team to go over renderings and costume craft list. Be prepared to answer questions and “interpret” your designs and any special construction needs. • Purchase fabrics, trims and notions needed for construction prior to the date scheduled for the begin of build. 5

Responsibilities during the Production Period: • Pull items from stock. • Arrange fittings. Arrange for all needed garments to be in the fitting room. First Fitting: observe actor in the garment mock up, work with the cutter/draper to note and mark any necessary changes, discuss any concerns noted by the actor, try on any pulled accessories such as shoes, hats, etc. Second Fitting: observe the actor in the actual garment, mark for closures and hemline, try on accessories and any new mock-ups. Final Fittings: try on finished garments to check for fit . • Meet with stage management. To create check lists and discuss special needs such as quick changes. • Attend dress parade or costume rehearsal. Sit with the Director and take notes on those garments which need adjusting. Mark and return them to the shop for alteration. Responsibilities during the Technical Rehearsal Period: • Attend Dress Rehearsals. Be present to answer question from both the crew and the actors. Take notes and be prepared to receive more notes from the director after each run. Compile notes and prepare a work list for the next morning’s alterations. • Each day after dress rehearsals begin check the shop to be sure notes are being executed in order of priority, attend to any needed shopping, and discuss maintenance with the stage manager, director and production manager.

Responsibilities during the Strike Period: • After the last show, attend strike and make sure accessories are put away, rental items are put aside to be returned, and laundry and dry cleaning are separated. • Restock overpull, completed laundry and dry cleaning.

Wardrobe Supervisor The Wardrobe Supervisor is a member of the costume design team who oversees the costume crew and is responsible for the maintenance of a given show. The supervisor is also responsible for maintaining the integrity of the costume design throughout the run of the show. • Maintains laundry—washing or dry cleaning—before every performance or dress rehearsal. • Repairs of any damage done to costumes during the run of a show. • Tracks all costume changes during a show. • Assigns dressers.

Line of Responsibility: Reports to the stage manager, director and production manager for matters related to a specific show.

Dresser A Dresser is one who helps actors, singers, or dancers with any costume needs during the dress rehearsals/run of the show. • Checks all costume pieces in and out to ensure all costumes are complete and accounted for. • Completes costume changes as needed during the performance. • Helps with the maintenance of the costume laundry and repair. 6

Line of Responsibility: • The Dresser reports directly to the Wardrobe Supervisor.

Make-up and Hair Designer The Makeup Designer, determines the appropriate makeup and the creation of hairstyles coinciding with the vision established by the Costume Designer to complete the look of the production. • Responsible for the “design” of the makeup within the boundaries set by the Costume Designer’s chosen style. • Creates makeup plots or visual diagrams to be used by the Makeup Artisan and Actors • May apply makeup to the actors. • Constructs all wigs and/or facial pieces. • Supervises haircuts and coloring. • Style or supervise styling of the actor’s own hair. • Maintains or oversees maintenance of wigs and facial pieces during the run of a show.

Line of Responsibility: • Reports to the Costume Designer, the stage manager, director and production manager.

Property Master/Mistress The Property Master must be adept at a variety of skills and is responsible for the design and construction of the various decorative and functional props that are used in a production.

Responsibilities during Planning Period: • Read the script and compose a preliminary prop list. Include the following: Prop item Manner of use Page number • Consult with the Director and Scenic Designer about any special needs. • Perform necessary research. • Compose preliminary lists indicating the following divisions: Buy Build Rent/Borrow Pull from stock • When the props lists has been approved by the director, work with your team to arrange call times. • Check prop storage for useable stock items. • Shop for materials needed for construction. • Attend Production Meetings. • Supervise prop prep calls. • Work closely with the Stage Management to keep abreast of any changes, deletions, or addition of props during the rehearsal period. 7 • Attend periodic rehearsals to analyze the specifics of prop usage: how, when, etc. • Work with Stage Management to set up the props table. • Maintain and record monetary expenditures.

Responsibilities during the Rehearsal and Production period: • Instruct the prop running crew in the execution of their duties. • Attend ALL technical rehearsals. • Be available during the performance period to monitor prop needs and be available for repairs which the running crew may not be prepared to handle. • Supervises prop strike after the last performance. Clean and return borrowed and stock items.

Line of Responsibility: • Reports to the stage manager, director and production manager.

Lighting Designer The lighting designer (LD) works with the director and other members of the design team in developing the visual design concept for the specific production and is responsible for the design and execution of the lighting environment for that specific production.

Responsibilities during the Planning Period: • Closely read and analyze the script. • Meet with the director to discuss ideas, deadlines, etc. • Meet with the director and other designers to develop a visual concept. • Perform all necessary research: visual, dramaturgical, historical, etc. • Determines the gel, template, and supplies order and submits it to the production manager. • When ideas have been approved by the Director, develop lighting plans and paperwork and provide them for the production manager: 1/2” or 1/4” scale Lightplot 1/2” or 1/4’ scale Section Channel Hookup Instrument Schedule Shop order—Instrument, Color, Template, and materials inventory Any necessary plans for special effects • Attend rehearsals to develop cueing sequences and become familiar with blocking.

Responsibilities during the Load-In/Focus Period: • Organize and supervise the hang calls. • Work with director and production manager as necessary to schedule subsequent work and touch up calls.

Responsibilities during the Technical Rehearsal Period: • Write and record basic light cues during cue session prior to Dry Tech. • Provide Stage Manager with the following: cue numbers 8 times page numbers (measure numbers) the line or other action on which the cue should be called • Attend Dry Tech to present cues and coordinate their execution with the other technical elements of the production. • Attend all Technical and Dress Rehearsals to fine-tune the lighting compositions and timings. • Work with the production manager to train the board operator.

Responsibilities during the Run Period: • Completes dimmer check with Board Operator prior to each performance. • Checks with Board Operator to determine if there are any serious maintenance problems and fixes those problems prior to the next performance.

Line of Responsibility: • Reports directly to the director and production manager.

Sound Designer The Sound Designer is responsible for the design, recording, equipment setup, and playback of any sound used in a play. Sound design includes all music related to the show, including preshow and post-show sound effects.

Line of Responsibility: • Reports to the director and Production manager.

Publicist The publicist ensures posters and programs are designed and printed. He/she contacts the press (print, TV, radio, and web-based), and appropriately uses Social Media to promote the show.

Line of Responsibility: • Reports to the production manager.

Box Office Manager The box office manager is responsible for the set up of the box office, all ticket sales and for managing a team of individuals who will sell tickets.

Responsibilities during Planning Period: • Arrange the printing of tickets for each performance. • Create a ticket sales schedule for the period up to and including the run of the show. • Find a crew of 5 to 8 students who will be able to fill all the available time slots. • Run a training session for the Box Office Crew.

Responsibilities during the ticket selling period: 9 • Each evening telephone the ticket sellers scheduled the next day to remind them of their shift the next day. • Ensure that the float is counted before the start of each new shift. • Replace anyone who is unable to do his shift or who does not show up for his shift.

Line of Responsibility: • Reports to the production manager.

Other Technical Positions

Costume Running Crew Responsible for setting up the dressing area under the direction of the Wardrobe Supervisor, laundering, ironing, presetting, and repairing damaged costumes during the run. Assists actors with costume changes. Must be at all tech rehearsals, performances, and strike. Must also see a run of the show prior to tech. Reports to the Director and Production manager.

Light Prep Responsible for light hang and focus and touch ups. Light hang dates are scheduled on the master calendar. Additional calls are at the discretion of the Lighting Designer and/or Production manager. Job includes climbing ladders and dealing with heights. Must be at strike. Reports to the Lighting designer and the Director and Production manager.

Paint Crew Responsible for the painting all the scenery and the stage deck for a given production. Paint calls are usually during the school day, in the evening or on a weekend; however, hours may vary from production to production. It is a messy job, so wear old clothes.

Prop Prep Responsible for helping with the construction, painting, and finding of properties for the show. Hours are flexible. Reports to the Prop Master.

Set Prep Crew Responsible for helping with the construction of a set for a given production. Works for approximately three weeks prior to opening.

Sound Board Operator Responsible for running the sound equipment during performances. Must be at all tech rehearsals, performances, and strike. Must also see a run of the show prior to tech. Reports to the Stage Manager and the Director and Production manager.

Light Board Operator Responsible for running the lighting equipment during performances. Must be at all tech rehearsals, performances, and strike. Must also see a run of the show prior to tech. Reports to the Stage Manager and the Director and Production manager. 10 House Manager Head of the Ushering staff. Also prepares the front of house prior to audience arrival. Opens and closes the house during the performances ( i.e. curtain; intermission; curtain). Is also the liaison between the House and Stage Managers. Reports to the production manager.